Yamaha VL VERSION2 User Manual

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Voice Lists & MIDI Data

Contents

■ VL1/VL1-m Version 2 Voices . . . . . . . . . . . . . . . 2

■ VL1/VL1-m Version 2 WX Voices . . . . . . . . . . . 6

■ VL7 Version 2 Voices . . . . . . . . . . . . . . . . . . . . . 8

■ VL7 Version 2 WX Voices . . . . . . . . . . . . . . . . 10

■ Additional Version 2 Voices . . . . . . . . . . . . . . . 11

■ MDI Data Format . . . . . . . . . . . . . . . . . . . . . . . 12

■ MIDI Implementation Chart

VL1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

VL1-m . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

VL7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Voice Lists

■ VL1/VL1-m Version 2 Voices

● File name: VL1_VER2.ALL

Loading this file with the “ALL” load option restores the VL1 Version 2 to its initial state as shipped from the factory.

The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/WX” the breath controller or a WX wind controller cannot be used. Many voices can be played more expressively with a breath controller, so for the notes, below, we assume that the “Breath Mode” parameter is set to “BC/WX”.

Many of these voices can also be used on the VL7 Version 2, so load them and give them a try.

●Voice number

A01 (001) Vintage VL Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position

A02 (002) Jazz Sax Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about

A03 (003) AnaBottle This voice is a combination of an analog sounding square wave with breath noise. It uses new kind

A04 (004) JazzTrumpt A jazz-oriented trumpet with a wide dynamic range. A05 (005) Stick A “hard and sticky” bass sound … similar to one often used by Peter Gabriel. A06 (006) Violin The breath controller controls both bow pressure and speed on this violin voice. Can also be used in

A07 (007) Wet Mini Powerfull synth-bass with a lot of resonance. A08 (008) Pastorale A mysterious reed/pipe timbre, quite unlike any existing instrument. A09 (009) Warm Dist Distorted amplified electric guitar. A10 (010) Super Jam A trumpet and trombone horn section with wide dynamics. A11 (011) Shakuhachi An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend. A12 (012) DeepThroat Strange organ using lots of throat formant. A13 (013) XtraX Acid rave lead string sound. A14 (014) EnglishHrn The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4. A15 (015) MuteCone Simulation of the muted trumpet. A16 (016) Acid Bass A perfect bass sound for “acid” basslines.

●Voice number

B01 (017) Brassyn Bright analog synth-brass. B02 (018) Tenor Sub Sax with a strong sub-tone content. A good choice for jazzy phrases. B03 (019) SaxyTrump A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath

B04 (020) Trumpet Bright trumpet. Suitable for a wide range of styles. B05 (021) FingerBass A fingered bass simulation. B06 (022) Cello A natural-sounding cello simulation. B07 (023) Soft Mini An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth

B08 (024) Thai Reed Simulation of a South East Asian (mainly Thailand) reed instrument. B09 (025) GuitarHero A distortion guitar. Controlling the feedback with aftertouch is particularly effective. B10 (026) DynaTp&Sx A trumpet and sax ensemble using the new dynamic split capabilities of Version 2. The split point is

B11 (027) C Flute Flute for a wide range of musical styles. B12 (028) Moby Mysterious sound in which the basic sound components increase successively as the key is

B13 (029) MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others. B14 (030) Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5. B15 (031) Mute Boyz Unison layered muted trumpets. PB controls embouchure to create parallel tuned intervals. PB at

B16 (032) Wah Man Cry-baby wah-pedal effect on the BC.

Voice name Voice explanation

or at minimum position for darker sound.

Ab5.

of breath noise and has a very speedy response which is fun for solos.

the cello and viola ranges.

Voice name Voice explanation

pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.

are on the continuous sliders (CC16, CC17).

C4 when the voice is initially selected, but will shift dynamically according to what you play. Add vibrato with aftertouch.

gradually pressed. Best features brought out with aftertouch.

minimum transposes element 1 down a 4th, 3rd or minor 3rd, and PB at maximum transposes element 2 up a 4th, 3rd or minor 3rd (key range dependenent) .

VL1/VL1-m Version 2 Voices

Voice Lists

●Voice number

C01 (033) Ossyncro An analog synthesizer, oscillator-sync, cross-modulation sound. C02 (034) SopranoSax Try using after touch. C03 (035) FlutoPhone Flute/Sax hybrid. Velocity is assigned to Embouchure, producing an interesting unstable attack in

C08 (040) Japanesque Another Shakuhachi with breath noise. C09 (041) JazzGuitar Electric guitar-like timbre. An obvious choice for jazz. C10 (042) 40’sSaxes A sax ensemble with that ’40’s jazz feel. C11 (043) Tull Flute A noisy flute. MW2 (CC13) adjusts growl . Aftertouch is recommended. C12 (044) Mad Tube An extremely aggressive sound that lies somewhere between synth lead and distortion guitar. C13 (045) HydroStorm MW1 and Velocity are important controlers for this voice … but try them all. C14 (046) Jazz Clari Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to

C15 (047) Croma Harp A chromatic harmonica simulation C16 (048) JungleBass Sliding bass for jungle music.

Voice name Voice explanation

the upper registers for fast staccato trills in intervals a fifth or more.

using CS1 (CC16) and CS2 (CC17) .

soften the tonguing transient.

●Voice number

D01 (049) SynthSplit Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position

D02 (050) BaritonSax Baritone sax suitable for lead lines. D03 (051) RoundBreth An ethnic flute sound in octaves. D04 (052) JazzBone A trombone simulation. D05 (053) Tube Bass Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.

D06 (054) Viol Outt Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for

D07 (055) Mr. Mogue Synthesized bass in octaves. D08 (056) Bagpipes Sounds below Bb2 are drones. Scottish folk songs are often performed with drones on Bb, and

D09 (057) Cruncher Distortion guitar. Subtle picking nuances can be controlled via velocity. D10 (058) Mrs.Yang Combination of Chinese violin and violin. D11 (059) Piccolo Simulation of the piccolo. D12 (060) No Harm AT Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for

D13 (061) Crystal ME type pad effect. D14 (062) Clarinet A light clarinet sound useful for classical music. Range is Db2 to about Ab5. D15 (063) Blues Harp A miked harmonica, played through a guitar amplifier. D16 (064) PowerBass Big rave bass sound.

Voice name Voice explanation

or at minimum position for darker sound.

Vary the velocity for dynamic timbre changes.

bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.

playing in Bb Mixolydian mode in the right hand.

a unique ‘car horn’ style effect.

VL1/VL1-m Version 2 Voices

Voice Lists

●Voice number

E01 (065) AnorakSyn Unstable oscillator analog synth. E02 (066) Bell Miked A simulation of saxophone miked close to the bell. E03 (067) Taped Jet Analog tape sampler type sound. Could be flute or recorder. E04 (068) MelTrump Mellow trumpet. E05 (069) Birdland A sound somewhere between an analog synthesizer and electric bass. The bass harmonics are

E06 (070) DoubleBow A bass with strong “stringed instrument” characteristics. CS2 varies the timbre. E07 (071) Igneous Feedback synthesized lead. A simulation of an analog-synthesized distortion guitar. E08 (072) Solitude A delicate wind sound. E09 (073) IndoPluck A Mideastern plucked sound. E10 (074) Elec Lips Combination of lead voice, synth lead & shakuhachi. Shakuhachi mode changes produced by MW2

E11 (075) Pan Pipes Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective. E12 (076) PlastiSax An alto sax … sounding the way it might if played through a plastic body. E13 (077) Black Hole Try every controller. E14 (078) BassClari The sound of the Bb bass clarinet. Range is D2 to F5. E15 (079) Lead Bows A new violin-like instrument that happens to sound like detuned sawtooth waves layered in octaves.

E16 (080) Sub Bass A bass sound for the subsonic range.

Voice name Voice explanation

emphasized in the high range.

(CC13).

Try BC tonguing for a nice hard bowed attack. Range C2-C6.

●Voice number

F01 (081) Funny Cat Filter-sweep synth sound. F02 (082) Old Tenor A dry, jazzy tenor sax. F03 (083) SteamLead Soft lead w/hard attack. Velocity controls the brigtness of the “steam.” MW2 (CC13) brings the

F04 (084) Horn A poly-mode horn voice. F05 (085) ThumBass Thumped Bass. F06 (086) Viowind A new type of sound, not belonging to any existing instrumental group. Play using MW2 (CC13),

F07 (087) 50 / 50 Solo sound using simple analog synthesizer square waves. F08 (088) Digeritek Includes elements of distorted guitar, sax, and bowed strings. Use of the breath controller is

F09 (089) Sitar Simulation of a sitar. Effective if you play the bass in the left hand and the melody in the right. Use

F10 (090) The Cool Combination of Flugelhorn & AltoSax. Good for the melody in 4-beat jazz styles. F11 (091) BassFlute The sound of the rarely heard bass flute, extending an octave below the C flute. Range: C3 to C6. F12 (092) BuzzSax A bright, buzzy tenor sax that is very responsive to breath pressure. Try aftertouch for various

F13 (093) Freezing Experiment with all controllers. F14 (094) Dubble New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.

F15 (095) BowByBlow Hard bowed flute/wind hybrid. Very slowly blowing BC pressure sounds octave overtone during

F16 (096) Outback A sound incorporating two types of ethnic timbres. Dynamic timbre change is possible using the

Voice name Voice explanation

sound up an octave and changes the timbre.

BC, and aftertouch.

recommended.

of aftertouch and pitch bend is very effective. Velocity controls dynamic timbral effects.

squeaks and growls.

MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.

attack before stabilizing at fundamental.

aftertouch from the lowest note to D2.

VL1/VL1-m Version 2 Voices

Voice Lists

●Voice number

G01 (097) AirSqeezer Simple octave analog synth. G02 (098) Nat Tenor Tenor sax with a unique attack. G03 (099) Sarangi Traditional Indian string instrument. Use aftertouch vibrato and pitch bend for microtonal ornaments,

G04 (100) Cornet A cornet for easy-listening styles. G05 (101) Square Synth bass with emphasized filter. G06 (102) Nu Viola Mellow, woody viola. Range C2-G6. MW2 (CC13) for tremolo. Vary BC pressure for bowing … try

G07 (103) MoreGrunge A new type of deep synthesized lead. G08 (104) Aerophone Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to

G09 (105) Spanish Spanish type acoustic guitar. G10 (106) FluBassoon A classical woodwind ensemble. G11 (107) Floboe A combination of properties of several different woodwind instruments. G12 (108) PlastcReed The sound of a plastic reed instrument that is warm at low pressures but thin at higher pressures.

G13 (109) Mu Noise produced by MW1. The tone is controlled by MW2 (CC13). G14 (110) DarkBasoon A dark, but lighter bassoon voice than the original VL bassoon. Range is Bb1 (oct down) to Eb5. G15 (111) Faerie Bow A new “violin” instrument that happens to sound like a bright, vocal, “gizmo” motorized synth. Try BC

G16 (112) Yamasteel A steel drum-like percussion sound. MW2 (CC13) changes the timbre.

Voice name Voice explanation

and for timbral variation.

tonguing BC for hard bowed attack.

Embouchure for alternate bend effect. Aftertouch for growl.

Growl on aftertouch.

tonguing for a nice hard bowed attack. MW2 (CC13) controls attack tightness. Range C2-C6.

●Voice number

H01 (113) Afterwork This voice benefits from extensive use of aftertouch. H02 (114) Alto Sax Bright alto sax simulation. H03 (115) Tenor Air Unique tenor lead tone. MW2 (CC13) controls Embouchure for subtle pitch bend effects. H04 (116) Lite Tuba A “light” tuba simulation. H05 (117) Brite Bass Artifical slap-bass. Low velocity for thumped notes; high velocity for slapped notes. H06 (118) Lite Cello A “light” cello simulation. H07 (119) FunkyLead Funky wah synth for percussive riffs. Very velocity sensitive. H08 (120) Syraphone Unique transient attack response when playing intervals over a fifth with fast, staccato articulation …

H09 (121) AsianPlck Oriental plucked sound. H10 (122) BaroqeDuet A dynamic split with a recorder sound on top and baroque sounding cello on the bottom. Velocity

H11 (123) GrassHarp A harmonica type sound with grass reeds. Use a sustain pedal to switch to the mono mode for an

H12 (124) CombMute Imaginary trumpet type instrument with a very strange mute. Try moving MW2 (CC13) for a more

H13 (125) Haze A psychedelic fuzzy organ in fifths, with breath control routed to the filter. H14 (126) AltoRecrdr A duophonic alto recorder for imitating renaissance recorder duets. Range is F3 to F5. H15 (127) Bowed Saw Sound of a bowed saw. Has the character of Ondes Martenot or Theremin (pioneer electronic

H16 (128) Waterphone Mysterious percussion instrument. Attack is softened with MW1. Squeakiness (embouchure) on

Voice name Voice explanation

gives a nice tongued/bowed attack to the sound. Plays very smoothly with legato articulations and BC tonguing.

controls the volume of the cello; breath controls the volume of the recorder. Vibrato for both voices is on aftertouch.

ethnic sounding woodwind solo.

natural vibrato.

instruments).

MW2 (CC13). Violent SCRAPE sound with aftertouch.

VL1/VL1-m Version 2 Voices

Voice Lists

■ VL1/VL1-m Version 2 WX Voices

● File name: VL1V2_WX.ALL

The 32 voices included in this file have been programmed specifically for optimum playability with a Yamaha WX-series wind controller (WX7/WX11). It is assumed that you will be using the WX Tight Lip mode (see Note 1, below). Also, make sure that the VL1 Version 2 or VL1-m Version 2 UTILITY/SYSTEM/TG SETTING “WX Lip” parameter is set to “Expand” (see Note 2).

If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.

Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for

details.

Note 2: When the VL1V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to

“Expand”.

In order to produce the correct pitch with a WX-series controller when the “Tight Lip” mode is selected, it is necessary to apply the right amount of pressure to the WX reed (i.e. sax-type embouchure). Adjust the WX controller so that a Pitch Bend value of “0” appears in the VL1-m monitor display screen (Press [F7] in the PLAY mode to see this display — see Note 3). The VL1 does not have a monitor display.

Note 3: When the WX controller is set to the “Tight Lip” mode and the VL “WX Lip” parameter is set to “Expand”, the Pitch Bend

value in the monitor display should vary from “-64” to “63” in response to variations in lip pressure.

This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable for the rock and pop genres, so don’t overlook them for keyboard control.

The A01, A06, A10, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually after a note is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/E1/ENV/VIBRATO parameter page to “0”.

●Voice number

A01 (001) Hey! Kenny A soprano sax simulation with delayed vibrato. A02 (002) AcoEkoSyn A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the

A03 (003) BrassSectn An ensemble with different voices assigned to the two elements. Timing, pitch, and timbre can be

A04 (004) MutedLipWX A muted trumpet suitable for “old” jazz styles. A05 (005) GlassAlto Bright alto sax, suitable for pop styles. Wide variation with breath pressure. A06 (006) C Flute 2 Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise

A07 (007) WXTenorSax Use lower breath pressures to produce a “gravelly” sound with more subtones. Higher pressure

A08 (008) WahUpHarp Use breath control the wah effect. A09 (009) C Trumpet Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;

A10 (010) Shakuhachi Use lip pressure to shift the fundamental tone. A11 (011) WX Bariton A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm. A12 (012) AnaEkoSyn An analog synth with phaser effect. Good for long-tone solos. A13 (013) GuitarHero Reed and breath control can produce some remarkable effects with a distortion guitar voice. A14 (014) LonelyPhone Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching

A15 (015) MoreGrunge An analog type voice with a long delay. Use over about a 5-octave range. A16 (016) Horn 2 Simulates the long tube — and hard-to-play pitch characteristics — of a real horn. You might want

Voice name Voice explanation

light portamento effect.

effectively controlled via breath and reed (pitch bend).

pitch an octave.

produces a tone that is ideal for jazz and fusion styles.

tighten for lip slur.

melodies.

to keep an eye on the monitor display while playing this one.

VL1/VL1-m Version 2 WX Voices

Voice Lists

●Voice number

B01 (017) MildAltSax Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles. B02 (018) JazzBone Soft timbre on soft passages; brighter when played fortissimo. B03 (019) BrightTenr Tenor sax with a solid attack. B04 (020) Clarinet 2 A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very

B05 (021) Blues Harp A blues harp suitable for punchy lines. B06 (022) PanPicol Somewhere between pan pipes and piccolo. B07 (023) OldMini Analog synth. Breath control produces cutoff resonance type effects. Useful over an extremely wide

B08 (024) HarpSoprn A combination of soprano sax and harp. B09 (025) WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual

B10 (026) Andean Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can

B11 (027) Air Saxes A dry sax sound. B12 (028) Marsaloboe Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control. B13 (029) JazzGuitar Where else can you play jazz guitar with tonguing? Very expressive. B14 (030) DoubleBow Breath control produces effects like bowing a cello. Breath is assigned to bow speed. B15 (031) Nz Piccolo Ebony piccolo with outstanding breath noise at low pressures. B16 (032) LM AltoSax Alto sax for pops or fusion styles.

Voice name Voice explanation

expressive.

range.

upward pitch bend.

also be played as a pan pipe.

VL1/VL1-m Version 2 WX Voices

Voice Lists

■ VL7 Version 2 Voices

● File name: VL7_VER2.ALL

Loading this file with the “ALL” load option restores the VL7 Version 2 to its initial state as shipped from the factory.

●Voice number

A01 (001) Brassyn Bright analog synth-brass. A02 (002) Jazz Sax Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about

A03 (003) AnaBottle This voice is a combination of an analog sounding square wave type sound with breath noise. It

A07 (007) Wet Mini Powerfull synth-bass with a lot of resonance. A08 (008) Pastorale A mysterious reed/pipe timbre, quite unlike any existing instrument. A09 (009) Warm Dist Distorted amplified electric guitar. A10 (010) IndoPluck A Mideastern plucked sound. A11 (011) Shakuhachi An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend. A12 (012) DeepThroat Strange organ using lots of throat formant. A13 (013) Freezing Experiment with all the controllers. A14 (014) EnglishHrn The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4. A15 (015) MuteCone Simulation of the muted trumpet. A16 (016) Acid Bass A perfect bass sound for “acid” basslines.

Voice name Voice explanation

Ab5.

uses the straight horn algorithm and new fricative waves. It has a very speedy response which is fun for solos.

the cello and viola ranges.

●Voice number

B01 (017) AnorakSyn Unstable oscillator analog synth. B02 (018) Tenor Sub Sax with a strong sub-tone content. A good choice for jazzy phrases. B03 (019) SaxyTrump A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath

B08 (024) Thai Reed Simulation of a South East Asian (mainly Thailand) reed instrument. B09 (025) GuitarHero A distortion guitar. Controlling the feedback with aftertouch is particularly effective. B10 (026) Spanish Spanish type acoustic guitar. B11 (027) C Flute Flute for a wide range of musical styles. B12 (028) Moby Mysterious sound in which the basic sound components increase successively as the key is

B13 (029) MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others. B14 (030) Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5. B15 (031) Cornet A cornet for easy-listening styles. B16 (032) Wah Man Cry-baby wah-pedal effect on the BC.

VL7 Version 2 Voices

Voice name Voice explanation

pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.

are on the continuous sliders (CC16, CC17).

gradually pressed. Best features brought out with aftertouch.

Voice Lists

●Voice number

C04 (036) FlugelHorn A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range. C05 (037) Fretless Fretless bass … this one is ideal for melodic lines. C06 (038) JetLipBow A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack. C07 (039) Solitude A delicate wind sound. C08 (040) Floboe A combination of properties of several different woodwind instruments. C09 (041) JazzGuitar Electric guitar-like timbre. An obvious choice for jazz. C10 (042) Sitar Simulation of the sitar. C11 (043) Pan Pipes Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective. C12 (044) Mad Tube An extremely aggressive sound that lies somewhere between synth lead and distortion guitar. C13 (045) Mu Noise produced by MW1. The tone is controlled by MW2 (CC13). C14 (046) Jazz Clari Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to

C15 (047) Croma Harp A chromatic harmonica simulation. C16 (048) Dubble New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.

Voice name Voice explanation

the upper registers for fast staccato trills in intervals a fifth or more.

soften the tonguing transient.

MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.

●Voice number

D01 (049) AirSqeezer Simple octave analog synth. D02 (050) BaritonSax Baritone sax suitable for lead lines. D03 (051) Aerophone Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to

D04 (052) JazzBone A trombone simulation. D05 (053) Tube Bass Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.

D06 (054) Viol Outt Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for

D07 (055) Mr. Mogue Synthesized bass in octaves. D08 (056) Old Tenor A dry, jazzy tenor sax. D09 (057) Cruncher Distortion guitar. Subtle picking nuances can be controlled via velocity. D10 (058) AsianPlck Oriental plucked sound. D11 (059) Piccolo Simulation of the piccolo. D12 (060) No Harm AT Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for

Voice name Voice explanation

Embouchure for alternate bend effect. Aftertouch for growl.

Vary the velocity for dynamic timbre changes.

bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.

a unique ‘car horn’ style effect.

MW2 (CC13). Violent SCRAPE sound with aftertouch.

VL7 Version 2 Voices

Voice Lists

■ VL7 Version 2 WX Voices

● File name: VL7V2_WX.ALL

If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.

Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for

details.

Note 2: When the VL7V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to

“Expand”.

The A01, A06, A08, A10, B07, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually after a note is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/EL/ENV/VIBRATO parameter page to “0”.

●Voice number

A01 (001) Hey! Kenny A soprano sax simulation with delayed vibrato. A02 (002) AcoEkoSyn A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the

A03 (003) PanPicol Somewhere between pan pipes and piccolo. A04 (004) MutedLipWX A muted trumpet suitable for “old” jazz styles. A05 (005) GlassAlto Bright alto sax, suitable for pop styles. Wide variation with breath pressure. A06 (006) C Flute 2 Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise

A07 (007) Bassoon 2 An extraordinarily realistic bassoon simulation. Applying reed pressure above F4 shifts the funda-

A08 (008) BreathBow A bowed string instrument with breath noise. A09 (009) C Trumpet Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;

A15 (015) Ophelia Synth lead with a soft, comfortable delay. A16 (016) Horn 2 Simulates the long tube — and hard-to-play pitch characteristics — of a real horn.

Voice name Voice explanation

light portamento effect.

pitch an octave.

mental.

tighten for lip slur.

melodies.

●Voice number

VL7 Version 2 WX Voices

Voice name Voice explanation

Voice Lists

B04 (020) Clarinet A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very

expressive.

B05 (021) Blues Harp A blues harp suitable for punchy lines. B06 (022) Ocarina Somehow more “intimate” than a real ocarina. Make good use of the portamento effect. B07 (023) Oboe 2 An oboe simulation with delayed vibrato. B08 (024) HarpSoprn A combination of soprano sax and harp. B09 (025) WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual

upward pitch bend.

B10 (026) Andean Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can

also be played as a pan pipe.

B11 (027) Air Saxes A dry sax sound. B12 (028) Marsaloboe Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control. B13 (029) Alto Oboe A somewhat “sweet” oboe simulation that sounds a bit like a clarinet. Middle register ideal for soft

melodies.

B14 (030) DoubleBow Breath control produces effects like bowing a cello. Breath is assigned to bow speed. B15 (031) Nz Piccolo Ebony piccolo with outstanding breath noise at low pressures. B16 (032) LM AltoSax Alto sax for pops or fusion styles.

■ Additional Version 2 Voices

● File name: ADDITION.ALL

This file includes some excellent voices that are not in the VL1_VER2.ALL or VL7_VER2.ALL files. Most are single-element voices, so the VL1 voices can be used effectively on the VL7.

In all these voices the BREATH MODE is set to “BC/WX”.

●Voice number

A01 (001) GlassTenor Tenor sax with a glass-like resonance. A02 (002) Old Tenor2 Tenor sax suited for “old” jazz styles. A03 (003) FunkyTenor Good with heavy backing. Use aftertouch. A04 (004) Nat Alto A natural-sounding alto sax for pops styles. Edit the Modifiers to create your own sound. A05 (005) HarpAlto A blend of harp and alto sax — or a heavily-processed sax, depending on how you play. A06 (006) HarpSoprn Somewhere between soprano and alto sax. Unique sound in the high register. A07 (007) SharpTrmp Bright trumpet with a distinctive upper register. A08 (008) MuteLipJaz Muted trumpet for a wide range of styles. A09 (009) Lite Horn A solo voice with a brass-like harmonic structure. A10 (010) DubleDuble A variation of the Duble voice. A11 (011) Floboe 2 A variation of the Floboe voice. A12 (012) Cello 2 A variation of the Cello voice. A13 (013) JetLipBow2 A variation of the JetLipBow voice. A14 (014) LiteViolin This strings voice is suited for delicate phrases. A15 (015) CelleSynth Anal strings with the Celeste effect. A16 (016) WahGtr BC Wah guitar with the Distortion+Wah effect.

Voice name Voice explanation

Additional Version 2 Voices

Voice Lists

MIDI Data Format

■ MIDI Data Format for VL1, VL1-m, VL7 Version 2

1 MIDI receive

MIDI

<Rch> $8n ... Note Off <Rch> $9n ... None On <Rch> $Bn $01~$1F ... Control Change

$Bn $21~$77 ... <Rch> $Bn $79 $00 Reset All Controllers <Rch> $Cn ... Program Change <Rch> $Dn ... Channel Aftertouch <Rch> $En ... Pitch Bend <Dev No> $F0 $43 $0m $7A ... Universal Bulk Dump With Additional Header <Dev No> $F0 $43 $1m... Parameter Change <Dev No> $F0 $43 $2m... Bulk Dump Request

$FE Active Sensing

Note : <Rch> : MIDI receive channel switch

<Dev No> : Device number switch n : MIDI channel m : Device number

Ignores the third byte of Note Off. Ignores the second byte of Pitch Bend. No incoming MIDI signals will be recognized in Demo mode.

2 MIDI transmit

[for VL1, VL7]

Note On/Off $9n ... <Tch> Modulation Wheel 1 $Bn $01 ... <Tch> Continuous Slider 1 $Bn $10 ... <Tch> Continuous Slider 2 $Bn $11 ... <Tch> Breath Controller $Bn $01~$1F, $21~$77 ... <on/off> <Tch> Modulation Wheel 2 and Foot Controller 1,2 Foot Switch 1,2 $Bn $01~$1F, $21~$77 ... <on/off> <Tch>

Program Change $Cn ... <Tch> Aftertouch $Dn ... <Tch> Pitch Bend Wheel $En ... <Tch> and Octave Switch Universal Bulk Dump $F0 $43 $0m $7A ... <Dev No> With Additional Header Parameter Change $F0 $43 $1m ... <Dev No> Active Sensing $FE

The Voice number changes according to received Program Changes.

Program Change data Voice number

VL1,1-m : $00 ~ $7F A01(001) ~ H16(128)

VL7 : $00 ~ $3F A01(001) ~ D16(064)

$40 ~ $7F A01(001) ~ D16(064)

Reception may not be possible if Memory protect is ON in Bulk Dump. Details of System Exclusive Messages are given later. While Active Sensing is on, if no MIDI Active Sensing signals are received for more than around 330 msec, the MIDI receive buffer will be cleared, and any sound being generated will be cut off.

MIDI

$Cn ...

Voice ListsMIDI Data Format

Note : <Tch> : MIDI transmit channel switch

<Dev No> : Device number switch n : MIDI channel m : Device number

The normal transmitted note numbers corresponding to the keyboard are $30 ~ $60. Use of Keyboard Transpose can shift these values by -$0C ~ +$0C, and use of Octave Switch can shift them a further -$0C ~ +$0C. Pitch Bend has 7 bit resolution. In Demo mode, only Demo sequence data will be transmitted (not keyboard data).

[for VL1-m]

Breath Controller $Bn $02 ... <Tch> Universal Bulk Dump $F0 With Additional Header Parameter Change $F0 $43 $1m ... <Dev No>

Note : <Tch> : MIDI transmit channel switch

<Dev No> : Device number switch n : MIDI channel m : Device number

$43 $0m $7A ... <Dev No>

If the unit is in Play mode, or if Footswitches 1 or 2 are assigned to Program Increment in any mode, then Program Increments of any type will cause a Program Change message corresponding to the Voice number after the change to be transmitted.

Voice number Program Change data VL1 : A01(001) ~ H16(128) $00 ~ $7F VL7 : A01(001) ~ D16(064) $00 ~ $3F

Details of System Exclusive Message are given later. Active Sensing will be transmitted every 270 msec approximately.

MIDI

In Demo mode, only Demo sequence data will be transmitted. Details of System Exclusive Message are given later.

3 Keyboard and Tone Generator Configuration

Note : Note On/Off messages received

from the keyboard and from MIDI are indistinguishable. This also applies to controller data. Local keyboard and controller data will always be received, irrespective of the Transmit and Receive channel settings.

VL1-m does not have Keyboards and only have Breath Controller as a controller.

MIDI IN

Keyboards

(Octave Switch)

(Transpose)

WX Lip

Controllers

Tch MIDI OUT

Local on/offRch

Breath Mode

(Note Shift)

Tone Generator

Voice Lists

MIDI Data Format

4 System Exclusive Message

The following Bulk Dump Data will be transmitted on the Utility/Bulk screen.

System

Program Change Table Bulk refer to 4.1(VL1-m only) Micro Tuning Bulk,memory no.=0,1 refer to 4.5.1 System Bulk refer to 4.1

All Voice

Voice Bulk,memory type=0,memory no.=

$00~$7F VL1,1-m refer to 4.1 $00~$3F VL7 refer to 4.1

Current Voice

Voice Bulk,memory type=$7F refer to 4.1

When Voice Data is changed in Edit Mode or System Data is changed in Utility Mode,a Parameter Change formatted as described in the separate tables,4.2,4.4,4.5.2 will be transmitted.

4.1 Bulk Dump

Both transmitted and received. Universal Bulk Dump With Additional Header is used. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0000nnnn n = device number 3 01111010 7A 4 0bbbbbbb b = MSB of byte count 5 0bbbbbbb b = LSB of byte count

Byte count is from count 6 to the beginning of check

6 01001100 4C ascii”L” 7 01001101 4D ascii”M” 8 00100000 20 ascii” “ 9 00100000 20 ascii”2" 10 00110000 30 ascii”0" 11 00110001 31 ascii”1" 12 00110001 31 ascii”1" 13 00110111 37 ascii”7" 14 0aaaaaaa a = data type 15 0aaaaaaa a = data type

16 0ttttttt t = memory type

17 0uuuuuuu u = memory number

18 00000000 00

31 00000000 00 32 0ddddddd d = data

ØØ

0sssssss s = check sum (The 2’s complement of the 7 bit sum of

11110111 F7 EOX

sum.

56,43(ascii”V”,”C”) : Voice 53,59(ascii”S”,”Y”) : System 50,52(ascii”P”,”R”) : Program Change Table (VL1-m only)

0 : Memory, 7F : Edit Buffer

Ignored when memory type = 7F. When memory type = 0, indicates the voice number. 0 ~ 7F : A01(001) ~ H16(128) VL1,1-m 0 ~ 3F : A01(001) ~ D16(064) VL7

the data)

Counts 16 and 17 ignored when receiving “SY” and “PR” data. On reception, counts 18 ~ 31 are ignored as they are sent as 0’s. Data for “VC” is

nos.32 ~ 139 Common Data Separate table 5.1,nos.0 ~ 107 nos.140 ~ 1619 Element 1 Data Separate table 5.2,nos.0 ~ 1479 nos.1620 ~ 3099 Element 2 Data Separate table 5.2,nos.0 ~ 1479 (VL1,1-m only)

Data for “SY” is

nos.32 ~ 95 System Data Separate table 5.3,nos.0 ~ 63

Data for “PR” is

nos.32 ~ 159 Program Change Table Data Separate table 5.6,

nos.0 ~ 127

4.2 Parameter Change

Both transmitted and received. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0001nnnn n = device number 3 01010100 54 4 0000tttt t = parameter type

5 0000000e e = element number

6 000000cc c = data count

7 0ppppppp p = MSB of parameter offset 8 0ppppppp p = LSB of parameter offset

9 0vvvvvvv v = parameter value (10 0vvvvvvv v = parameter value when data count is 2)

11110111 F7 EOX

Master Tuning of System Parameters can only be performed during reception. Transmission will be performed using the 4.4 DX1 Master Tuning Compatibility format. In addition, Device Number Parameter Change cannot be received or transmission. Refer to 5 Appended Tables regarding the parameter offset.

0 : Common parameter 1 : Element parameter 2 : System parameter 5 : Remote Switch(device number is ignored) 7 : Program Change Table parameter (VL1-m only) 8 : Element,Effect and Modifier on/off Element, Effect and Modifier on/off is effective in Edit Mode only. Element on/off is ineffective for VL7.

0 : element 1 1 : element 2 When parameter type = 1, the element number is effective, otherwise ignored. Ignored on VL7.

1 : 1byte parameter 2 : 2byte parameter When parameter type=2,5,7,8, data count=1.

Taken as the offset of the leading parameter when data count is 2.

4.3 Bulk Dump Request

Performed only during receive. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0010nnnn n = device number 3 01111010 7A 4 01001100 4C ascii”L” 5 01001101 4D ascii”M” 6 00100000 20 ascii” “ 7 00100000 20 ascii”2"

Voice ListsMIDI Data Format

8 00110000 30 ascii”0" 9 00110001 31 ascii”1" 10 00110001 31 ascii”1" 11 00110111 37 ascii”7" 12 0aaaaaaa a = data type 13 0aaaaaaa a = data type

14 0ttttttt t = memory type

15 0uuuuuuu u = memory number

16 00000000 00

29 00000000 00 30 11110111 F7 EOX

Counts 14 and 15 ignored when receiving “SY” and “PR” data. On reception, counts 16 ~ 29 are ignored as they are sent as 0’s.

56,43(ascii”V”,”C”) : Voice 53,59(ascii”S”,”Y”) : System 50,52(ascii”P”,”R”) : Program Change Table (VL1-m only)

0 : Memory, 7F : Edit Buffer

Ignored when memory type = 7F When memory type = 0, indicates the voice number. 0 ~ 7F : A01(001) ~ H16(128) VL1,1-m 0 ~ 3F : A01(001) ~ D16(064) VL7

4.4 DX1 Master Tuning Compatibility

The System Master Tuning Parameter Change is transmitted / received in DX1 compatible format. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0001nnnn n = device number 3 00000100 04 4 01000000 40 5 0vvvvvvv v = parameter value

6 11110111 F7 EOX

-64 ~ +63 (o/b)

13 00110001 31 ascii”1" 14 01001101 4D ascii”M” 15 01010100 54 ascii”T” 16 00000000 00

30 00000000 00 31 0uuuuuuu u = memory number

32 0vvvvvvv v = data

297 0vvvvvvv v 298 0sssssss s = check sum 299 11110111 F7 EOX

On reception, memory number 2~:P-1~ is received as 1:I-2. Data is

nos.32 ~ 297 Separate table 5.4 Micro Tuning Parameters,

0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84

nos.0 ~ 265

4.5.2 Parameter Change

Performed only during receive. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0001nnnn n = device number 3 00110100 34 4 00001011 0B 5 0000000u u = memory number

6 000000pp p = MSB of parameter offset 7 0ppppppp p = LSB of parameter offset 8 0vvvvvvv v = parameter value 9 0vvvvvvv v = parameter value 10 11110111 F7 EOX

Refer to the separate table 5.4 Micro Tuning Parameters of the values of p and v.

0 : I-1 , 1 : I-2

(o/b): offset binary (The 2’s complement sign bit reversed.)

4.5 SY77/99 Micro Tuning Compatibility

The Bulk Dump, Bulk Dump Request, and Parameter Change messages for Micro Tuning are in SY77/99 compatible format.

4.5.1 Bulk Dump

Transmit / receive Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0000nnnn n = device number 3 01111010 7A 4 0bbbbbbb b = MSB of byte count 5 0bbbbbbb b = LSB of byte count

6 01001100 4C ascii”L” 7 01001101 4D ascii”M” 8 00100000 20 ascii” “ 9 00100000 20 ascii” “ 10 00111000 38 ascii”8" 11 00110001 31 ascii”1" 12 00110000 30 ascii”0"

Byte count is from count 6 to the beginning of check sum.

4.5.3 Bulk Dump Request

Performed only during receive. Count

Value $ Description 0 11110000 F0 1 01000011 43 2 0010nnnn n = device number 3 01111010 7A 4 01001100 4C ascii”L” 5 01001101 4D ascii”M” 6 00100000 20 ascii” “ 7 00100000 20 ascii” “ 8 00111000 38 ascii”8" 9 00110001 31 ascii”1" 10 00110000 30 ascii”0" 11 00110001 31 ascii”1" 12 01001101 4D ascii”M” 13 01010100 54 ascii”T” 14 00000000 00

28 00000000 00 29 0uuuuuuu u = memory number

30 11110111 F7 EOX

0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84

Voice Lists

MIDI Data Format

5 Appended Tables

In this table -

no. is the parameter number (decimal) c is the data count (decimal) p is the offset (MSB, LSB) (hexadecimal)

v is the value (decimal) Values may be of four types given below, depending on the range of the values. These values are expressed in MIDI data in hexadecimal.

0 ~ 127 : 00 ~ 7F

0 ~ 127 , 128 ~ 16383 : 00 00 ~ 00 7F , 01 00 ~ 7F 7F

-64 ~ -1 , 0 , 1 ~ 63 : 40 ~ 7F , 00 , 01 ~ 3F

-128 ~ -1 , 0 , 1 ~ 127 : 01 00 ~ 01 7F , 00 00 , 00 01 ~ 00 7F

Table 5.1 Common Parameters

no. c p v name 0~9 1 00 00 ~ 00 09 32 ~ 126 Voice Name 1~10 10~15 00 0A ~ 00 0F 0 reserve 16 1 00 10 0 ~ 3 Key Mode VL1,1-m only 17 1 00 11 0 ~ 1 Voice Mode VL1,1-m only 18 1 00 12 0 ~ 2 Split Mode VL1,1-m only 19 1 00 13 0 ~ 127 Split Point VL1,1-m only 20 1 00 14 0 ~ 24 Split Interval VL1,1-m only 21 1 00 15 0 ~ 15 Elem1 MIDI Rch VL1,1-m only 22 1 00 16 0 ~ 15 Elem2 MIDI Rch VL1,1-m only 23 1 00 17 0 ~ 31 Poly Expand Mode VL1,1-m only 24 1 00 18 0 ~ 31 Poly Expand No. VL1,1-m only 25 1 00 19 0 ~ 2 PB,AT&MOD Mode VL1,1-m only 26 1 00 1A 0 ~ 119 Polyphony Control VL1,1-m only 27 1 00 1B 0 ~ 1 Sustain 28 1 00 1C 0 ~ 2 Pitch Bend Mode VL1,1-m only 29 1 00 1D 0 ~ 2 Assign Mode 30 1 00 1E 0 ~ 127 Brth Atck Time 31 1 00 1F 0 ~ 127 Brth Atck Gain 32 1 00 20 0 ~ 127 Touch EG Time 33 1 00 21 0 ~ 127 Touch EG Gain 34 1 00 22 0 ~ 1 Portamento Time MIDI Control 35 1 00 23 0 ~ 1 Portamento Mode 36 1 00 24 0 ~ 127 Portamento Time 37 1 00 25 0 ~ 1 Elem1 Portamento 38 1 00 26 0 ~ 1 Elem2 Portamento VL1,1-m only 39 1 00 27 -7 ~ 7 Elem1 Detune 40 1 00 28 -7 ~ 7 Elem2 Detune VL1,1-m only 41 1 00 29 -64 ~ 63 Elem1 Note Shift 42 1 00 2A -64 ~ 63 Elem2 Note Shift VL1,1-m only 43 1 00 2B 0 ~ 7 Elem1 Rand Pitch 44 1 00 2C 0 ~ 7 Elem2 Rand Pitch VL1,1-m only 45 1 00 2D 0 ~ 86 Elem1 MicroTuning 46 1 00 2E 0 ~ 86 Elem2 MicroTuning VL1,1-m only 47 1 00 2F 0 ~ 127 Elem1 Level 48 1 00 30 0 ~ 127 Elem2 Level VL1,1-m only 49 1 00 31 -64 ~ 63 Elem1 Pan L 50 1 00 32 -64 ~ 63 Elem1 Pan R 51 1 00 33 -64 ~ 63 Elem2 Pan L VL1,1-m only 52 1 00 34 -64 ~ 63 Elem2 Pan R VL1,1-m only 53 1 00 35 0 ~ 4 ( 0 ~ 2) CS1 Class (Voice Mode=0 or VL7) 54 2 00 36 0 ~ 150 (0 ~ 47) CS1 Assign (CS1 Class=1) 56 1 00 38 0 ~ 4 (0 ~ 2) CS2 Class (Voice Mode=0 or VL7) 57 2 00 39 0 ~ 150 (0 ~ 47) CS2 Assign (CS2 Class=1) 59 1 00 3B 0 ~ 3 Destination Effect 60 1 00 3C 0 ~ 122 Effect Controller 61 1 00 3D 0 ~ 9 Mod Effect Type 62 1 00 3E 0 ~ 1 Elem1 on/off VL1,1-m only 63 1 00 3F 0 ~ 1 Elem2 on/off VL1,1-m only 64~73 00 40 ~ 00 49

(2’s compliment)

Refer to Table 5.1.1 Mod Effect no.0 ~ 9.

74 1 00 4A 0 ~ 1 FBD/Reverb Mode 75 1 00 4B 0 ~ 3 FBD Type 76 1 00 4C 0 ~ 100 FBD Return 77~94 00 4D ~ 00 5E Refer to Table 5.1.2 FBD no.0 ~ 17. 95 1 00 5F 0 ~ 8 Reverb Type 96~105 00 60 ~ 00 69 Refer to Table 5.1.3 Reverb no.0 ~ 9. 106~107 00 6A ~ 00 6B reserve

Table 5.1.1 Modulation Effect Flanger

no. c v name 0 1 0 ~ 2 Wave 1 1 0 ~ 127 Freq 2 1 0 ~ 100 Depth 3 1 0 ~ 126 Delay 4 1 -8 ~ 8 Phase 5 2 -100 ~ 100 FB Gain 7 1 0 ~ 9 High 8 1 0 ~ 10 Analog Feel 9 1 0 ~ 100 Wet/Dry Balance

Pitch Change

no. c v name 0 1 0 ~ 1 Mode 1 1 -12 ~ 12 Pitch 1 2 2 -100 ~ 100 Fine 1 4 1 0 ~ 100 Out 1 5 1 -12 ~ 12 Pitch 2 6 2 -100 ~ 100 Fine 2 8 1 0 ~ 100 Out 2 9 1 0 ~ 100 Wet/Dry Balance

Distortion

no. c v name 0 1 0 ~ 100 Overdrive 1~2 reserve 3 1 0 ~ 4 Device 4 1 0 ~ 5 Speaker 5 1 -10 ~ 10 Presence 6 1 0 ~ 100 Output Level 7~9 reserve

Chorus

no. c v name 0 1 0 ~ 1 Mode 1 1 0 ~ 127 Freq 2 1 0 ~ 100 Depth 3 1 0 ~ 126 Delay 4 2 -100 ~ 100 FB Gain 6 1 0 ~ 9 High 7 1 0 ~ 100 Wet/Dry Balance 8~9 reserve

Phaser

no. c v name 0 1 0 ~ 1 Mode 1 1 0 ~ 1 ( 0 ~ 3 ) Stage (Mode=0) 2 1 0 ~ 127 Freq 3 1 0 ~ 100 Depth 4 1 0 ~ 100 Offset 5 1 -8 ~ 8 ( 0 ~ 1 ) Phase (Diffusion when Mode=0) 6 2 -100 ~ 100 FB Gain 8 1 0 ~ 100 Wet/Dry Balance 9 reserve

Voice ListsMIDI Data Format

Symphonic

no. c v name 0 1 0 ~ 1 Mode 1 1 0 ~ 127 Freq 2 1 0 ~ 100 Depth 3 1 0 ~ 10 Diffusion 4 1 0 ~ 12 Lo-Fi 5 1 0 ~ 100 Wet/Dry Balance 6~9 reserve

Celeste

no. c v name 0 1 0 ~ 1 Mode 1 1 0 ~ 127 Freq 2 1 0 ~ 100 Depth 3 1 0 ~ 126 Delay 4 2 -100 ~ 100 FB Gain 6 1 0 ~ 12 Lo-Fi 7 1 0 ~ 100 Wet/Dry Balance 8~9 reserve

Distortion+Flanger

no. c v name 0 1 0 ~ 100 Overdrive 1 1 0 ~ 5 Speaker 2 1 0 ~ 100 Output Level 3 1 0 ~ 127 Freq 4 1 0 ~ 100 Depth 5 1 0 ~ 126 Delay 6 1 -8 ~ 8 Phase 7 1 0 ~ 100 FB Gain 8 1 0 ~ 9 High 9 1 0 ~ 100 Flanger Balance

Distortion+Wah

no. c v name 0 1 0 ~ 100 Overdrive 1 1 0 ~ 5 Speaker 2 1 0 ~ 100 Output Level 3 1 0 ~ 3 Mode 4 1 0 ~ 1 Wah Pre/Post 5 1 0 ~ 127 Cutoff Freq 6 1 0 ~ 127 Resonance 7 1 0 ~ 100 Sens 8~9 reserve

Table 5.1.2 Feedback Delay Mono

no. c v name 0~5 reserve 6 2 0 ~1024 Delay Time 8 1 0 ~ 100 Level 9 2 0 ~1024 FB Delay Time 11 1 0 ~ 100 FB Gain 12 1 0 ~ 9 High 13~17 reserve

L/R

no. c v name 0 2 0 ~ 512 Lch Delay Time 2 1 0 ~ 100 Lch FB Gain 3 1 0 ~ 9 Lch High 4 1 0 ~ 100 Lch Level 5 2 0 ~ 512 Rch Delay Time 7 1 0 ~ 100 Rch FB Gain 8 1 0 ~ 9 Rch High 9 1 0 ~ 100 Rch Level 10~17 reserve

L/C/R

no. c v name 0 2 0 ~1024 Lch Delay Time 2 1 0 ~ 100 Lch Level 3 2 0 ~1024 Rch Delay Time 5 1 0 ~ 100 Rch Level 6 2 0 ~1024 Cch Delay Time 8 1 0 ~ 100 Cch Level 9 2 0 ~1024 FB Delay Time 11 1 0 ~ 100 FB Gain 12 1 0 ~ 9 High 13~17 reserve

Table 5.1.3 Reverberation

no. c v name 0 1 0 ~ 100 Return 1 1 0 ~ 95 Reverb Time 2 1 0 ~ 9 High Control 3 1 0 ~ 10 Diffusion 4 2 0 ~ 405 Initial Delay 6 1 -21 ~ 12 Treble 7 1 -21 ~ 12 Bass 8 1 0 ~ 3 Feel 9 1 0 ~ 10 Reverb Time Boost

Table 5.2 Element Parameters

no. c p v name 0 1 00 00 0 ~ 124 Pressure Control 1 1 00 01 -16 ~ 16 Pressure Curve 2 2 00 02 -127 ~ 127 Pressure Depth 4 1 00 04 0 ~ 124 Embouchure Control 5 1 00 05 0 ~ 1 Embouchure Mode 6 2 00 06 -127 ~ 127 Embouchure Upper Depth 8 2 00 08 -127 ~ 127 Embouchure Lower Depth 10 1 00 0A 0 ~ 124 Pitch Control 11 1 00 0B 0 ~ 1 Pitch Mode 12 1 00 0C -12 ~ 12 Pitch Upper Depth 13 1 00 0D -12 ~ 12 Pitch Lower Depth 14 1 00 0E 0 ~ 124 Vibrato Control 15 reserve 16 2 00 10 -127 ~ 127 Vibrato Depth 18 1 00 12 0 ~ 124 Tonguing Control 19 1 00 13 -16 ~ 16 Tonguing Curve 20 2 00 14 -127 ~ 127 Tonguing Depth 22 1 00 16 0 ~ 124 Amplitude Control 23 1 00 17 -16 ~ 16 Amplitude Curve 24 2 00 18 -127 ~ 127 Amplitude Depth 26 1 00 1A 0 ~ 124 Scream Control 27 1 00 1B 0 ~ 127 Scream Value 28 1 00 1C -16 ~ 16 Scream Curve 29 2 00 1D -127 ~ 127 Scream Depth 31 1 00 1F 0 ~ 124 B.Noise Control 32 1 00 20 0 ~ 127 B.Noise Value 33 1 00 21 -16 ~ 16 B.Noise Curve 34 2 00 22 -127 ~ 127 B.Noise Depth 36 1 00 24 0 ~ 124 Growl Control 37 1 00 25 0 ~ 127 Growl Value 38 1 00 26 -16 ~ 16 Growl Curve 39 2 00 27 -127 ~ 127 Growl Depth 41 1 00 29 0 ~ 124 T.Formant Control 42 1 00 2A 0 ~ 127 T.Formant Value 43 1 00 2B -16 ~ 16 T.Formant Curve 44 2 00 2C -127 ~ 127 T.Formant Depth 46 1 00 2E 0 ~ 124 D.Filter Control 47 1 00 2F -16 ~ 16 D.Filter Curve

Voice Lists

MIDI Data Format

48 2 00 30 -127 ~ 127 D.Filter Depth 50 1 00 32 0 ~ 124 H.Enhancer Control 51 1 00 33 -16 ~ 16 H.Enhancer Curve 52 2 00 34 -127 ~ 127 H.Enhancer Depth 54 1 00 36 0 ~ 124 Damping Control 55 1 00 37 -16 ~ 16 Damping Curve 56 2 00 38 -127 ~ 127 Damping Depth 58 1 00 3A 0 ~ 124 Absorption Control 59 1 00 3B -16 ~ 16 Absorption Curve 60 2 00 3C -127 ~ 127 Absorption Depth 62 1 00 3E 0 ~ 1 Trigger Mode 63 1 00 3F 0 ~ 96 Xfade Speed 64 1 00 40 0 ~ 50 Interpolate Speed 65 1 00 41 0 ~ 127 B.Noise Level 66 1 00 42 0 ~ 127 Break Point 1 67 1 00 43 -64 ~ 63 Offset 1 68~77 00 44 ~ 00 4D Break Point/Offset 2~6 78 1 00 4E 0 ~ 125 B.Noise HPF 79 1 00 4F 0 ~ 127 Break Point 1 80 1 00 50 -64 ~ 63 Offset 1 81~82 00 51 ~ 00 52 Break Point/Offset 2 83 1 00 53 0 ~ 127 B.Noise LPF 84 1 00 54 0 ~ 127 Break Point 1 85 1 00 55 -64 ~ 63 Offset 1 86~87 00 56 ~ 00 57 Break Point/Offset 2 88 1 00 58 0 ~ 22 B.Noise Noise 89 1 00 59 0 ~ 1 B.Noise Key On Reset 90 1 00 5A 0 ~ 32 B.Noise Slit Drive 91 1 00 5B -64 ~ 63 B.Noise Control Balance 92 1 00 5C 0 ~ 1 T.Formant Pitch Tracking 93 2 00 5D 0~176(-128~127)

T.Formant Pitch (Tracking=1) 95 1 00 5F 0 ~ 127 Break Point 1 96 2 00 60 -127 ~ 127 Offset 1 98~118 00 62 ~ 00 76 Break Point/Offset 2~8 119 2 00 77 -127 ~ 127 T.Formant Intens 121 1 00 79 0 ~ 127 Break Point 1 122 2 00 7A -127 ~ 127 Offset 1 124~132 00 7C ~ 01 04 Break Point/Offset 2~4 133 1 01 05 -64 ~ 63 T.Formant Amount 134 1 01 06 0 ~ 127 Break Point 1 135 1 01 07 -64 ~ 63 Offset 1 136~141 01 08 ~ 01 0D Break Point/Offset 2~4 142 1 01 0E 0 ~ 125 T.Formant HPF 143 1 01 0F 0 ~ 127 Break Point 1 144 1 01 10 -64 ~ 63 Offset 1 145~148 01 11 ~ 01 14 Break Point/Offset 2~3 149 1 01 15 0 ~ 127 T.Formant LPF 150 1 01 16 0 ~ 127 Break Point 1 151 1 01 17 -64 ~ 63 Offset 1 152~155 01 18 ~ 01 1D Break Point/Offset 2~3 156 1 01 1C 0 ~ 127 Driver Output 157 1 01 1D 0 ~ 127 Break Point 1 158 1 01 1E -64 ~ 63 Offset 1 159~168 01 1F ~ 01 28 Break Point/Offset 2~6 169 1 01 29 0 ~ 127 Pipe/String Output 170 1 01 2A 0 ~ 127 Break Point 1 171 1 01 2B -64 ~ 63 Offset 1 172~181 01 2C ~ 01 35 Break Point/Offset 2~6 182 1 01 36 0 ~ 127 Tap Output 183 1 01 37 0 ~ 127 Break Point 1 184 1 01 38 -64 ~ 63 Offset 1 185~194 01 39 ~ 01 42 Break Point/Offset 2~6 195 1 01 43 0 ~ 1 Tap Sign 196 1 01 44 0 ~ 4 Tap Setting 197 1 01 45 0 ~ 127 Tap Location 198 1 01 46 0 ~ 127 Break Point 1

199 1 01 47 -64 ~ 63 Offset 1 200~213 01 48 ~ 01 55 Break Point/Offset 2~8 214 1 01 56 0 ~ 127 Amplitude Level 215 1 01 57 0 ~ 127 Break Point 1 216 1 01 58 -64 ~ 63 Offset 1 217~230 01 59 ~ 01 66 Break Point/Offset 2~8 231~240 01 67 ~ 01 70 32 ~ 126 Element Name 1~10 241~707 01 71 ~ 05 43 reserve 708 2 05 44 -127 ~ 127 Excitation Level To Pipe/String 710 1 05 46 0 ~ 127 Break Point 1 711 2 05 47 -127 ~ 127 Offset 1 713~718 05 49 ~ 05 4E Break Point/Offset 2~3 719~725 05 4F ~ 05 55 reserve 726 2 05 56 -127 ~ 127 Excitation Level To Driver 728 1 05 58 0 ~ 127 Break Point 1 729 2 05 59 -127 ~ 127 Offset 1 731~736 05 5B ~ 05 60 Break Point/Offset 2~3 737 1 05 61 0 ~ 127 Excitation LPF Cutoff Freq 738 1 05 62 0 ~ 127 Break Point 1 739 1 05 63 -64 ~ 63 Offset 1 740~743 05 64 ~ 05 67 Break Point/Offset 2~3 744 1 05 68 0 ~ 16 Excitation Velo Sens To Level 745 1 05 69 0 ~ 16 Excitation Velo Sens To LPF 746 1 05 6A -16 ~ 16 Excitation Velo Sens To

P.Width 747 1 05 6B 0 ~ 127 Excitation Pulse Width 748 1 05 6C 0 ~ 127 Break Point 1 749 1 05 6D -64 ~ 63 Offset 1 750~753 05 6E ~ 05 71 Break Point/Offset 2~3 754 05 72 reserve 755 1 05 73 0 ~ 5 HE Carrier Signal 756 1 05 74 0 ~ 127 HE Carrier HPF 757 1 05 75 0 ~ 127 Break Point 1 758 1 05 76 -64 ~ 63 Offset 1 759~764 05 77 ~ 05 7C Break Point/Offset 2~4 765 1 05 7D -64 ~ 63 HE Carrier Overdrive 766 1 05 7E 0 ~ 127 Break Point 1 767 1 05 7F -64 ~ 63 Offset 1 768~773 06 00 ~ 06 05 Break Point/Offset 2~4 774 1 06 06 0 ~ 127 HE Carrier Level 775 1 06 07 0 ~ 127 Break Point 1 776 1 06 08 -64 ~ 63 Offset 1 777~786 06 09 ~ 06 12 Break Point/Offset 2~6 787 1 06 13 0 ~ 5 HE Modulator Signal 788 1 06 14 0 ~ 127 HE Modulator HPF 789 1 06 15 0 ~ 127 Break Point 1 790 1 06 16 -64 ~ 63 Offset 1 791~792 06 17 ~ 06 18 Break Point/Offset 2 793 1 06 19 -64 ~ 63 HE Modulator Overdrive 794 1 06 1A 0 ~ 127 Break Point 1 795 1 06 1B -64 ~ 63 Offset 1 796~797 06 1C ~ 06 1D Break Point/Offset 2 798 1 06 1E 0 ~ 127 HE Modulator Phase 799 1 06 1F 0 ~ 127 HE Modulator Index 800 1 06 20 0 ~ 127 Break Point 1 801 1 06 21 -64 ~ 63 Offset 1 802~807 06 22 ~ 06 27 Break Point/Offset 2~4 808 1 06 28 -64 ~ 63 HE Balance 809 1 06 29 0 ~ 127 Break Point 1 810 1 06 2A -64 ~ 63 Offset 1 811~816 06 2B ~ 06 30 Break Point/Offset 2~4 817 1 06 31 0 ~ 3 DF Filter Mode 818 1 06 32 0 ~ 127 DF Input Gain 819 1 06 33 0 ~ 1 DF Cutoff Tracking 820 1 06 34 0~127(-64~63)DF Cutoff Freq (Tracking=1) 821 1 06 35 0 ~ 127 Break Point 1 822 1 06 36 -64 ~ 63 Offset 1

Voice Lists

MIDI Data Format

823~826 06 37 ~ 06 3A Break Point/Offset 2~3 827 1 06 3B 0 ~ 127 DF Resonance 828 1 06 3C 0 ~ 127 Break Point 1 829 1 06 3D -64 ~ 63 Offset 1 830~833 06 3E ~ 06 41 Break Point/Offset 2~3 834 1 06 42 -64 ~ 63 DF Balance 835 1 06 43 0 ~ 127 EQ Input Gain 836 1 06 44 0 ~ 127 EQ HPF 837 1 06 45 0 ~ 127 Break Point 1 838 1 06 46 -64 ~ 63 Offset 1 839~844 06 47 ~ 06 4C Break Point/Offset 2~4 845 1 06 4D 0 ~ 127 EQ LPF 846 1 06 4E 0 ~ 127 Break Point 1 847 1 06 4F -64 ~ 63 Offset 1 848~853 06 50 ~ 06 55 Break Point/Offset 2~4 854 1 06 56 -8 ~ 8 EQ Post EQ Boost 855 1 06 57 0 ~ 48 EQ Band1 Freq 856 1 06 58 0 ~ 127 Q 857 1 06 59 -64 ~ 63 Level 858 1 06 5A 22 ~ 70 EQ Band2 Freq 859~860 06 5B ~ 06 5C Q and Level 861 1 06 5D 42 ~ 90 EQ Band3 Freq 862~863 06 5E ~ 06 5F Q and Level 864 1 06 60 64 ~ 112 EQ Band4 Freq 865~866 06 61 ~ 06 62 Q and Level 867 1 06 63 84 ~ 127 EQ Band5 Freq 868~869 06 64 ~ 06 65 Q and Level 870 1 06 66 0 ~ 1 IE on/off 871 1 06 67 0 ~ 127 IE Density 872 1 06 68 0 ~ 127 IE Dispersion 873 1 06 69 0 ~ 16 IE Roughness 874 1 06 6A 0 ~ 127 IE Wet Level 875 1 06 6B -64 ~ 63 IE Level Balance 876 1 06 6C 0 ~ 1 RSN on/off 877 1 06 6D 0 ~ 127 RSN Input Gain 878~887 2 06 6E ~ 06 77 0 ~ 1023 RSN Delay Time 1~5 888 1 06 78 0 ~ 127 RSN Decay Time 889 1 06 79 0 ~ 127 RSN LPF 890 1 06 7A -64 ~ 63 RSN Conjunction 891 1 06 7B 0 ~ 16 RSN Diffusion 892 1 06 7C -16 ~ 16 RSN Phase 893 1 06 7D 0 ~ 127 RSN Wet Level 894 1 06 7E -64 ~ 63 RSN Level Balance 895 1 06 7F 0 ~ 127 IE&RSN Dry Level 896 1 07 00 -16 ~ 16 Pres EG Attack Rate Offset 897 1 07 01 -16 ~ 16 Pres EG Release Rate Offset 898 1 07 02 0 ~ 16 Pres EG Velocity Sens To

Level

899 1 07 03 0 ~ 16 Pres EG Velocity Sens To

Rate 900~953 07 04 ~ 07 39 reserve 954 1 07 3A 0 ~ 2 Pres EG Mode 955 1 07 3B 0 ~ 16 E&P EG Velocity Sens To

Level 956 1 07 3C -16 ~ 16 E&P EG Velocity Sens To

Rate 957 1 07 3D 0 ~ 127 E&P EG Hold Time 958 1 07 3E 0 ~ 127 Break Point 1 959 1 07 3F -64 ~ 63 Offset 1 960~961 07 40 ~ 07 41 Break Point/Offset 2 962 1 07 42 -64 ~ 63 E&P EG Initial Level 963 1 07 43 0 ~ 127 Break Point 1 964 1 07 44 -64 ~ 63 Offset 1 965~966 07 45 ~ 07 46 Break Point/Offset 2 967 1 07 47 0 ~ 127 E&P EG Attack Rate 968 1 07 48 0 ~ 127 Break Point 1 969 1 07 49 -64 ~ 63 Offset 1

970~971 07 4A ~ 07 4B Break Point/Offset 2 972 1 07 4C 0 ~ 127 E&P EG Attack Level 973 1 07 4D 0 ~ 127 Break Point 1 974 1 07 4E -64 ~ 63 Offset 1 975~976 07 4F ~ 07 50 Break Point/Offset 2 977 1 07 51 0 ~ 127 E&P EG Decay Rate 978 1 07 52 0 ~ 127 Break Point 1 979 1 07 53 -64 ~ 63 Offset 1 980~981 07 54 ~ 07 55 Break Point/Offset 2 982 1 07 56 0 ~ 64 E&P EG Depth To

Embouchure 983 1 07 57 0 ~ 64 E&P EG Depth To Pitch 984 1 07 58 0 ~ 127 Vibrato Delay Time 985 1 07 59 0 ~ 127 Break Point 1 986 1 07 5A -64 ~ 63 Offset 1 987~988 07 5B ~ 07 5C Break Point/Offset 2 989 1 07 5D 0 ~ 127 Vibrato Attack Rate 990 1 07 5E 0 ~ 127 Break Point 1 991 1 07 5F -64 ~ 63 Offset 1 992~993 07 60 ~ 07 61 Break Point/Offset 2 994 1 07 62 0 ~ 127 Vibrato Sustain Level 995 1 07 63 0 ~ 127 Vibrato Depth 996 1 07 64 0 ~ 127 Break Point 1 997 1 07 65 -64 ~ 63 Offset 1 998~999 07 66 ~ 07 67 Break Point/Offset 2 1000 1 07 68 0 ~ 127 Vibrato Depth To Embouchure 1001 1 07 69 0 ~ 127 Vibrato Depth To Pitch 1002 2 07 6A -127 ~ 127 Vibrato Offset 1004 1 07 6C 0 ~ 127 Vibrato Speed 1005 1 07 6D 0 ~ 127 Break Point 1 1006 1 07 6E -64 ~ 63 Offset 1 1007~1008 07 6F ~ 07 70 Break Point/Offset 2 1009 1 07 71 0 ~ 16 Vibrato Speed Shift 1010 1 07 72 0 ~ 10 Vibrato Randomness 1011 1 07 73 0 ~ 127 Growl Depth To Pressure 1012 1 07 74 0 ~ 127 Growl Depth To B.Noise 1013 2 07 75 -127 ~ 127 Growl Offset 1015 1 07 77 0 ~ 127 Growl Speed 1016 1 07 78 0 ~ 127 Break Point 1 1017 1 07 79 -64 ~ 63 Offset 1 1018~1019 07 7A ~ 07 7B Break Point/Offset 2 1020 1 07 7C 0 ~ 10 Growl Randomns 1021 1 07 7D 0 ~ 16 Growl Speed Shift 1022 1 07 7E 0 ~ 1 Growl Vibrato Sync 1023 1 07 7F 0 ~ 16 A&F EG Velocity Sens To

Level 1024 1 08 00 0 ~ 16 A&F EG Velocity Sens To

Rate 1025 1 08 01 0 ~ 127 A&F EG Attack Rate 1 1026 1 08 02 0 ~ 127 Break Point 1 1027 1 08 03 -64 ~ 63 Offset 1 1028~1029 08 04 ~ 08 05 Break Point/Offset 2 1030 1 08 06 0 ~ 127 A&F EG Attack Level 1 1031~1034 08 07 ~ 08 0A Break Point/Offset 1~2 1035 1 08 0B 0 ~ 127 A&F EG Attack Rate 2 1036~1039 08 0C ~ 08 0F Break Point/Offset 1~2 1040 1 08 10 0 ~ 127 A&F EG Decay Rate 1041~1044 08 11 ~ 08 14 Break Point/Offset 1~2 1045 1 08 15 0 ~ 127 A&F EG Sustain Level 1046~1049 08 16 ~ 08 19 Break Point/Offset 1~2 1050 1 08 1A 0 ~ 127 A&F EG Release Rate 1051~1054 08 1B ~ 08 1E Break Point/Offset 1~2 1055 1 08 1F 0 ~ 127 A&F EG Depth To Amplitude 1056 2 08 20 -127 ~ 127 A&F EG Depth To Filter 1058~1479 08 22 ~ 0B 47 reserve

Voice Lists

MIDI Data Format

Table 5.3 System Parameters

no. c p v name 0~19 1 00 00 ~ 00 13 32 ~ 126 Greeting Message 1~20 20 1 00 14 -12 ~ 12 Keyboard Transpose VL1,7 only 21 1 00 15 0 ~ 1 Local on/off 22 1 00 16 0 ~ 3 Octave Switch Hold VL1,7 only 23 1 00 17 -64 ~ 63 Master Tuning 24 1 00 18 0 ~ 1 Memory Protect 25 1 00 19 0 ~ 1 Reverb 26 1 00 1A 0 ~ 1 Output 27 1 00 1B 0 ~ 127 Velocity Curve VL1,7 only 28 1 00 1C -16 ~ 17 After Touch Curve VL1,7 only 29 1 00 1D -16 ~ 17 Breath Control Curve 30 1 00 1E 0 ~ 119 Modulation Wheel 2 VL1,7 only 31 1 00 1F 0 ~ 120 Foot Switch 1 VL1,7 only 32 1 00 20 0 ~ 120 Foot Switch 2 VL1,7 only 33 1 00 21 0 ~ 119 Foot Controller 1 VL1,7 only 34 1 00 22 0 ~ 119 Foot Controller 2 VL1,7 only 35 1 00 23 0 ~ 119 Breath Controller VL1,7 only 36 1 00 24 0 ~ 15 Transmit Channel 37 1 00 25 0 ~ 16 Receive Channel 38 1 00 26 0 ~ 17 Device Number 39 1 00 27 0 reserve 40 1 00 28 0 ~ 1 Display 41 1 00 29 0 ~ 1 Confirm 42 1 00 2A 0 ~ 1 WX Lip 43 1 00 2B 0 ~ 2 Breath Mode 44 1 00 2C 0 ~ 127 Touch EG Time 45 1 00 2D 0 ~ 127 After Touch High Offset 46 1 00 2E -7 ~ 7 After Touch High Gain 47 1 00 2F 0 ~ 127 After Touch Low Offset 48 1 00 30 -7 ~ 7 After Touch Low Gain 49 1 00 31 0 ~ 127 Velocity Offset 50 1 00 32 -7 ~ 7 Velocity Gain 51~63 00 33 ~ 00 3F 0 reserve

16 1 00 10 ENTER 17~24 1 00 11~18 F1~F8 25~28 1 00 19~1C A~D VL1,7 only 29~32 1 00 1D~20 E~H VL1 only 33~48 1 00 21~30 1~16 VL1,7 only

value 0 ~ 63 : off value 64 ~ 127 : on

Table 5.6 Program Change Table Parameters

(VL1-m only)

no. c p v name 0~127 1 00 00~7F 0 ~ 127 001~128

Table 5.7 Element, Effect and Modifier on/off

no. c p name 0 1 00 00 Element 1 on/off VL1,1-m only 1 1 00 01 Element 2 on/off VL1,1-m only 2 1 00 02 Modulation Effect on/off 3 1 00 03 Feedback Delay on/off 4 1 00 04 Reverberation on/off 5 1 00 05 Harmonic Enhancer on/off 6 1 00 06 Dynamic Filter on/off 7 1 00 07 Equalizer on/off 8 1 00 08 Impulse Expander on/off 9 1 00 09 Resonator on/off

value 0 ~ 63 : off value 64 ~ 127 : on

Table 5.4 Micro Tuning Parameters

no. c p v name 0~254 2 00 00 ~ 01 7E 0 ~ 10794 C-2~G8 256~265 1 02 00 ~ 02 09 32 ~ 126 Table Name 1~10

Table 5.5 Remote Switch

no. c p name 0 1 00 00 PLAY 1 1 00 01 EDIT 2 1 00 02 UTILITY 3 1 00 03 COPY 4 1 00 04 STORE 5 1 00 05 Data Dial -1 6 1 00 06 Data Dial +1 7 1 00 07 Data Dial -16 8 1 00 08 Data Dial +16 9 1 00 09 DEC 10 1 00 0A CURSOR UP 11 1 00 0B INC 12 1 00 0C CURSOR LEFT 13 1 00 0D CURSOR DOWN 14 1 00 0E CURSOR RIGHT 15 1 00 0F EXIT

Yamaha VL VERSION2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual