Yamaha VP1E1 User Manual

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.

Bescheinigung des Importeurs

Hiermit wird bescheinigt, daß der/die/das

Gerät: Synthesizer Typ: VP1

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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

VERFÜGUNG 1046/84

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Amtsblattverfügung)
funkentstört 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 lmporteurs.

Dies bezieht sich nur auf die von der YAMAHA EUROPA

*

GmbH vertriebenen Produkte.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering.
Udskiftning må kun ske med batteri af samme fabrikat og type.
Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma
batterityp eller en ekvivalent typ som rekommenderas av
apparattillverkaren. Kassera använt batteri enligt fabrikantens
instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda
paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.
Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

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

Owner’ s Manual

Thank you for your purchase of the Yamaha VP1 Virtual Acoustic
Synthesizer. The VP1’s revolutionary VA sound system offers a range
of sounds and performance features not available from ordinary
synthesizers.

Please read through this manual to familiarize yourself with the VP1’s
operation and its many superlative functions. Retain the manual in a
safe place for future reference.

VP1 OWNER’S MANUAL

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Features

Revolutionary Virtual-Acoustic Sound System

The VP1’s VA (virtual acoustic) sound production is entirely different from
techniques used on conventional synthesizers. The system generates a computerized
model of the target instrument’s acoustic characteristics, creating a virtual instrument
that sounds and feels like the real thing.

Conventional synthesizers create sound by mixing monotone oscillations or by processing
a memorized set of waveform samples. Results are often uninteresting, or too far from what
you are aiming at. You can try to improve the sound by manipulating a host of seemingly
arbitrary settings, but the process frequently becomes tedious and discouraging.

Yamaha’s VA system changes this picture entirely. Operation is intuitively
reasonable, and the resulting sound is far more realistic.

The VP1 utilizes an F/VA (free-oscillating VA) sound system — one of the two
variants of the VA approach. The system creates a computerized model consisting of
two modules: a “driver” component and a “string” component. The driver component
simulates the action of the striking system (analogous to the action of a pick or finger
against a guitar string), while the string component simulates the action of the
vibrating system (analogous to the combination of the guitar’s string, fret, and bridge).
The VP1 fine-tunes the properties of each of these modules to produce a virtual
instrument with an extremely realistic sound.

You can use the VP1 to reproduce the sound of existing acoustic instruments, or to
design fanciful virtual instruments that could never exist in the real world. Regardless
of the type of instrument you choose, the resulting sound will have an authentic, real­world quality not available from conventional synthesizers.

Powerful Controllers

The VP1’s powerful controllers allow you to achieve an expressive range previously
available only to skilled performers of acoustic instruments.

Consider a guitar player. The guitarist’s sound is determined not just by the finger on
the fret and the pick against the string. Many different actions are involved — the force
and direction of the pick, the left hand’s muting, vibrato, glissando, and trill effects,
the right hand’s muting and harmonic effects, the motion of the right arm, and so on.

It would be impossible to simulate all of these different actions using only the
keyboard. This is why the VP1 supports a full assortment of controllers — a pitch
wheel, two modulation wheels, a two-directional modulation ball, a breath controller,
two foot controllers, two foot switches, and two continuous sliders. By mastering the
use of these controllers, you can achieve a high level of expressiveness on any voice
you happen to be playing.

VP1 OWNER’S MANUAL

ii

Generally speaking, each controller governs a single parameter. But each time you
change the voice, the VP1 changes the parameter assignments accordingly — ensuring
that you always have significant control over the most important features of the voice
you are playing. You are also free to rearrange the parameters among the different
controllers so as to achieve the configuration best suited to your own playing style.

The VP1’s controller features allow you break through the barriers of electronic
instrumentation to achieve a level of control previously limited to acoustic instruments.

Kaleidoscopic “Scene” Control

The VP1 can store all controller settings into a single “scene”. You can register up to
three of these scenes, and recall any one of them at the press of a button. Or you can
use the Scene Controller to fade seamlessly from one scene into another, stopping at
any intermediate value along the way. This unique “scene” concept allows you to
produce unprecedented multidimensional sound changes.

High-Quality Effects

The VP1 offers five times as many as effects the SPX1000 — reverb, flanger, delay,
chorus, and many more. You can set these effects separately for each voice.

Professional Features

■ Professional Parallel Output

The VP1 processes effects internally to produce high-quality stereo output. You are
also free to select monaural output.

The VP1 also produces separate stereo outputs for each of the four elements
comprising the voice. You can connect all of these outputs to a mixer and add external
effects.

■ First VA System with 16-Note Polyphony

The VP1 is the world’s only VA system capable of producing 16-note polyphony. The
four-element voice structure affords ample capability for setting up complex
multilayered and split voices.

■ Superlative Design

The VP1’s FS76 keyboard already enjoys a high reputation among professional
musicians. All VP1 controllers are equipped with multicolor LEDs, allowing you to
ascertain controller conditions at a glance. And the instrument’s top and rear panels
are finished with high-quality real wood trim. Each panel has its own unique grain
pattern, so that no two synthesizers look exactly alike.

■ Complexity

The VP1 simulates an acoustic instrument not only in sound but also in sophistication
and complexity. Like an acoustic instrument, the VP1 requires — and amply rewards
— practice. As you master the instrument’s controllers and functions, you will
gradually attain your own unique, personalized performance style.

VP1 OWNER’S MANUAL

iii

Using The Manual

The manual you are holding is divided into two main sections — BASICS and REFERENCE.

BASICS

This section introduces you to basic information that will help you become familiar with your synthesizer. The
section explains various precautions, tells you how to connect up the synthesizer, takes you through a trial run, and
describes the basic principles of operation and sound production.

Users who are unfamiliar with the VP1 should read through the entire BASICS section carefully.

■ Chapter 1 Setting It Up

This chapter introduces you to the different components and explains how to connect
everything up.

■ Chapter 2 Trying it Out

Chapter 2 takes you through a trial run and introduces some of the VP1’s operational
basics. It also explains how to play the synthesizer’s built-in demos.

■ Chapter 3 Learning the Basics

Chapter 3 describes the principles of operation, and explains the functioning of
controllers and other features.

REFERENCE

The REFERENCE section offers detailed explanations of the VP1’s different functions. It describes in detail the various
methods for implementing performance, voice, and controller settings, and for writing data to or from the floppy disk.

You do not need to read through the REFERENCE section in its entirety. Use it as a ready reference, turning to the
relevant pages whenever you need to learn more about a particular function.

■ Chapter 1 PLAY Mode

This chapter provides comprehensive explanations of the functions for selecting,
playing, and editing voices.

■ Chapter 2 SYSTEM Mode

Chapter 2 explains system-wide settings related to sound production, keyboard
operation, MIDI, and controllers.

■ Chapter 3 DISK Mode

This chapter describes the VP1’s various disk functions. It explains how to save data
to disk, load data from disk, format new disks, and rename existing disk files.

■ Appendix

The Appendix describes the system’s error messages and offers some advice on
troubleshooting.

Please refer also to the separately bound “Performance Notes” for a full listing of the VP1’s original voices and
functions.

VP1 OWNER’S MANUAL

iv

Notations

The following notational conventions are used throughout the manual to enhance clarity and readability.

PLAY

Denotes the PLAY button. All buttons are indicated by a rounded rectangular border
enclosing the button (function) name. Note that the function name also appears on the
synthesizer panel directly above or below the corresponding button. Some buttons
have two functions, with the name of the secondary function written in purple lettering
on the panel. When referring to the purple-lettered function, we use the following type
of notation: “

F1

:E1”, where “

“E1” denotes the function indicated in purple.

F1

” denotes the button’s usual function and

Name of function

When referring to a function button (
button followed by the name of the operation that the button selects. For example:

F1

:Info.

Important

An important note or precaution intended to help you avoid loss of data or other major
inconvenience. Always read these notices carefully.

FYI (For your information)

Reference information indirectly related to the content of the main text. May contain
practical advice or general supplementary information.

Procedure

Step-by-step instructions for carrying out a particular function or operation.

Description

General description of one of the VP1’s functions.
(➝ BASICS: - ) (➝ REFERENCE: - )

Directs you to another page for related information.

Within the REFERENCE section, all function descriptions begin with a fixed-format heading
summarizing important information about the function. An example is shown below.

Procedure for entering the function

F1

F8

~

Brief description

), we write the symbol for the

CONTROLLER ASSIGN TABLE: Control Range

PLAY

Determines the degree by which a parameter value changes in response to controller movement.
Max 0 ~ 127

Center 0 ~ 127
Min 0 ~ 127

Settable items (Listed
in the order that they
appear on the screen).

→

F4

(CTbl) →

Allowable values

F1

([Rng])

Display

VP1 OWNER’S MANUAL

v

Contents

All page numbers begin with a letter indicating the section: “B” for BASICS, or “R” for REFERENCE.

BASICS

Chapter 1 Setting It Up

Controls and Connectors • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 2

Top Panel • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 2
Rear Panel • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 6
Front Side • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 8

Connecting the System • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 9

Connecting the Power Cord • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 9
Connecting the Controllers • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 10
Connecting Amplifiers or Mixer • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 12

MIDI Connection • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 14
The Floppy Disk • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 16
MIDI • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 1 - 17

Chapter 2 Trying It Out

First Try • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 2

Checking the Sound Output • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 2

Trying Some Voices • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 3

Using the Controllers • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 4

Using Quick Edit • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 6
Playing the Demos • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 2 - 8

Chapter 3 Learning the Basics

Sound Production • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 2

F/VA Sound Synthesis • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 2

Physical Characteristics of Struck-String Instruments • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 2

Driver • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 3

String • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 3

Editing Limitations • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 3
Voice Formation • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 4

Elements • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 4

Mixer • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 5

Voices • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 5

VP1 OWNER’S MANUAL

vi

Contents

Memory Configuration • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 6

System Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 6

Voice Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 6

Floppy Disks • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 7
Controllers • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 8

Principle of Operation • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 8

Innovative Controller Types • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 9
Scenes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 11

What is a Scene? • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 11

Scene Controller • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 12

Scene LEDs • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 13

Controller Hook Function • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 14

Controller LEDs • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 15

Controller Initialization Function • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 15
Quick Edit • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 16

General Description • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 16

Using Quick Edit • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 17

Storing Results • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 17

Quick-Edit Parameters • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 18

MIDI Quick Edit Control • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 20
Voice Categories • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 21

Category Listing • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 21
Modes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 22

PLAY Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 22

SYSTEM Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 22

DISK Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 22
Basic Operations • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 23

Switching the Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 23

Selecting a Voice • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 23

Selecting a Function • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 24

Returning to Previous Screen • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 24

Moving the Cursor • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 24

Changing Numerical Settings • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 25

Changing Multiple-Choice Settings • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 25

Entering Characters • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 26
Voice Editing • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 27

General Editing Procedure • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 27

Storing • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 28

Comparing • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 30

Copying • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 30

ELEMENT SELECT and ELEMENT ON/OFF • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • B: 3 - 31

VP1 OWNER’S MANUAL

vii

Contents

REFERENCE

Chapter 1 PLAY Mode

Outline • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 2
Performance and Status • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 3

Functions • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 3

PLAY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 4

INFORMATION DISPLAY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 5

CONTROLLER VALUE VIEW • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 6

KEYBOARD TRANSMIT CHANNEL • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 7

VOICE DIRECTORY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 8
Editing Functions • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 9

CONTROLLER ASSIGN TABLE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 10

CONTROLLER ASSIGN TABLE: Control Range • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 12

SCENE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 14

VOICE SETUP • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 16

VOICE SETUP: Element Switch • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 17

VOICE SETUP: Max Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 18

VOICE SETUP: Receive Channel • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 19

VOICE SETUP: Key Assign Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 20

VOICE SETUP: Volume • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 22

VOICE SETUP: Detune • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 23

VOICE SETUP: Note Shift • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 24

VOICE SETUP: Pan Range • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 25

VOICE SETUP: Note Limit • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 27

VOICE SETUP: Microtuning • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 28

VOICE SETUP: Portamento Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 30

VOICE SETUP: Portamento Resolution • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 31

VOICE SETUP: PB Range • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 32

VOICE SETUP: PB Curve • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 33

VOICE SETUP: Zoned Aftertouch Mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 35

VOICE SETUP: Zoned Aftertouch Split • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 36

VOICE SETUP: Sustain • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 37

VOICE SETUP: Element Copy • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 38

OUTPUT: MIXER • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 41

OUTPUT: EFFECTS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 43

Effect Types • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 44

Effects Parameters • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 45

OUTPUT: Effect Copy • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 50

OUTPUT: Equalizer • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 51

OUTPUT: Equalizer Copy • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 53

STORE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 54

COMPARE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 1 - 56

VP1 OWNER’S MANUAL

viii

Contents

Chapter 2 SYSTEM Mode

Outline • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 2
SYSTEM Functions • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 3

TONE GENERATOR SETTINGS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 4

KEYBOARD SETTINGS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 6

MIDI SETTINGS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 8

ASSIGNABLE CONTROLLERS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 10

GREETING MESSAGE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 12

MISCELLANEOUS SETTINGS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 2 - 13

Chapter 3 DISK Mode

Outline • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 2
DISK Functions • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 3

LOAD ALL DATA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 4

LOAD 1 BANK • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 5

LOAD 1 VOICE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 7

SAVE ALL DATA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 9

RENAME • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 11

FORMAT • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: 3 - 12

Appendix

Function List • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 2
Troubleshooting • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 5
Error Messages • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 9
Specifications • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 11
MIDI Data Format • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 14
MIDI Implementation Chart • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • R: Appendix - 20

Index

Index • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Index - 2

VP1 OWNER’S MANUAL

ix

BASICS

PART

Chapter 1

Setting It Up

This chapter introduces the VP1’s various controls and connectors, and

explains how to connect everything up. Users unfamiliar with the VP1

should read this chapter carefully.

BASICS

Chapter 1 Setting It Up

1 - 1

Controls and Connectors

Top Panel

Y

Controls and Connectors

MODULATION BALL

（１）

PITCH MODULATION 1 MODULATION 2

（2）（3）（4） （5）

(1) MODULATION BALL

Use this ball to simultaneously control two different parameter values during
performance. Rotation in the X direction controls one parameter, while
rotation in the Y direction controls the other. Control effects differ for each
voice. (➝ BASICS: 3-9)

X

CS 1VOLUME

FOOT

CONTROLLER 1

FOOT

CONTROLLER 2

TOUCH EG

AFTER TOUCH

BREATH

BREATH

CONTROLLERPHONESFDD

(2) PITCH wheel

Provides continuous variation of pitch. Depending on voice settings, wheel
operation may also affect other sound qualities.

(3) MODULATION 1 wheel

Controls one voice parameter during performance. The actual effect differs
for each voice.

(4) MODULATION 2 wheel

Controls one voice parameter during performance, where the actual effect
depends on the voice. Unlike the MODULATION 1 wheel, this wheel
includes a center click-stop.

(5) Controller LEDs

Each LED indicates the status of the corresponding controller. GREEN
means that the controller is currently effective, SOLID RED means that the
controller is outside of its effective range, and FLASHING RED means that
the controller is currently effective on some elements only. OFF means that
the controller is currently unassigned. (➝ BASICS: 3-15)

BASICS

Chapter 1 Setting It Up

1 - 2

Controls and Connectors

（6） （7）（8） （11）

PLAY SYSTEM DISK STORE COMPARE

（9） （10） （12）

(6) PLAY button

SYSTEM button
DISK button

Each button selects the corresponding mode. The PLAY button always
switches the display to the initial PLAY screen. (➝ BASICS: 3-22)

(7) STORE button

Stores an edited voice to internal memory, or copies an existing voice to
another location (a different “voice number”). (➝ BASICS: 3-28)

SCENE 1 SCENE 2 SCENE 3

SCENE CONTROLLER

CS 2CS 1VOLUME

(8) COMPARE button

Use this button to compare the sound of the voice you are editing with the
sound of the same voice before editing began. (➝ BASICS: 3-38)

(9) VOLUME slider

Adjusts the output volume. Note that this slider has no effect on the output
levels at the ELEMENT jacks.

(10) CS1 and CS2 (Continuous sliders)

These sliders provide real-time control of voice parameters during
performance. Actual effects differ for each voice.

(11) SCENE 1, SCENE 2, and SCENE 3 buttons

The VP1 memorizes up to three complete sets of controller settings, or
“scenes”. Pressing one of the SCENE buttons reestablishes the
corresponding set of controller settings.

(12) SCENE CONTROLLER

Use this controller to slide continuously from one scene into another. The
center click-stop position selects Scene 2. (➝ BASICS: 3-12)

BASICS

Chapter 1 Setting It Up

1 - 3

（13） （16）

QUICK EDIT

EQ LOW
AT FOLLOW
LFO DEPTH
EG ATTACK

EQ LO-MID

VEL SENS

LFO SPEED

EG DECAY

EQ HI-MID

POR TIME

LFO DELAY

EG SUSTN

EQ HIGH
EF DEPTH
LFO HOLD
EG RELSE

F1 F2 F3 F4 F5 F6 F7 F8 CONT

QS4QS3QS2QS1

（15）

Controls and Connectors

（14） （17） （18）

▽C3

(13) QUICK EDIT selectors ( and )

Use these to select the functions to be controlled by the QUICK EDIT
sliders. (➝ BASICS: 3-16)

(14) QS1, QS2, QS3, and QS4 (Quick-edit sliders)

Use these sliders for quick editing. The LEDs along the right side of each
slider indicate the slider’s position. If the slider is at center position, the two
middle LEDs will be on. (➝ BASICS: 3-17)

(15) C3 key mark

Marks the position of note C3 on the keyboard. The marking is not
meaningful if the keyboard has been transposed.

(16) Display

The LCD displays the name of the currently selected voice, together with
various status information. Characters may be displayed black-on-white or
white-on-black. (➝ REFERENCE: 2-13) The screen’s contrast level may
change slightly over the course of a long session; adjust as necessary using
the CONT knob. (➝ REFERENCE: 2-13)

(17) F1 to F8 (Function buttons)

Use these buttons to select various functions while playing or editing. The
bottom line of the LCD indicates the currently available functions.

(18) CONT knob

Adjusts the LCD’s contrast.

BASICS

Chapter 1 Setting It Up

1 - 4

（19） （24）（20）

Controls and Connectors

BCDA

DEC/NO INC/YES

EXIT ENTER

1

E1

9

E1

2

3

E2

ELEMENT SELECT

ELEMENT ON/OFF

E3

10

11

E2

E3

5678

4

E4

12

13 14 15 16

E4

（22）（21）（23） （25）

(19) Dial

Use to switch voices or to change a numerical or character value. The
magnitude of change varies in proportion to the speed of dial rotation.

(20) DEC/NO button

INC/YES button

Press to increment or decrement a numerical or character value, or to answer
“YES” or “NO” to a confirmation query.

(21) Cursor buttons

Use these buttons to move the screen’s cursor to a different menu item or
value.

(22) EXIT button

Use this button to exit from the currently displayed screen (submode),
returning the LCD to the next higher-level screen.

(23) ENTER button

Press this button to select or execute a function.

(24) A to D: Voice bank buttons

Use these buttons to select the voice bank (A to D).

(25) 1 to 16: Program buttons

Use these buttons to select a voice (by voice number) from the current voice
bank. During voice editing, buttons 1 to 4 select voice elements, and buttons
9 to 12 toggle voice elements on and off. (➝ BASICS: 3-31)

BASICS

Chapter 1 Setting It Up

1 - 5

Rear Panel

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

ELEMENT 4

R L/MONO

ELEMENT 3

R L/MONO

ELEMENT 2

R L/MONO

ELEMENT 1

R L/MONO

Controls and Connectors

OUTPUT

R L/MONO

（1） （2） （3）

(1) Power-cord connector

Connects to the AC power cord supplied with the VP1. (Please do not use
any other power cord with the VP1.)

(2) POWER switch

Press to switch the power ON or OFF. Power is ON when the switch is in
depressed position; OFF when it is in raised position.

(3) ELEMENT jacks: L/MONO, R

Each set of jacks outputs one of the four elements comprising the voice.
Each element is output in stereo: the L/MONO jack outputs the left channel,
and the R jack outputs the right channel. For monaural output, use the L/
MONO jack.

(4) OUTPUT jacks: L/MONO, R

These jacks output the full sound produced by combination of all elements
plus effects. The L/MONO and R jacks output the left and right channels,
respectively. For monaural output, use the L/MONO jack.

（4）

BASICS

Chapter 1 Setting It Up

1 - 6

Controls and Connectors

PORTAMENTO SUSTAIN FOOT VOLUME SCENE

FOOT CONTROLLER

2 1

MIDI

THRU OUT IN

（5） （6）（7）（8） （9）

(5) PORTAMENTO and SUSTAIN jacks

Each of these jacks accepts connection to an FC4 or FC5 foot switch. A foot
switch connected to the SUSTAIN jack operates as a damper pedal; a foot
switch connected to the PORTAMENTO jack controls the portamento
effect.

(6) FOOT CONTROLLER jacks

Each jack accepts connection to an FC7 or FC9 foot controller. During
performance, each controller controls the value of one of the voice
parameters. The actual effects are different for each voice.

(7) FOOT VOLUME jack

This jack accepts connection to an FC7 or FC9 foot controller. The
connected controller operates as a volume pedal.

(8) SCENE jack

This jack accepts connection to an FC7 or FC9 foot controller. The
connected controller operates as a scene controller.

(9) MIDI connectors (IN, OUT, THRU)

These connectors attach to standard MIDI cables. The IN connector receives
MIDI input, the OUT connector transmits MIDI data produced within the
VP1, and the THRU connector relays data received at the IN connector.

FYI

• For hints about how to connect up the controllers supplied with your VP1, refer to

“Connecting the Controllers,” below. (➝ BASICS: 1-10)

BASICS

Chapter 1 Setting It Up

1 - 7

Front Side

Controls and Connectors

（1）（2） （3）（4）（5）

(1) Floppy-Disk Drive

The slot accepts insertion of a 3.5-inch 2HD (MF2HD) floppy disk.

(2) In-Use LED

This LED lights up while the VP1 is reading from or writing to the floppy
disk.

(3) EJECT button

Pressing this button ejects the floppy disk from the slot. Never press this
button while the In-Use LED is lit. Always proceed slowly and carefully
when inserting or removing a disk.

(4) Headphone jack

Connects to standard stereo headphones. Headphone impedance should be
between 8 and 150 ohms. Yamaha recommends the use of model HPE-170
headphones.

(5) Breath-controller jack

This jack connects to a BC2 or BC1 breath controller (sold separately). Like
other controllers, the breath controller provides dynamic control over one of
the assignable sound parameters.

FYI

• A “write-protect tab” is located on the rear side of the floppy disk casing. Setting the tab to
the lower position — so that the window is open — makes it impossible to write to or delete
from the disk. If your disk contains important data, you may want to set the tab downward to
protect against accidental data loss.

BASICS

Chapter 1 Setting It Up

1 - 8

Connecting the System

Connecting the System

Before you can use the system, you must first connect up the power cord and various accessories, such as amplifiers
and controllers. If you plan to use a sequencer, controller, or external MIDI device, you must also make the
necessary MIDI connections.

Important

• Be sure the power is off before making any connections. Amplifiers or speakers
may suffer damage if connections are made while power is on.

Connecting the Power Cord

Connect the supplied power cord to the power-cord connector on the VP1’s rear panel.
Then plug the other end of the cord into a standard wall socket.

YAMAHA MODEL VP1

AC INLET

Wallsocket

Powercord

POWER

ON/ OFF

ELEMENT 4

R L/MONO

Rearpanel

ELEMENT 3

R L/MONO

Important

• Be sure that the wall socket is rated for 120V (USA and Canada) or 220-240V
(Europe) general domestic use.

BASICS

Chapter 1 Setting It Up

1 - 9

Connecting the Controllers

Here we describe the more common connection configurations for the foot controllers
and foot switch supplied with the VP1. Numerous other configurations are possible —
you can connect to different jacks, and you can purchase and connect additional
controllers. Feel free to experiment with different configurations.

■ Foot Controllers

Plug the two FC7 foot controllers into the appropriate jacks on the rear panel.

Recommended:

Connecting the System

FOOTCONTROLLER1

Alternative:

YAMAHA MODEL VP1

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

R L/MONO

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

R L/MONO

OUTPUT

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel

FOOT CONTROLLER

21

FOOTCONTROLLER2

FOOT CONTROLLER

AC INLET

POWER

ON/ OFF

R L/MONO

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

R L/MONO

OUTPUT

R L/MONO

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel

FOOT VOLUME SCENE

FOOTVOLUME

SCENE

BASICS

Chapter 1 Setting It Up

1 - 10

Connecting the System

■ Foot Switch

Plug the FC4 foot switch into the SUSTAIN or PORTAMENTO jack on the rear
panel.

Recommended:

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

R L/MONO

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

R L/MONO

OUTPUT

SUSTAIN

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

THRU OUT

SUSTAIN

Alternative:

YAMAHA MODEL VP1

AC INLET

PORTAMENTO

POWER

ON/ OFF

R L/MONO

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

R L/MONO

OUTPUT

PORTAMENTO

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

THRU OUT

■ Breath Controller

The VP1 accepts connection of an optional breath controller (model BC2 or BC1). The
breath controller connects to the breath-controller jack on the front panel.

MIDI

MIDI

FYI

• The VP1 supports the use of FC7 and FC9 foot controllers, and FC4 and FC5 foot switches.

BASICS

Chapter 1 Setting It Up

1 - 11

Connecting Amplifiers or Mixer

The VP1 produces audible output via amplifiers, mixers, or other such sound­reproducing devices. For private listening, you can simply plug a set of stereo
headphones into the unit’s headphone jack.

■ Amplifiers

Connect one amplifier to the L/MONO OUTPUT jack, and another to the R OUTPUT
jack. For monaural operation, connect to the L/MONO jack only.

Connecting the System

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel

OUTPUT

R L/MONO



MS60S MS60S

OUTPUTR OUTPUTL

■ Mixer

Connect each OUTPUT jack to a channel on the mixer. The channel connected to the
L/MONO jack becomes the left pan; the channel connected to the R jack becomes the
right pan. Note that you can make the same kind of connection to an MTR (CMX
series), cassette deck, or similar such audio device.

YAMAHA MODEL VP1

AC INLET

MV1602

POWER

ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

OUTPUT

RL

OUTPUTR OUTPUTL

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel


INPUT(PAN=R)

INPUT(PAN=L)

BASICS

Chapter 1 Setting It Up

1 - 12

Connecting the System

■ ELEMENT jacks

You can connect each of the ELEMENT jacks to a different mixer channel. (For
monaural operation, connect the four L/MONO outputs only.) By also connecting the
two OUTPUT jacks to the mixer, you can get up to ten channels of output at one time.

YAMAHA MODEL VP1

AC INLET

POWER
ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel


MV1602

Important

• Never connect OUTPUT jacks to the microphone inputs of external amps or
cassette decks. Connecting through the microphone input can degrade sound
quality and may damage the external device. If you are connecting to a mixer, set
the mixer channels for “line input.”

• Remember that the VOLUME slider, effects settings, and equalizer settings do not
affect output coming from the VP1’s ELEMENT jacks.

• Quick Edit effects do not operate on output from the VP1’s ELEMENT jacks.

FYI

• The VP1 is normally used to produce stereo sound (two channels). For professional
applications you can use the two channels from the OUTPUT jacks, in combination with the
eight channels from the ELEMENT jacks.

BASICS

Chapter 1 Setting It Up

1 - 13

MIDI Connection

Connecting the System

MIDI connection allows you to control the VP1 from an external sequencer, computer,
or keyboard, or to control an external synthesizer or MIDI module from the VP1. The
following figures show some typical MIDI configurations.

■ To control the VP1 from an external keyboard or MIDI controller:

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

Rearpanel


MIDI

THRU OUT IN

KX5

MIDIIN

MIDIOUT

■ To control an external synthesizer or MIDI module from the VP1:

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

Rearpanel


FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

MIDI

THRU OUT IN

SY85

MIDIIN

MIDI

THRU OUT IN

MIDIOUT

Chapter 1 Setting It Up

BASICS

1 - 14

■ To record to, or play back from, a sequencer or computer:

Connecting the System

YAMAHA MODEL VP1

AC INLET

POWER

ON/ OFF

ELEMENT 4

ELEMENT 3

ELEMENT 2

ELEMENT 1

R L/MONO

R L/MONO

OUTPUT

R L/MONO

R L/MONO

R L/MONO

Rearpanel

Macintosh+
CBX-205set


MIDIIN

MIDIOUT

■ Configuration of a “live” system

CBX-D5

InterfacewithMIDI

VL1

SY99

Patchbay

function



FOOT CONTROLLER

PORTAMENTOSUSTAIN FOOT VOLUME SCENE

2 1

THRU OUT IN

MIDI

MIDIOUT

MIDI

THRU OUT IN

MIDIIN

RM50

TG500

SPX1000

DMP11

VP1

FYI

• Many other MIDI configurations are also possible.

• The MIDI THRU connector relays the signal received over the MIDI IN connector. Use of
MIDI THRU connections makes it possible to link together three or more devices.

BASICS

Chapter 1 Setting It Up

1 - 15

The Floppy Disk

The Floppy Disk

The floppy disk included in the VP1 package contains a copy of the data stored in the VP1’s internal memory at
time of shipping. You can use this floppy disk to restore the original environment at any time. (➝ REFERENCE: 3-

4).

FYI

• The floppy disk supplied with the VP1 contains system settings together with data defining
64 voices.

• The VP1 supports MF2HD-type floppy disks only.

• A single disk can store one sound file only. Each sound file contains one set of system
settings together with data for up to 64 voices.

• The VP1 formats disks into standard MS-DOS format (1.44M, 18 sectors/track). This makes
it easy to move your data into a conventional MS-DOS-compatible computer for storage or
processing.

BASICS

Chapter 1 Setting It Up

1 - 16

MIDI

The VP1’s MIDI capability significantly expands the range of performance opportunities available to you. This
page presents a brief overview of the VP1 MIDI.

■ What is MIDI?

MIDI (“Musical Instrument Digital Interface”) is the internationally recognized
standard interface for music-related digital communication among electronic
instruments, computers, sequencers, and related devices.

■ MIDI connectors and cables

All MIDI devices include MIDI connectors marked IN (input), OUT (output), and
THRU. (The THRU connector relays the data received at the IN connector.) MIDI
connections are made by running standard MIDI cables between these connectors.
Each MIDI cable connects the OUT or THRU connector of one device to the IN
connector of another device.

MIDI

■ Channels

A single MIDI cable can carry up to 16 channels of performance data — with each
channel originating from a different device. If you have a MIDI setup consisting of
three keyboards outputting performance data to a fourth device, for example, each
keyboard would be transmitting data over its own channel. Each channel is identified
by its channel number (1 to 16).

■ Data types

Each channel carries a variety of data types. Data types include the following.

Channel Messages

• Note data: Struck notes (pitches), and striking force

• Control change: Controller movement (modulation wheel, foot
controller, breath controller, etc.)

• Program change: New voice selection

• Channel aftertouch: Pressure retained on key after initial strike

• Pitch-bend: Movement of the pitch wheel

System Messages

• System-exclusive messages: Remote switch operation only (receive only)

BASICS

Chapter 1 Setting It Up

1 - 17

Chapter 2

Trying It Out

This chapter guides you through a trial run with the VP1, and explains
how to play the built-in demo selections.

BASICS

Chapter 2 Trying It Out

2 - 1

First Try

Now that you have connected up the VP1 as described in Chapter 1, you are ready to try it out.

Checking the Sound Output

First, let’s check that the VP1 correctly generates sound.

Procedure

1. Press the POWER switch on the rear panel.

▼The power comes on. The LCD briefly displays a greeting, then switches to

the screen illustrated below.

First Try

2. Switch on the power to the amplifiers.

▼The power-indicator LEDs on the amplifiers come on.

3. Adjust the amplifier volume.

4. Raise the VOLUME slider on the VP1.

5. Check that the LED above the

If the LED is off, press the

6. Play some notes on the keyboard.

▼You should hear the sound of the notes.

If you do not hear anything, refer back to Chapter 1 and recheck the
connections. If the connections appear to be correct, refer to the
Troubleshooting section. (➝ REFERENCE: App-5)

FYI

• For some voices, the initial display includes a “Notes” window containing a comment about
the voice. You can close the window by pressing the

PLAY

button is on.

PLAY

button once: the LED should come on.

EXIT

button.

BASICS

Chapter 2 Trying It Out

2 - 2

Trying Some Voices

The VP1’s internal memory comes loaded with 64 voices: four banks (A to D) of 16
voices each. The next procedure illustrates the various methods for switching to
different voices. Try playing a few of the voices to see how they sound. When you
select a voice, the voice’s category and name appear in large letters at the center of the
display.

Procedure

First Try

1. Press bank button

B

.

▼The LED above the button begins flashing.

2. Press program button

2

.

▼The Quick Edit panel lights up briefly. The LCD then changes to the display

illustrated below — indicating that the selected voice is B02, “Jody.”

Now try selecting other voices by pressing the appropriate bank button

A

(

to

D

) followed by the appropriate program button. If you are
switching between voices in the same bank, you do not need to press the bank
button.

3. Press the

INC/YES

button.

▼The voice number increases by 1.

In the same way, pressing the
that the
pressing

INC/YES

INC/YES

voice to B1. The

DEC/NO

and

when the current voice is A16, for example, switches the

INC/ YES

DEC/NO

decreases the voice number by 1. Notice

buttons are not restricted by bank boundaries —

DEC/NO

and

buttons for switching between nearby

voices.

4. Turn the dial.

Turn the dial clockwise to continuously increment the voice number, or
counterclockwise to decrement the number.

Now spend some time practicing the different voice-selection methods and
familiarizing yourself with the sounds of some of the voices.

FYI

• Some voices display a comment window when you first switch into them. You can close the
window by pressing the
REFERENCE: 1-4)

• The bottom line of the LCD displays a menu of the functions accessible from the current
screen (➝ REFERENCE: 1-3, 1-9)

EXIT

button, and reopen it by pressing the

ENTER

button. (➝

BASICS

Chapter 2 Trying It Out

2 - 3

Using the Controllers

Now let’s try using the parameter controllers and scene controller to alter the sound of
“The sound of the Waterbell voice (voice A02)”.

Important

• The procedure below assumes that factory-default values are in effect for the Tone
Generator (➝ REFERENCE: 2-4) and Assignable Controller (➝ REFERENCE: 2-

10) settings. If these values have been changed, the controllers may not operate as
described.

Procedure

First Try

1. Press bank button

A

.

▼The LED above the button begins flashing.

2. Press program button

2

.

▼The LCD changes to the display illustrated below, indicating that the

selected voice is A02, “WaterBell.”

3. Play on the keyboard.

Familiarize yourself with the sound of the voice.

▼The

SCENE2

SCENE1

.

LED goes off, and the

SCENE2

LED comes on.

4. Press

5. Play on the keyboard again.

The voice now has a noticeably different sound.

▼The

SCENE3

SCENE2

.

LED goes off, and the

SCENE3

LED comes on.

6. Press

7. Play on the keyboard once again.

The sound of the voice has changed again.

You can record up to three scenes for each voice, and instantaneously switch
among them. Each scene consists of a prerecorded combination of controller
settings. For further information about scenes, refer to the next chapter. (➝
BASICS: 3-11)

8. Move the SCENE CONTROLLER all the way to the right.

Chapter 2 Trying It Out

BASICS

2 - 4

First Try

9. Play on the keyboard while slowly sliding the SCENE CONTROLLER all

the way to the left.

The sound of the voice changes continuously as you slide the scene controller.
The scene controller allows you to make smooth changes between scenes.

▼The

SCENE2

SCENE2

.

LED comes on.

10. Press

11. Play on the keyboard with your right hand while rotating the

MODULATION 2 wheel with your left hand.

The indicator LED starts out red, but then turns green when rotation passes a
certain point — indicating that the modulation wheel has become effective.
(This type of operation is referred to as the controller’s “hook” function. For
details, refer to the next chapter.)

On the WaterBell voice, the Modulation 2 wheel controls the “Mellowness”
parameter. Operate the wheel and listen to the effect of this parameter.

12. Next, try out the effects of the other controllers: the pitch wheel,

modulation-1 wheel, modulation ball, continuous sliders, foot controllers,
and foot switch.

By combining these controller effects, you can obtain a remarkable range of
variation for the voice.

Each voice allocates parameters to controllers in its own way; each time you
change to a different voice, some or all of the parameter assignments also
change. The factory-default parameter assignments for the WaterBell voice are
as follows.

Modulation-1 wheel: Stiffness
Modulation-2 wheel: Mellowness
Foot controller 1: Mod. speed (Fluid speed)
Foot controller 2: Resonance (Emergence)
Modulation ball (X direction): Material 1 (Resonance)
Modulation ball (Y direction): Material 2 (Thickness)
Velocity: Volume (Stress)
Aftertouch: Pitch down

Combining the effects of different controllers can cause the voice to change so
much that you lose track of its original sound. But you can always return to an
original sound by pressing one of the SCENE buttons.

Try out the effects of the parameter controllers and scene controller on different
voices. You will notice that the controls tend to function differently for each voice. For
a listing of the default controller assignments for each voice, refer to the separately
issued “Performance Note.”

BASICS

Chapter 2 Trying It Out

2 - 5

Using Quick Edit

First Try

The VP1’s Quick Edit capability allows you to perform simple voice editing during
performance. The procedure below introduces you to Quick Edit operation. Refer to
the next chapter for a detailed explanation about quick editing. (➝ BASICS: 3-16)

Procedure

1. Press bank button

▼The LED above the button begins flashing.

2. Press program button

▼The LCD changes to the display illustrated below, indicating that the

selected voice is A02, “WaterBell”.

3. Check that the top line of the Quick Edit panel (EQ LOW, EQ LO-MID,

EQ HI-MID, and EQ HIGH) is highlighted.

If a different line is highlighted, press the Quick Edit panel’s button to
move the highlight to the top.

4. Play on the keyboard with your right hand while moving the second quick-

edit slider (QS2) up and down.

The slider does not become effective until it moves past the midpoint on the
scale. For details about how a controller becomes effective, refer to the
discussion of the Controller Hook function in the next chapter. (➝ BASICS: 3-

14)

A

.

2

.

The highlighted EQ LO-MID above the slider tells you that the current function
of the slider is to control the gain for the low-middle range.

5. Press the button on the Quick Edit panel.

▼The highlight moves to the second line of the Quick Edit panel (AT

FOLLOW, VEL SENS, POR TIME, and EF DEPTH).

6. Play on the keyboard with your right hand while moving QS4 up and

down.

Once again, the slider does not become effective until it moves past the
midpoint on the scale. Because EF DEPTH is highlighted, you know that the
slider’s current function is to control the effect depth.

BASICS

Chapter 2 Trying It Out

2 - 6

First Try

It is important to note that Quick Editing changes the voice’s characteristics — in
effect, it creates a new voice. If you like the new sound, you can store it as a separate
voice. (➝ BASICS: 3-28) If you do not like the editing results, you can cancel them by
pressing the original voice’s program number (in the example above, number

2

), or by switching to a different voice.

Important

• Using a Quick Edit slider to increase the EQ gain may in some cases overload the
volume, resulting in output distortion. One way to correct this problem is to lower
the volume settings of the affected elements.

FYI

• When you first move a quick edit slider or press the Quick Edit panel’s or selector,
an mark appears directly in front of the voice number displayed on the top line of the
LCD. This mark indicates that the voice has been edited. To cancel the results of editing
and remove the mark, reselect the same voice (by pressing the currently illuminated program
number).

BASICS

Chapter 2 Trying It Out

2 - 7

Playing the Demos

The next procedure shows you how to play the VP1’s built-in demo selections.

Important

• Demos that use four-element voices tend to play out at high volume. Keep volume
settings low to avoid the risk of ear damage.

FYI

• Demo playback does not affect currently stored voice and system data.

Procedure

Playing the Demos

1. While holding down the

PLAY

button, press the

SYSTEM

button.

▼The following screen appears:

2. Press

F7

:[RUN].

▼The demo starts playing.

You can stop the playback at any time by pressing

F8

:[STOP].

Once the playback has stopped, you can select a different demo number by
rotating the dial or pressing the

To return to PLAY mode, press

INC/YES

PLAY

or

or

DEC/NO

EXIT

button.

.

BASICS

Chapter 2 Trying It Out

2 - 8

Chapter 3

Learning the Basics

This chapter describes the principles of VP1 sound production, and
explains the basics of controllers, scenes, quick editing, and other
features.

BASICS

Chapter 3 Learning the Basics

3 - 1

Sound Production

F/VA Sound Synthesis

As you know, the VP1 uses VA (virtual acoustic) synthesis to produce sound. To be
more precise, Yamaha has developed two different VA methods, each designed to
model a particular range of instruments. The VP1 employs the F/VA (free-oscillating
VA) method, which provides truer modeling of instruments that are played by striking
or plucking of strings. In contrast, Yamaha’s VL1 synthesizer adopts an S/VA (self­oscillating VA) approach more suited to modeling of wind and bowed-string
instruments.

FYI

• F/VA and S/VA systems are fundamentally different and incompatible. Data and parameters
cannot be moved from one system to another.

Sound Production

Physical Characteristics of Struck-String Instruments

The following drawing illustrates the sound system on a struck- string instrument such
as a guitar.

Driver(Vibrationappliedhere)

Fixedend Fixedend

The next illustration shows how the impact to the string propagates over time.

6.Propagates

5.Hitsendpoint,attenuates,
 reverses.

The F/VA approach generates models based on the vibrational system described
above.

Vibratingarea(String)

1.Performer’sstrike

4.Propagates

2.Propagates

3.Hitsendpoint,attenuates,
 reverses

Now let’s look more closely at the “driver” and “string” components mentioned
above.

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Driver

String

Sound Production

The “driver” is the component that applies vibrational force to the string. It is
analogous, for example, to a pick that strikes a guitar string.

To produce sound, the VP1 calculates the amount of force applied by the action of the
“pick”, then applies this force to the “string”. The calculation takes into account a
variety of factors, including the hardness of the pick material and the force of the
striking action.

The VP1’s ability to calculate accurate driving forces is one of the important reasons
for its realistic sound. But the VA system also allows you to design nonrealistic
driving forces, so that you can also produce highly synthetic sounds unavailable
outside the realm of electronic music.

The “string” component simulates the action of the string in response to the force from
the driver. This string action produces sound. The pitch and quality of the sound
depend on the string’s various properties — most significantly, its length, width, and
stiffness.

The VP1 allows you to freely vary the ratio at which the vibrational impulse reflects
off the fixed ends of the string. In a real acoustic instrument this reflection ratio is
always less than 100%. By setting the level above 100% you can reproduce the type of
feedback effect that typically occurs when a microphone is brought up close to the
speaker to which it is connected.

FYI

• F/VA and S/VA designs are fundamentally different. Although S/VA synthesizers such as

Editing Limitations

Although driver and string components incorporate hundreds of parameters, not all of
these are accessible to editing. Each voice offers its own subset of available
parameters. At the same time, controllers give you full functional control over the
most important parameters for each voice.

The limited number of accessible parameters does not significantly detract from your
freedom to obtain a full range of sounds. The voices supplied on the VP1’s floppy disk
have been carefully selected for variety, attractiveness, and practicality. In addition,
care has been taken to ensure that you have direct access to the most significant
parameters for each of these voices.

the VL1 also use “driver” and “string” parameters, these should not be confused with the
driver and string components of the VP1.

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Voice Formation

The following drawing illustrates the process used to generate a single voice.

Voice

Element1

Driver

Strings

LFO EG

Element2

Driver

Strings

LFO EG

ELEMENToutput
Direct


Send-to-effects

Mixer

Equalizer

Voice Formation

Output

Elements

Element3

Driver

Strings

LFO EG

Element4

Driver

Strings

LFO EG

Effects

A voice consists of up to four elements. Each element consists of a driver component,
a string component, an LFO (low frequency oscillator), and an EG (envelope
generator).

These different components comprise hundreds of parameters. Among these, you
have direct access to the Quick Edit parameters and up to thirteen other parameters
assigned to the various controllers. The set of controllable parameters is different for
each voice.

The VP1 transmits data about keyboard and controller action to each element. The
elements respond by producing and outputting the appropriate sound.

Each element has three outputs: an ELEMENT output, a Direct output (no effects),
and a Send-to-effects output.

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Mixer

Voices

Voice Formation

The mixer adjusts the balance of the Direct and Send-to-effects outputs from the four
elements, controls equalization, and mixes in the effects. All mixer-related parameters
are accessible for editing.

■ Effects

The VP1 offers a choice of more than thirty effects, including reverb, chorus, flanger,
and pitch change. You can make fine adjustments to all of the parameters governing
these effects.

■ Equalizer

This is a four-band parametric equalizer. The Low and High bands utilize shelving­type dynamic equalization.

The VP1’s internal memory stores up to 64 voices, organized into four banks with 16
voices (01 to 16) each.

Bank A: 01 to 16
Bank B: 01 to 16
Bank C: 01 to 16
Bank D: 01 to 16

Each voice is uniquely identified by its “voice number” — its bank letter followed by
its number within the bank. “A01”, for example, denotes voice 01 of Bank A. “C12”
is voice 12 of Bank C.

Each voice is also associated with a voice name (up to ten characters), a category (➝
BASICS: 3-21), and an optional comment (➝ REFERENCE: 1-54)

FYI

• Within MIDI communications, voices A01 to D16 are identified by “program change
numbers” 00 to 63, respectively. If the VP1 receives a program change number of 17 from an
external sequencer, for example, it responds by selecting voice B02.

• The VP1 ignores program change numbers between 64 and 127.

• The VP1 does not support bank-select signals.

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Memory Configuration

The VP1’s internal memory is configured as shown.

TGsettings

Keyboardsettings

Controlnumbers

Memory Configuration

SystemData

Microtuningtable

MIDIsettings

Greetingmessage

System Data

VoiceData(onevoice)

Voicename

Mixerdata

Effectsdata

Equalizerdata

Numerical

lookup

Element1

Voicesetupdata

Scenedata

Controllerassignments

QuickEditdata

Noneditabledata

Element2

Element3

Element4

64voices

The System Data area stores the settings made in SYSTEM mode. These settings are
effective for all voices.

Voice Data

The microtuning table contains information used during voice setup. Each voice’s
“voice setup data” includes keys pointing to the relevant table entries.

The Voice Data area stores data defining each of the voice elements. It also stores
general voice information, such as voice’s name and its effects settings.

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Floppy Disks

Memory Configuration

You can save all of the VP1’s internal data to floppy disk for safekeeping. Once you
have saved the data, you can reload all or some of the voices at any time.

■ Saving to disk

The VP1 does not allow you to save selected voices only. In order to save, you must
use the following operation:

• Save All Data

This operation writes all voice and system data to disk — all 64 voices, together with
the current system data. The VP1 writes this data into a one large file on the disk. A
single (2HD) disk has room enough to store only one such file.

■ Loading from disk

The VP1 supports three different loading methods.

• Load All Data

Copies all system and voice data from the floppy disk.

• Load Bank

Copies the selected bank (16 voices) of voice data from the disk into the VP1.

• Load Voice

Copies voice data for the selected voice only.

Important

• The only way to load system data from the disk is to execute a Load All Data. This
means that you cannot load system data unless you also load all 64 voices as well.

FYI

• The size of the saved file (one set of system data and 64 sets of voice data) is approximately
1300K. In other words, each file occupies an entire disk.

• The maximum length for the filename is eight letters. The “.VP1” extension is automatically
appended to the filename.

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Controllers

The VP1 provides numerous controllers — including two modulation wheels, a modulation ball, a pitch wheel, and
two foot controllers.

Principle of Operation

As described above, you can use controllers to dynamically control up to thirteen of
each element’s parameters during performance. Each element actually involves
hundreds of parameters; the set of parameters available for control is different for each
voice.

Each controller controls a single parameter (with the exception of the modulation ball,
which controls two parameters). In the factory-set environment, the VP1 assigns
parameters to controllers as follows.

Controllers

Controllableparameter

Param1
Param2
Param3
Param4
Param5
Param6
Param7
Param8
Param9
Param10
Param11
Param12
Param13

（MW1）
（MW2）
（FC1）
（FC2）
（MBx）
（MBy）
（CS1）
（CS2）
（BC）
（VEL）
（AT）
（PB）
（TEG）

MW1

：MODULATION1wheel

MW2

：MODULATION2wheel

FC1

：Footcontroller1

FC2

：Footcontroller2

MBx

：Modulationball(Xdirection)

MBy

：Modulationball(Ydirection)

CS1

：Continuousslider1

CS2

：Continuousslider2

BC

：Breathcontroller

VEL

：Velocity

AT

：Aftertouch

PB

：Pitchwheel

TEG

：TouchEG

Elements1to4

Controller



To enhance flexibility, the VP1 allows you the freedom to rearrange some of the
controller assignments, as suggested by the illustration on the next page. (➝
REFERENCE: 1-10)

Each controller has a corresponding controller LED that indicates its status. The LED
is ON (green, solid red, or flashing red) if the controller is currently assigned, and OFF
if it is not assigned. For information about the difference between green and red
indications, refer to the section on “Scenes”, below. (➝ BASICS: 3-11)

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Controllableparameter Controller

Param1
Param2
Param3
Param4
Param5
Param6
Param7
Param8
Param9
Param10
Param11
Param12
Param13

（MW1）
（MW2）
（FC1）
（FC2）
（MBx）
（MBy）
（CS1）
（CS2）
（BC）
（VEL）
（AT）
（PB）
（TEG）

MW1

：MODULATION1wheel

MW2

：MODULATION2wheel

FC1

：Footcontroller1

FC2

：Footcontroller2

MBx

：Modulationball(Xdirection)

MBy

：Modulationball(Ydirection)

CS1

：Continuousslider1

CS2

：Continuousslider2

BC

：Breathcontroller

VEL

：Velocity

AT

：Aftertouch

PB

：Pitchwheel

TEG

：TouchEG

Elements1to4



Controllers

Innovative Controller Types

Here we describe a few of the more distinctive controllers found on the VP1.

■ Modulation Ball

The modulation ball controls two parameters simultaneously — rotation in the X
direction controls one parameter, while rotation in the Y direction controls the other.
To set the ball in home position (both parameters set to 0), rotate it all the way to the
left and down.

Rotationchangesthe(X,Y)valuesasfollows:


You are free to change the control numbers associated with the modulation ball. (➝
REFERENCE: 2-10)

（0,127）

（0,0）

（127,127）

（127,0）

■ Continuous sliders

You are free to change the controller numbers used to identify these sliders. (➝
REFERENCE: 2-10)

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■ Touch EG

The Touch-EG controller governs crossfading of velocity and channel aftertouch
(MIDI channel pressure).

As an example, assume that touch-EG has been set to control vibrato. In this case, a
hard strike on the keyboard causes vibrato to start immediately. If you continue to hold
the key down lightly the vibrato gradually fades, but if you hold it down with force, the
vibrato continues.

In contrast, striking the key lightly produces no initial vibrato. If you continue to hold
the key down lightly the sound continues with no vibrato. But you can add vibrato to
the sound at any time by increasing your pressure on the key.

FYI

• The following table shows the controllers supported by the VP1.

Controller Possible controller numbers Default controller number
MW1 Fixed 1
MW2 1 ~ 31, 33 ~ 119 13
FC1 Fixed 4
FC2 1 ~ 31, 33 ~ 119 12
MBx 1 ~ 31, 33 ~ 119 16
MBy 1 ~ 31, 33 ~ 119 17
BC Fixed 2
CS1 1 ~ 31, 33 ~ 119 18
CS2 1 ~ 31, 33 ~ 119 19
QS1 1 ~ 31, 33 ~ 119 80
QS2 1 ~ 31, 33 ~ 119 81
QS3 1 ~ 31, 33 ~ 119 82
QS4 1 ~ 31, 33 ~ 119 83
SCENE CONTROLLER 1 ~ 31, 33 ~ 119 14
Foot volume Fixed 7
Sustain switch Fixed 64
Portamento switch Fixed 65
Velocity Fixed –
Aftertouch Fixed –
Pitch wheel Fixed –
Touch EG Fixed –

Controllers

• For details about how you can change controller numbers, refer to the description of the
SYSTEM mode’s Assignable Controller function. (➝ REFERENCE: 2-10)

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Scenes

The VP1’s innovative “scene” capabilities enable you to obtain a high level of dynamic control over sound and
sound changes during your performance.

What is a Scene?

A scene is a memorized set of controller positions. Once you have stored a scene to
memory, you can recall it at any time by pressing the corresponding SCENE button.
Or you can use the SCENE CONTROLLER to fade seamlessly between adjacent
scenes.

Each scene consists of memorized positions for most of the controllers listed on the
previous page. The controllers excluded from the scene are: velocity, pitch wheel,
touch EG, foot volume, and sustain and portamento switches.

Scenes

By way of explanation, assume that you like the sound you get when controllers are set
as shown below.

MODULATION

1wheel

MODULATION

2wheel

Foot

controller1

(othercontrollers)

You can save these controller settings by calling the Scene function and storing them
as a scene. (➝ REFERENCE: 1-14) The VP1 allows you to store up to three scenes. In
this case, let’s assume that you store this configuration as Scene 3.

Now that you have stored the scene, you can proceed to operate the controllers any
way you like, then instantly call the scene back at any time by pressing

SCENE3

. But
notice that while pressing the button immediately restores the memorized controller
settings, it does not change the current physical position of the controllers. In other
words, a discrepancy arises between the physical and internal controller settings. To
learn how this is resolved, refer to the section on the Controller Hook function, below.
(➝ BASICS: 3-14)

Once you have stored three different sets of controller settings, you can call them back
at any time by pressing the

SCENE1, SCENE2

, and

SCENE3

buttons.

FYI

• Although the scene does not record the pitch wheel’s pitch setting, it does record the value of

any other parameter that may be assigned to the pitch wheel. It also records the aftertouch
component of the touch-EG data.

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Scene Controller

Scenes

Use the scene controller to fade from one scene into another. The controller’s central
position (click-stop) corresponds to Scene 2.

For example, assume that the VP1 has stored the following three scenes.

Scene 1

MODULATION

1wheel

Scene 2

MODULATION

1wheel

Scene 3

MODULATION

1wheel

MODULATION

2wheel

MODULATION

2wheel

MODULATION

2wheel

Foot

controller1

(othercontrollers)

Foot

controller1

(othercontrollers)

Foot

controller1

(othercontrollers)

In this situation, the SCENE CONTROLLER continuously changes the various
controller settings as illustrated in the figure on the next page. When the SCENE
CONTROLLER knob is in the position shown, the effective controller settings will be
as shown directly above it (along the dotted line).

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Scene1 Scene2 Scene3

MODULATION

1wheel

MODULATION

1wheel

MODULATION

Scenes

1wheel

MODULATION

2wheel

Foot

controller1

SCENECONTROLLER

MODULATION

2wheel

Foot

controller1

MODULATION

2wheel

Foot

controller1

You can use a foot controller to obtain the same control you get with the SCENE
CONTROLLER knob. Simply connect the foot controller into the SCENE jack on the
VP1’s rear panel. The foot controller’s highest position corresponds to Scene 1; the
fully depressed position corresponds to Scene 3.

Scene LEDs

Note also that you can use the SYSTEM mode’s “Aftertouch Scene” switch to select
whether or not the scene controller operates on aftertouch data. (➝ REFERENCE: 2-

4)

The LED above each SCENE button indicates how “close” you are to that scene. You
can see how this works by watching the LEDs as you move the SCENE
CONTROLLER up and back.

Red: At the scene
Yellow: Close to the scene
Green: Moving away from the scene
Off: Far from the scene

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Controller Hook Function

When you press a SCENE button or move the SCENE CONTROLLER, you
effectively change most or all of the controller settings. But the controllers themselves
do not move. This means that a discrepancy arises between the internal controller
settings and the actual controller positions.

You use the Controller Hook function to determine the point at which physical
controllers become effective when such a discrepancy exists. (➝ REFERENCE: 2-4)

■ Controller Hook = OFF

If Controller Hook is OFF, physical controllers become effective as soon as they are
moved. In other words, moving a controller just a slight amount causes an immediate
jump from the internal controller setting to the physical controller setting. This can
cause a sudden (and in some cases jarring) change in sound. Note also that vibration
from the keyboard or speaker may sometimes cause a controller to move on its own; if
Controller Hook is OFF, this slight unintentional movement can cause a dramatic
change in sound.

Scenes

■ Controller Hook = ON

If Controller Hook is ON, the physical controller does not becomes effective until it
matches the “position” of the internal controller. This eliminates the drastic sound
changes that can occur when Controller Hook is set OFF. For most applications you
will probably want to leave the setting ON.

FYI

• The Controller Hook setting also affects Quick Edit operation. (➝ BASICS: 3-17)

• If you are using both a FOOT CONTROLLER and the SCENE CONTROLLER (slider) for

scene control, the one that was moved last is the one that is effective.

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Controller LEDs

Scenes

Each controller has a corresponding LED that indicates its status. Some controller
LEDs are located directly above their controllers (PITCH, MODULATION 1, and
MODULATION 2 wheels), while others are lined up vertically just to the left of the
keyboard. Each LED can be in any of four states: solid RED, flashing RED, GREEN,
or OFF.

■ Solid RED

Solid RED means that the controller is assigned to a parameter but is not yet within the
effective range. This condition arises when the Controller Hook function is ON and
the controller’s actual position has not yet moved past the internal controller setting
established by a SCENE button or the SCENE CONTROLLER. Thus, a discrepancy
exists between the physical controller position and the internal controller setting.

■ Flashing RED

Flashing RED means that the controller is effective for at least one element, but has
still not reached effective position for at least one other element. This condition occurs
when the Controller Hook function is ON and you have moved the controller past the
internal controller setting(s) for one or more of the voice’s elements, but has not yet
moved it past the setting for at least one other of the voice’s elements. (Remember that
a single voice consists of up to four elements, and the controller operates
independently for each element.)

■ GREEN

A GREEN indication means that the controller is currently effective for all elements of
the voice. If Controller Hook is OFF, all assigned controllers will be indicated by
GREEN LEDs. (In some cases a LED may be red when you first call a scene, but
immediately switches to GREEN as soon as you move the controller.) If Control Hook
is ON, the LED becomes GREEN at the moment when the controller becomes
effective for all of the voice’s elements.

■ OFF

The controller is not assigned to any parameter.

Controller Initialization Function

The Controller Init setting determines whether existing controller settings are retained
when you switch to a new voice. (➝ REFERENCE: 2-4)

■ Controller Init = OFF

The existing controller positions remain in effect when you switch to a new voice. If
there is any difference between physical and internal controller settings, the VP1
immediately changes the internal settings so that they match the physical settings.

■ Controller Init = ON

Switching to a new voice automatically switches the controller environment to the
“initial” scene. You can set up any of the scenes (Scenes 1 to 3) as the initial scene; for
information, refer to the REFERENCE section. (➝ REFERENCE: 1-14)

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Quick Edit

The Quick Edit function allows you to perform simple real-time voice editing.

General Description

You use the Quick Edit panel to perform real-time editing of voice elements. Use the
Quick Edit selectors ( and ) and the four sliders to select and adjust the desired
parameters. During performance, you can essentially use these sliders as additional
controllers.

The Quick Edit panel gives you access to 16 preselected parameters, each with a
relatively large impact on the final sound. Note that these parameter allocations are
permanent and cannot be changed.

1 : EQ LOW Low band equalization
2 : EQ LO-MID Low-mid band equalization
3 : EQ HI-MID High-mid band equalization
4 : EQ HIGH High band equalization
5 : AT FOLLOW Aftertouch following
6 : VEL SENS Velocity sensitivity
7 : POR TIME Portamento time
8 : EF DEPTH Effect depth
9 : LFO DEPTH LFO oscillation amplitude
10: LFO SPEED LFO oscillation speed
11: LFO DELAY LFO time lag
12: LFO HOLD LFO-effect hold time
13: EG ATTACK Envelope generator’s attack rate
14: EG DECAY Envelope generator’s decay rate
15: EG SUSTN Envelope generator’s sustain level
16: EG RELSE Envelope generator’s release rate

Quick Edit

The parameter names are arranged in a four-by-four grid, as shown.

EQ LOW EQLO-MID EQHI-MID EQHIGH
ATFOLLOW VELSENS PORTIME EFDEPTH
LFODEPTH LFOSPEED LFODELAY LFOHOLD
EGATTACK EGDECAY EGSUSTN EGRELSE

FYI

• A quick edit slider is usable only if at least one of the LEDs along the right of the slider is

switched on. LEDs will come on only if VP1 channels and MIDI channel settings are in
agreement. (➝ REFERENCE: 2-8)

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Using Quick Edit

The VP1’s Quick Edit function is extremely easy to use. First press one of the selectors
( and ) as necessary to highlight the line containing the name of the parameter
you need to edit. Next, adjust the parameter value by operating the slider located
directly under the parameter name. (When you first move the slider, an mark
appears in front of the voice number on the top line of the LCD, indicating that the
voice is being edited.)

1.Usearrowbuttonstoselecttheline

2.Shifttheslidertoadjusttheparameter
value.


Sliderisincentralpositionwhen
twocenterLEDs(alongright)arelit.

Quick Edit

Storing Results

The Controller Hook function described earlier (➝ BASICS: 3-14) also works for the
Quick Edit sliders. If Controller Hook is set ON, one of the LEDs at the right of the
slider lights up in red to indicate the position of the “internal” slider. The physical
slider does not become effective until it moves past this red LED.

RedLED
(‘Internal’sliderposition)

Actualslider

position

Actualsliderdoesnotbecomeeffective
untilsliderknobmovespastredLED.


FYI

• The voice’s parameter settings determine which line on the Quick Edit panel lights up first.

Pressing the selector arrow will immediately start up an editing session, causing the mark
to appear on the LCD.

If you like the results you have achieved with quick editing, you can store the edited
voice to memory. (➝ BASICS: 3-28) If you do not like the results, you can return to
the original voice at any time by pressing the illuminated program button. This will
return you to the voice as it existed just before you began quick editing.

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Quick-Edit Parameters

The next two pages present brief descriptions of the 16 Quick Edit parameters.

■ EQ LOW

Sets the gain for the low band. (➝ REFERENCE: 1-51) Raise the slider to increase the
gain value.

■ EQ LO-MID
Sets the gain for the low-mid band. (➝ REFERENCE: 1-51)

■ EQ HI-MID
Sets the gain for the hi-mid band. (➝ REFERENCE: 1-51)

■ EQ HIGH
Sets the gain for the high band. (➝ REFERENCE: 1-51)

■ AT FOLLOW

Sets the speed at which the sound changes in response to changes in aftertouch. Lift
the slider to make the response faster.

Quick Edit

■ VEL SENS

Sets the velocity sensitivity — the amount by which velocity can change. Bringing the
slider all the way forward fixes the velocity at “96”; velocity cannot change, so there
are no velocity-related sound changes. If the slider is at the center position, the VP1
uses the voice’s (element’s) preset velocity sensitivity. Raising the slider above the
midpoint further increases the degree of velocity change, resulting in greater velocity­induced sound change.

■ POR TIME

Adjusts the voice’s (element’s) portamento time setting. Raise the slider to extend the
time.

■ EF DEPTH

Adjusts the return-from-effects level. (➝ REFERENCE: 1-41) Pushing the slider
upward raises the return level, increasing the impact of the effects.

■ LFO DEPTH

Adjusts the voice’s (element’s) LFO amplitude setting. Raise the slider to increase the
oscillation amplitude.

■ LFO SPEED

Adjusts the voice’s (element’s) LFO speed setting. Raise the slider to increase the
oscillation speed.

BASICS

Chapter 3 Learning the Basics

3 - 18

Quick Editing

■ LFO DELAY

Adjusts the voice’s (element’s) LFO delay — the gap between the time you strike the
key and the time the LFO effect begins. Raise the slider to increase the delay.

■ LFO HOLD

Adjusts the voice’s (element’s) LFO hold time — the length of time that the LFO
effect lasts. Raise the slider to increase the hold time.

■ EG ATTACK

Adjusts the attack rate of the voice’s (element’s) envelope generator. Raise the slider
to slow down the sound change.

Envelopegenerator


Attackrate

Level

Decayrate

Releaserate

Sustainlevel

Time

Noteon Noteoff

■ EG DECAY

Adjusts the decay rate of the voice’s (element’s) envelope generator. Raise the slider
to slow down the sound change.

■ EG SUSTN

Adjusts the sustain level of the voice’s (element’s) envelope generator. Raise the
slider to increase the level.

■ EG RELSE

Adjusts the release rate of the voice’s (element’s) envelope generator. Raise the slider
to slow down the sound change.

Important

• If Portamento Mode (➝ REFERENCE: 1-30) is not set to “fingered” and you have

connected a foot switch to the Portamento jack, the VP1 will produce portamento
only while the switch is depressed.

• Some voices do not use EG or LFO functions. For these voices, changes to the EG

or LFO parameters are meaningless.

BASICS

Chapter 3 Learning the Basics

3 - 19

MIDI Quick Edit Control

An external MIDI device can perform real-time editing of the Quick Edit panel’s
highlighted parameters. The external device uses MIDI control-change signals to
control the “internal” positions of the four Quick Edit sliders. (The sliders themselves
do not move.)

The four parameters available for editing are stored as voice data. To change the
available parameters, you must use the and selectors to highlight the desired
line of parameter names, then store the result as a new voice.

The external device identifies each slider by its MIDI control change number. You are
free to reassign these change number allocations, as described in the REFERENCE
section. (➝ REFERENCE: 2-10)

FYI

• With the exception of the EF DEPTH parameter and the four EQ parameters, MIDI editing

only affects parameters for elements that are on the same channel as the MIDI device, as
determined by the “Basic Receive Channel” (➝ REFERENCE: 2-8) and “Element Receive
Channel” (➝ REFERENCE: 1-19) settings.

• The Quick Edit parameters are designed primarily for editing, and may be less responsive to

real-time control than the parameters assigned to the modulation ball, modulation wheels,
and other real-time controllers. When you are controlling performance from an external
MIDI, it is best to treat the Quick Edit parameters as relatively fixed, and minimize the
number of times that you adjust them.

Quick Edit

BASICS

Chapter 3 Learning the Basics

3 - 20

Voice Categories

Voice Categories

Voices are grouped into categories that indicate the general sound type. Referring to categories can help you keep
track of what each voice sounds like.

Category Listing

Each category is expressed as a name of four characters or less. The following table
lists and describes the available categories.

4-character display 10-character display

4-character display

----

AcPf Aco.Piano Acoustic piano
ElPf Ele.Piano Electric piano
MKey Misc.Kbd Misc. keyboard
AGtr Aco.Guitar Acoustic guitar
EGtr Ele.Guitar Electric guitar
MGtr MiscGuitar Misc. guitar
Bass Bass Bass
Eth Ethnic Ethnic
CPrc ChromPerc Chromatic percussion
Perc Percussive Nonchromatic percussion
Drum Drumset Drum voice
Org Organ Organ
Bowd BowedStrgs Bowed strings
Pluk PluckStrgs Plucked strings
Orch Misc.Orch Misc. string solo
OEns OrchEnsmbl Orchestra ensemble
Chor Choir Choir
MEns MiscEnsmbl Misc. ensemble
Brs Brass Brass
Reed Reed Reed Pipe
Pipe Pipe Human
Voce Voice Voice
SLd SynthLead Synth lead
SPad SynthPad Synth pad
SCmp SynthComp Synth comp
SSFx SynthSE Synth sound effect
MSFx MusicalSE Musical sound effect
NSFx NaturalSE Natural sound effect
Smpl PhraseSmpl Phrase sample

10-character display

NoAssign (No category)

Description

When you store a voice to memory, you are free to change its category setting. (➝
BASICS: 3-28, REFERENCE: 1-54)

BASICS

Chapter 3 Learning the Basics

3 - 21

Modes

The VP1 has three different operational modes. For detailed explanations of each mode, refer to the REFERENCE
Section.

PLAY Mode

This is the mode that you usually operate in — the mode you use when playing the
instrument or editing voices. While operating in PLAY mode, you can change voices
and scenes, operate the controllers and Quick Edit sliders, and change various settings
for each element or voice.

Modes

SYSTEM Mode

DISK Mode

To enter this mode, press
you are operating in PLAY mode.

Use this mode to make system-wide settings common to all voices and operation. For
example, you use SYSTEM mode to set up the tone generator, the keyboard, MIDI
operation, and controller- number allocation. You also use it to record the greeting
message that appears when you first switch on the VP1, and to select black-on-white
or white-on-black display.

To enter this mode, press
you are operating in SYSTEM mode.

Use DISK mode to transmit data between internal memory and floppy disk — to save
data from memory to floppy, or to load data from floppy to memory. You can also use
this mode to format new floppy disks and to rename floppy-disk files.

To enter this mode, press
you are operating in DISK mode.

PLAY

. The LED above the button comes on to indicate that

SYSTEM

. The LED above the button comes on to indicate that

DISK

. The LED above the button comes on to indicate that

BASICS

Chapter 3 Learning the Basics

3 - 22

Basic Operations

Here we describe some of the basic operations that you will carry out frequently as you work with the VP1.

Switching the Mode

Basic Operations

Selecting a Voice

Select the mode by pressing the appropriate mode button —

DISK

. With some minor exceptions, you are generally free to switch the mode at

PLAY, SYSTEM

, or

any time, regardless of the synthesizer’s current status.

There are four methods you can use to change voices while in PLAY mode.

■ Press the appropriate bank and program buttons.

Select the voice’s bank by pressing the appropriate bank button (
then select the voice by pressing the appropriate program button (

A

1

D

~

16

~

). If
you are switching between voices belonging to the same bank, you need not press the
bank button.

■ Rotate the dial.

Rotate clockwise to select a voice with a higher voice number, or counterclockwise to
select a voice with a lower voice number. Note that selection can move smoothly
across bank boundaries — proceeding directly from A16 to B1, for example.

■ Use the

INC/YES

Press

INC/YES

to select a voice with a higher voice number; press

and

DEC/NO

buttons.

DEC/NO

to select a
voice with a lower voice number. Once again, selection can move smoothly across
bank boundaries: if you press

DEC/NO

while using voice D01, for example, the voice

changes to C16.

),

■ Select a voice from the voice list.

When you first enter PLAY mode, the currently selected voice name appears in large
letters at the center of the display. When you see this kind of display on the screen, you
can press

F8

:Dir to switch to a list of the 16 voices in the currently selected bank.

You are now free to select a different bank by pressing the appropriate bank button.
Once you have chosen the bank, use the cursor buttons ( ) to move the blinking
highlight to the name of the voice you want to select, then press
Alternatively, you can select the voice by rotating the dial or using the

DEC/NO

button.

Chapter 3 Learning the Basics

ENTER

to select it.

INC/ YES

or

BASICS

3 - 23

Selecting a Function

The bottom line of the screen displays the names of the functions that are currently
available for selection. You can select any of these functions by pressing the function
button (

For example, assume that you have just entered PLAY mode, so that the screen
appears as shown below.

The line along the bottom of the screen shows eight functions available for selection.
Pressing
Information Display screen shown below.

F1

F1

F8

~

, for example, selects the “Info” function, switching the LCD to the

) located directly under the displayed function name.

Basic Operations

FYI

Function names shown on the bottom line of the display may be enclosed in (parentheses),
[brackets], or {curly brackets}. The meaning of each of these is as follows.

• Parentheses: The function will remain on only while you hold the function button down.

• Brackets: The function invokes a submode.

• Curly brackets: The function executes some action.

Returning to Previous Screen

Pressing a function button causes the screen to change to the corresponding display.
When you are finished with the function, you can switch back to the original screen by
pressing
For example, pressing
Display” (second illustration above) will return you to the initial PLAY-mode screen
(first illustration above).
Pressing a mode button (
selected mode’s initial or previously displayed screen.

EXIT

.

Moving the Cursor

Each screen allows you to make various settings. To select the item you want to set,
use the cursor buttons ( ) to move the cursor to the item.
A few screens are too large to fit completely on the LCD. You can scroll vertically
through these screens using the and cursor buttons.

EXIT

while the screen is displaying the “Information

PLAY, SYSTEM

, or

DISK

) switches the display to the

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Chapter 3 Learning the Basics

3 - 24

Changing Numerical Settings

Once you have moved the cursor to the item you need to set, you are ready to make the
setting.

To change a numerical setting, proceed as follows.

■ Using the dial

Rotate clockwise to increase the value, or counterclockwise to lower it. Speed of
rotation determines how quickly the value changes.

Basic Operations

■ Using

Press
increment continuously. Press
decrement continuously.

INC/YES

INC/YES

briefly to increment the value by 1, or hold the button down to

and

DEC/NO

Changing Multiple-Choice Settings

To set a multiple-choice item, you move through the possible selections until you
reach the one you want.

The following screen, for example, allows you to make controller assignments for
each element. Notice that the cursor is currently at the controller assigned to Parameter
1 of Element 1. The current setting is MW1 — but you can change this to some other
controller (such as MW2 or FC1), or you can select “on” or “off”.

To make your selection, proceed as follows.

DEC/NO

to decrement the value by 1, or hold it down to

■ Using the dial

Turn the dial to move through possible selections.

■ Using

Press or hold down the appropriate button to move through the selections.

INC/YES

and

DEC/NO

Chapter 3 Learning the Basics

BASICS

3 - 25

Entering Characters

Some functions allow you to input a name or include a comment. The Store function,
for example, allows you to enter a new voice name, while disk functions allow you to
name or rename a file.

As an example, consider the following screen. This type of screen appears when you
are about to store a voice to memory. You use this screen to set or change the voice
name, as explained below.

■ Selecting the character

Use the dial or the
character list. As you move through the selections, the character marked by the top
cursor (here, the underlined “W” in the name “Waterbell”) changes accordingly.

INC/ YES

or

DEC/NO

button to select a new character from the

Basic Operations

■ Selecting the character position

Use the and cursor buttons to move the top cursor (in the voice name, on the
second line of the display) to the letter that you want to set or change. In the example
above, the cursor is at the first character position.

■ Entering a space

Pressing

F7

:{Spc} will change the currently marked character to a space. The

cursor automatically advances to the next character.

■ Clearing the current name

Pressing

F8

:{Clr} will delete all selected characters. The cursor returns to the

leftmost character position.

■ Entering the name

When you have finished entry, press

EXIT

to store the name and return to the

previous screen.

Important

• The VP1 ensures that filenames conform to MS-DOS standards. It will not allow

you to use lowercase letters and unsupported symbols within these names.

• Filenames cannot start with a space. If you enter a space in the middle of a

filename, the VP1 automatically converts the space into an underscore character.
(If you leave the entire name blank, the VP1 converts the name to a string of
hyphens.)

BASICS

Chapter 3 Learning the Basics

3 - 26

Voice Editing

Voice Editing

In this section we present some basic information you need before you can begin to edit voices. We recommend that
you quickly become familiar with the “Store” and “Compare” operations, as these are essential to successful
editing.

General Editing Procedure

To edit a voice, you begin with one of the voices supplied on disk, then customize the
accessible settings to change its sound. When you have finished editing, you can store
the result as a new voice with its own voice name and number.

The general process is illustrated below.

Selectthevoiceyouwanttoedit.

QuickEdit

Edit

Setthescene

Store

When you start editing, an mark appears in front of the voice number displayed on
the screen. The mark indicates that the current voice is being edited but that the result
has not yet been stored to memory.

mark appears in
front of voice
number.

mark disappears.

BASICS

Chapter 3 Learning the Basics

3 - 27

Storing

Voice Editing

To retain the results of editing, you must store the edited voice to memory — assigning
it a voice number, name, category, and comment. If you forget to do this, the results of
your editing will disappear when you switch voices.

The storing procedure is described below.

Important

• When you store a voice to a voice number, you erase the voice that was originally

stored at that number. If you need to retain the original voice, save it to floppy disk
before executing the storage procedure. (➝ REFERENCE: 3-9)

• You can execute the storage procedure from any level within PLAY mode. You

cannot perform storage from within SYSTEM or DISK mode.

• You cannot execute storage if the SYSTEM mode’s “Memory Protect” setting is

“on”. (➝ REFERENCE: 2-13)

FYI

• You can use the Store function to copy an existing (unedited) voice to a different voice

number. Select the voice you want to copy, then store it to the other voice number without
making any changes. You will then have the identical voice existing at two different voice
numbers.

• When storing a voice, you can enter a comment that will subsequently appear in a special

“Notes” window whenever the voice is selected. If you do not want to generate such a
window, enter a space as the first character of the comment.

Procedure

1. Press

STORE

.

▼ The LCD switches to the following display.

2. Use the bank button, dial, cursor buttons,

INC/ YES

button, or

DEC/NO

button to move the cursor to the voice number that you want to store to.

▼ When the cursor is at the desired voice number, you are ready to continue. If

you need to register a new name for your edited voice, proceed to Step 3
below. If you want to retain the name that is currently highlighted on the
screen, jump to Step 5.

3. Press

F1

:[Name].

▼ The voice-name entry screen appears.

BASICS

Chapter 3 Learning the Basics

3 - 28

4. Enter the voice name.

Enter a voice name of up to ten characters. The entry procedure was described
under the section entitled “Entering Characters,” above. (➝ BASICS: 3-26).

Voice Editing

When you have finished, press

EXIT

. The VP1 registers the new name and

returns you to the previous screen.

5. Press

F3

:[Ctgry] to set a new category.

(If you do not need to change the category, jump to Step 7.)
▼The category selection screen appears.

6. Select a category.

Move the cursor to the desired category name, then press

EXIT

category and return to the original screen. For information about categories,
refer to the section entitled “Voice Categories,” above. (➝ BASICS: 3-21)

7. Press

F5

: [Notes] to enter a comment.

(If you do not need to change the comment, jump to Step 9.)
▼The NOTES entry screen appears. You can now enter the contents of the

comment that will appear whenever the voice is selected.

to select the

8. Enter a comment.

Enter a comment of up to 32 characters (➝ BASICS: 3-26), then press
to return to the previous screen.

The VP1 will display a window showing this comment whenever you select
this voice. If you do not want display a note window for this voice, enter a
space as the first character of the comment.

9. Press

ENTER

.

▼The screen displays a message asking for confirmation.

▼Press

INC/YES

INC/YES

.

button to answer “Yes” to the confirmation message and

10. Press

execute the store. If you wish to cancel the operation without storing, press

DEC/NO

instead.

11. Press

EXIT

.

▼The VP1 selects the newly stored voice as your current voice, and returns

you to the screen that was displayed just before you began the storage
procedure.

EXIT

BASICS

Chapter 3 Learning the Basics

3 - 29

Comparing

Voice Editing

While you are editing a voice, you can use the Compare function to compare the
voice’s new sound against its original sound.

When you start the compare operation, the keyboard sound temporarily reverts to the
sound of the original (unedited) voice. The displayed parameter values and the red
LEDs along the right of the Quick Edit sliders also return to their unedited status. A
mark appears in front of the voice number on the screen to indicate that you are
currently in Compare mode, and the cursor shape changes to an underline.

Important

• Editing functions are disabled during comparison.

• The Compare function will not operate if you have not yet edited the voice.

FYI

• You can combine Quick Edit and Compare functions to achieve dynamic sound changes

during live performance. First use the Quick Edit functions to change the sound of the voice,
then toggle the Compare function on and off to switch back and forth between the edited and
unedited sounds.

• The comparison function remains available during the storing procedure, so that you can

compare voice names, categories, and comments.

Copying

Procedure

1. During (the course of) editing, press

▼The LED above the button begins to blink.

2. Play (at) the keyboard to reproduce the original sound.

3. Press

While editing a voice, you are free to copy various data from other voices or from the
original version of the voice you are working on. Available copy operations are listed
below; refer to the indicated pages for details.

• Voice Copy (by Store function) (➝ REFERENCE: 1-54)

• Effect Copy (➝ REFERENCE: 1-50)

• Element Copy (➝ REFERENCE: 1-38)

• Equalizer Copy (➝ REFERENCE: 1-53)

COMPARE

to return to the editing process.

COMPARE

.

BASICS

Chapter 3 Learning the Basics

3 - 30

ELEMENT SELECT and ELEMENT ON/OFF

Voice Editing

During editing, program buttons
function, while program buttons

1
9

~

~

4

operate the ELEMENT SELECT

12

operate the ELEMENT ON/OFF
function. ELEMENT SELECT and ELEMENT ON/OFF are special functions
designed to facilitate editing.

■ ELEMENT SELECT

1

(E1)

2

(E2)

3

(E3)

4

(E4)

While you are editing, you can use these buttons to switch the element that you are
working on. Assume that the cursor is currently marking a parameter for element 1. If
you now press

3

(E3), the cursor jumps to the same parameter for element 3.

■ ELEMENT ON/OFF

9

(E1)

10

(E2)

11

(E3)

12

(E4)

You can use these buttons to temporarily switch off the sound for specific elements.
This allows you to isolate the sound of a single element, or hear how the voice sounds
when one or more elements are suppressed.

Each button acts as a toggle — press once to switch the sound off, press again to
switch it back on. The LED above each button remains lit while the element’s sound is
on, and blinks to indicate that the sound is switched off.

Important

• The element functions described above are designed to simplify the work of

editing. Button configurations are not reflected in the edited voice data that you
store to memory.

• These element functions are available only during editing.

BASICS

Chapter 3 Learning the Basics

3 - 31

REFERENCE

PART

Chapter 1

PLAY Mode

This chapter describes all PLAY-mode functions. The first part of the
chapter describes the functions you use to select and play voices. The
second part describes the voice editing functions.

REFERENCE

Chapter 1 PLAY Mode

1 - 1

Outline

You use PLAY mode to select, play, and edit voices.
The VP1 automatically enters PLAY mode when power first comes on. If you are operating in a different mode,

you can switch back at any time by pressing the
while the VP1 is in PLAY mode.

When you enter or return to PLAY mode, the LCD displays the main PLAY-mode screen illustrated below. The
large letters at the center of the screen tell you the category and name of the currently selected voice.

This chapter is divided into two parts. The first part describes the PLAY-mode functions for voice selection and
performance. The second part (➝ REFERENCE 1-9) describes the mode’s voice-editing functions.

PLAY

button. The LED above the

PLAY

button remains ON

Outline

REFERENCE

Chapter 1 PLAY Mode

1 - 2

Performance and Status Functions

Performance and Status Functions

The first part of this chapter describes the “PLAY” function and the four callable functions denoted by shaded
boxes below. You use these functions to select and play voices, to view status information, and to select the
keyboard transmission channel. These functions do not affect existing voice settings.

For details about the functions you can use to change the voice settings, refer to the second part of this chapter. (➝
REFERENCE 1-9)

PLAY MODE

SYSTEM MODE

DISK MODE

PLAY

SYSTEM

DISK

F1
F2
F3
F4
F5
F6
F7
F8

STORE

COMPARE

F1
F2
F3
F4
F5
F6

F1
F2
F3
F4
F5
F6

Information Display
Controller Value View
Keyboard Transmit Channel
Controller Assign Table
Scene
Voice Setup
Output
Voice Directory
Store
Compare

TG Settings
Kbd Settings
MIDI Settings
Assignable Controllers
Greeting Message
Miscellaneous Settings

Load All Data
Load Bank
Load Voice
Save All Data
Rename
Format

(➝ REFERENCE: 1-5)
(➝ REFERENCE: 1-6)
(➝ REFERENCE: 1-7)

(➝ REFERENCE: 1-8)

FYI

• The

F1

Pressing these function keys will not cause an “ ” mark (editing mark) to appear in front of
the voice name on the display.

F2

,

F3

,

, and

F8

functions do not perform any editing.

REFERENCE

Chapter 1 PLAY Mode

1 - 3

PLAY

PLAY

Selects and plays voice.

Program Number A01 ~ D16

Description

• This function sets the VP1 for normal performance, so that you can select and play

different voices and operate the various controllers and sliders. You are also free to
proceed directly to any of the other eight PLAY functions described in this chapter,
which you can use to check current settings or to edit voices.

• The top line of the screen indicates the currently selected voice number and

keyboard transmission channel.

• The large letters at the center of the display indicate the voice’s category (➝

BASICS: 3-21) and name.

• For some voices, the screen will also include a “Notes” window displaying a

comment about the voice. If such a window appears, you can close it by pressing

EXIT

• For details about the methods you can use to select the voice, refer to the BASICS

section. (➝ BASICS: 3-23)

• Use controllers to control the selected voice’s characteristics, pitch, and volume.

(➝ BASICS: 3-8)

• Use the scene buttons and SCENE CONTROLLER to dynamically control the

selected voice’s characteristics, pitch, and volume. (➝ BASICS: 3-11)

• Use the Quick Edit feature for simple control and editing of various voice

characteristics and settings. (➝ BASICS: 3-16)

, then reopen it by pressing

ENTER

. (➝ BASICS: 3-28)

Performance and Status Functions

F1

•

: Switches the screen to an “Information Display” showing the following
information about each of the voice’s elements: the element’s name, its maximum
polyphony, its receive-channel setting, and the keyboard range over which it is
effective. (➝ REFERENCE: 1-5)

F2

•

: Displays a “Controller Value View” showing the current MIDI controller
output values. (➝ REFERENCE: 1-6)

F3

•

: Allows you to change the keyboard transmission channel — the MIDI
channel carrying outgoing keyboard information. (➝ REFERENCE: 1-7)

F8

•

: Displays a list of the 16 voices in the currently selected bank. You can
select a new voice directly from the list. (➝ REFERENCE: 1-8)

F4

•

~

F7

: Voice editing functions (➝ REFERENCE: 1-9)

REFERENCE

Chapter 1 PLAY Mode

1 - 4

INFORMATION DISPLAY

Performance and Status Functions

PLAY

➝

F1

: Info

Displays detailed information about each of the voice’s elements.

no settings

Description

• This function displays the following information about each element of the
currently selected voice.

Name: Shows the element’s name. If the element is unused, a string of hyphens is

displayed instead.

Poly: Indicates the element’s maximum polyphony — the maximum number of

notes that can be played simultaneously.

RCh (MIDI Receive Channel): Indicates the MIDI channel that drives the

element’s sound.

Range display (right side of LCD): The horizontal bar shows the keyboard range

over which the element is effective. The values to the left and right of the
bar indicate the keys at the low and high end of the range.

• To return to the initial PLAY screen, press

F1

(Info),

EXIT

, or

PLAY

.

• You can continue to play the instrument and switch voices while the LCD is
showing this Information Display.

• To switch to another PLAY-mode function, press

F2

~

F8

.

FYI

• You can use the VOICE SETUP function’s “Element Copy” feature to copy an element
from one voice to another. (➝ REFERENCE: 1-38)

• The VOICE SETUP function’s “MaxNotes” setting determines the element’s maximum
polyphony. (➝ REFERENCE: 1-18)

• The VOICE SETUP function’s “Receive Channel” setting determines the element’s MIDI
receive channel. (➝ REFERENCE: 1-19)

• The VOICE SETUP function’s Note Limit settings (“NtLmtHi” and “NtLmtLo”) determine
the element’s keyboard range. (➝ REFERENCE: 1-27)

REFERENCE

Chapter 1 PLAY Mode

1 - 5

CONTROLLER VALUE VIEW

Performance and Status Functions

PLAY

➝

F2

: View

Displays the current value of each controller.

no settings

Description

• The screen displays the current position (MIDI output value) for each controller.
The position is indicated as an integer value.

Controller abbreviations are as follows.

PB: Pitch wheel
MW1: Modulation wheel 1
MW2: Modulation wheel 2
CS1: Continuous slider 1
CS2: Continuous slider 2
FC1: Foot controller 1
FC2: Foot controller 2
MBx: Modulation ball (X direction)
MBy: Modulation ball (Y direction)
BC: Breath controller
AT: Aftertouch
QS1: Quick Edit slider 1
QA2: Quick Edit slider 2
QA3: Quick Edit slider 3
QS4: Quick Edit slider 4

• The displayed values change in response to controller movements.

• To return to the main PLAY screen, press

F2

:View,

EXIT

, or

PLAY

.

• You can continue to perform and switch voices while the LCD is displaying the
Controller Value View.

• To switch to another PLAY-mode function, press

F1

or

F3

~

F8

FYI

• The display does not show velocity and footswitch values.

• The displayed values reflect the physical controller positions; they do not reflect scene­related internal controller settings.

• The displayed values do not reflect control-change data received from external MIDI
devices.

REFERENCE

Chapter 1 PLAY Mode

.

1 - 6

KEYBOARD TRANSMIT CHANNEL

Performance and Status Functions

PLAY

➝

F3

: TCh +

1

~

16

Changes the keyboard transmit channel.

Kbd Transmit Ch 1 ~ 16

Description

• Use this function to change the channel over which the VP1 transmits performance
data (note-on and controller data). The channel setting is essentially a system
parameter: you can make the same setting using the SYSTEM mode’s MIDI
SETTINGS screen. (➝ REFERENCE: 2-8) The PLAY-mode function described
here has been included to allow you to change the channel rapidly during
performance.

• When you change the channel, the SYSTEM mode’s “Kbd Transmit Channel”
parameter automatically changes to match the new setting.

• To select the channel (1 to 16), hold down
program button (

F3

:(TCh) and press the appropriate

1

~

16

).

REFERENCE

Chapter 1 PLAY Mode

1 - 7

VOICE DIRECTORY

Performance and Status Functions

PLAY

➝

F8

: Dir

Displays a list of the voices in the selected bank.

Program Number A01 ~ D16

Description

• This function displays a list of the 16 voices in the currently selected bank. You are
free to change the bank display or switch to a different bank and voice while the
display is on the screen.

• To change the bank display, press the appropriate bank button (
A different list of voices will appear on the screen. If the displayed bank is different
from the currently selected bank, the bank-button LED, the cursor, and the screen’s
“Bank” display will all flash.

• To select a voice from the displayed list, use the cursor buttons ( ) to move the
cursor to the voice name, then press

1

INC/ YES

~

pressing the
button (

• The voice directory stays on the display even after you change the voice.

or

16

A

ENTER

. You can also select the voice by

DEC/NO

button, rotating the dial, or pressing a program

).

~

D

).

• To return to the main PLAY screen, press

F8

• To switch to another PLAY-mode function, press

:Dir,

F1

EXIT

~

, or

F7

PLAY

.

.

REFERENCE

Chapter 1 PLAY Mode

1 - 8

Editing Functions

Editing Functions

The remainder of this chapter describes the various PLAY-mode editing functions — the functions indicated by the
shaded boxes below. You can use these functions to reassign controller parameters, change the settings and output
levels for each element, store editing results to memory, and compare edited and unedited versions of the same
element or voice.

PLAY MODE

SYSTEM MODE

DISK MODE

PLAY

SYSTEM

DISK

F1
F2
F3
F4
F5
F6
F7
F8

STORE

COMPARE

F1
F2
F3
F4
F5
F6

F1
F2
F3
F4
F5
F6

Information Display
Controller Value View
Keyboard Transmit Channel
Controller Assign Table
Scene
Voice Setup
Output
Voice Directory
Store
Compare

TG Settings
Kbd Settings
MIDI Settings
Assignable Controllers
Greeting Message
Miscellaneous Settings

Load All Data
Load Bank
Load Voice
Save All Data
Rename
Format

(➝ REFERENCE: 1-10)
(➝ REFERENCE: 1-14)
(➝ REFERENCE: 1-16)
(➝ REFERENCE: 1-41)

(➝ REFERENCE: 1-54)
(➝ REFERENCE: 1-56)

Important

• To retain editing results, you must use the Store function to store the results into
memory. (➝ REFERENCE: 1-54)

REFERENCE

Chapter 1 PLAY Mode

1 - 9

CONTROLLER ASSIGN TABLE

Editing Functions

PLAY

➝

F4

: CTbl

Assigns controllers to parameters.

Parameters 1 to 13
for Elements 1 to 4 MW1 ~ TEG, off

Description

• Use this function to assign controllers to parameters. Each element has up to 13
preset controller-accessible parameters. This function allows you to link each of
these parameters (with the exception of the velocity parameter) to the controller of
your choice.

• The full list of parameters is too long to fit on the LCD. Use the and cursor
buttons to scroll vertically through the list as necessary.

• To make an assignment, move the cursor to the appropriate parameter and element,
then choose the controller you want to assign. The second line of the LCD displays
the descriptive name of the parameter marked by the cursor.

• Controller abbreviations are as follows.

MW1: Modulation wheel 1
MW2: Modulation wheel 2
FC1: Foot controller 1
FC2: Foot controller 2
MBx: Modulation ball (X direction)
MBy: Modulation ball (Y direction)
CS1: Continuous slider 1
CS2: Continuous slider 2
BC: Breath controller
VEL: Velocity
AT: Aftertouch
PB: Pitch wheel
TEG: Touch EG

REFERENCE

Chapter 1 PLAY Mode

1 - 10

Editing Functions

• If you do not want to assign a controller to a particular parameter, set the entry to
“off”. The parameter will then take the value recorded for it in the element’s initial
scene. (➝ REFERENCE: 1-14)

• You can use the

F1

:[Rng] function to set the control range for the entry
currently marked by the cursor. (Refer to the next page for a description of control
range.) This function is not available for entries marked “---”.

• To return to the main PLAY screen, press

EXIT

• To switch to another PLAY-mode function, press

or

F5

PLAY

~

.

F7

.

Important

• You cannot assign the same controller to more than one parameter for the same
element. If you assign an already assigned controller, the previous assignment
automatically switches to “off”.

• You cannot change the controller assigned to the velocity parameter.

• You cannot assign controllers to unused parameters. You cannot assign controllers
in relation to unused elements.

• If you assign the pitch wheel to a parameter other than pitch, the wheel will
continue to control pitch while simultaneously controlling the selected parameter.

FYI

• During performance, you can use this function to view the current controller assignments.

• Markings at the upper left of the LCD indicate the direction in which scrolling is possible. A

marking indicates that you can scroll downward only; means that you can

scroll in either direction; means that you can scroll upward only.

• Use the
buttons to toggle elements on and off.

1

~

4

buttons to select the element, and the

9

~

12

REFERENCE

Chapter 1 PLAY Mode

1 - 11

CONTROLLER ASSIGN TABLE: Control Range

Editing Functions

PLAY

➝

F4

: CTbl ➝

F1

: [Rng]

Determines the degree by which a parameter value changes in response to controller movement.

Max 0 ~ 127
Center 0 ~ 127
Min 0 ~ 127

Description

• This function sets the amount by which the parameter value changes in response to
controller movement. The control range is determined by the following three
values.
Max: The value that the parameter takes when the controller is at its maximum

position. The controller’s maximum position is represented by the number

127. (For example, the foot controller is in this position when it is fully
depressed.)

Center: The value the parameter takes when the controller is at its center position

(controller value = 64). (For example, the MODULATION 2 wheel takes
this value when at its click-stop position.)

Min: The value the parameter takes when the controller is at its minimum

position of “0”. (For example, the foot controller is in this position when it
is fully raised.)

127

Max

Parametervaluereceived
whencontrollerisat
maximumposition.

Center

Parametervaluereceivedwhen
controllerisatcenterposition.

Min

Parametervaluereceivedwhen
controllerisatminimumposition.

TG

64

Controllervalue

110

55



0

S2 S3 Cr

S1

20

• The “S1”, “S2”, and “S3” items in the display indicate the controller settings
recorded for scenes 1, 2, and 3. The “Cr” item indicates the current internal
controller setting. Note that these four items do not appear on the Control Range
screen for the velocity controller.

REFERENCE

Chapter 1 PLAY Mode

1 - 12

Editing Functions

• You can switch to a different element or parameter without leaving the Control
Range display. To change the element, press

1

~

4

. To change the
parameter, move the cursor to the parameter name, then rotate the dial or operate
the

INC/ YES

or

DEC/NO

button until the desired name appears on the screen.

• After setting the Max and Min values, you can press

F7

:Nrml to automatically

set the Center value to [(Max + Min)/2].

• Press

F8

:Init to restore values to their factory defaults: Max=127, Center=64,

Min=0.

• Press
Press

EXIT

to return to the previous CONTROLLER ASSIGN TABLE screen.

PLAY

to return to the main PLAY-mode screen.

FYI

• You can use the

12

buttons to toggle elements on and off.

• You can record the current controller positions into a scene. (➝ REFERENCE: 1-14)

1

~

4

buttons to select the element, and the

9

~

REFERENCE

Chapter 1 PLAY Mode

1 - 13

SCENE

Editing Functions

PLAY

➝

F5

: Scene

Records a scene into an element, or selects the voice’s initial scene.

Initial Scene s1 ~ s3
EL1 ~ EL4 no change,

s1<->s2, s2<->s3,
s3<->s1,
current>s1, current>s2,
current>s3

Description

• Use this function to select the initial scene, or to register a scene.

• Initial Scene: Establishes S1, S2, or S3 as the initial scene, If the “Controller Init”
parameter is set “on”, the VP1 automatically selects the initial scene whenever you
switch into the voice (➝ REFERENCE: 2-4).

• EL1 ~ EL4: Use this area to swap scenes among elements, or to register the current
controller positions into a scene for an element. Refer to the next page for details.

• no change: Select “no change” if you do not want to change the current scene
setting.

• Press

EXIT

• To switch to another PLAY-mode function, press

or

PLAY

to return to the main PLAY-mode screen.

F4

F6

,

, or

F7

.

Important

• Remember that new scene settings are like all other editing changes: if you forget
to store the edited results to memory, the new settings will be lost when you switch
to a different voice. (➝ REFERENCE: 1-54)

FYI

• To change the number of the initial scene, move the cursor to the “Initial Scene” entry on the
display, then press the appropriate Scene button (
dial, or press the

• You can use the

12

buttons to toggle elements on and off.

DEC/NO

1

or

~

INC/YES

4

button.

buttons to select the element, and the

SCENE1, SCENE2

, or

SCENE3

), turn the

9

~

REFERENCE

Chapter 1 PLAY Mode

1 - 14

Procedure

■ Swapping Scenes

1. Select the scene swap: s1↔ s2, s2↔ s3, or s3↔ s1.

Editing Functions

2. Press

ENTER

.

▼ The screen displays the “Are you sure?” query.

3. To execute the swap, press

To cancel and return to Step 1, press

INC/YES

.

DEC/NO

or

EXIT

.

■ Recording Current Controller Positions

1. Set controllers into the positions you want to store for the scene.

2. Select the scene you want to store to: current>s1, current>s2, or

current>s3.

3. Press

ENTER

.

▼ The screen displays the “Are you sure?” query.

4. To store the scene, press

To cancel and return to Step 1 above, press

INC/YES

.

DEC/NO

or

EXIT

.

REFERENCE

Chapter 1 PLAY Mode

1 - 15

VOICE SETUP

Editing Functions

PLAY

➝

F6

: VSet

Sets a wide range of parameters for each voice element.

For details about settings, refer to descriptions
starting on the next page.

Description

• The VOICE SETUP function implements detailed settings for each element.
Settable parameters are described sequentially (in the order in which they appear
on the display) starting from the next page. (➝ REFERENCE: 1-17 to 1-40)

• The full list of parameters is too long to fit on the LCD. You can scroll through the
list in either of two ways, as follows.

Use the and cursor buttons to scroll one line at time.
Press

F2

: or

F3

lines).

• You can use the

F1

:[ECpy] function to copy an element from another voice

into the voice that you are working on. (➝ REFERENCE: 1-38)

• As you scroll through the parameter list, you will notice a dividing line (“-----”)
between the “MicroTune” and “PortaMode” parameters. When you copy an
element, all parameters listed below the line are copied along with the element.
Parameters above the line are not copied.

: to scroll back or ahead by one page (four

• Press

EXIT

• To switch to another PLAY-mode function, press

or

PLAY

to return to the main PLAY-mode screen.

F4

F5

,

, or

F7

.

FYI

• Markings at the upper left of the LCD indicate the direction in which scrolling is possible. A

marking indicates that you can scroll downward only; means that you can

scroll in either direction; means that you can scroll upward only.

REFERENCE

Chapter 1 PLAY Mode

1 - 16

VOICE SETUP: Element Switch

Editing Functions

PLAY

➝

F6

: VSet ➝ Move cursor to Elem Sw.

Switches elements on or off.

Elem Sw off, on

Description

• Switches each element on or off. The VP1 does not generate sound for elements
that are set off.

• The window at the right of the screen lists the names of the elements that are “on”.
Elements that are “off” are listed as “------”.

Important

• If an element is “off”, you cannot make any other VOICE SETUP settings for it.
All subsequent parameter entry spaces for that element will appear as blank lines
(“---”).

• You cannot copy an element unless the destination element’s “Element Switch”
setting is “on”. (➝ REFERENCE: 1-38)

FYI

• You can use the VOICE SETUP function’s “Element Copy” feature to copy any element to
the voice you are working on. (➝ REFERENCE: 1-38)

• You can use the

12

buttons to toggle elements on and off during editing.

• When you switch an element (element 2 ~ 4) from off to on, the element’s name becomes the
same as the name displayed for Element 1.

1

~

4

buttons to select the element, and the

9

~

REFERENCE

Chapter 1 PLAY Mode

1 - 17

VOICE SETUP: Max Notes

Editing Functions

PLAY

➝

F6

: VSet ➝ Move cursor to MaxNotes.

Sets maximum polyphony for each element.

MaxNotes 0 ~ 16

(Total for voice must not
exceed 16)

Description

• Sets the maximum polyphony (maximum number of notes that can be played
simultaneously) for each element.

• Unlike other changes you make in the VOICE SETUP screen, changes to the
MaxNotes settings do not take effect unless you press the
them. (When you press ENTER, the screen displays “Now executing!” to indicate
that the VP1 is writing the settings to memory.)

• Maximum polyphony for the entire voice (all four elements) must not exceed 16. If
you attempt to exceed this value, the VP1 automatically decrements settings,
starting from Element 4 and working backward as necessary, to keep the total at 16.

ENTER

button to record

• The window at the right of the screen displays the current MaxNotes settings in
graphical form. Elements that are “off” are indicated as “------”.

Important

• Maximum polyphony for the entire voice (all four elements) cannot exceed 16.

• If you set an element’s polyphony to 0, the VP1 will not produce any sound for the
element.

• You cannot set a value for an element whose Element Switch is set “off”. (➝
REFERENCE: 1-17)

FYI

• Set the MaxNotes value to 1 to produce a “monophonic” element.

• The “Key Assign Mode” setting determines which notes are sounded when the number of
keys pressed exceeds the maximum polyphony. (➝ REFERENCE: 1-20)

• You can use the

9

~

12

1

buttons to toggle elements on and off during editing.

~

4

buttons to switch among the elements, and the

REFERENCE

Chapter 1 PLAY Mode

1 - 18