Yamaha VL1-m User Manual

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class ”B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit ”OFF” and ”ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

Dette apparat overholder det gaeldende EF-direktiv vedrørende radiostøj.

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/ 499/EWG und/oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directivo 87/308/CEE.

YAMAHA CORPORATION

Litiumbatteri! Bör endast bytas av servicepersonal. Explosionsfara vid felaktig hantering.

VAROITUS! Lithiumparisto, Räjähdysvaara. Pariston saa vaihtaa ainoastaan alan ammattimies.

ADVARSEL! Lithiumbatteri! Eksplosionsfare. Udskiftning må kun foretages af en sagkyndig, – og som beskrevet i servicemanualen.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:

GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.

Bescheinigung des Importeurs

Hiermit wird bescheinigt, daß der/die/das

Virtual Acoustic Tone Generator Typ : VL1-m

(Gerät, Typ, Bezeichnung) in Übereinstimmung mit den Bestimmungen der

VERFÜGUNG 1046/84

(Amtsblattverfügung) funk-entstört ist. Der Deutschen Bundespost wurde das Inverkehrbringen dieses

Gerätes angezeigt und die Berechtigung zur Überprüfung der Serie auf Einhaltung der Bestimmungen eingeräumt.

Yamaha Europa GmbH

Name des Importeurs

* Dies bezieht sich nur auf die von der Yamaha Europa GmbH vertriebenen Produkte.

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL

● Explanation of Graphical Symbols

The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

The lightning flash with arrowhead symbol within the equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock.

methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

Battery Notice: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes neccessary, contact a qualified service representative to perform the replacement.

Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you.

Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial nunber, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

IMPORTANT NOTICE: All Yamaha electronic products are tested and approvend by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.

SPECFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production

92-469 q

MIDI

THRU OUT

Model Serial No. Purchase Date

OUTPUT

AC INLET

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIER HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING — When using any electrical or electronic prod-

uct, basic precautions should always be followed. These precautions include, but are not limited to, the following:

1. Read all Safety Instructions, Installation Instructions, Spe-

cial Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

2. Main Power Suplly Verifications: Yamaha products are

manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

3. This product may be equipped with a polarized plug (one

blade wider than the other). If you are unable to insert the plug into the outlet, turn the plug over and try again. If the problem persists, contact electrician to have the obsolete outlet replaced. Do NOT defeat the safety purpose of the plug.

4. Some electronic products utilize external power supplies

or adapters. DO NOT connect this type of product to any power supply or adapter other than one described in the owners manual, on the name plate, or specifically recommended by Yamaha.

5. WARNING: Do not place this product or any other objects

on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimume wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

6. Ventilation: Electronic products, unless specifically de-

signed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.

7. Temperature considerations: Electronic products should be

installed in locations that do not significantly contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers and other devices that produce heat should be avoided.

8. This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed to rain. Examples of wet/damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

9. This product should be used only with the components

supplied or; a cart, rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.

10.The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity.

11.Care should be taken that objects do not fall and liquids

are not spilled into the enclosure through any openings that may exist.

12.Electrical/electronic products should be serviced by a

qualified service person when: a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change

in performance; or e. The product has been dropped, or the enclosure of the

product has been damaged.

13.Do not attempt to service this product beyond that de-

scribed in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.

14.This product, either alone or in combination with an

amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the cars, you should cousult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

15.Some Yamaha products may have benches and/or acces-

sory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

92-469-3

PLEASE KEEP THIS MANUAL

Virtual Acoustic T one Generator

Feature Reference

Owner’s Manual 2

Feature Reference

Contents

About the Manuals . . . . . . . . . . . . . . . . . . . . . . 4

■ The Getting Started Manual . . . . . . . . . . . . . . . 4

■ The Feature Reference Manual (this manual) . 5

■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

General Operation

■ The Three Main Modes . . . . . . . . . . . . . . . . . . . 8

■ Finding Functions & Parameters . . . . . . . . . . . 9

■ Other Navigation Aids . . . . . . . . . . . . . . . . . . 11

■ Selecting & Editing Parameters . . . . . . . . . . . 12

Play Mode

■ The Main Play Mode Display . . . . . . . . . . . . . 14

■ Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . 15

■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . 17

■ Quick Editing In the Play Mode . . . . . . . . . . . 19

■ The Monitor Mode . . . . . . . . . . . . . . . . . . . . . 20

Edit Mode

■ Element Selection In the Edit Mode . . . . . . . 22

■ The Edit Compare Function . . . . . . . . . . . . . . 23

■ The Copy Function . . . . . . . . . . . . . . . . . . . . . 24

■ Storing Edited Data . . . . . . . . . . . . . . . . . . . . . 27

Initial Edit Page . . . . . . . . . . . . . . . . . . . . . . . . 30

Common Miscellanous . . . . . . . . . . . . . . . . . 34

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

■ 2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■ 3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . 37

■ 4: Element Level & Pan . . . . . . . . . . . . . . . . . 38

■ 5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . 40

■ 6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . 42

■ 7: Quick Edit Assign . . . . . . . . . . . . . . . . . . . . 43

Common Effect . . . . . . . . . . . . . . . . . . . . . . . . 44

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

■ 2: Modulation Effect . . . . . . . . . . . . . . . . . . . . 46

• Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

• Pitch Change . . . . . . . . . . . . . . . . . . . . . . 49

• Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . 53

• Mono Delay . . . . . . . . . . . . . . . . . . . . . . . 53

• L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . 55

• L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . 57

■ 4:Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 60

• Hall1, Hall2, Room1, Room2, Studio,

Plate, Space, Reverse . . . . . . . . . . . . . . . 61

Element Controller . . . . . . . . . . . . . . . . . . . . . 64

■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

■ 2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . 66

■ 3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

■ 4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

■ 5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

■ 6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . 71

■ 7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

■ 8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 73

■ 9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

■ 10: Throat Formant . . . . . . . . . . . . . . . . . . . . . 75

■ 11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 77

■ 12; Harmonic Enhancer . . . . . . . . . . . . . . . . . 78

■ 13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . 80

■ 14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . 81

■ Controller Search & Replace . . . . . . . . . . . . . 82

Element Miscellaneous . . . . . . . . . . . . . . . . . 84

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

■ 2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 86

• 2-1: Breath Noise Level Key Scaling . . 88

• 2-2: Breath Noise HPF Key Scaling . . . 89

• 2-3: Breath Noise LPF Key Scaling . . . . 90

■ 3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 91

• 3-1: Throat Formant Pitch Key Scaling . 93

• 3-2: Throat Formant Amount Key

Scaling . . . . . . . . . . . . . . . . . . . . . . . 94

• 3-3: Throat Formant Intensity Key

Scaling . . . . . . . . . . . . . . . . . . . . . . . 95

• 3-4: Throat Formant HPF Key Scaling . 96

• 3-5: Throat Formant LPF Key Scaling . 97

■ 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

• 4-1: Mixing Driver Output Key Scaling 100

• 4-2: Mixing Pipe/String Output Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 101

Feature Reference

• 4-3: Mixing Tap Output Key Scaling . 102

• 4-4: Mixing Tap Location Key Scaling 103

■ 5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . 104

• 5-1: Total Amplitude Level Key Scaling104

Element Modifier . . . . . . . . . . . . . . . . . . . . . 106

■ 1: Harmonic Enhancer . . . . . . . . . . . . . . . . . 107

•1-1: Harmonic Enhancer HPF Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 110

•1-2: Harmonic Enhancer Overdrive Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 111

• 1-3: Harmonic Enhancer Carrier Level

Key Scaling . . . . . . . . . . . . . . . . . . 112

• 1-4: Harmonic Enhancer Modulator

Index Key Scaling . . . . . . . . . . . . . 113

• 1-5: Harmonic Enhancer Balance Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 114

■ 2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 115

• 2-1: Dynamic Filter Cutoff Key Scaling 117

• 2-2: Dynamic Filter Resonance Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 118

■ 3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . 119

• 3-1: Equalizer Auxiliary HPF Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 120

• 3-2: Equalizer Auxiliary LPF Key

Scaling . . . . . . . . . . . . . . . . . . . . . . 121

■ 4: Equalizer Band . . . . . . . . . . . . . . . . . . . . . 122

■ 5: Impulse Expander & Resonator Setting . . 123

■ 6: Impulse Expander . . . . . . . . . . . . . . . . . . . 125

■ 7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Element Envelope . . . . . . . . . . . . . . . . . . . . . 128

■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

■ 2: Embouchure & Pitch . . . . . . . . . . . . . . . . . 130

• 2-1: Embouchure & Pitch Hold Time

Key Scaling . . . . . . . . . . . . . . . . . . 132

• 2-2: Embouchure & Pitch Initial Level

Key Scaling . . . . . . . . . . . . . . . . . . 133

• 2-3: Embouchure & Pitch Decay Rate

Key Scaling . . . . . . . . . . . . . . . . . . 134

■ 3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

• 3-1: Vibrato Delay Time Key Scaling . 137

• 3-2: Vibrato Attack Rate Key Scaling . 138

• 3-3: Vibrato Depth Key Scaling . . . . . . 139

• 3-4: Vibrato Speed Key Scaling . . . . . . 140

■ 4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

• 4-1: Growl Speed Key Scaling . . . . . . . 142

■ 5: Amplitude & Filter . . . . . . . . . . . . . . . . . . 143

• 5-1: Amplitude & Filter Attack Rate

Key Scaling . . . . . . . . . . . . . . . . . . 146

• 5-2: Amplitude & Filter Attack 1 Level

Key Scaling . . . . . . . . . . . . . . . . . . 147

• 5-3: Amplitude & Filter Decay Rate

Key Scaling . . . . . . . . . . . . . . . . . . 148

• 5-4: Amplitude & Filter Sustain Level

Key Scaling . . . . . . . . . . . . . . . . . . 149

• 5-5: Amplitude & Filter Release Rate

Key Scaling . . . . . . . . . . . . . . . . . . 150

Utility Mode

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

MIDI Bulk Dump . . . . . . . . . . . . . . . . . . . . . . 160

Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Edit Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Appendix

VL1 & VL1-m Compatibility . . . . . . . . . . . . 178

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . 179

Error Messages . . . . . . . . . . . . . . . . . . . . . . . 182

Specifications . . . . . . . . . . . . . . . . . . . . . . . . 184

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Feature Reference

About the Manuals

The VL1-m comes with two manuals — Getting Started and Fea-

ture Reference. If you’re just starting out with the VL1-m we urge you to

begin with the Getting Started manual since it describes basic concepts and procedures that are essential to proper operation of the VL1-m.

The Getting Started Manual

The Getting Started manual contains seven chapters that take you through essential information and procedures you will need to know to become familiar with your VL1-m:

1. VL1-m Basics [≥ Page 8]

Basic concepts you’ll need to understand in order to get the most out of the VL1-m.

2. The Controls & Connectors [≥ Page 16]

Brief descriptions of the VL1-m controls and connectors, and their functions.

3. Setting Up [≥ Page 22]

System connections, powering up, playing the demo, calibrating the Breath Controller, and loading the pre-programmed voices.

4. Voice Selection [≥ Page 34]

Several ways to select and play the VL1-m’s 128 voices.

5. The Controllers [≥ Page 38]

The VL1-m controllers and how they can be assigned and edited for optimum control.

6. Mixing & The Modifiers [≥ Page 48]

Customizing the sound to suit your own personal needs.

7. Effects [≥ Page 58]

An overview of the built-in digital effects that you can use to add depth and ambience to the VL1-m sound.

We recommend that you go through the chapters in sequence and actually try out the various operations described. Once you’ve gone through the entire Getting Started manual in this way, you should be familiar enough with the VL1-m to need only the VL1-m Feature Reference manual in future.

Feature Reference

The Feature Reference Manual (this manual)

The Feature Reference manual is the “nuts and bolts” reference for the VL1-m, individually describing its many functions in detail. The Feature Reference manual is divided into five main sections, each describing the various functions within a particular VL1-m edit or utility mode.

1. General Operation [≥ Page 7]

2. Play Mode [≥ Page 13]

3. Edit Mode [≥ Page 21]

4. Utility Mode [≥ Page 151]

5. Appendix [≥ Page 177]

Once you have become familiar with the way the VL1-m works by going through the Getting Started manual, you should only need to refer to the Feature Reference manual from time to time to get details on functions you’ve never used before, or refresh your memory about functions that you don’t use very often.

Each section of the Feature Reference manual has its own table of contents, so you should be able to locate any particular function quickly and easily. Functions and references can also be located by referring to the index at the back of the manual.

Conventions

The following conventions are used through the VL1-m manuals to avoid confusion and make the text easier to read.

Buttons & Controls

Button and control names used on the VL1-m panel appear in the text in capital letters within a border: “the P button”, for example.

Parameter Names

Parameter names and other labels which appear on the VL1-m display are printed in the courier typeface for easier identification: for example, “adjust the “Balance” parameter as required”.

Parameter Ranges

An ellipsis is used to indicate a range of parameter values: e.g. “0 … 127”. This minimizes the confusion sometimes caused by the use of a hyphen or dash for this purpose.

Feature Reference

General Operation

The VL1-m makes operation as easy as possible by providing a consistent, logical control interface via which its many functions and parameters can be accessed and edited. Once you become familiar with the system, operation should be smooth, efficient, and easy.

● The Three Main Modes . . . . . . . . . . . . . 8

● Finding Functions & Parameters . . . . . 9

● Other Navigation Aids . . . . . . . . . . . . . 11

● Selecting & Editing Parameters . . . . . 12

Feature Reference●General Operation

The Three Main Modes

The VL1-m has three main modes: PLAY, EDIT, and UTILITY. Each of these modes can be directly accessed by pressing the P, E, or U button, respectively.

The PLAY mode is the one you use to select and play the VL1-m voices. The PLAY mode also includes several “Controller Views” that

PLAY

EDIT

UTILITY

allow you to check controller assignments, the status of several important performance parameters, and the quick edit assignments.

≥

Pages 13 through 20.

All voice editing functions are accessed via the EDIT mode: controller assignments, mixing, modifiers, effects, and more.

≥

Pages 21 through 150.

The UTILITY mode includes a range of functions that affect overall operation of the VL1-m rather than individual voices. For example: master tuning, MIDI settings, disk operations, etc.

≥

Pages 151 through 175.

Feature Reference●General Operation

Finding Functions & Parameters

To facilitate access to the many functions provided, the EDIT and UTILITY mode functions are organized into logical groups arranged in a hierarchical structure (the PLAY mode is simple enough that it doesn’t require this type of structure). The basic structure of the EDIT mode, for example, looks like this:

EDIT MODE

Here you can see that the EDIT mode functions are divided into two main groups: COMMON and ELEMENT, and that these are further sub-divided into related groups of functions. The COMMON EFFECT group, for example, includes all the effect parameters (flange, reverb, etc.) that apply to the entire voice. Here’s how you would access the reverb parameters, starting from the PLAY mode:

●

Example: Locate the Effect Reverb Parameters

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1. Press E

Pressing the E button from the PLAY or UTILITY mode will normally take you to the initial EDIT display page (if the current voice has already been edited but not stored, you will automatically return to the last EDIT mode page that was selected).

2. Press ¡ (“Com”)

Since you want the effect functions, which are in the common group, press the ¡ function button (immediately below “Com” on the display).

Feature Reference●General Operation

3. If Necessary, Press ™ (“Efct”)

If the miscellaneous directory is showing (in this case “Misc” above the ¡ button will be highlighted), press the ™ button below “Efct” on the display to select the effect directory.

4. Move the Cursor To “4:Reverberation” and Press [

Use the cursor buttons (or the - and = buttons, or the data dial) to move the cursor to “4:Reverberation” and press the [ button. This will take you to the first page of reverb parameters.

NOTES ■ Notice that the top line of the display shows the “path” to the current level or function: “

This example illustrates the two methods used to move downward through the EDIT mode levels: 1) press the appropriate function button and 2) move the cursor to the desired selection and press [.

From any point within the structure you can move upward toward the topmost level (in this case the initial EDIT mode display) by pressing the ] button. You move up one level each time the ] button is pressed, until the topmost level is reached.

To exit from the EDIT mode itself you must press either the P or U button, depending on the mode you want to switch to. You can exit from the EDIT mode at any level by doing this, and you will be returned automatically to the same display page the next time you press the E button as long as the voice being edited is not stored or a new voices is not selected.

EDIT/COM/EFFECT/REVERBERATION

”.

Feature Reference●General Operation

Other Navigation Aids

In addition to the standard procedures described in the previous section, the VL1-m sometimes provides additional help in moving between related functions via the function buttons.

In this example display page from the ELEMENT CONTROLLER group, “Bpag” (back page) and “Fpag” (forward page) appear above the § and ¶ function buttons. In this case these buttons can be used to move forward and backward through the entire list of controller functions so you don’t have to move up to the function directory and then down to the next function every time you want to select a different element controller page.

Also note the “Para” (Parameter) abbreviation above the • button. This enables you to go directly to the parameters related to the current page: in this case the vibrato parameters.

From here you can go back to the vibrato controller page by pressing the • function button again (note that it is now labelled “Ctrl”), or to the vibrato key scaling parameters by pressing ¶, below “KSC” on the display.

Another variation appears in the COMMON EFFECT parameter displays. In most cases the number of parameters available for each effect exceeds the capacity of the display, so the ¡ and ™ function buttons are used to scroll up and down the parameter list — note the “>” and “<” arrows above the buttons in the display.

Feature Reference●General Operation

Selecting & Editing Parameters

Once you’ve locate the display page that contains the parameter(s) you want to edit, simply use the cursor buttons to move the cursor to the parameter, and then use the data dial or the = and - buttons to set the parameter as required. The data dial is ideal for quickly covering a large range of settings, while the = and - buttons are best for small stepwise changes.

Play Mode

The primary function of the PLAY mode is to allow you to select and play voices. The VL1-m play mode additionally offers a range of controller views that let you check controller assignments, and simple “quick edit” capability. Select the PLAY mode from either the EDIT or UTILITY mode by pressing the P button.

● The Main Play Mode Display . . . . . . . 14

● Voice Selection . . . . . . . . . . . . . . . . . . 15

● Controller Views . . . . . . . . . . . . . . . . . 17

● Quick Editing In the Play Mode . . . . . 19

● The Monitor Mode . . . . . . . . . . . . . . . . 20

Feature Reference●Play Mode

The Main Play Mode Display

When you select the PLAY mode by pressing the P button, the main PLAY mode display will appear. This display includes a considerable amount of information in addition to the name of the currently selected voice.

■ The Normal Voice Display

Voice name.

Voice number.

Play mode.

Element E1 and E2 names.

Voice mode.

* If controllers are assigned to both Pressure and Amplitude, the con-

troller with the highest amplitude depth value will be displayed. If neither is assigned, the Dynamic Filter controller will be displayed (if assigned).

Reverb on or off.

Pressure, Amplitude, or D.Filter Controller *

Stereo output mode.

Effects in use.

The abbreviations in the section separated by a line at the bottom of the display (“Cnt1”, “Cnt2”, etc) indicate the functions of the corresponding function buttons below the display (described below).

Feature Reference●Play Mode

Voice Selection

The VL1-m’s 128 voices are organized into 8 banks — “A” through “H” — of 16 voices each (8 x 16 = 128). These can be selected in sequence by using either the data dial or the = and - buttons. Note that the voice number which appears on the play mode display includes both the voice bank/number (“A01” through “A16”, “B01” through “B16”, etc.) and the absolute voice number in parentheses following the bank/ number (“001” through “128”).

● = and - Buttons

DEC INC

These are best for small, step-wise changes — e.g. selecting adjacent voice numbers, or numbers that are only a few steps away. Press the = or - key briefly to decrement or increment the voice number by one, or hold either key for continuous decrementing or incrementing in the corresponding direction. The = and - buttons also have a largestep function which allows you to skip ahead or backward in increments of 16: press either the = or - button while holding the other button. The bank will switch automatically if you cross a bank voice-number boundary.

● Data Dial

The data dial provides a fast, efficient way to cover a broad range of voice numbers when, for example, you’re looking for a voice but don’t know the voice number. Simply rotate the data dial clockwise for higher voice numbers or counter-clockwise for lower voice numbers while watching the display. The banks are automatically switched when necessary as the voice numbers are changed.

Feature Reference●Play Mode

●

Using the Voice Directory

The VL1-m also features a voice directory display that can be more convenient than the normal voice display in some situations. To switch to the voice directory display, press the • button — located directly below “Dir” on the display. The directory display shows all 16 voices in the current bank. Voices can be selected using either the data dial or = and - buttons as described above — the cursor will move to the selected voice. You can also use the cursor keys to move the cursor to the next voice to be selected (the voice is not actually selected in this case — the cursor will flash), then press the [ key to actually select the specified voice. This method lets you switch directly to the specified voice without having to go through all others in between

To return to the normal voice display press the ] or P button.

●

The Sound Function

You can check the sound of the current voice in the PLAY mode directly from the VL1-m panel: press the played in this way all 14 controller parameters (“Pressure” through “Absorption”) are turned off.

ENTER/SOUND

key. The pitch played is C4. When a voice is

Feature Reference●Play Mode

Controller Views

In the PLAY mode, function buttons ¡ (“Cnt1”) through § (“QED”) are used to select “controller view” displays that list all controller assignments for the currently selected voice. You can press the ] or P button from any controller view to return to the normal play-mode display.

●

(“Cnt1”) through

¡ through ¢ display the assignments for the controller parameters.

(“Cnt1”)

(“Cnt4”): Main Controllers

™

(“Cnt2”)

(“Cnt3”)

Pressure Embouchure Pitch Vibrato

Tounguing Amplitude Scream Breath Noise

≥ ≥ ≥ ≥

Page 65. Page 66. Page 67. Page 69.

Page 70. Page 71. Page 72. Page 73.

Growl Throat Formant Dynamic Filter Harmonic Enhancer

≥ ≥ ≥ ≥

Page 74. Page 75. Page 77. Page 78.

(“Cnt4”)

Feature Reference●Play Mode

Damping Absorption

≥ ≥

Page 80. Page 81.

The controller parameters are listed in the left column of the controller view display, and the controllers assigned to them are listed in the center and right columns, corresponding to elements 1 and 2, respectively.

● ∞

(“Cnt5”): Other Controller Settings

If you press the ∞ function button from the play mode you’ll see the following controller view:

Polyphony Sustain Pitch Bend Portamento Effect

≥ ≥ ≥ ≥ ≥

Page 36. Page 35. Page 35. Page 40. Page 45.

The controller parameters listed in this screen are not in the same category as those discussed in the preceding section, and therefore need to be introduced separately. All of the related parameters will be discussed in detail in the Feature Reference manual (pages listed below).

Feature Reference●Play Mode

●

(“QED”): Quick Edit

The § function button calls the Quick Edit (“QED”) controller view, which will look something like this:

Two MIDI controllers (control change numbers 16 and 17) can be independently assigned to several parameters that you can control in real time while playing (also see “Quick Editing In the Play Mode”, below). The parameters available for editing via the controllers are individually preset for each voice. You can select from the available range by using the “Quick Edit Assign” assignment function (≥ Page 43).

The quick edit view shows you which parameters are assigned to which controller as well as the current positions of the controllers and their corresponding values. When the positions of the MIDI controllers used do not correspond to the internal parameters, the values of the internal parameters are displayed.

Quick Editing In the Play Mode

Although detailed voice editing is carried out in the EDIT mode, the MIDI controllers assigned to the quick edit parameters can be used to change the assigned parameters in real time while playing in the PLAY mode. This can be used simply an expressive tool, or as a way to actually change the sound of the voice to suit your individual musical requirements. Since the controllers actually edit the parameters to which they are assigned, the “new” voice created by using the sliders can be stored to one of the VL1-m’s voice memory locations and used just as if it had been edited in the EDIT mode (≥ the STORE operation is described on page 27). The parameters available for editing via the MIDI controllers are individually preset for each voice. You can select from the available range by using the “Quick Edit Assign” assignment function (≥ Page 43).

Feature Reference●Play Mode

The Monitor Mode

In the PLAY mode the ¶ function button (“Moni”) selects a “Monitor” display which shows the most recently received MIDI values for a range of parameters, plus that from a breath controller connected to the BREATH jack. Press the ] or P key to return to the normal play mode display.

The most recently received MIDI control change value for the specified control change number. This parameter can be set to any control

Control Change

Modulation Wheel (001)

change number from “001” (Modulation) to “119”, or “off”. To change the control change number move the cursor to the number and set as required via the data dial or = and - buttons.

The most recently received modulation value (0 … 127).

Breath Controller (002)

Foot Controller (004)

Main Volume (007)

Pitch Bend

After Touch

Note

The most recently received breath controller value (0 … 127). Data from both the front-panel BEATH jack and the MIDI IN connector are displayed (last-received priority).

The most recently received foot controller value (0 … 127).

The most recently received main volume value (0 … 127).

The most recently received pitch bend value (-64 … 63).

The most recently received after touch value (0 … 127).

The most recently received note number and velocity value (note: C-2 … G8. velocity: 1 … 127).

Edit Mode

All voice editing functions are accessed via the EDIT mode: controller assignments, mixing, modifiers, effects, and more.

● Element Selection

In the Edit Mode . . . . . . . . . . . . . . 22

● The Edit Compare Function . . . . . 23

● The Copy Function . . . . . . . . . . . . 24

● Storing Edited Data . . . . . . . . . . . 27

Initial Edit Page . . . . . . . . . . . . . . . . . . . 30

Common Miscellanous . . . . . . . . . . . . . . 34

Common Effect . . . . . . . . . . . . . . . . . . . . 44

Element Controller . . . . . . . . . . . . . . . . . 64

Element Miscellaneous . . . . . . . . . . . . . 84

Element Modifier . . . . . . . . . . . . . . . . . 106

Element Envelope . . . . . . . . . . . . . . . . . 128

Feature Reference●Edit Mode

Element Selection In the Edit Mode

In the EDIT mode you’ll need to be able to select the element to be edited, and

independently turn the elements on and off to monitor the sound.

●

Element Select

The ∞ function button and , and < cursor buttons are used to select the ele-

ment to be edited in a 2-element voice when an ELEMENT parameter is selected. Press , while holding ∞ to select element 1, or press < while holding ∞ to select ele- ment 2. The currently selected element is shown in the function name at the top of the display page: “E1” for element 1 and “E2” for element 2.

In the example display below, element 2 is selected for editing (“EDIT/E2/

CTRL/PRESSURE”):

The element cannot be selected when a COMMON parameter is selected. Of course, “E2” can only be selected in a voice that uses two elements. Single-element voices use only “E1”.

●

Element On/Off

While editing a 2-element voice it is handy to be able to turn one or the other element off so you can clearly hear the result of edits to the element you are working on. The ∞ function button and . and > cursor buttons perform this function. Hold ∞ and press the > button to toggle element 1 on and off, or hold ∞ and press the . button to toggle element 2 on and off. The on/off status of the elements is indicated by the element numbers (“12”) at the right end of the second display line: a highlighted number indicates that the element is on, a plain number that the element is off. In the following display, for example, element 2 is on while element 1 is off:

The element ON/OFF settings are only effective in the edit mode.

Feature Reference●Edit Mode

The Edit Compare Function

When editing a voice in the EDIT mode, a copy of the original voice is retained in the VL1-m “edit buffer”, allowing the edited voice to be compared with the edited version by using the “Edit Compare” function.

The Edit Compare function is engaged by pressing the E button while in the EDIT mode (after making at least one change to the voice data). When the Edit Compare mode is engaged the E indicator will flash, the inverse “E”(´) before the voice number will disappear, and the sound of the original (pre-edit) voice can be monitored. Press the E button again to return to the EDIT mode and the edited version of the voice. You can toggle back and forth between the edited and original voices while editing to monitor the effect of changes you make to the voices parameters.

NOTES ■ Editing can not be carried out while the Edit Compare function is engaged.

Feature Reference●Edit Mode

The Copy Function

The copy function makes it possible to copy common or element data from any specified voice to the current voice. You can copy all common or element data, or only the data from a specified group of functions or a single function. It is also possible to copy the original (pre-edit) data from the voice being edited to restore the specified data to its original values.

●

Procedure

1. Specify the Data You Want To Copy

In the EDIT mode select the display page and function corresponding to the data you want to copy:

• To copy all common data, go to the initial EDIT mode display and move the cursor to the “Voice Name”, “Key Mode”, or “Voice Mode” parameter.

■ Example: Copy all common data.

• To copy all common miscellaneous data select the miscellaneous directory, or to copy all common effect data select the Effect directory.

■ Example: Copy all common miscellaneous data.

• To copy the data from a single common miscellaneous or common effect function select the display page for that function.

■ Example: Copy the common miscellaneous element pitch data.

Feature Reference●Edit Mode

• To copy all element data, go to the initial EDIT mode display and move the cursor to the “E1 Name” or “E2 Name” parameter.

■ Example: Copy all element data.

• To copy the E1 or E2 controller, miscellaneous, modifier, or envelope data, select the corresponding directory display page.

■ Example: Copy all E1 element modifier data.

• To copy the data from a single element function select the display page for that function.

■ Example: Copy the E2 harmonic enhancer data.

2. Press C

Press the C button to call the COPY display.

3. Select the Voice You Want To Copy From

Use the cursor buttons, data dial, or = and - buttons to select the voice you

want to copy the data from (and the element when copying element data).

• At this point you can play the voice to hear how it will sound after the specified data is copied before actually copying the data.

Feature Reference●Edit Mode

• The voice/element preceded by an asterisk (*) in the copy window is the current voice/element. If you select this voice/element as the copy source the pre-edit data will be copied, thus restoring the specified data to its original values.

• Press § under “123…” to display the voices in numerical order, or ¶ under “ABC…” to display the voices in alphabetical order. Sometimes it may take a few seconds to sort the data as specified — the “Now Sorting!” message will appear during the sort operation.

• When copying element data in a 2-element voice “E1” or “E2” will appear above £ — this will be the name of the element In this case the £ function button can be pressed to copy the data from the second element to the element being edited.

not currently being edited.

4. Press [ and Confirm To Copy

Press the [ button once you’ve selected the copy source (at this point you can

also press the ] button to cancel the copy function).

Feature Reference●Edit Mode

Storing Edited Data

Once you’ve created a new voice in the edit mode, it’s necessary to store the voice to one of the VL1-m’s internal memory locations otherwise the edited data will be lost when a new voice is selected.

NOTES ■ Any previous data in the memory location to which the new voice is stored will be erased. If you want to keep the previous data, save it to floppy

≥

disk (

■ Edited voice data can only be saved to floppy disk after it has been stored to an internal memory location.

■ The STORE function can be accessed from the EDIT or PLAY mode.

■ If you have accidentally lost an edited voice by selecting a different voice after

returning to the PLAY mode, the RECALL function can be used to restore the edited data as long as no other data has been edited in the meantime (

172).

Page 166).

≥

Page

●

Procedure

1. Make Sure Memory Protection Is Off

Make sure that the UTILITY mode Memory Protect function is turned off: press U to select the UTILITY mode; make sure the “Sys” page is selected; select “5:Miscellaneous” and press [; move the cursor to “Memory Protect” and press = to turn it “off”.

2. Press S In the EDIT or PLAY Mode

If you had to go to the UTILITY mode to turn memory protection off, return to either the EDIT or PLAY mode and press S. At this point you will get a “Memory Protected” error message if memory protection is turned on — go back and turn Memory Protect “off”.

3. Select the Destination Memory Location

Use the cursor buttons, data dial, or = and - buttons to select the memory location you want to store the edited voice to.

NOTES ■ Press § under “

under “ take a few seconds to sort the data as specified — the “ message will appear during the sort operation.

ABC…

” to display the voices in alphabetical order. Sometimes it may

123…

” to display the voices in numerical order, or

Now Sorting!

”

Feature Reference●Edit Mode

4. Press [ and Confirm To Store

Press the [ button once you’ve selected the store destination (at this point you can also press the ] button to cancel the store function). If you press [ the confirmation display will appear.

Press the - button to actually store the data (or = to cancel). “Completed” will appear on the display when the data has been successfully stored.

5. Press ]

Press the ] button to clear the STORE display and return to the previous mode.

Feature Reference●Edit Mode

Initial Edit Page

EDIT MODE

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

Select the EDIT mode from either the PLAY or UTILITY mode by

pressing the E button. The initial EDIT display will appear.

NOTES ■ If you are re-entering the EDIT mode while editing a voice (i.e. you have edited but not yet stored the current voice), the last selected EDIT display page will appear.

Feature Reference●Edit Mode

●

Voice Name

≤ A name of up to 10 characters.

To enter a new voice name position the cursor at the “Voice Name” parameter and press [ or • (“Name” — “Name” only appears above the • button when the cursor is positioned at the “Voice Name” parameter). The VOICE NAME display will appear.

• Use the cursor , and . buttons to move the cursor to the character in the voice name at the top of the display that you want to change.

• Use the = and - buttons or data dial to select a new character by moving through the character list row by row.

• Press the ™ button (“Spc”) to enter a space at the current cursor position.

• Press the £ button (“Clr”) to clear the entire voice name.

• Press ] or [ when the voice name is complete.

●

E1 Name, E2 Name

≤ A name of up to 10 characters.

Initial Edit Page

These parameters allow independent names to be entered for the E1 and E2 elements of the current voice (only E1 is available in a single-element voice). To enter a new element name position the cursor at the “E1 Name” or “E2 Name” parameter and press [ or • (“Name”). The ELEMENT NAME display will appear. Procedure is the same as for the Voice Name parameter, above, except for the function of the ¢ button, below.

• Press the ¢ button (“Auto”) to copy the voice name to the element name (suffixes “_A” and “_B” will be appended to the E1 and E2 names respectively).

●

Key Mode

≤ Mono, Poly, Unison.

In conjunction with the Voice Mode parameter, below, the Key Mode parameter

determines how the VL1-m’s two elements are used to produce sound.

Mono Only a single note can be played at a time. Poly Two different notes may be played simultaneously. Unison Playing a single key produces two notes in unison.

Feature Reference●Edit Mode

●

Voice Mode

≤ Single, Dual.

In conjunction with the Key Mode parameter, above, the Voice Mode parameter

determines how the VL1-m’s two elements are used to produce sound.

Single Only the sound of one element will be produced at a time. Dual The sound of two elements may be produced simultaneously.

● Various Key Mode and Voice Mode setting combinations produce the following results:

Sax

Key: Mono Voice: Single

SaxSax

Key: Poly Voice: Single

Key: Unison Voice: Single

Key: Mono Voice: Dual

Key: Poly Voice: Dual

SaxSaxSaxSax

SaxBass

Key: Unison Voice: Dual

SaxBass

Feature Reference●Edit Mode

• When the cursor is positioned at the “E1 Name” or “E2 Name” parameter in the initial EDIT mode display, “Swap” appears above the ¶ button. Pressing this button exchanges the E1 and E2 data, including the element names. This function can be used to swap the elements used for the high and low notes when Key Mode is set to “Unison” and Voice Mode is set to “Dual”. Since E2 always contains data, the Swap function can be use to temporarily switch elements even when Key Mode is set to “Single”.

Initial Edit Page

Feature Reference●Edit Mode

Common Miscellaneous

EDIT MODE

COMMON

ELEMENT

The COMMON MISCELLANEOUS group includes a miscellaneous

range of functions which affect the entire voice.

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

■ 2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■ 3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . . . 37

■ 4: Element Level & Pan . . . . . . . . . . . . . . . . . . . 38

■ 5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

■ 6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . . . 42

■ 7: Quick Edit Assign . . . . . . . . . . . . . . . . . . . . . . 43

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1: Setting

●

Assign Mode

≤ Bottom Note, Top Note, Last Note.

Determines which note(s) will be played when more than one note is played at a

time. Operation is different in the mono, poly, and unison key modes (≥ Page 31), as noted below. This parameter also affects how the VL1-m responds to external MIDI control.

Bottom Note The lowest note(s) played sounds. Top Note The highest note(s) played sounds. Last Note The last note(s) played sounds.

Feature Reference●Edit Mode

Common Miscellaneous

• The above settings apply when the “Mono” key mode is selected.

• When the “Poly” key mode is selected, “Top Note*” will appear in place of the “Last Note” setting and operation will be the same as when “Top Note” is selected.

• When the “Unison” key mode is selected, the lowest and highest notes played will sound regardless of the Assign Mode setting.

●

Pitchbend Mode

≤ Normal, Bottom, Top.

Sets the pitch bend mode. The “Bottom” and “Top” modes are only effective

when the poly or unison key mode (≥ Page 31) is selected.

Normal Both notes are effected by pitch bend data. Bottom The lowest of two notes played will be affected by pitch bend data. Top The highest of two notes played will be affected by pitch bend data.

●

Sustain

≤ off, on.

Turns the VL1-m sustain function on or off. When “off” the sustain function will

not work even if a “sustain on” MIDI message is received.

Off Sustain can not be applied via MIDI. On Sustain can be applied via MIDI.

2: Controller

●

Breath Attack Time

≤ 5.00msec … 1.24 sec.

Determines how quickly the VL1-m responds to changes in breath pressure applied

to the breath controller. A setting of “5.00msec” produces the fastest response; “1.24

sec” produces the slowest response. This parameter should be used with the “Breath Attack Gain” parameter, below, to determine overall breath controller response.

●

Breath Attack Gain

≤ 0 … 127.

Feature Reference●Edit Mode

Determines the amount of audible change produced by a changes in breath pressure applied to the breath controller. A setting of “0” results in no change; “127” produces maximum change. “127” is the normal setting for this parameter.

●

Touch EG Time

≤ 5.00msec … 1.24 sec.

Sets the response time of the VL1-m Touch Envelope Generator. The Touch Envelope Generator controls the transition from the initial key velocity to aftertouch pressure when a key is played. A setting of “5.00msec” produces the fastest response; “1.24 sec” produces the slowest response.

●

Polyphony Ctrl

≤ off, Modulation Wheel … 119.

The VL1-m allows any physical MIDI controller to be used to switch between the mono and poly key modes while playing. This parameter assigns the desired controller to the key-mode switching function.

off

Modulation Wheel … 119.

The key-mode switching function is off. This setting automatically selected when Key Mode set to Mono or Unison.

The selected controller will switch between the Mono and Poly key modes.

• The key-mode switching function can only be activated (i.e. a controller assigned) when the Key Mode parameter is set to “Poly”.

Feature Reference●Edit Mode

3: Element Pitch

●

Element 1 Detune

●

Element 2 Detune

≤ -7 … 7.

Produces a slight upward or downward shift in the pitch of Element 1 or Element 2, and therefore a detuning effect in relation to the other element. Minus values lower the pitch while positive values raise the pitch. The change in pitch produced by each increment is very slight (on the order of a few cents per increment). Both elements can be independently detuned in relation to each other, and in relation to the VL1-m’s true pitch as determined by the UTILITY mode “Master Tuning” parameter (≥ Page 153). If a 1-element voice is being edited the “Element 2 Detune” parameter will not appear — unless the Voice Mode is set to “Single” and the Key Mode is set to “Unison”. In the latter case the “Element 2 Detune” parameter appears because the same voice is being played in the unison mode.

Common Miscellaneous

●

Element 1 Note Shift

●

Element 2 Note Shift

≤ -64 … 63.

Shifts the pitch of Element 1 or Element 2 up or down in semitone increments. Minus values lower the pitch while positive values raise the pitch. The pitches of both elements can be independently shifted in relation to each other, and in relation to the VL1-m’s true pitch as determined by the UTILITY mode “Master Tuning” parameter (≥ Page 153).

●

Element 1 Random Pitch

●

Element 2 Random Pitch

≤ 0 … 7.

Produces a slight random variation in the pitch of Element 1 or Element 2, simulating the effect of acoustic instruments in which perfectly stable effect is rarely achieved. A setting of “0” produces no random pitch variation; “7” produces maximum random pitch variation.

Feature Reference●Edit Mode

4: Element Level & Pan

●

Element 1 Level

●

Element 2 Level

≤ 0 … 127.

Sets the level (volume) of the output from Element 1 or Element 2. A setting of “0” produces no output; “127” produces maximum output. Indepedent level parameters are provided for Element 1 and Element 2, making it easy to create the desired “balance”. The graphic bar to the right of the numeric parameter provides a visual indication of the level setting: higher settings move the graphic “slider” to the right.

●

Element 1 Pan L

●

Element 1 Pan R

●

Element 2 Pan L

●

Element 2 Pan R

≤ -64 … 63.

Determines the position of Element 1 or Element 2 in the stereo sound field. Normally there would be only one pan parameter for each element, placing the sound of the element anywhere from full left to right in the stereo sound field. The output from the VL1-m elements and modifier stages is already in stereo, so two pan parameters (L and R) and provided for each element, offering maximum panning versatility. The “Element 1 Pan L” parameter, for example, determines the position of the left-channel output signal from Element 1, while the “Element 1 Pan R” parameter determines the position of the right-channel output from the same element. The graphic bar to the right of the numeric parameters provides a visual indication of the pan settings: the “L” slider extends above the bar and the “R” slider extends below the bar. Higher settings move the corresponding slider to the right.

• To reproduce the original stereo sound of the element, set the “Pan L” parameter to “-64” and the “Pan R” parameter to “63”.

Left Right

063-64

Sound

Feature Reference●Edit Mode

• To limit the sound of Element 1 to the left half of the sound field,

063-64

for example, set “Element 1 Pan L” to “-64” and “Ele-

Left Right

ment 1 Pan R” to “0”.

Sound

• If both the “L” and “R” parameters are set to the same value,

063-64

the sound of the corresponding element will appear as a mono

Left Right

source at the appropriate position in the stereo sound field. If both parameters are set to “0”, for example, the sound of the

Sound

element will be heard only in the center of the sound field.

• The Element 2 pan and level parameters will not appear if the Voice Mode parameter is set to “Single”.

Common Miscellaneous

• The pan parameters have no effect if the UTILITY mode “Output” parameter is set to “Monaural”.

Feature Reference●Edit Mode

5: Portamento

●

Portamento Mode

≤ Full Time, Fingered.

Portamento produces a “slide” effect between subsequently played notes. The

“Portamento Mode” parameter determines how the portamento slide is produced.

Full Time

Fingered

The portamento slide will occur between any two subsequent notes when the portamento switch is on, even if the first note is released before the second is played.

The portamento slide will only occur if the first note is still held when the second note is played.

• If the “Key Mode” parameter (≥ Page 31) is set to “Poly” or “Unison”

the “Portamento Mode” parameter is fixed at “Full Time” and cannot be changed.

●

Time MIDI Control

≤ off, on.

The portamento time (the length of slide between notes) can be controlled in realtime via MIDI portamento time messages from an external device. This parameter turns realtime portamento time control off or on.

●

Time

≤ 0 … 127.

This parameter becomes active only when the “Time MIDI Control” parameter, above, is turned “off”. The “Time” parameter sets the portamento time. A setting of “0” produces the fastest portamento time; “127” produces the longest portamento slide effect.

●

Element 1

≤ off, on.

Turns portamento off or on for element 1 only.

Feature Reference●Edit Mode

●

Element 2

≤ off, on.

Turns portamento off or on for element 2 only.

• The “Element 2” parameter will not appear if the “Voice Mode” param-

eter (≥ Page 32) is set to “Single”.

Common Miscellaneous

Feature Reference●Edit Mode

6: Micro Tuning

●

Element 1

●

Element 2

≤ off, I-1 … I-2, P-1 … P-54.

Selects the micro-tuning for Element 1 or Element 2.

off

I-1, I-2

P-1 … P-12

P-13 … P-24

P-25 … P-36

P-37 … P-48

P-49

P-50 P-51

P-52

P-53 P-54

Equal Temperament: The standard modern keyboard tuning with

perfectly even intervals between all 12 notes of the scale. This tuning allows transposition to any key without modification.

Internal Microtuning: These tunings are included in the system data on the VL1-m voice disk.

Pure Major C … Pure Major B: A brass-instrument tuning based on their natural harmonic series. Produces a beautiful beat-free sound in ensemble, but the tuning must be changed to match the key of the music.

Pure Minor C … Pure Minor B: Same as the Pure Major scales above, but for minor keys.

Mean Tone C … Mean Tone B: This tuning was originally devised to eliminate the conflict caused by the third degree of the Pythagorean tuning (below). The tuning must be matched to the key of the music.

Pythagorean: A classic tuning from ancient Greece — with a few rough spots that were fixed in later improvements. The tuning must be matched to the key of the music.

Werckmeister: This and the following two tunings were created to allow transposition to any key without the need for re-tuning. They have the curious chacteristic, however, that the “tension” of the sound increases in proportion to the number of sharps or flats in the key being played. Many of the classics were created using these tunings.

Kirnberger: See “Werckmeister”. Vallotti & Young: See “Werckmeister”. 1/4 Shifted Equal: This is an equal temperament tuning with the

overall pitch raised 1/4 tone. It can be used with other instruments in standard equal temperament tuning for some unusual and very “tense” effects.

1/4 Tone: All semitones on the keyboard become 1/4-tone intervals. 1/8 Tone: All semitones on the keyboard become 1/8-tone intervals.

• The I-1 and I-2 tunings (Internal Microtuning) cannot be edited or modified using the VL1-m. Microtuning data from the Yamaha SY99 or SY77 synthesizer, however, can be loaded into the VL1-m via a MIDI bulk dump or parameter change operation.

Feature Reference●Edit Mode

• The “Element 2” parameter will not appear if the “Voice Mode” param-

eter (≥ Page 32) is set to “Single”.

7: Quick Edit Assign

●

QED1 (cc16)

●

QED2 (cc17)

≤ off, Com, E1, E2, Both — plus the parameters available for the current voice.

Common Miscellaneous

Assigns the available common or element edit parameters to the corresponding

MIDI controller (QED1 = control change number 16; QED2 = control change number

17). The controllers can then be used in the PLAY mode to edit the assigned parameters in real time while playing (the same applies to the EDIT and UTILITY modes). The parameter consists of two parts which can be selected independently by moving the cursor horizontally. The first (leftmost) part determines what type of parameter will be controlled.

off

Com

Both

Controller not assigned. Choose this setting if you don’t want the controller to affect any edit parameters.

Selects the common edit parameters. Selects the element 1 edit parameters. This setting will appear as “E1*”

if previously set to “E2” or “Both” with the Voice Mode parameter set to “Dual”, then the Voice Mode parameter is switched to “Single”.

Selects the element 2 edit parameters. Selects element edit parameters that will affect both element 1 and

element 2.

The second (rightmost) part is the actual parameter which will be controlled. The parameters available for editing via the continuous sliders are individually preset for each voice.

• Since the controllers actually edit the parameters to which they are assigned, the “new” voice created by using the controllers can be stored to one of the VL1-m’s voice memory locations and used just as if it had been edited in the EDIT mode (≥ the STORE operation is described on page 27).

• The quick edit view function, available in the PLAY mode (≥ Page 13), shows you which parameters are assigned to which controller as well as the current positions of the controllers and their corresponding values.

Feature Reference●Edit Mode

Common Effect

EDIT MODE

COMMON

ELEMENT

The COMMON EFFECT parameters provide access to the VL1-m’s

sophisticated three-stage digital signal processing system.

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

■ 2: Modulation Effect . . . . . . . . . . . . . . . . . . . . . . 46

● Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

● Pitch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

● Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

■ 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . . 53

● Mono Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

● L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

● L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

■ 4: Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 60

● Hall1, Hall2, Room1, Room2, Studio, Plate,

Space, Reverse . . . . . . . . . . . . . . . . . . . . . . . . . 61

1: Setting

●

Feedback Delay/Reverb Mode

≤ Serial, Parallel.

Determines whether the Feedback Delay and Reverb effect stages are connected in

series (Serial) or in parallel, as shown in the illustration.

Feature Reference●Edit Mode

Common Effect

Serial Mode

From Element

●

Effect Control — Destination Effect

≤ off, Flanger Freq., Pitch Change Wet/Dry, Distortion Presence, FB Delay Send Level,

Reverb Send Level.

Modulation

Feedback

Delay

Parallel Mode

Feedback

Delay

Reverb

To Output

This and the following parameter make it possible to control certain effect parameters in real time via any physical MIDI controller. Use this parameter to select the effect parameter you want to control (only settings corresponding to the currently selected effects will be available). If the currently selected effect stage is turned off, “isn’t used” will appear on the display and selection will not be possible.

●

Effect Control — Controller

≤ off, Modulation Wheel … Velocity.

Selects the controller which will be used to control the parameter selected via the “Destination Effect” parameter. All MIDI control numbers and keyboard velocity are available. Be sure to turn this parameter “off” if you don’t require realtime effect control.

Feature Reference●Edit Mode

2: Modulation Effect

●

Modulation Effect Type

≤ off, Flanger, Pitch Change, Distortion.

Selects the type of effect to be produced by the modulation effect stage. The effect types and their parameters are individually described on the following pages. No effect parameters appear when the modulation effect stage is turned “off”.

This type of effect is created by slightly delaying the sound and

Flanger

Pitch Change

Distortion

periodically varying the delay time. The delayed signal is then added to the direct signal causing a variable comb-filter effect which results in the familiar “swishing” flanger sound.

A dual pitch change effect which can be used in the Mono mode, in which both pitch-shifted notes appear on both channels, or the Stereo mode in which one pitch-shifted note appears on the left channel and the other on the right. The pitch of the two pitch-shifted notes can be set over a two-octave range — from one octave below to one octave above the input note.

An extremely versatile distortion effect which offers transistor, vintage tube, fuzz and other distortion types, a variety of speaker types, and a comprehensive range of other parameters that can be used to refine the distortion sound.

Feature Reference●Edit Mode

Flanger

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Element on/off — E1: & E2:

≤ off, on.

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the flanger effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Wave

≤ Triangle, Sine, Random.

Selects the waveform which will be used to modulate the flanger effect.

Triangle

Sine

Random

●

Freq.

≤ 0.057 … 40.0 Hz when Triangle or Sine Wave selected, ≤ 0.229 … 160.0 Hz when Random Wave selected.

Sets the speed of modulation and therefore the rate of flanger effect variation.

●

Depth

≤ 0 … 100 %.

Sets the depth of modulation. Higher values produce deeper modulation and therefore a more pronounced flanger effect.

Feature Reference●Edit Mode

Flanger

●

Delay

≤ 0.33 … 32.87 ms.

Sets the flanger delay time (the flanger effect is basically produced by modulating the delay time of one signal in relation to another). Shorter delay times produce the greatest effect in the high-frequency range, while longer delay times extend the effect to the middle and lower frequencies. Delays longer than about 5 milliseconds produce a more chorus-like effect.

●

Phase

≤ -180.0 … 180.0 deg.

Sets the phase difference between the left and right channel flanger signals. The larger the value, the greater the “spread” in the sound. A setting of “0” produces a centered effect.

●

FB Gain

≤ -100 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the flanger stage. Higher negative or positve values produce a more pronounced effect.

●

High

≤ 0.1 … 1.0.

Determines the amount of high-frequency effect-sound feedback returned to the input of the flanger stage. Lower values produce more cut in the high-frequency range.

●

Analog Feel

≤ 0 … 10.

This parameters simulates the sound of traditional analog flanger devices. The higher the value the stronger the “analog feel”.

●

Wet/Dry Balance

≤ 0 … 100 %.

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound.

■ Flanger Effect Block Diagram

L In

Flanger

L Out

R In

R Out

Feature Reference●Edit Mode

Pitch Change

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Element on/off — E1: & E2:

≤ off, on.

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the pitch change effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Mode

≤ Monaural, Stereo.

Selects the monaural or stereo pitch change effect mode. In the monaural mode both pitch-shifted notes appear on both channels. In the stereo mode one pitch-shifted note appears on the left channel and the other on the right.

■ Monaural Mode Block Diagram

L In

Pitch Change 1

Pitch Change 2

R In

L Out

R Out

■ Stereo Mode Block Diagram

L In

Pitch Change L

Pitch Change R

R In

L Out

R Out

Feature Reference●Edit Mode

Pitch Change

●

1 Pitch (L Pitch)

●

2 Pitch (R Pitch)

≤ -12 … 12.

These two parameters individually set the pitch of the first and second pitchchanged note between one octave below (“-12”) and one octave above (“+12”) the input note. When the “Stereo” mode is selected, the “1 Pitch” parameter applies to the left channel and the “2 Pitch” parameter to the right.

●

1 Fine (L Fine)

●

2 Fine (R Fine)

≤ -100 … 100.

Permit fine tuning of the first and second pitch-changed note in 1-cent steps (1 cent is 1/100th of a semitone). When the “Stereo” mode is selected, the “L Fine” parameter applies to the left channel and the “R Fine” parameter to the right.

●

1 Output (L Output)

●

2 Output (R Output)

≤ 0 … 100 %.

Set the output level of the corresponding pitch-changed note. The higher the value the higher the output level. When the “Stereo” mode is selected, the “1 Output” parameter applies to the left channel and the “2 Output” parameter to the right.

●

Wet/Dry Balance

≤ 0 … 100 %.

Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values produce a greater proportion of effect sound in relation to direct sound. When set to “0” no pitch change effect is produced.

Feature Reference●Edit Mode

Distortion

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Element on/off — E1: & E2:

≤ off, on.

In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the distortion effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed. The “E2:” parameter will not appear when editing a single-element voice.

●

Overdrive

≤ 0 … 100 %.

Sets the intensity of the overdrive or distortion effect. Higer values produce more distortion.

●

Device

≤ Transistor, Vintage Tube, Distortion 1, Distortion 2, Fuzz.

Determines the basic sound of the distortion effect.

Transistor

Vintage Tube

Distortion 1 Distortion 2

Fuzz

The crisp, tight distortion of an overdriven transistor amplifier. Simulates the warm, relatively “soft” distortion produced by vacuum

tube amplifiers. A traditional “stomp-box” type distortion unit, type 1. A traditional “stomp-box” type distortion unit, type 2. Early “fuzz boxes” produced this type of distortion — rough and

somewhat rude.

Feature Reference●Edit Mode

Distortion

●

Output Level

≤ 0 … 100 %.

Sets the output level of the distortion sound. Higher values produce higher level.

●

Speaker

≤ Flat, Stack, Combo, Twin, Radio, Megaphone.

Simulates a variety of speaker types and configurations via which the distortion

sound might be reproduced.

Flat

Stack Combo Twin Radio Megaphone

●

Presence

≤ -10 … 10.

No speaker — the sound of a “direct feed” to a recording or sound reinforcement console.

The powerful, expansive sound of stacked speaker cabinets. A single 12" speaker unit in an open-backed enclosure. Two 12" speaker units in a relatively small open-backed enclosure. The small, compressed, but pleasant tone of a radio receiver. Constricted tone with emphasis on the middle frequencies.

Varies the “presence” or “brilliance” of the sound. Higher values produce more

presence and “punch”.

■ Distortion Effect Block Diagram

L In

Distortion

R In

L Out

R Out

Feature Reference●Edit Mode

3: Feedback Delay

●

Delay Type

≤ off, Mono, L,R, L,C,R.

Selects the type of effect to be produced by the Feedback Delay effect stage. The effect types and their parameters are individually described on the following pages. No effect parameters appear when the Feedback Delay effect stage is turned “off”.

Common Effect

Mono

L,R

L, C, R

The Mono delay effect produces a single delay sound which appears in the center of the stereo sound field.

This variation provides independently programmable delays for the left and right stereo channels.

Independent delays are provided for the left and right channels, plus a center delay.

Mono Delay

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

●

Return

≤ 0 … 100 %.

Determines how much of the delayed sound is mixed with the direct sound. Higher

values produce higher delay sound levels.

Feature Reference●Edit Mode

Mono Delay

●

FB Delay Time

≤ 0 … 1024 ms.

Sets the delay time between repeats. The higher the value the longer the delay.

• Use the VL1-m “Time Calculation” function (≥ Page 59) to enter delay

times based on musical tempo and note lengths.

●

FB Gain

≤ 0 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the delay

stage. Higher values produce a greater number of repeats.

●

High

≤ 0.1 … 1.0.

Produces a natural decay in the high-frequency components of subsequent repeats.

The lower the value the faster and more pronounced the drop-off in high-frequencies.

●

Delay Time

≤ 0 … 1024 ms.

Sets the delay time between the direct sound and the first repeat.

• Use the VL1-m “Time Calculation” function (≥ Page 59) to enter delay

times based on musical tempo and note lengths.

●

Level

≤ 0 … 100 %.

Sets the overall level of the delay sound. Higher values produce higher delay level.

Direct Sound

FB Gain

Volume

■ Mono Delay Effect Block Diagram

L In

R In

Level

Delay

FB Delay TimeDelay Time

Time

L Out

R Out

Feature Reference●Edit Mode

L,R Delay

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Return

≤ 0 … 100 %.

Determines how much of the delayed sound is mixed with the direct sound. Higher

values produce higher delay sound levels.

●

Lch Delay Time

●

Rch Delay Time

≤ 0 … 512 ms.

Set the delay time between repeats. Independent parameters are provided for the left

(“Lch”) and right (“Rch”) channels.

• Use the VL1-m “Time Calculation” function (≥ Page 59) to enter delay times based on musical tempo and note lengths.

●

Lch Level

●

Rch Level

≤ 0 … 100 %.

Set the overall level of the delay sound. Higher values produce higher delay level.

Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.

●

Lch FB Gain

●

Rch FB Gain

≤ 0 … 100 %.

Determine the amount of effect-sound feedback returned to the input of the delay stage. Higher values produce a greater number of repeats. Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.

Feature Reference●Edit Mode

L,R Delay

●

Lch High

●

Rch High

≤ 0.1 … 1.0.

Produces a natural decay in the in the high-frequency components of subsequent repeats. The lower the value the faster and more pronounced the drop-off in high-frequencies. Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.

■ L,R Delay Effect Block Diagram

L In

Delay

R In

L Out

R Out

Feature Reference●Edit Mode

L,C,R Delay

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Return

≤ 0 … 100 %.

Determines how much of the delayed sound is mixed with the direct sound. Higher

values produce higher delay sound levels.

●

FB Delay Time

≤ 0 … 1024 ms.

Sets the delay time between repeats. The higher the value the longer the delay.

• Use the VL1-m “Time Calculation” function (≥ Page 59) to enter delay times based on musical tempo and note lengths.

●

FB Gain

≤ 0 … 100 %.

Determines the amount of effect-sound feedback returned to the input of the delay

stage. Higher values produce a greater number of repeats.

●

High

≤ 0.1 … 1.0.

Produces a natural decay in the in the high-frequency components of subsequent repeats. The lower the value the faster and more pronounced the drop-off in high-frequencies.

Feature Reference●Edit Mode

L,C,R Delay

●

Lch Delay Time

●

Cch Delay Time

●

Rch Delay Time

≤ 0 … 1024 ms.

Set the delay time between the direct sound and the first repeat. Independent param-

eters are provided for the left (“Lch”), center (“Cch”), and right (“Rch”) channels.

• Use the VL1-m “Time Calculation” function (≥ Page 59) to enter delay

times based on musical tempo and note lengths.

●

Lch Level

●

Cch Level

●

Rch Level

≤ 0 … 100 %.

Set the overall level of the delay sound. Higher values produce higher delay level. Independent parameters are provided for the left (“Lch”), center (“Cch”), and right (“Rch”) channels.

■ L,C,R Delay Effect Block Diagram

L In

R In

Delay

L Out

R Out

Feature Reference●Edit Mode

Musical Time Calculation

Since the goal in producing a delay effect is often to match the delay time to a musical time value, the VL1-m includes a “time calculation” function that makes it easy to convert standard note values to their corresponding delay times in milliseconds.

1. Select a Delay Time Parameter

Position the cursor at the delay time parameter you want to edit — “Calc” will appear above the • button.

2. Press •

Press the • function button (“calc”). The “TIME CALCULATION” window will appear.

Common Effect

3. Set the Required Tempo

Use the data dial or = and - buttons to specify the tempo you will be playing at (quarter-note beats per minute). The delay time corresponding to one quarter note at the specified tempo will appear, in milliseconds, below the selected tempo.

4. Select the Required Note Length

Use the £ through ¶ buttons to select the note length to which you want to match the delay time. The corresponding delay time will appear, as in the preceding step.

5. Press [

Press the [ button. The “TIME CALCULATION” window will disappear and the calculated delay time will automatically be entered for the delay time parameter (you can also press ] to cancel this operation).

Feature Reference●Edit Mode

4: Reverberation

●

Reverb Type

≤ off, Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse.

Selects the type of effect to be produced by the Reverb effect stage. Unlike the preceding effect stages, the parameters are the same for all Reverb effect types. No effect parameters appear when the Reverb effect stage is turned “off”.

Hall 1

Hall 2

Room 1

Room 2

Studio

Plate

Space

Reverse

A simulation of the reverbation characteristics of a fairly standard concert hall.

This hall simulation produces a richer low-frequency reverb sound than the Hall 1 program.

The ambience of a small room rather than a large hall. This effect is ideal when you just want a subtle touch of ambience.

A larger room than the Room 1 simulation, with a correspondingly “bigger” reverb sound.

In recording studios it is generally desirable to suppress low-frequency reverberation without entirely losing the “live” sound of the room. The Studio program simulates this type of environment.

The plate reverb unit is a classic tool of the recording trade — it was the first mechanical method of creating artificial reverberation that was capable of producing satisfactory results in the studio. This is a very realistic simulation.

A diffuse reverberation of the type you might experience in an extremely large space.

In this effect the reverb sound plays in reverse, building up to maximum level rather than decaying as normal.

Feature Reference●Edit Mode

Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse

• Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters.

Common Effect

●

Return

≤ 0 … 100 %.

Determines how much of the reverb sound is mixed with the direct sound. Higher

values produce higher reverb sound levels.

●

Reverb Time

≤ 0.05 … 100.0 sec.

Sets the amount of time it takes for the reverb sound to decay by 60 dB (virtually to

silence).

●

Reverb Time Boost

≤ 0 … 10.

This parameter can be used to extend the tail end of the reverb sound. The higher

the value the greater the “boost”.

Level

Reverb

Boost

Time

Feature Reference●Edit Mode

●

High Control

≤ 0.1 … 1.0.

Sets the reverb time of the high frequencies in relation to the overall reverb time. Higher values produce longer high-frequency reverb times, gradually approaching the overall reverb time.

●

Diffusion

≤ 0 … 10.

Adjusts the left-right “spread” of the reverb sound. The higher the value the greater the spread.

●

Initial Delay

≤ 0 … 405 ms.

Sets the delay time before the reverb sound begins.

Initial Delay

Level

Direct Sound

●

Feel

≤ 0 … 3.

Selects one of four variations in density or overall sound available for each of the VL1-m’s reverb types.

●

Bass

≤ -21 … 12.

Emphasizes the bass frequencies. The higher the value the greater the bass emphasis.

●

Treble

≤ -21 … 12.

Reverb

Time

Emphasizes the treble frequencies. The higher the value the greater the treble emphasis.

Feature Reference●Edit Mode

■ Reverb Effect Block Diagram

L In

R In

Reverb

L Out

Common Effect

R Out

Feature Reference●Edit Mode

Element Controller

EDIT MODE

■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

■ 2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . 66

■ 3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

■ 4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

■ 5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

■ 6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

■ 7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

■ 8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 73

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

■ 9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

■ 10: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 75

■ 11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . 77

■ 12; Harmonic Enhancer . . . . . . . . . . . . . . . . . . . 78

■ 13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

■ 14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . 81

■ Controller Search & Replace . . . . . . . . . . . . . . 82

Pressing the • button (“S&R”) from this page will take you to the “CONTROLLER SEARCH & REPLACE” window, allowing you to see which controllers are assigned to which parameters, and to modify the assigmments as required (≥ Page 82).

1: Pressure

• The ¶ button (“ Fpag”) can be used to go directly the next Element Control-

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Pressure” parameter corresponds to the amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre. The “Controller” parameter specifies the controller to be used for pressure control. When set to “off” maximum pressure is applied at all times.

Feature Reference●Edit Mode

Element Controller

ler page without having to return to the directory.

• Please note that accurate keyboard pitch is produced only at maximum pressure.

• The actual pressure value applied to the VL1-m tone generator is the product of the pressure from the controller and that from the pressure envelope (≥ Page 129).

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to pressure. The higher the value the greater the variation. Positive values cause an increase in pressure in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in pressure in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents pressure.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and pressure. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in pressure. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents pressure.

Feature Reference●Edit Mode

2: Embouchure

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Embouchure” parameter corresponds to the tightness of the lips against the reed or against each other. In a string instrument voice Embouchure corresponds to how strongly the bow is pressed against the string. Affects both pitch and timbre. The “Con- troller” parameter specifies the controller to be used for embouchure control. When set to “off” medium embouchure is applied at all times.

• Please note that accurate keyboard pitch is produced only at medium embouchure.

• The actual embouchure value applied to the VL1-m tone generator is a mix of the embouchure from the controller and that from the embouchure and pitch envelopes (≥ Page 130).

●

Upper Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to embouchure when the controller is set to its maximum position (e.g. a modulation wheel rolled all the way up). The higher the value the greater the variation. Positive values cause an increase in embouchure in response to higher controller values, while minus values cause a decrease in embouchure in response to higher controller values. The value of the “Lower

Depth” parameter, below, is automatically changed in response to changes in the “Upper Depth” value (the “Lower Depth” value is always negative when “Upper Depth” is positive, and vice versa).

●

Lower Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to embouchure when the controller is set to it minimum position (e.g. a modulation wheel rolled all the way down). The higher the value the greater the variation. Positive values cause an increase in embouchure in response to lower controller values, while minus values cause a decrease in embouchure in response to lower controller values. Changing the value of the “Lower Depth” parameter has no effect on the “Upper Depth” value. The

“Lower Depth” parameter is not available when the “Mode” parameter, below, is set to “Minimum Base”.

●

Mode

≤ Center Base, Minimum Base.

When set to “Center Base” a central controller position will produce normal embouchure, allowing both downward and upward variation. A setting of “Minimum Base” will produce normal embouchure when the controller is set to its minimum position, allowing only upward variation.

3: Pitch

Feature Reference●Edit Mode

Selects the controller value (position) which will produce “normal” embouchure.

Element Controller

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Pitch” parameter changes the length of the air column or string, and thereby the pitch of the sound. The “Controller” parameter specifies the controller to be used for pitch control. When set to “off” no pitch variation is produced.

• The actual pitch value applied to the VL1-m tone generator is a mix of the pitch value from the controller and that from the embouchure and pitch envelopes (≥ Page 130).

• For the same type of simple pitch control available in conventional synthesizers, assign only the Pitch parameter to controller you intend to use for pitch control (normally the pitch bend wheel). For more natural, realistic pitch bend effects, it is sometimes effective to assign both the Pitch and Embouchure parameters to the same controller.

Feature Reference●Edit Mode

●

Upper Depth

≤ -12 … 12.

Sets the amount of variation produced by the controller assigned to pitch when the controller is set to its maximum position (e.g. a pitch wheel rolled all the way up). The higher the value the greater the variation. Positive values cause an increase in pitch in response to higher controller values, while minus values cause a decrease in pitch in response to higher controller values. The value of the “Lower Depth” parameter, below, is automatically changed in response to changes in the “Upper Depth” value (the “Lower Depth” value is always negative when “Upper Depth” is positive, and vice versa).

●

Lower Depth

≤ -12 … 12.

Sets the amount of variation produced by the controller assigned to pitch when the controller is set to it minimum position (e.g. a pitch wheel rolled all the way down). The higher the value the greater the variation. Positive values cause an increase in pitch in response to lower controller values, while minus values cause a decrease in pitch in response to lower controller values. Changing the value of the “Lower Depth” parameter has no effect on the “Upper Depth” value. The “Lower Depth” parameter is not available when the “Mode” parameter, below, is set to “Minimum Base”.

●

Mode

≤ Center Base, Minimum Base.

Selects the controller value (position) which will produce normal pitch. When set to “Center Base” a central controller position will produce normal pitch, allowing both downward and upward variation. A setting of “Minimum Base” will produce normal pitch when the controller is set to its minimum position, allowing only upward variation.

• Please note that accurate keyboard pitch is produced only when the “Mode” parameter is set to “Center Base”.

4: Vibrato

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly

• The • button (“ Para”) can be used to go directly to the Vibrato parameter

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

Feature Reference●Edit Mode

Element Controller

backward or forward to the next Element Controller page without having to return to the directory.

page (≥ Page 135), also available from the ELEMENT ENVELOPE directory. You can then return to the controller vibrato page by pressing • (“Ctrl”) again.

This is essentially a standard vibrato (pitch modulation) effect. An extensive range of parameters makes it possible to achieve extremely natural vibrato effects. The amounts of vibrato applied via pitch and embouchure, for example, are independently programmable. The “Controller” parameter specifies the controller to be used for vibrato depth control. When set to “off” no vibrato can be applied.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to vibrato. The higher the value the greater the variation. Positive values cause an increase in vibrato depth in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in vibrato depth in response to higher controller values.

• No vibrato effect can be applied via any controller if the ELEMENT ENVELOPE “Vibrato Depth”, “Depth to Embouchure”, or “Depth to Pitch” parameters are set to “0” (≥ Page 135, 136).

5: Tonguing

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Tonguing” parameter simulates the half-tonguing technique used by saxophone players by changing the “slit” of the reed. The slit is the space between the tip of the reed and the mouthpiece. The “Controller” parameter specifies the controller to be used for tonguing control. When set to “off” no tonguing is applied.

Feature Reference●Edit Mode

• Please note that accurate keyboard pitch is produced only when maximum tonguing is applied or the tonguing controller is turned off.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to tonguing. The higher the value the greater the variation. Positive values cause a decrease in tonguing in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in tonguing in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents tonguing.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and tonguing. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in tonguing. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents tonguing.

Feature Reference●Edit Mode

6: Amplitude

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

Unlike pressure, the “Amplitude” parameter controls the volume of the sound without varying timbre. The “Controller” parameter specifies the controller to be used for amplitude control. When set to “off” no amplitude control can be applied.

Element Controller

• Amplitude control via this parameter actually occurs between the modifier Dynamic Filter and Equalizer stages, the effect of the subsequent impulse expander and resonator stages is therefore not affected by the amplitude setting. In contrast, amplitude control applied via MIDI volume control change number (007) affects the sound level at the instrument’s output, and therefore the total output from all modifier and effect stages.

• The Amplitude parameter affects the level of the sound prior to the VL1-m effect stages, so it can be used to vary the amount of overdrive produced by the distortion effect, for example (≥ Page 51).

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to amplitude. The higher the value the greater the variation. Positive values cause an increase in amplitude in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in amplitude in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents amplitude.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and amplitude. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in amplitude. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents amplitude.

7: Scream

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Scream” parameter drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modeling technology. The “Control- ler” parameter specifies the controller to be used for scream control. When set to “off” no scream effect variation can be produced, but an absolute scream value can be set via the “Value” parameter, below.

Feature Reference●Edit Mode

backward or forward to the next Element Controller page without having to return to the directory.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to scream. The higher the value the greater the variation. Positive values cause an increase in scream effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in scream effect in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents scream.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and scream. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in scream effect. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents scream.

●

Value

≤ 0 … 127.

Determines the amount of scream effect produced when the “Controller” parameter is set to “off”. The higher the value the greater the effect.

Feature Reference●Edit Mode

8: Breath Noise

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

• The • button (“ Para”) can be used to go directly to the Breath Noise parameter page (≥ Page 86), also available from the ELEMENT MISCELLANEOUS directory. You can then return to the controller Breath Noise page by pressing • (“Ctrl”) again.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

Element Controller

The “Breath Noise” parameter can be used to add the required amount of breath noise to a voice. The sound of the breath noise itself can be varied over a wide range using the Breath Noise parameters — accessible from this page by pressing the • button, or from the ELEMENT MISCELLANEOUS directory. The “Controller” parameter specifies the controller to be used for breath noise control. When set to “off” no breath noise variation can be produced, but an absolute breath noise value can be set via the “Value” parameter, below.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to breath noise. The higher the value the greater the variation. Positive values cause an increase in breath noise in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in breath noise in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents breath noise.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and breath noise. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in breath noise. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce rela-

tively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents breath noise.

●

Value

≤ 0 … 127.

Determines the amount of breath noise produced when the “Controller” param-

eter is set to “off”. The higher the value the greater the effect.

• No breath noise can be applied via any controller if the ELEMENT MISCEL-

9: Growl

Feature Reference●Edit Mode

LANEOUS Breath Noise page “Level” parameter is set to “0” or the “Control Balance” parameter is set to “63” (≥ Page 86).

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

• The • button (“Para”) can be used to go directly to the Growl parameter page (≥ Page 141), also available from the ELEMENT ENVELOPE directory. You can then return to the controller Growl page by pressing • (“Ctrl”) again.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Growl” parameter produces a periodic pressure modulation which produces the “growl” effect often heard in wind instruments. An extensive range of parameters allow remarkably realistic effects. The “Controller” parameter specifies the controller to be used for growl control. When set to “off” no growl variation can be produced, but an absolute growl value can be set via the “Value” parameter, below.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to growl. The higher the value the greater the variation. Positive values cause an increase in growl

Feature Reference●Edit Mode

effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in growl effect in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents growl.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and growl. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in growl. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents growl.

Element Controller

●

Value

≤ 0 … 127.

Determines the amount of growl effect produced when the “Controller” parameter is set to “off”. The higher the value the greater the effect.

• No growl effect can be applied via any controller if the ELEMENT ENVELOPE Growl page “Depth to Pres” and “Depth to BNoise” parameter are set to “0” or the “Offset” parameter is set to “63” (≥ Page

141).

10: Throat Formant

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

• The • button (“ Para”) can be used to go directly to the Throat Formant parameter page (≥ Page 91), also available from the ELEMENT MISCELLANEOUS directory. You can then return to the controller Throat Formant page by pressing • (“Ctrl”) again.

Feature Reference●Edit Mode

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The “Throat Formant” parameter controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound. The “Controller” parameter specifies the controller to be used for throat formant control. When set to “off” no throat formant variation can be produced, but an absolute throat formant value can be set via the “Value” parameter, below.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to throat formant. The higher the value the greater the variation. Positive values cause an increase in throat formant effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in throat formant effect in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents throat formant depth.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and throat formant depth. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in throat formant depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents throat formant depth.

●

Value

≤ 0 … 127.

Determines the amount of throat formant effect produced when the “Controller” parameter is set to “off”. The higher the value the greater the effect.

• No throat formant effect can be applied via any controller if the ELEMENT MISCELLANEOUS Throat Formant page “Amount” or “Intensity” parameters are set to “0” (≥ Page 91, 92).

Feature Reference●Edit Mode

11: Dynamic Filter

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

• The • button (“ Para”) can be used to go directly to the Dynamic Filter parameter page (≥ Page 115), also available from the ELEMENT MODIFIER directory. You can then return to the controller Dynamic Filter page by pressing • (“Ctrl”) again.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

Element Controller

The VL1-m dynamic filter has selectable high-pass, bandpass, band elimnination, and low-pass modes. The “Controller” parameter specifies the controller to be used for filter cutoff frequency control. When set to “off” no filter frequency variation can be applied via a controller.

• The actual dynamic filter frequency value applied to the VL1-m tone generator is a mix of the value from the controller, the value from the Dynamic Filter parameter page, and that from the amplitude & filter envelope (≥ Page

143).

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to dynamic filter. The higher the value the greater the variation. Positive values cause an increase in filter cutoff frequency in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in filter cutoff frequency in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents filter cutoff frequency.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and dynamic filter cutoff frequency. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in frequency. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the oppo-

Feature Reference●Edit Mode

site effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents filter cutoff frequency.

• No dynamic filter frequency variation can be applied via any controller if the ELEMENT MODIFIER Dynamic Filter page “Balance” parameter is set to “-64” (≥ Page 116).

12: Harmonic Enhancer

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

• The • button (“Para”) can be used to go directly to the Harmonic Enhancer parameter page (≥ Page 107), also available from the ELEMENT MODIFIER directory. You can then return to the controller Harmonic Enhancer page by pressing • (“Ctrl”) again.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The Harmonic Enhancer can vary the harmonic structure of the sound over a wide range. The “Controller” parameter specifies the controller to be used for harmonic enhancer depth (wet/dry balance) control. When set to “off” no harmonic enhancer depth variation can be applied via a controller.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to the harmonic enhancer. The higher the value the greater the variation. Positive values cause an increase in harmonic enhancer depth in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in harmonic enhancer depth in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth depth.

Feature Reference●Edit Mode

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and harmonic enhancer depth. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in harmonic enhancer depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth.

• No harmonic enhancer variation can be applied via any controller if the ELEMENT MODIFIER Harmonic Enhancer page “Balance” parameter is set to “-64” (≥ Page 108).

Element Controller

Feature Reference●Edit Mode

13: Damping

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

Simulates the effect of damping due to losses within the body of a wind instrument or in a string due to air friction. Affects both pitch and timbre. The “Controller” parameter specifies the controller to be used for damping control. When set to “off” no damping variation can be applied via a controller.

• Please note that accurate keyboard pitch is produced only when damping is maximum.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to damping. The higher the value the greater the variation. Positive values cause a decrease in damping in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in damping in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents damping.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and damping. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in damping. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents damping.

Feature Reference●Edit Mode

14: Absorption

• The § button (“ Bpag”) can be used to go directly back to the next Element Controller page without having to return to the directory.

●

Controller

≤ off, Modulation Wheel … Touch EG (124 settings).

The absorption parameter simulates the effect of high-frequency loss at the end of the air column or string. The “Controller” parameter specifies the controller to be used for absorption control. When set to “off” no absorption variation can be applied via a controller.

Element Controller

• Please note that accurate keyboard pitch is produced only at when absorption is maximum.

●

Depth

≤ -127 … 127.

Sets the amount of variation produced by the controller assigned to absorption. The higher the value the greater the variation. Positive values cause a decrease in absorption in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in absorption in response to higher controller values. The “Depth” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents absorption.

●

Curve

≤ -16 … 16.

Determines the relationship between the controller value and absorption. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in absorption. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents absorption.

Feature Reference●Edit Mode

Controller Search & Replace

This function is accessed by pressing the • button (“S&R”) from the element controller directory page. It provides a fast, convenient way to see which controllers are assigned to which parameters, and to modify the assignments as required.

1. Select the Controller Search & Replace Window

From the element controller directory page, press •.

2. Select a Controller

When the “CONTROLLER SEARCH & REPLACE” window appears, use the § and ¶ buttons (“Prev” and “Next”) to search through the assigned controllers (unassigned controllers are not displayed). All parameters assigned to the selected controller are displayed below the controller name (or number).

• In this example, only the Growl parameter is assigned to the Modulation Wheel:

• In the following example both Pitch and Scream are assigned to the Pitch bend wheel.

3. Make a New Assignment As Required

You can assign a different controller to the parameters shown by using the data dial or = and - buttons — without cancelling the original assignments. When a different controller is selected the controller name will flash and any other parameters assigned to that controller will appear in non-highlighted text.

• Here, for example, the Pitch Bend controller shown in the previous example has been replaced with the Velocity controller, which is current is asssigned to the Amplitude.

Feature Reference●Edit Mode

4. Press [ to Confirm the new Assignment

When you’re satisfied with the new assignment press the [ button. The controller name will stop flashing and all assigned parameters will appear in highlighted text (or you can press the ] button to cancel the operation and return to the element controller directory).

5. Exit When Done

Press the ] button when you’re ready to return to the element controller directory.

Element Controller

Feature Reference●Edit Mode

Element Miscellaneous

EDIT MODE

■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

■ 2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 86

● 2-1: Breath Noise Level Key Scaling . . . . . . . . 88

● 2-2: Breath Noise HPF Key Scaling . . . . . . . . . 89

● 2-3: Breath Noise LPF Key Scaling . . . . . . . . . . 90

■ 3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . . 91

● 3-1: Throat Formant Pitch Key Scaling . . . . . . 93

● 3-2: Throat Formant Amount Key Scaling . . . . 94

● 3-3: Throat Formant Intensity Key Scaling . . . . 95

● 3-4: Throat Formant HPF Key Scaling . . . . . . . 96

● 3-5: Throat Formant LPF Key Scaling . . . . . . . 97

COMMON

ELEMENT

MISCELLANEOUS

EFFECT

CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

■ 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

● 4-1: Mixing Driver Output Key Scaling . . . . . . 100

● 4-2: Mixing Pipe/String Output Key Scaling . . 101

● 4-3: Mixing Tap Output Key Scaling . . . . . . . . 102

● 4-4: Mixing Tap Location Key Scaling . . . . . . 103

■ 5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

● 5-1: Amplitude Level Key Scaling . . . . . . . . . . 104

1: Setting

Feature Reference●Edit Mode

●

Trigger Mode

≤ Single, Multi.

Determines how the attack portion of the sound will be triggered.

Single

Multi

• The “Single” setting makes it easy to produce the “hammering on” and “pulling off” type effects used by guitar players, for example.

●

Xfade Speed

≤ Fastest, 0.09msec … 390msec.

Simulates the naturally slow note-to-note transitions of acoustic instruments. The slight “slur” that occurs between notes on wind instruments with tone holes is one example. The “Fastest” setting produces the fastest, most synthesizer-like transition between subsequently-played notes. The higher the value, the longer the transition. Normally, as setting somewhere between 1 and 2 milliseconds produces the most natural sound.

If a note is played on the keyboard, then a subsequent note or notes are played while the first is still held, no attack is produced.

The attack is always reproduced regardless of whether a previous note is held or not.

Element Miscellaneous

●

Interpolate Speed

≤ Fastest, 0.09msec … 6.35msec.

Determines the response time of the VL1-m to control changes — Pressure, Embouchure, etc. The higher the value the slower the response (e.g. the slower the attack when pressure is applied). Normally, as setting somewhere between 1 and 2 milliseconds produces the most natural sound. Decay-type voices sound best a somewhat shorter value.

Feature Reference●Edit Mode

2: Breath Noise

• The • button (“Ctrl”) can be used to go directly to the breath noise

controller page (≥ Page 73), also available from the ELEMENT CONTROLLER directory. You can then return to the miscellaneous breath noise page by pressing • (“Para”) again.

• An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ button (“KSC”) to go directly to the key scaling page for that parameter. You can return to the breath noise parameter page by pressing the ] button.

●

Level

≤ 0 … 127.

Sets the level (volume) of the breath noise sound. The higher the value the higher

the level.

• If this parameter is set to “0”, no breath noise can be applied via a controller.

●

Slit Drive

≤ 0 … 32.

Breath noise is produced at the “slit” portion of the VL1-m’s physical model (in a reed instrument, the space between the reed and the mouthpiece). This parameter determines the intensity of the breath noise. The smaller the value the more intense and rough the breath noise.

• If this parameter is set to “63”, no breath noise can be applied via a controller.

●

Ctrl Balance

≤ -64 … 63.

Sets the balance between two factors that determine the overall level of the breath noise: “Ctrl” is the amount of control applied via the controller assigned to breath noise, and “Slit” is the amount of breath noise produced by the slit. The graphic slider to the right of the parameter provides a visual indication of the current balance.

Feature Reference●Edit Mode

●

HPF Cutoff Frq

≤ 31.1 Hz … 21.6 kHz.

Sets the cutoff frequency of the breath noise high-pass filter. Noise components

below the specified frequency are cut off.

●

LPF Cutoff Frq

≤ 31.1 Hz … 24.0 kHz.

Sets the cutoff frequency of the breath noise low-pass filter. Noise components

above the specified frequency are cut off.

• Virtually no breath noise sound will be produced if the high-pass filter is set to a higher cutoff frequency than the low-pass filter.

●

Key On Reset

≤ off, on.

Determines the feel of the breath noise attack.

off

The noise generator is not reset for each note, result in a different, and therefore natural, attack feel for each note played.

The noise generator is reset for each note, resulting in the same breath noise attack feel for each note played.

Element Miscellaneous

Feature Reference●Edit Mode

2-1: Breath Noise Level Key Scalling

Breath noise level key scaling produces natural breath noise level variations across the range of the keyboard by allowing different level offset values to be applied to each of six breakpoints set at appropriate keys.

• The ¶ button (“Fpag”) can be used to go directly the next breath noise key scaling page without having to return to the main parameter page.

●

Level

≤ 0 … 127.

NOTES

BP4

BP2

BP1

C2 C3 C4

■ If two breakpoints are set to the same note, the lower one functions as the end of the key scaling segment connecting to the next lowest breakpoint while the higher one functions as the end of the segment connecting to the next highest breakpoint. Further, the higher breakpoint applies to the specified note while the lower one actually applies to the next note to its left. If more than two breakpoints are set to the same note, only the lowest and highest of these will function as ends of the corresponding key scaling segments while the rest are ignored.

BP3

BP5

The “Level” parameter is linked to the main breath noise “Level” parameter, and sets the level (volume) of the breath noise sound. The higher the value the higher the level. This value also determines the main level on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 6 Key

≤ C-2 … G8.

Allows six separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 6 Offset

≤ -64 … 63.

Set the amount of level offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the level, and positive values increase the level at the corresponding breakpoint. No matter what offset value is chosen, the actual level will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the level varies smoothly between the breakpoints.

Feature Reference●Edit Mode

2-2: Breath Noise HPF Key Scalling

Breath noise HPF key scaling produces natural breath noise tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of two breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next breath noise key scaling page without having to return to the main parameter page.

●

HPF

≤ 31.1 Hz … 21.6 kHz.

Element Miscellaneous

The “HPF” parameter is linked to the main breath noise “HPF Cutoff Frq” parameter, and sets the cutoff frequency of the breath noise high-pass filter. Noise components below the specified frequency are cut off. This value also determines the main cutoff frequency on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 & 2 Key

≤ C-2 … G8.

Allows two separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 & 2 Offset

≤ -64 … 63.

Set the amount of cutoff frequency offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values lower the cutoff frequency, and positive values raise the cutoff frequency at the corresponding breakpoint. No matter what offset value is chosen, the actual cutoff frequency will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the cutoff frequency varies smoothly between the breakpoints.

Feature Reference●Edit Mode

2-3: Breath Noise LPF Key Scalling

Breath noise LPF key scaling produces natural breath noise tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of two breakpoints set at appropriate keys.

• The § button (“Bpag”) can be used to go directly back to the next breath noise key scaling page without having to return to the main parameter page.

●

LPF

≤ 31.1 Hz … 24.0 kHz.

The “LPF” parameter is linked to the main breath noise “LPF Cutoff Frq” parameter, and sets the cutoff frequency of the breath noise low-pass filter. Noise components above the specified frequency are cut off. This value also determines the main cutoff frequency on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 & 2 Key

≤ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 & 2 Offset

≤ -64 … 63.

Feature Reference●Edit Mode

3: Throat Formant

• The • button (“ Ctrl”) can be used to go directly to the throat formant

controller page (≥ Page 75), also available from the ELEMENT CONTROLLER directory. You can then return to the miscellaneous throat formant page by pressing • (“Para”) again.

• An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ button (“KSC”) to go directly to the key scaling page for that parameter. You can return to the throat formant parameter page by pressing the ] button.

●

Pitch Tracking

≤ Fixed, KeyTrack.

Determines whether the throat formant pitch is fixed or tracks the notes played.

Fixed

KeyTrack

●

Pitch

≤ 23.1 Hz … 48.0 kHz (when "Fixed" and "Intens"

The throat formant is fixed at the pitch specified by the “Pitch” parameter, below.

The pitch of the throat formant tracks the note(s) played, offset by the amount specified by the “Pitch” parameter, below.

≥

0).

Element Miscellaneous

≤ 11.4 Hz … 24.0 kHz (when "Fixed" and "Intens" < 0). ≤ -2.00oct … 1.98oct (when "KeyTrack").

When the “Pitch Tracking” parameter is set to “Fixed”, this parameter sets the throat formant pitch to a specific frequency. When “Pitch Tracking” is set to “KeyTrack”, however, this parameter determines how much the throat formant pitch is offset from the pitch of the note played in octave units. In the latter case negative values offset the throat formant pitch below the pitch of the note played, while positive values offset the throat formant pitch above that of the note played.

●

Amount

≤ -64 … 63.

Determines the amount of effect the throat formant sound has on the air velocity within the instrument. Positive values increase the air velocity, thereby increasing the throat formant effect. Minus values decrease the air velocity, producing a more subtle throat formant effect.

Feature Reference●Edit Mode

• If this parameter is set to “0”, no throat formant effect can be applied via a controller.

●

Intens

≤ -127 … 127.

Sets the intensity of the throat formant effect. Higher values in both the positive and

negative ranges increase the intensity of the throat formant effect.

• If this parameter is set to “0”, no throat formant effect can be applied via a controller.

●

HPF Cutoff Frq

≤ 31.1 Hz … 21.6 kHz.

Sets the cutoff frequency of the throat formant high-pass filter. Noise components

below the specified frequency are cut off.

●

LPF Cutoff Frq

≤ 31.1 Hz … 24.0 kHz.

Sets the cutoff frequency of the throat formant low-pass filter. Noise components

above the specified frequency are cut off.

• Virtually no throat formant sound will be produced if the high-pass filter is set to a higher cutoff frequency than the low-pass filter.

Feature Reference●Edit Mode

3-1: Throat Formant Pitch Key Scalling

Throat formant pitch key scaling produces natural throat formant pitch variations across the range of the keyboard by allowing different pitch offset values to be applied to each of four breakpoints set at appropriate keys.

• The ¶ button (“ Fpag”) can be used to go directly the next throat formant key scaling page without having to return to the main parameter page.

●

Pitch

≤ 23.1 Hz … 48.0 kHz (when “Fixed” and “Intens” ≤ 11.4 Hz … 24.0 kHz (when “Fixed” and “Intens” < 0).

≥

0).

Element Miscellaneous

≤ -2.00oct … 1.98oct (when “KeyTrack”).

The “Pitch” parameter is linked to the main throat formant “Pitch” parameter, and has the same effect. When the “Pitch Tracking” parameter is set to “Fixed”, this parameter sets the throat formant pitch to a specific frequency. When “Pitch Tracking” is set to “KeyTrack”, however, this parameter determines how much the throat formant pitch is offset from the pitch of the key played in octave units. In the latter case negative values offset the throat formant pitch below the pitch of the key played, while positive values offset the throat formant pitch above that of the key played. This value also determines the main pitch on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 4 Key

≤ C-2 … G8.

Allows four separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 4 Offset

≤ -127 … 127.

Set the amount of pitch offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values lower the pitch, and positive values raise the pitch at the corresponding breakpoint. No matter what offset value is chosen, the actual pitch will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the pitch varies smoothly between the breakpoints.

Feature Reference●Edit Mode

3-2: Throat Formant Amount Key Scalling

Throat formant amount key scaling produces natural throat formant variations across the range of the keyboard by allowing different amount offset values to be applied to each of four breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page.

●

Amount

≤ -64 … 63.

The “Amount” parameter is linked to the main throat formant “Amount” parameter, and determines the amount of effect the throat formant sound has on the air velocity within the instrument. Positive values increase the air velocity, thereby increasing the throat formant effect. Minus values decrease the air velocity, producing a more subtle throat formant effect. This value also determines the main amount value on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 4 Key

≤ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 4 Offset

≤ -64 … 63.

Set the amount offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the amount, and positive values increase the amount at the corresponding breakpoint. No matter what offset value is chosen, the actual amount will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the amount varies smoothly between the breakpoints.

Feature Reference●Edit Mode

3-3: Throat Formant Intensity Key Scalling

Throat formant intensity key scaling produces natural throat formant intensity variations across the range of the keyboard by allowing different intensity offset values to be applied to each of four breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page.

●

Intens

≤ -127 … 127.

Element Miscellaneous

The “Intens” parameter is linked to the main throat formant “Intens” parameter, and sets the intensity of the throat formant effect. Higher values in both the positive and negative ranges increase the intensity of the throat formant effect. This value also determines the main intensity value on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 4 Key

≤ C-2 … G8.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 4 Offset

≤ -127 … 127.

Set the amount of intensity offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the intensity, and positive values increase the intensity at the corresponding breakpoint. No matter what offset value is chosen, the actual intensity will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the intensity varies smoothly between the breakpoints.

Feature Reference●Edit Mode

3-4: Throat Formant HPF Key Scalling

Throat formant HPF key scaling produces natural throat formant tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys.

• The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page.

●

HPF

≤ 31.1 Hz … 21.6 kHz.

The “HPF” parameter is linked to the main breath noise “HPF Cutoff Frq” parameter, and sets the cutoff frequency of the throat formant high-pass filter. Components above the specified frequency are cut off. This value also determines the main cutoff frequency on which all key-scaled variations are based (indicated by a dotted line on the graph).

●

Breakpoint 1 … 3 Key

≤ C-2 … G8.

Allows three separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters.

No breakpoint can be set to a key lower than the breakpoint to its left.

●

Breakpoint 1 … 3 Offset

≤ -64 … 63.

Yamaha VL1-m User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual