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
IN
Model
Serial No.
Purchase Date
OUTPUT
R
L
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
2
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
3
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.
4
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.
5
Feature Reference
6
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.
8
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).
9
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
”.
10
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.
11
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.
12
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).
14
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.
15
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
16
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
17
≥
≥
≥
≥
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).
18
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).
19
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).
20
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.
22
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.
23
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.
24
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.
25
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).
26
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