Yamaha Audio VL7 User Manual

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Page 1

Getting Started

Owner’s Manual 1

Page 2

Getting Started

Contents

Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

VL7 Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Essential Concepts for the VL7 User

■ What Are the Advantages? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

■ The VL7 Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

■ There’s More … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Controls & Connectors . . . . . . . . . . . . . . . 16

A Brief Introduction To the VL7 Interface

■ Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

■ Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

System Connections & Preparation

■ Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

■ Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Breath Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Foot Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

■ Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Stereo Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ Power-on Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

■ Play the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

■ Breath Controller Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

■ Load the Pre-programmed Voice Data . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Loading the “FULLCNT1:All” Voice File . . . . . . . . . . . . . . . . . . 31

Page 3

Getting Started

Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34

Selecting & Playing the VL7’s 64 Voices

■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . .38

Natural Musical Nuance and Expressive Control

■ Physical Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

■ VL7 Controller Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

■ Some Exercises With the Alto Sax Controllers . . . . . . . . . . . . . . . . . . . . 42

■ Controller Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

■ Other Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Mixing & The Modifiers . . . . . . . . . . . . . . . . . . 48

Creating New Timbres and Original Voices

Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

■ An Exercise: Remix the Pan Pipes Voice . . . . . . . . . . . . . . . . . . . . . . . . 49

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Harmonic Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

■ Frequency Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

■ Impulse Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

■ Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Creating the Right Ambience

■ Modulation Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Feedback Delay Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Reverb Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Page 4

Getting Started

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

■ Location

Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage.

• Direct sunlight (e.g. near a window).

High temperatures (e.g. near a heat source, outside,

•

or in a car during the daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■ Power Supply

• Turn the power switch OFF when the instrument is

not in use.

• The power supply cord should be unplugged from the AC outlet if the instrument is not to be used for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adaptors since these can result in reduced sound quality and possibly damage.

■ Turn Power OFF When Making Connections

• To avoid damage to the instrument and other devices

to which it is connected (a sound system, for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables.

● DANGER

Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Do not modify the plug provided with the product — if it will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use an adaptor which defeats the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualified serviceman or electrician.

■ MIDI Connections

• When connecting the VL7 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors.

■ Handling and Transport

• Never apply excessive force to the controls, connectors or other parts of the instrument.

• Always unplug cables by gripping the plug firmly, not by pulling on the cable.

• Disconnect all cables before moving the instrument.

• Physical shocks caused by dropping, bumping, or

placing heavy objects on the instrument can result in scratches and more serious damage.

■ Cleaning

• Clean the cabinet and panel with a dry soft cloth.

• A slightly damp cloth may be used to remove

stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

• Avoid placing vinyl objects on top of the instrument

(vinyl can stick to and discolor the surface).

■ Electrical Interference

• This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment.

Page 5

Getting Started

■ Data Backup

• The VL7 contains a special long-life battery that

retains the contents of its internal memory even when the power is turned OFF. The backup battery should last for several years. When the backup battery needs to be replaced “Change battery!” will appear on the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF!

• The VL7 contains a special long-life battery that

■ Handle Floppy Disks and the Disk Drive With

Care

• Use only 3.5” 2HD or 2DD type floppy disks.

• Do not bend or apply pressure to the floppy disk. Do not open the shutter and touch the surface of the floppy disk inside.

• Do not expose the disk to high temperatures. (e.g. direct sunlight, a car interior, etc.)

• Do not expose the disk to magnetic fields. Magnetic fields can partially or totally erase data on the disk, rendering the disk unreadable.

• To eject a floppy disk, press the eject button slowly as far as it will go then, when the disk is fully ejected, remove it by hand. The disk may not be ejected properly if the eject button is pressed too quickly, or it is not pressed in as far as it will go (the eject button may become stuck in a half-pressed position and the disk extends from the drive slot by only a few millimeters). If this happens, do not attempt to pull out the partially ejected disk. Using force in this situation can damage the disk-drive mechanism or the floppy disk. To remove a partially ejected disk, try pressing the eject button once again, or push the disk back into the slot and then repeat the eject procedure carefully.

• Do not insert anything but floppy disks into the disk drive. Other objects may cause damage to the disk drive or the floppy disk.

■ Service and Modification

• The VL7 contains no user serviceable parts. Opening

it or tampering with it in any way can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel.

■ Third-party Software

• Yamaha can not take any responsibility for software produced for this product by third-party manufacturers. Please direct any questions or comments about such software to the manufacturer or their agents.

YAMAHA is not responsible for damage caused by improper handling or operation.

Page 6

Getting Started

About the Manuals

The VL7 comes with two manuals — Getting Started and Feature

Reference.

The Getting Started Manual (this manual)

The Getting Started manual contains seven chapters that take you through essential information and procedures you will need to know to become familiar with your VL7:

1. VL7 Basics [≥ Page 8]

Basic concepts you’ll need to understand in order to get the most out of the VL7.

2. The Controls & Connectors [≥ Page 16]

Brief descriptions of the VL7 controls and connectors, and their functions.

3. Setting Up [≥ Page 22]

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

4. Voice Selection [≥ Page 34]

Several ways to select and play the VL7’s 64 voices.

5. The Controllers [≥ Page 38]

The VL7 controllers and how they can be assigned and edited for optimum control.

6. Mixing & The Modifiers [≥ Page 48]

Customizing the sound to suit your own personal needs.

7. Effects [≥ Page 58]

An overview of the built-in digital effects that you can use to add depth and ambience to the VL7 sound.

We recommend that you go through the chapters in sequence and actually try out the various operations described. Once you’ve gone through the entire Getting Started manual in this way, you should be familiar enough with the VL7 to need only the VL7 Feature Reference manual in future.

Page 7

Getting Started

The Feature Reference Manual

The Feature Reference manual is the “nuts and bolts” reference for the VL7, individually describing its many functions in detail. The Feature Reference manual is divided into 5 main sections, each describing the various functions within a particular VL7 edit or utility mode.

1. General Operation [≥ Page 7]

2. Play Mode [≥ Page 13]

3. Edit Mode [≥ Page 21]

4. Utility Mode [≥ Page 149]

5. Appendix [≥ Page 177]

Once you have become familiar with the way the VL7 works by going through the Getting Started manual, you should only need to refer to the Feature Reference manual from time to time to get details on functions you’ve never used before, or refresh your memory about functions that you don’t use very often.

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

The following conventions are used through the VL7 manuals to avoid confusion and make the text easier to read.

Buttons & Controls

Button and control names used on the VL7 panel appear in the text in capital letters within square brackets: “the [ button”, for example.

Parameter Names

Parameter names and other labels which appear on the VL7 display are printed in the courier typeface for easier identification: for example, “adjust the “Balance” parameter as required”.

Parameter Ranges

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

Conventions

Page 8

Getting Started

VL7 Basics

Essential Concepts for the VL7 User

ike its predecessor, the VL1, the Yamaha VL7 Virtual Acoustic Synthesizer produces sound in an entirely new way. It has no

In fact, it uses none of the sound generation concepts employed in conventional synthesizers. The VL7 represents an advanced application of computer-based “physical modeling” in musical sound synthesis.

systems or the flight characteristics of aircraft in the design stage, the VL7 simulates the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. This requires a tremendous amount of computer processing power (weather and aerodynamic modeling require room-filling super computers), and radical advances in microprocessor speed and capability plus some very sophisticated Yamaha technology were necessary to achieve the real-time sound generation capabilities exhibited by the VL7 Virtual Acoustic Synthesizer.

oscillators or function generators, no preset waveforms or samples.

In the same way that computer models are used to simulate weather

Page 9

Getting Started

What Are the Advantages?

he VL7 offers many advantages in terms of musical performance. Not just in terms of sound, but also in terms of the “behavior” that

because someone has programmed a certain sound or pattern of behavior into it. The physical model can be programmed to have certain attributes — the length of a pipe or the stiffness of a reed, for example — but the actual sound produced by any configuration can only be accurately determined by playing it. Of course, the same applies to the design of acoustic instruments. Because of its natural acoustic behavior the VL7 is undoubtedly a little harder to play than conventional synthesizers, but when mastered this is the very characteristic that is its greatest strength. The Yamaha VL7 is the most musical synthesizer ever made. A soloist’s dream!

makes acoustic instruments so … well, musical! But this is not

• The VL7 sounds better, has more depth, and is more realistic in the musical sense than any other synthesizer system.

• Simply pressing a key in the same way does not always produce precisely the same sound. The instrument is responsive and “alive”.

• It has extraordinary expressive capability. Rather than simply controlling parameters like volume or pitch, you can control characteristics such as breath and reed pressure with appropriate complex effects on the timbre of the sound.

Page 10

Getting Started

The VL7 Model

he overall VL7 model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as follows:

The VL7 Voice "Element"

Controllers (also envelopes)

Instrument

●

The Instrument

The key block in this algorithm is the instrument, since it is here that the fundamental tone or “timbre” of the sound is defined. The extreme complexity of this portion of the model makes it unsuitable for user programming, so various instruments for the VL7 are provided in the form of pre-programmed voices. These are primarily woodwind, brass, and string voices, since the VL7’s physical model is capable of most accurately simulating the sound-generating mechanism of all three instrument categories.

The instrument model consists primarily of a driver — the reed/ mouthpiece, lip/mouthpiece, or bow/string system — and a resonant system corresponding to the tube and air column or string.

Modifiers

Sound out.

Page 11

Getting Started

In all these instruments pressure applied here (the driving point) causes vibration which results in sound.

The sound thus produced is amplified and sustained by the body of the instrument.

Reed vibration.

Lip vibration.

Air vibration.

String vibration.

The pitch of the sound is determined by the length of the air column or string, and the timbre is a complex product of the driving source (reed, lip, air, string), the shape of the resonant cavity, the materials from which the instrument is made, etc.

One of the remarkable features of the VL7’s Virtual Acoustic Synthesis

system is that just about any driver can be used with any type of pipe or string.

Drivers Pipes/String

Page 12

Getting Started

●

The Controllers

The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the players arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL7 model, are included in the controllers block. The player also influences the sound of the instrument by playing the keys, tone holes, or frets, and this aspect of control constitutes another part of the controllers block. These and other control parameters provided by the VL7 are listed in the illustration below.

In essence, the controller parameters determine how the instrument “plays”. All of these parameters can be assigned to any of the external controllers that can be used with the VL7: breath controller, foot controller, modulation wheels, etc. The pressure parameter, for example, will normally be assigned to a breath controller so the player can control the dynamics of the instrument by varying the breath pressure applied to the controller — a natural, instinctive way to play wind-instrument voices. At the same time the growl and throat parameters might also be assigned to the breath controller in order to achieve life-like response and effects.

Controls the characteristics

of the "player's" throat or bowing arm.

Pressure

The amount of breath pressure

applied to the reed or mouthpiece,

or bow velocity applied to the string".

Embouchure

The tightness of the lips against

the reed or against each other, or

the force of the bow against the

string.

Pitch

Changes the length of the

air column or string, and thereby

the pitch of the sound.

Throat

Growl

A periodic pressure (bow velocity) modulation which produces the "growl" effect often heard in wind instruments.

Tonguing

Simulates the half-tonguing technique used by saxophone players by changing the "slit" of the reed.

Scream

Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modelling technology.

Damping & Absorption

Simulate the effects of air friction

in the pipe or on the string,

and of high-frequency losses

at the end of the pipe or string.

Page 13

Getting Started

●

The Modifiers

Although you don’t have direct programming access to the VL7 instrument block, the modifiers allow a significant degree of control over the final timbre of the voice. The modifiers block consists of 5 sections as shown in the diagram. Although these may appear to be simple effects, they are actually intimately related to the VL7’s sound-producing model and have a significant effect on the sound (the VL7 has a separate effects stage with reverb, delay, and modulations effects — see page 58).

Harmonic Enhancer

The Harmonic Enhancer allows you to

manipulate the harmonic structure of the

sound to the extent that you can create

radical timbral variations within the current

instrument “family” (e.g. saxes).

Harmonic Enhancer

[Page 51]

Dynamic Filter

This section is similar to the dynamic filters

found in many conventional synthesizers. It

has selectable high-pass, bandpass, band

elimination, and low-pass modes, and a

“wet/dry” balance parameter which allows

delicate variations in the degree of filtration

applied. Another important feature is

keyboard cutoff tracking which varies the

cutoff frequency according to the key

played. [Page 54]

Frequency Equalizer

This is a 5-band parametric equalizer with

frequency, Q (bandwidth), and level

control. The equalizer also has pre-EQ

high- and low-pass filters as well as key

scaling capability for precise response

control throughout the instrument’s range.

[Page 55]

Dynamic

Filter

Frequency

Equalizer

Impulse

Expander

Resonator

Out

Page 14

Getting Started

Impulse Expander

The Impulse Expander works in conjunction with the Resonator, described

below, to simulate the effect of an instrument’s resonant cavity or sound

box. It can also be used to simulate the acoustic environment in which the

instrument is played. In contrast to the Resonator, the Impulse Expander is

more suited to the simulation of metallic resonances and is thus invaluable

for refining the sound of brass and metal-bodied woodwinds. Other

important effects are the ability to diffuse sharp attack sounds and to give

depth and realism to vibrato. [Page 56]

Resonator

While the Impulse Expander and even the Harmonic Enhancer tend to give

the sound a metallic quality, the Resonator produces a more woody

resonance effect. Careful adjustment of the resonator’s parameters can

often bring a not-quite-right voice to life. [Page 57]

Page 15

Getting Started

There’s More …

n this brief introduction to VL7 basics we’ve only looked at the central physical model which is the key the VL7’s unprecedented

sound and musical performance. There’s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesizers. There are, for example, a range of programmable envelopes that can be applied to most of the controllers in addition to real-time player control. And, of course, there’s a comprehensive selection of MIDI, disk, and other utility functions that give the VL7 maximum versatility and convenience.

Now that you understand the basics, dive in and find out what the

VL7 can really do.

Page 16

Getting Started●The Controls & Connectors

The Controls & Connectors

A Brief Introduction To the VL7 Interface

The following brief descriptions of the VL7 controls and connectors

should help you to understand the overall logic of the interface.

q MODE Buttons

C Button

PHONES Jack

Floppy Disk Drive

OCTAVE _

and + Buttons

Breath Controller Jack

DOWN UP

OCTAVE

VOLUME Control

OUTPUT

FOOT CONTROLLER

MODE

EDIT UTILITY COPY STORE

PLAY

COMPARE

VOLUME CS1 CS2

1 FOOT SWITCH

S Button

Continuous Sliders

IN THRU

– and ≠

OUT MIDI

F1 F2 F3 F4 F5 F6 F7 F8 CONT

PHONES

BREATH

PITCH MODULATION 1 MODULATION 2

π Wheel

“ and ‘ Wheels

¡ through •

Function Buttons

Page 17

Getting Started●The Controls & Connectors

Front Panel

y LCD Display & ÷ Control

i Data Dial

!0 = and - Buttons

The Controls & Connectors

q MODE Buttons

The P, E, and U buttons select the corresponding VL7 modes. The PLAY mode lets you select and play voices, the EDIT mode gives you programming access to the VL7’s voice and controller parameters, and the UTILITY mode includes MIDI, disk, system and other functions that are essential for general operation.

☛ Feature Reference page 8.

w C Button

This button is used to copy voice parameters for fast, efficient editing.

☛ Feature Reference page 24.

e S Button

Used to store edited data to an internal memory location.

☛ Feature Reference page 27.

POWER

ON / OFF

INCDEC

ENTEREXIT

ALL

MODIFIER ON / OFF

ALL

MOD

EFFECT ON / OFF

RSN

FBD

REV

!2 Bank a through

d Buttons

!3 Voice Number 1

through ^ Buttons

!1 ] and [ Buttons

o Cursor Buttons

!4 Keyboard

Page 18

Getting Started●The Controls & Connectors

r VOLUME Control

Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R jacks as well as the PHONES jack.

☛ Getting Started page 25.

t – and ≠ Continuous Sliders

These controls can be assigned to a range of controller parameters for real-time expressive control.

☛ Getting Started page 47. Feature Reference page 19.

y LCD Display & ÷ Control

This large multi-function liquid crystal display panel shows all parameters and prompts you need to operate the VL7 with optimum ease and efficiency.

Use the ÷ (contrast) control located near the lower right-hand corner of the display to achieve the best display visibility (LCD visibility varies greatly with viewing angle and lighting).

☛ Getting Started page 34. Feature Reference page 14.

u ¡ through • Function Buttons

The functions of these buttons depend on the selected mode. They are used to engage a function indicated on the display immediately above the button, select a page of parameters, scroll through a list of parameters, and more.

☛ Feature Reference page 9.

i Data Dial

The data dial provides a fast, efficient way to cover a broad range of voice numbers when, for example, you’re looking for a voice but don’t know the voice number. It’s also handy for making large value changes in any of the edit modes.

☛ Getting Started page 35. Feature Reference page 16.

o Cursor Buttons

These 4 buttons move the “cursor” around the display screen, highlighting the various items that are available for selection or parameters that are available for editing (the VL7 cursor appears as a dark block with inverse characters).

☛ Getting Started page 32. Feature Reference page 10.

!0 = and - Buttons

Used to select voices and edit parameter values in any of the VL7 edit modes. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. These buttons are also used to respond “Yes” or “No” to the “Are You Sure?” confirmation prompt when required.

☛ Getting Started page 35. Feature Reference page 16.

!1 ] and [ Buttons

The ] button can generally be used to exit from any sub-mode or function, while the [ button is used to engage a variety of modes and functions.

☛ Getting Started page 26. Feature Reference page 10.

!2 Bank a through d Buttons

The VL7 has 64 internal voice memory locations arranged in 4 banks of 16 voices each. These buttons select the voice bank from which an individual voice will be selected.

☛ Getting Started page 35. Feature Reference page 15.

Page 19

Getting Started●The Controls & Connectors

!3 Voice Number 1 through ^ Buttons

The voice number buttons are used in conjunction with the bank buttons to select any of the VL7’s 64 internal voice memory locations. When editing voice parameters they are also used to turn effects and modifiers on or off.

☛ Getting Started page 35. Feature Reference page 15.

!4 Keyboard

The VL7 has a 49-key keyboard that is both velocity and after-touch sensitive for broad, intimate expressive control.

!5 OCTAVE _ and + Buttons

Shift the pitch of the keyboard up or down one octave. A utility “Octave Hold” function provides two modes: shift only while the button is held, or press once to shift and again to release. MIDI note output data is also shifted.

☛ Feature Reference page 151.

!6 π Wheel

This self-centering pitch wheel allows realistic upward and downward pitch bends. The pitch wheel can also be assigned to any of the VL7’s extensive range of controller parameters for sophisticated expressive control.

☛ Getting Started page 39.

!7 “ and ‘ Wheels

Can be assigned to any of the VL7’s extensive range of controller parameters for extraordinary expressive control. The ‘ wheel features a center-click position.

☛ Getting Started page 39. Feature Reference page 154.

The Controls & Connectors

!8 PHONES Jack

Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for headphone monitoring of the VL7 sound without the need for external amplification equipment.

☛ Getting Started page 23.

!9 Breath Controller Jack

Plug the Yamaha BC2 Breath Controller supplied with the VL7 in here (an optional BC1 Breath Controller may also be used).

☛ Getting Started page 23.

@0 Floppy Disk Drive

The VL7’s built-in floppy disk drive allows easy, economical, high-volume storage of voice data. The disk-in-use indicator below the drive slot lights while any disk operation is in progress ( progress). The eject button, also below the disk slot, is used to remove disks from the drive.

☛ Getting Started page 5, 31. Feature Reference page 162.

NEVER attempt to remove a disk or turn the power off while a disk operation is in

Page 20

Getting Started●The Controls & Connectors

YAMAHA

MODEL VL7

AC INLET

AC Power Cord

Socket

POWER

ON / OFF

@2 POWER Switch

Rear Panel

@1 AC Power Cord Socket

Be sure the plug the VL7’s AC power cord into this socket

power cord into an AC outlet.

☛ Getting Started page 22.

@2 POWER Switch

Press to turn power ON or OFF.

MIDI

THRU OUT

MIDI IN, OUT and

THRU Connectors

FOOT SWITCH 21

FOOT CONTROLLER

OUTPUT

FOOT CONTROLLER 1 and 2 Jacks

FOOT SWITCH 1 and 2 Jacks

OUTPUT L and R Jacks

before plugging the

@3 OUTPUT L and R Jacks

These are the main stereo outputs from the VL7. Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the VL7 sound and effects.

☛ Getting Started page 24.

@4 FOOT CONTROLLER 1 and 2 Jacks

These jacks accept Yamaha FC7 Foot Controllers which can be used to control any of the VL7’s controller parameters. One FC7 Foot Controller is supplied with the VL7, and this should normally be plugged into the FOOT CONTROLLER 2 jack. The second FC7 foot controller is optional.

☛ Getting Started page 23.

@5 FOOT SWITCH 1 and 2 Jacks

An optional Yamaha FC4 or FC5 footswitch can be connected to one or both of these jacks for sustain, portamento, and other control functions.

☛ Getting Started page 23.

@6 MIDI IN, OUT and THRU Connectors

The MIDI IN connector receives the data from an external sequencer or other MIDI device which is to control or transmit data to the VL7. The MIDI THRU connector simply re-transmits the data received at the MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI OUT connector transmits data corresponding to all VL7 performance operations, or bulk data when one of the MIDI data transmission functions are activated.

☛ Getting Started page 24.

Page 21

Getting Started●The Controls & Connectors

The Controls & Connectors

Page 22

Getting Started●Setting Up

Setting Up

System Connections & Preparation

Audio

Foot Controller

DOWN UP

OCTAVE

PITCH MODULATION 1 MODULATION 2

OUTPUT12FOOT CONTROLLER

MODE

PLAY

EDIT UTILITY COPY STORE

COMPARE

VOLUME CS1 CS2

2 1 FOOT SWITCH

OUT

IN THRU

MIDI

F1 F2 F3 F4 F5 F6 F7 F8 CONT

Foot Switch

INCDEC

ENTEREXIT

ALL

MIDI

POWER ON / OFF

ALL

MOD

FBD

REV

EFFECT ON / OFF

RSN

MODIFIER ON / OFF

Power Supply

Breath ControllerHeadphones

Power Supply

Before making any other connections the “female” end of the AC power cord supplied with the VL7 should be firmly plugged into the rear-panel AC cord socket. Ideally the power cord should then be plugged into a convenient AC outlet after you’ve made all other necessary connections and placed the VL7 in the position in which it will be used. Always make sure that the POWER switch is in the OFF (extended) position before plugging the power cord in an AC outlet.

CAUTION! ■ Make sure your VL7 is rate d f or t he AC volt age supplied in t h e

area in w h ich it is t o be used (as listed on t he rear panel). Connecting t he VL7 to the wrong AC supply can cause serious dam age to t he int ernal circuit ry and m ay

CAUTION!

even pose a shock hazard!

Page 23

Controllers

Breath Controller

●

The Breath Controller is an essential expressive tool — both for realistic expression with wind-instrument voices and unprecedented expressive control with string voices. Plug the BC2 Breath Controller supplied with the VL7 (or an optional BC1 breath controller) into the front-panel breath controller jack. The Breath Controller is ideal for controlling parameters that would normally be affected by a wind player's breath: dynamics, timbre, pitch, and others.

Once you've set up your system and begin playing, refer to “Breath Controller Calibration” on page 28 for instructions on calibrating your Breath Controller for optimum control precision and ease.

NOTES ■ For m ore inf orm at ion on Bre ath Contro ller set up and operatio n, see

the inst ruct ions p acked w it h t h e supplied BC2 Breath Controll er.

Getting Started●Setting Up

Setting Up

Foot Controllers

●

Although the VL7 has jacks for two foot controllers, it is not necessary to use both. To begin with plug the supplied FC7 Foot Controller into the rear-panel FOOT CONTROLLER 2 jack.

If you purchase a second FC7 Foot Controller for extra control capability, plug it into the FOOT CONTROLLER 1 jack.

NOTES ■ For mo re inf orm ation on Foot Cont roller se t up and operation,

see t he inst ruc t ions packed wit h t he supplied FC7 Foot Controller .

Foot Switches

●

The use of one or two footswitches allows sustain portamento switching. We recommend that you purchase at least one Yamaha FC4 or FC5 Footswitch for this purpose. A single footswitch can be plugged into either the rear-panel FOOTSWITCH 1 or 2 jack.

Audio Connections

●

Headphones

For private listening and practice headphones are ideal. You don’t have to hook up and complete sound system, and you won’t disturb the neighbors no matter how loud or late you play. Recommended Yamaha headphones for VL7 monitoring are the HPE-170, HPE-160, or HPE-150 Stereo Headphones. Any standard pair of stereo headphones with a 1/4” stereo phone plug and an impedance of between about 8 and 150 ohms can be used.

Page 24

Getting Started●Setting Up

●

Stereo Sound System

The VL7 voices and effects are designed to sound their best in stereo, so you should always use a stereo sound system to appreciate the full impact of the VL7 voices and expressive features. The VL7 OUTPUT L and R jacks can be connected directly to musical instrument amplifiers designed for keyboard use, or to the line inputs of a mixing console. It is also possible to connect the VL7 outputs directly to the inputs of a multitrack or stereo tape recorder.

The normal output level and impedance of the VL7 outputs are 2.5 ± 2 dBm and 10 kΩ.

NOTES ■ If you ne ed t o drive a m ono am p or ot her d evice t he VL7 out put can

be swit ched t o m onaural — the same signal appears at t he L and R outpu ts — by using t he O ut put paramet er describ ed on page 152 of t he Feature Reference manual.

■ Make sure t hat bot h t he VL7 and your sound syst em are t urned OFF w hen

making conne ct ions.

MIDI Connections

Like any other MIDI instrument the VL7 can be used with MIDI tone generators, sequencers, computer software, and controllers for virtually unlimited system expansion and control capability. You might, for example, like to control it from a Yamaha wind controller such as the WX11 rather than the keyboard for even more realistic windinstrument feel and expression.

To ensure reliable error-free transmission of MIDI data always use high-quality MIDI cables obtained from your Yamaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 meters, since cables longer than this can pick up noise which can cause data errors.

The VL7 MIDI transmit channel, receive channel, local on/off, and device number parameters are available in the utility mode “MIDI Setting” page described on page 153 of the Feature Reference manual. Make sure these parameters are set to match the corresponding settings of the external MIDI device(s) used with the VL7.

● The VL7 transmits and receives the following MIDI data:

Note

Control Change

Program Change Aftertouch Pitch Bend Bulk

The played key(s) and velocity value. Modulation wheel, foot controller, breath controller, and other controller

data. Voice numbers from 1 to 64. Keyboard aftertouch pressure. Pitch bend wheel position. Voice and system parameters transmitted in the form of “bulk dumps.”

Page 25

Getting Started●Setting Up

NOTES ■ For det ailed M ID I specif icati ons ref er t o t h e “ MIDI D ata Format” .

■ W hen using t he VL7 w it h ot her MIDI equipm ent , i t is a good idea to ref e r t o

the MIDI spec if ications (im plem ent atio n chart, MIDI data form at) of t he equipm ent use d t o ensure com patibilit y .

Power-on Procedure

Always follow proper procedure when powering-up a sound system to minimize the

possibility of damage to the equipment (and your ears!).

1. Make sure your sound system’s main level/volume control(s) and the VL7 volume

control are turned all the way down prior to turning power on.

2. Turn on the VL7.

3. Turn on the sound system.

4. Raise the sound system volume to a reasonable level.

Setting Up

5. Gradually raise the VL7 VOLUME control while playing the keyboard to set the

desired listening level.

NOTES ■ The VL7 autom atically transm it s MID I cont rol ch ange data correspond-

ing t o it s cont rol st atus when it s power swit ch is t urn ed ON. This data can be received and used by c om patible MIDI equipm ent conne ct ed t o t he VL7 MIDI OUT connect or if t he rece iving equip m ent is t urned on

befo re t he VL7.

Page 26

Getting Started●Setting Up

Play the Demo

Once you’ve set up your VL7 system, you might like to play the pre-programmed demo sequence to hear how some of the voices sound. This process will also help to familiarize you with some of the VL7’s selection and editing procedures.

1. Select the Utility Mode System Page

Press the U button to select the utility mode.

2. Select the Demo Page

Press the ∞ button to select the “Demo” page.

3. Press [ and Confirm

Press the [ button if it’s OK to go ahead with the demo. The VL7 will ask you to confirm again: press - to continue or = to abort.

NOTES ■ If t he curr ent ly select ed voice has been edit e d but not st ore d, t he edit

data w ill be los t when t he d em o m ode is engaged. Make sure t he curre nt voice has been stor ed bef ore e nt ering t he de m o m ode.

■ If t he UTILITY mo de “

Reference m anual, page 156), the “

Confirm

” parame t er is t urned “

Are You Sure?

” prom pt will n ot appear.

off

” (Feature

Page 27

Getting Started●Setting Up

4. Select a Song

Use the data dial or = and - buttons to select the song number you want to

start with.

• 16 demo pieces are provided. The last of these can be used with full accompaniment if the VL7 is connected to a GM (General MIDI) tone generator such as the Yamaha TG300. Connect the VL7 MIDI OUT connector to the MIDI IN connector of the GM tone generator.

5. Run the Demo

Press the • button to run the demo. Playback will start with the selected song,

then all other songs will be played in sequence. The cycle will repeat until stopped.

Setting Up

6. Stop the Demo

Press the ¶ button to stop demo playback.

7. Return To the Play Mode When Done

Press the MODE P button to return the PLAY mode.

Page 28

Getting Started●Setting Up

Breath Controller Calibration

Proper operation of the breath controller is vital to achieving the best possible sound from the VL7. Although the controller is factory-calibrated to match most requirements, we recommend that you carefully calibrate the breath controller for optimum performance with your own playing style.

1. Make Sure the Breath Controller Is Connected

Make sure the breath controller is properly connected: turn the power OFF, plug in the breath controller, then turn the power ON.

2. Select the Utility Mode System Page

Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “Sys- tem” function page.

3. Go To the Utility Mode Curve Page and Select “Brth”

Use the cursor keys to move the cursor to “5:Curve”, then press [ to call the “Curve” function page. When the curve display appears press the • function button (“Brth”) to call the breath controller curve page.

4. Adjust the Breath Controller Offset

The following adjustment must be performed while controller mouthpiece. Do not hold the breath controller in your mouth.

Rotate the breath controller OFFSET trimmer slowly clockwise, using the supplied screwdriver, until the vertical cursors above and below the curve graph move slightly to the right and the number below the graph is greater than “0”. Then slowly rotate the trimmer carefully counter-clockwise until the number below the graph just reaches “0” (the cursors will be lined up with the left end of the graph), then stop. This completes the offset adjustment.

not blowing into the breath

Page 29

Getting Started●Setting Up

5. Adjust the Breath Controller Gain

Place the breath controller mouthpiece in your mouth and blow — notice that the cursors move to right and the number below the graph increases according to how hard you blow. Rotate the breath controller GAIN trimmer counter-clockwise as far as it will go (don’t force it!) then, while blowing into the mouthpiece using the you intend to use while playing, rotate the trimmer slowly clockwise until the number below the graph just reaches “127” (the cursors should just line up with the right end of the graph) and then stop. This completes the gain adjustment. Since changing the gain can sometimes affect the offset setting, it is a good idea to repeat steps 4 and 5 until both the offset and gain are set precisely as required.

NOTES ■ In addition t o calibrating t he bre ath cont rolle r, t he UTILITY mode

“ Curve” page described here also allow s yo u t o select a range of 4 dif f erent response cur ves — t hese are discussed in m o re det ail on page 155 of t he Feature Ref erence manual.

maximum pressure

6. Return to the Play Mode

Press the P button to return to the PLAY mode.

Setting Up

Page 30

Getting Started●Setting Up

Load the Pre-programmed Voice Data

When initially shipped, the VL7 internal memory contains a set of voices programmed to be used without the breath controller (the “NOBREATH:All” file, described below). Since the breath controller is such an important expressive tool, and since some of the examples given in this manual use the breath controller, we recommend that you load the “FULLCNT1:All or FULLCNT2:All” file provided on the VL7 data disk. The voices in this file are pre-programmed for use with the breath controller.

NOTES ■ Loading the pre-programm ed voices ove rwrit es any ot her data t hat is

in th e VL7 inte rnal mem or y, so if you h ave any import ant vo ices in m emory m ake sure it is safely saved to d isk bef ore l oading the data — Feature Reference manual, page 156.

About the VL7 Data Disk

The floppy disk supplied with the VL7 contains the following files:

● 001:NOBREATH:All

A complete set of 64 voices and system data in which the voices are programmed to be played without a breath controller. This is the voice set which is in the VL7 memory when the unit is initially shipped. The voices can be controlled via keyboard initial and after-touch, and via the modulation wheels.

● 002:FULLCNT1:All

A complete set of 64 voices and system data in which the voices are programmed to allow maximum controller variation. The breath controller, foot controller, and modulation wheels are required for voice control.

● 003:FULLCNT2:All

A second set of 64 voices and system data in which the voices are programmed to allow maximum controller variation. The breath controller, foot controller, and modulation wheels are required for voice control.

● 004:EXAMPLE:All

Some example voices which have been programmed so that some major tone generator and controller characteristics are easy to understand.

Page 31

Getting Started●Setting Up

●

Loading the “FULLCNT1:All” Voice File

1. Insert the Voice Disk

Insert the VL7 voice disk into the disk drive. The sliding disk shutter should go in first,

and the label side of the disk should face upward.

2. Select the Utility Mode System Page

Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “Sys- tem” function page.

NOTES ■ If t he Memory Prote ct f unct ion has been t urn ed on (the def ault

sett in g is “ of f ” ), it m ust be t urne d of f bef ore lo ading the data.

Use t he cursor but t ons t o m o ve t he curso r t o “

[

press butt o ns t o select t h e “ memory prot e ct “

to c all the “

Miscellaneous

Memory Protect

off

” .

” fu nct ion page. Use t he c ursor

” parame t er, t hen pres s

6:Miscellaneous

to t u rn

” , th en

Setting Up

3. Select the Disk Function Directory

Press the £ function button (“Disk”) to select the utility mode disk function directory.

4. Select “Load From Disk”

Use the cursor buttons to move the cursor to “2:Load From Disk” and then press [.

Page 32

Getting Started●Setting Up

5. Select “All” and Select the “002:FULLCNT1:All” File

Make sure the cursor is positioned at “1:All” and press [.

When the list of files appears use the cursor > and < buttons to select the

“002:FULLCNT1:All” file, then press [ again.

6. Load the File

Loading will begin when you press the - button in response to the “Are You Sure?” prompt. A bar graph on the display will indicate the progress of the load opera- tion, and when all the data has been loaded “Completed!” will appear.

7. Return to the Play Mode, Eject the Disk, & Select a Voice

When the “Completed!” display appears, press the P button to return to the play mode, then press the eject button below the disk drive slot to eject the disk. Store the disk in a safe place. You must now select a voice in order for the loaded data to be properly activated — see the following section.

Page 33

Getting Started●Setting Up

Setting Up

Page 34

Getting Started●Voice Selection

Voice Selection

Selecting & Playing the VL7’s 64 Voices

One of the first things you’ll want to do with your VL7 is select and

play some of its voices … this section will show you how to do just that.

1. Select the Play Mode

Press the P button so that its indicator lights and the word “PLAY” appears in the upper left corner of the LCD panel.

A considerable amount of information appears on the play-mode display in addition to the name of the currently selected voice. Many of the functions relating to this information will be covered later in the manual. For now, here are the basics:

Voice name: Alto Sax 1 (A14: [FULLCNT1:All]).

Reverb is ON.

Play mode.

Element name: Alto Sax 1.

Assign Mode: Last Note

The abbreviations in the section separated by a line at the bottom of the display (“Cnt1”, “Cnt2”, etc) indicate the functions of the corresponding function buttons below the display: ¡ through •. These will be discussed later in this section.

Effects in use: Pitch Change, Feedback Delay off and Studio type reverb.

Stereo output mode.

Page 35

Getting Started●Voice Selection

2. Select a Voice

The VL7’s 64 voices are organized into 4 banks of 16 voices each (4 x 16 = 64). Any voice can be selected by specifying its bank using the bank buttons (a through d), and its number using the voice number buttons (1 through ^).

To select voice “D7”, for example, first press the bank d button and then the voice number 7 button. The bank d button indicator will flash until the voice number 7 button is pressed and the D7 voice is actually engaged.

Note that when you select a different bank (or even press the current bank button) the voice directory for the selected bank will appear on the display, showing the names of all voices in that bank with the cursor located at the currently selected voice number. The VL7 returns to the normal voice display as soon as you specify the voice number. You can also press the [ button if you want to stay with the same voice number.

Voice Selection

To select a different voice within the same bank it is only necessary to press the appropriate voice number button. To select a different bank, however, you’ll always have to press both a bank button and a voice number button (or the [ button). This prevents unwanted voices from being selected until you’ve actually specified both the bank and number of the voice you want to use.

Alternate Voice Selection Methods

● The - and = Buttons are best used for small, step-wise changes — e.g. selecting adjacent voice numbers, or numbers that are only a few steps away.

Press the = or - button briefly to decrement or increment the voice number by

DEC INC

● The Data Dial provides a fast, efficient way to cover a broad range of

one, or hold either button for continuous decrementing or incrementing in the corresponding direction. Extra-fast increment or

decrement operation can be achieved by pressing the opposite button while holding

either the - or = button. The bank will switch automatically if you cross a bank voicenumber boundary.

voice numbers when, for example, you’re looking for a voice but don’t know the voice number. Simply rotate the data dial clockwise for higher voice numbers or counter-clockwise for lower voice numbers while watching the display.

The banks are automatically switched when neces-

sary as the voice numbers are changed.

Page 36

Getting Started●Voice Selection

3. Play

Try playing the selected voice on the keyboard. Select a number of different voices and try them out. Assuming that you have loaded either of the “FULLCNT1:All” or “FULLCNT2:All” files as directed in the preceding section, pressure to the breath controller and/or press the foot controller forward to produce sound with many of the voices. A complete list of the pre-programmed voices and their controller assignments is provided in the Voice List & MIDI Data Format. The VL7 also provides “controller views”, described in the next chapter, that let you check the current controller assignments via the VL7 display.

NOTES ■ If you don ’ t get any sound at t his p oint : Make sure your sound

syst em is t urned ON and th e volum e is t urned up t o a reasonable level, m ake sure t hat t he VL7 VOLUM E cont rol is t urned up t o a reasonable level, and check all connection s carefully.

you will have to apply breath

Using the Voice Directory

Although the voice directory appears automatically any time you select a different bank, you can have the directory displayed continuously if you find it more convenient than the normal voice display. To switch to the voice directory display, press the • button — located directly below “Dir” on the display. Voices are selected using the same methods described in the preceding section, and the cursor or data dial will move to the selected voice.

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

Page 37

Getting Started●Voice Selection

Voice Selection

Page 38

Getting Started●The Controllers

The Controllers

Natural Musical Nuance and Expressive Control

If you’ve read the “VL7 Basics” section (if you haven’t, please do so — page 8) you should understand the concept of “controllers” as applied to the VL7. The “controller parameters” correspond to simulated characteristics of the instrument model — e.g. breath pressure, embouchure or tonguing. Any of these can be controlled by you via “physical controllers” — e.g. the breath controller or modulation wheel — assigned to the required controller parameter. Even if you never go as far as editing the actual sound of the voices, you’ll no doubt want to be able to change these controller assignments and modify the way the controllers affect the sound.

In this section we’ll introduce you to the basics of controller assignment and operation.

Physical Controllers

• Breath Controller

• Foot Controller

• Etc.

"Physical controllers" such as the Breath or Foot Controller can be assigned to "controller parameters" such as Pressure or Embouchure.

VL Controller Parameters

• Pressure

• Embouchure

• Etc.

The effectiveness of the VL7 as a musical instrument depends to a great deal on how well you learn to use these controllers. Since the VL7 sound is produced by a computer-based physical model rather than a oscillator-based tone generator, there are no hard-and-fast rules as to how any controller will actually affect the sound. There are guidelines, based on the role of the corresponding controller parameter within the physical model, but proficiency with the VL7 depends more on experience and practice — just as it does in any acoustic instrument.

Page 39

Getting Started●The Controllers

Physical Controllers

First, here’s a list of the physical controllers available for use with the VL7:

Breath Controller

Breath Attack

Pitch Wheel

Modulation 1 Wheel

Modulation 2 Wheel

Foot Controller 1

Foot Controller 2

Foot Switches 1 & 2

Aftertouch

Velocity

MIDI

A natural candidate for controlling pressure, tonguing, throat, growl, and other parameters.

This unique "controller" can be applied only through the Breath Controller. When it is selected control is applied by pressure, rather than the absolute breath pressure itself. A constant pressure — whether zero or maximum — produces no change. The faster the change in pressure, the higher the control value.

The self-centering VL7 pitch wheel can be assigned to a range of parameters, but it’s “standard” function is pitch control. A controller parameter such as Embouchure can also be assigned to the pitch wheel for more realistic pitch variations.

This wheel produces minimum effect in its lowest position and maximum effect in the highest position. This modulation wheel is permanently assigned to the standard MIDI modulation wheel control change number — 001.

The VL7’s second modulation wheel is not self-centering, but it has a center click-stop which makes it ideal for assignment to parameters that have a “normal” central setting with variations above and below. It can also be assigned to any MIDI control change number, function in the same way as the breath controller, foot controller, etc.

Foot controller 1 has the standard MIDI foot controller control change number — 004 — and can be assigned to any VL7 controller parameter.

Like the modulation 2 wheel, foot controller 2 is assignable to any MIDI control change number, and is frequently assigned to function in the same way as the breath controller. It can also be assigned to any VL7 controller parameter.

In addition to their obvious sustain and portamento functions, the foot switches are independently assignable to any MIDI controller function as well as a voice number increment function. Of course, they are only really useful with on/off type parameters — not with parameters that allow continuous control.

Keyboard aftertouch allows you to control any controller parameter by the pressure you apply to a key after it is initially pressed. This is perhaps the most “intimate” type of keyboard expression control.

Although normally assigned to pressure (particularly in plucked string voices), keyboard velocity can also be assigned to any other controller parameter.

The MIDI protocol provides 120 control change numbers, some of which are pre-assigned to specific controllers — “001” is “Modulation Wheel”, for example. All of these are available for assignments to the VL7 controller parameters, so external MIDI control devices can be used to full advantage.

changes

in breath

The Controllers

Page 40

Getting Started●The Controllers

VL7 Controller Parameters

Any of the physical controllers listed above can be assigned to control any of the VL7’s

controller parameters:

Pressure

Embouchure

Pitch

Vibrato

Tonguing

Amplitude

Scream

Breath Noise

Growl

Throat Formant

Dynamic Filter

Harmonic Enhancer

Damping

Absorption

The amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre.

The tightness of the lips against the reed or against each other. In a string instrument voice Embouchure corresponds to how strongly the bow is pressed against the string. Affects both pitch and timbre.

Changes the length of the air column or string, and thereby the pitch of the sound. The PITCH wheel is usually assigned to this parameter.

A standard vibrato (pitch modulation) effect. An extensive range of parameters makes it possible to achieve extremely natural vibrato effects. The amounts of vibrato applied via pitch and embouchure, for example, are independently programmable.

Simulates the half-tonguing technique used by saxophone players by changing the "slit" of the reed. The slit is the space between the tip of the reed and the mouthpiece.

Unlike Pressure, this parameter simply controls the volume of the sound without varying timbre.

Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modeling technology.

Adds breath noise. The sound of the breath noise itself can be varied over a wide range using the EDIT mode “Breath Noise” parameters — Feature Reference manual page 71.

A periodic pressure modulation which produces the “growl” effect often heard in wind instruments. Like vibrato, an extensive range of parameters allow remarkably realistic effects.

Controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound.

Similar to the dynamic filters found in many conventional synthesizers. The VL7 filter has selectable high-pass, bandpass, band elimination, and low-pass modes.

The Harmonic Enhancer can vary the harmonic structure of the sound over a wide range. The Harmonic Enhancer also includes parameters that affect breath noise and several reed characteristics.

Simulates the effect of damping due to losses within the body of a wind instrument or in a string due to air friction. Affects both pitch and timbre.

Simulates the effect of high-frequency loss at the end of the air column or string. In the case of a wind instrument, the Damping and Absorption parameters control the diameter and shape of the bell.

Page 41

Getting Started●The Controllers

Controller Views

In the PLAY mode, function buttons ¡ through § are used to select “controller view” displays that list all controller assignments for the currently selected voice. In particular, ¡ through ¢ display the assignments for the controller parameters listed in the preceding chart (you can press the ] button at any time to return to the normal play-mode display).

¡ Voice A14 — Alto Sax 1

™ Voice A14 — Alto Sax 1

The Controllers

£ Voice A14 — Alto Sax 1

¢ Voice A14 — Alto Sax 1

The controller parameters are listed in the left column of the controller view display, and the controllers assigned to them are listed in the right column.

In this example we can see that the breath controller is assigned to control “Pres- sure” and “D.Filter” (the Dynamic Filter). The pitch wheel controls both “Pitch” and “Embouchure”, and the modulation wheel (MODULATION 1) controls “Vi- brato”. Keyboard aftertouch controls the “Throat Formant” parameter. Keyboard velocity controls both “Breath Noise” and “H.Enhancer” (the Harmonic Enhancer). MIDI control change number 013 controls “Tonguing”. The remaining parameters are currently “off” and therefore have no effect on the sound.

NOTES ■ The

views t hat deal wit h dif f ere nt t ypes of co nt rollers. These will b e sum m arized in the “ Ot her Cont roller View s sect ion on page 47 of t his m anual.

∞

(“

Cnt5

” ) and § (“CS” ) funct ion but t o ns access cont roller

Page 42

Getting Started●The Controllers

Some Exercises With the Alto Sax 1 Controllers

Now that you know which physical controllers are assigned to which controller parameters in the Alto Sax 1 voice (A14), play the voice using the assigned controllers to get a feel for their effect before changing the assignments.

1. Engage the EDIT Mode

The controller assignments are accessed via the EDIT mode Controller page. To get to this page first press the E button to engage the edit mode. This is the initial EDIT mode display:

If the initial EDIT mode display shown above does not appear when the E button is pressed, try pressing the ] button one or more times.

NOTES ■ When t he edit m ode is select ed, t he VL7 w ill aut om atically go st raight

to t he last edit page t hat was select ed f or m aximum program m ing spee d and eff ici ency. You m ay have to display hierarchy to ret ur n t o t he init ial display.

]

thro ugh one o r t wo layers of t he EDIT mode

2. Select the Element Controller Parameters

Press the ™ function button (immediately below “EL” on the display) to select the element parameters.

If the display doesn’t look like this press the ¡ function button (below “Ctrl” on the display) to call the “Controller” page.

3. Select the Controller Parameter You Want To Edit

Use the cursor buttons to select the controller parameter you want to assign a controller to (you can also use the = and - buttons or data dial for this), then press the [ button.

For example, let’s try adding scream control to the MODULATION 1 wheel (it currently controls vibrato). Move the cursor to “07:Scream” and press [.

Page 43

Getting Started●The Controllers

4. Edit the Scream Controller Parameter

The cursor should be located at the “Controller” parameter, as shown in the example display. In the Alto Sax 1 voice the scream control parameter is not used so it is currently turned “off”. Press the - button or rotate the data entry dial to the right slightly to select “Modulation Wheel”, the first controller on the list.

Notice that as soon as you edit the parameter, and inverse letter “E”(´) appears to the left of the voice number near the upper left corner of the display. This tells you that the voice has been edited and, later, that you’ll need to store the voice in memory before selecting a different voice if you want to keep the edited data.

NOTES ■ The Controller parameter has 125 set t ings — 00 1 t hrough 1 20

correspondin g t o t he cont ro ller num ber s provided by MIDI pr ot ocol and 5 sett in gs(Aft er Touch, Pitch Bend, Velocit y, Breat h At t ack and Touch EG). Som e of thes e are pre-assigned: Modu lation W hee l is num ber 001, Breat h Controlle r is num ber 002, e t c. W hen you select a pre-assigned controlle r t he corres ponding cont roller nam e is shown on t he disp lay; non-assigned cont rolle rs are displayed as M IDI cont rol change num bers.

■ The “

w hee l. The M OD ULATION 2 wheel can be assigned to num ber — Feature Refe rence m anual, page 154.

Modulation Wheel

” set t ing ref ers t o t he VL7’s MODULATION 1

any M IDI cont ro l change

The Controllers

5. Try Out the Edited Voice & Cancel the Vibrato Effect

Try operating the “ wheel while playing the Alto Sax 1 voice. You should hear the scream effect increase as the wheel is rolled upward. Vibrato is still assigned to the “ wheel, so the vibrato effect will come in simultaneously.

To cancel the vibrato effect and leave only the scream effect, simply go to the Controller “Vibrato” page and turn the Controller parameter “off”. To get to the vibrato page you can either ] to the controller directory introduced in step 2 and select the vibrato page from there, or step backward through the controller pages by using the § function button (“Bpag” stands for “Back page”). In the same way, the ¶ function button can be used to step forward through the controller pages (“Fpag”).

NOTES ■ When “

the vibrato and several ot her cont rol ler pages, t he another page of paramet ers pert aining t o t he con t roller.

Para

” appears above th e • fun ct ion but t on, as it does in

•

fun ct ion but t on accesses

Page 44

Getting Started●The Controllers

6. Go to the Pressure Controller Page

From the Vibrato page use the § button to step back to the Pressure controller page. Quite logically, the Breath Controller is assigned to control the “Pressure” parameter, and we will leave it set that way while we experiment with the “Depth” and “Curve” parameters.

7. Vary the Depth Parameter

Move the cursor to the “Depth” parameter and, while trying out the effect of the changes on how the “Pressure” parameter is affected by the Breath Controller, use the data dial to vary to depth setting.

As you decrease the setting, notice that the graph to the right of the display changes accordingly. The horizontal axis corresponds to breath pressure (or the control value in any other controller screen), and the vertical axis represents the depth of the parameter. With “Depth” set to the maximum value of “127” no breath pressure produces no sound and maximum breath pressure produces maximum output.

Maximum output.

Minimum output.

Minimum breath pressure.

Maximum breath pressure.

As the value of the “Depth” parameter approaches zero, however, the depth of the output range is reduced and a corresponding amount of output is produced even at minimum breath pressure. In other words, at a setting lower than 127 simply playing a key will produce sound even without breath pressure, and the Breath Controller will vary output between the initial level and maximum output.

Page 45

Getting Started●The Controllers

Once you pass zero, you enter a range of “negative” Depth values that produce reverse controller operation: i.e. the output level Breath Controller. Like the normal positive range, the negative Depth range is from “0” to “-127”.

decreases as you blow harder into the

8. Vary the Curve Parameter

You may have noticed in the previous step that the relationship between breath pressure and output is not linear (the line in the graph is slightly curved). That is, a change in breath pressure does not necessarily produce a corresponding change in sound. The “Curve” parameter makes it possible to change that relationship.

As you increase the curve value (the maximum value is 16), the line on the graph which represents breath pressure versus output will curve downward, as shown in the display below (setting “12”). The result is that the lower end of the breath pressure range has relatively little effect on the sound, while higher breath pressures produce more dramatic changes.

The Controllers

Negative curve values (o … -16) have the opposite effect: Output increases rapidly at low breath pressures while higher pressures produce relatively little effect.

Page 46

Getting Started●The Controllers

9. Experiment!

Now that you’ve got the idea, flip through the all the available controller pages and experiment with alternative assignments and settings until you feel comfortable with the system. You should also try this with different voices later, since the controllers can have different effects with different voices.

NOTES ■ There are several variations o n t he basic cont roller d isplay and param-

eter s. W hen yo u’ re ready to st udy t he paramet ers i n m ore det ail ref er t o t he “ Element Cont rollers” se ct ion beginn ing on page 62 of t he Feature Reference manual.

10.Return to the Play Mode When Done

When you’re finished experimenting with the controllers, press the P button to return to the play mode.

Note that the inverse letter “E”(´) still appears to the left of the voice number, indicating that the voice has been edited.

If you want to keep the edited voice, it must be saved to an internal memory location and then to floppy disk if necessary, as described on pages 27 and 166 of the Feature Reference manual, respectively. This must be done the same voice again) or your edits will be lost. To confirm this, try selecting a different voice and then return to the Alto Sax 1 voice … the inverse “E”(´) will be gone and the voice will be as it was before you edited it.

NOTES ■ The VL7 has a M em or y Voice Recall fu nct ion t hat can be used t o

recall the last version of a voice if yo u accidentally m ake unwanted changes or lose your edit e d data as described above — Feature Reference manual, page 173.

Controller Envelopes

Since acoustic instruments virtually never respond instantaneously to “controller” changes, the VL7 includes a range of controller envelopes that can be used to simulate this type of response. For example, sudden application of maximum breath pressure to a wind instrument or bow speed to a string instrument normally doesn’t produce instantaneous sound. The instrument requires a few milliseconds to reach the full resonance demanded by the breath pressure or bowing. The VL7 provides programmable envelopes for the “Pressure”, “Embouchure & Pitch”, “Vibrato”, “Growl”, and “Amplitude & Filter” parameters, and these are described in detail on pages 126 through 148 of the feature reference manual.

before you select a different voice (or

Page 47

Getting Started●The Controllers

Other Controller Views

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

controller view:

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

The Controllers

Sustain

Portamento

Time MIDI Ctrl

Effect Ctrl

Controller

Indicates whether sustain control is on or off.

(≥ Feature Reference manual, page 33)

This line indicates the current portamento status: “Full Time” or “Fingered”.

(≥ Feature Reference manual, page 38)

A MIDI controller can be assigned to control portamento time. This line indicates whether Time MIDI Control is turned “on” or “off”.

(≥ Feature Reference manual, page 38)

Any physical controller can be assigned to control certain of the VL7’s effects in certain ways: the wet/dry balance of the pitch change effect, the feedback delay send level, or the reverb send level. This line indicates which effect parameter is assigned for control.

(≥ Feature Reference manual, page 43)

This line indicates which controller is assigned to control the effect parameter shown in the “Effect Ctrl” line, above.

(≥ Feature Reference manual, page 43)

The § function button calls the Continuous Slider (“CS”) controller view, which will look something like this:

The continuous sliders can not be assigned to the instrument controller parameters listed above, but can be independently assigned to several other parameters that you can control in real time while playing. The parameters available for editing via the continuous sliders are individually preset for each voice. You can select from the available range by using the “Continuous Slider” assignment function described on page 40 of the Feature Reference manual.

The continuous slider view shows you which parameters are assigned to which controller as well as the current positions of the controllers and parameter values.

Page 48

Getting Started●Mixing & The Modifiers

Mixing & The Modifiers

Creating New Timbres and Original Voices

The VL7 provides two ways to change the timber of a voice to create original variations: 1) by mixing the output signals from various parts of the physical model, and 2) by using the VL7’s “Modifiers” to shape the overall harmonic structure. You should always start with the mixing parameters when attempting to create a new voice, so we’ll describe mixing first.

Mixing

The VL7’s physical instrument model produces three output signals that can be mixed to produce a surprising range of timbral variation.

● Driver

The “Driver” signal is the direct output from the mouthpiece (or bow/string interface) without the resonance of the instrument’s body. In acoustic instruments there is a certain amount of driver sound — particularly when the instrument is heard at close range. Judicious adjustment of the amount of driver signal added to the sound can significantly enhance the simulation.

Tap

Driver Pipe/String

Mix

Out

(to modifiers)

● Pipe/String

This is the main output from the instrument’s pipe or string.

● Tap

By “tapping” the output from a specific point along the instrument’s pipe or string and mixing that signal with the Driver and Pipe/ String signals, a range of variations can be produced. The Tap signal alone sounds almost the same as the Pipe/String signal, but since it has a different phase the tone can change drastically when the two signals are mixed due to phase cancellation and reinforcement.

always

Page 49

Getting Started●Mixing & The Modifiers

An Exercise: Remix the Pan Pipes Voice

Before going to the EDIT mode, select and play the Pan Pipes (B03) voice for a

few minutes to get a feel for how it sounds.

1. Engage the EDIT Mode

The mixing parameters are accessed via the EDIT mode “Mixing” page. To get to this page first press the E button to engage the edit mode. You may have to press the ] button one or more times to get the initial edit display.

2. Select the Element Miscellaneous Parameters

Press the ™ function button to select the element parameters, then press the ™ function button again (below “Misc” on the display) to call the “Miscellaneous” page.

Mixing & The Modifiers

3. Select & Edit the Mixing Parameters

Move the cursor to “4:Mixing” and press [.

Here you have all the parameters you need to mix the physical model output signals: Driver Output, Pipe/String Output, and Tap Output. These three parameters can be set from “0” (no output) to “127” (maximum output). Try changing their values to see how the sound is affected.

Note that in the example display there are more Tap parameters. There is actually one more: move the cursor to the “Tap Setting” parameter and press the = button (or use the data dial) to set it to “Variable” (the previous setting, “Driving Point”, fixes the position of the tap output at the instrument’s driving point). Now the location of the tap can be set at any point via the “Tap Location” parameter. Try changing the “Tap Location” setting and notice how the tone changes.

Page 50

Getting Started●Mixing & The Modifiers

Tap Location

99%

50%

The remaining tap parameter — “Tap Sign” — inverts the phase of the tap

signal. It has two settings: “+” and “-”. Try it.

4. Return To the PLAY Mode When Done

Press the P button to return to the PLAY mode when you’ve finished experi-

menting with the mixing parameters.

After experimenting with the Mixing parameters for a while you’ll discover that they define the basic sound of the instrument. Once you’ve created the basic sound you want by using the Mixing parameters, then you can move on the Modifiers to refine the sound.

Page 51

Getting Started●Mixing & The Modifiers

The Modifiers

As described in the “VL7 Basics” section (page 8), the VL7 has five “Modifier” stages that shape the overall timbre of the sound. Although the modifiers can vary the sound over a considerable range, the fundamental timbre of each voice is determined by its physical instrument model. If you start with a trumpet voice, for example, the modifiers will let you create an broad range of timbres, but the final sound will always be more or less trumpet-like. It is therefore important to choose a voice that provides the right foundation for the sound you are trying to achieve when attempting to create an original sound.

The five modifier stages are:

Mixing & The Modifiers

(from physical model)

Harmonic Enhancer

Dynamic

Filter

Impulse

Expander

Harmonic Enhancer

Of the five modifier stages, the Harmonic Enhancer has the most pronounced effect on the actual harmonic structure of the sound. It allows you to create radical timbral variations within the current instrument “family”.

Modulator

Source.

Carrier

Source.

Frequency

Equalizer

Resonator

Modulator

Carrier

Out

(to effects stage)

Driver,

pipe/string,

and tap sound.

Wet/Dry Balance

Out

(to Dynamic Filter.)

Page 52

Getting Started●Mixing & The Modifiers

Referring to the block diagram of the harmonic enhancer, above, we can see that it employs a modulation approach to building new harmonic structures. The carrier and modulator blocks have independent display pages and some independent parameters.

The Modulator Parameter Page

■

The Carrier Parameter Page

NOTES ■ If you want t o e xperim ent with t he Harm onic Enhancer paramet ers

w hile reading th is sect ion, t h ey can be accessed by select in g t he EDIT mode

]

and, from t he in it ial EDIT mode d isplay (try pressing

™

display doesn’ t appear), pressing then pressing the cursor t o “ Harmonic Enhancer display is select ed t he carrier and m odif ier pages are select ed via

(“

Modi

” ) to select t he Modif ier paramet ers, and f inally m oving

1:Harmonic Enhancer

(“

Crr

” ) and ™ (“

(“EL” ) to select t h e Element p arameters ,

” and pressing

Mod

” ), respective ly.

if t he init ial EDIT

[

. Once t he

The “Signal Select” parameters in these pages allow independent selection of the six different signal sources listed below.

Normal

Breath Noise Amplitude

Flow Rate Saturation

Beat

Slit/Friction

Reed

This is the total output of the instrument model: a mix of the driver, pipe/string, and tap signals.

This signal represents the instantaneous amplitude of the breath noise produced at the driver. It is basically a highly distortion version of the Slit/Friction signal described below.

When the pressures on either side of an aperture (e.g. a mounthpiece/ reed assembly) differ, a corresponding flow of air is produced. There is, however, a limit to the speed of the airflow which can be produced (saturation). The relationship between the pressure difference and resulting airflow is derived as the Flow Rate Saturation signal.

The beat signal represents contact between the vibrating reed and the mouthpiece.

As the reed vibrates, the area of gap (slit) between it and the mouthpiece varies accordingly. The Slit/Friction signal corresponds to the varying are of the reed/mouthpiece slit.

This signal is derived directly from the flexing of the reed.

Page 53

Getting Started●Mixing & The Modifiers

Although any modulator source signal can be applied to any carrier source signal, two approaches are recommended when attempting to create an acoustic instrument simulation.

The first is to set the carrier signal to “Normal” and the modulator signal to any other than normal, set the dry/wet “Balance” to 63 (all wet), and set a relatively high modulator “Index” value. In this case the total output of the instrument model (“Nor-

mal” signal) will by modulated by one of the component signals, so the dry/wet “Balance” can be set to fully wet (modulated carrier output only) since the carrier source and

dry signals are essentially the same. The “Index” parameter determines how much modulation is applied, so a higher value is generally required to create sufficient variation.

The second approach is to set the carrier signal to any other than normal and the modulator signal to any of the six possibilities, set the dry/wet “Balance” to a more central value, and set a relatively low modulator “Index” value. In this situation it is necessary to set the “Balance” more toward the “Dry” side since the carrier source signal is

not the normal signal and at least some of the dry signal is necessary to provide the basic sound of the instrument model. In other words, the sound produced by the Harmonic Enhancer is simply added to the basic sound of the instrument, in contrast with the first approach in which the basic sound of the instrument is modulated directly.

Please note that these are only guidelines, and are by no means the only way to work with the Harmonic Enhancer. Since the Harmonic Enhancer tends to respond differently with different instrument models, experimentation and experience are your most valuable tools.

Mixing & The Modifiers

While the “Balance” and “Index” parameters apply to the overall harmonic enhancer sound, the following independent parameters are provided for the modulator and carrier blocks.

Both the modulator and carrier blocks have high-pass filters that can be

HPF Cutoff

Overdrive

Phase

used to roll off the low frequencies of the corresponding signal. The cutoff frequency can be varied from 17.7 Hz to 11.2 kHz. The filter can also be bypassed.

This parameter boosts the corresponding modulator or carrier signal, forcing it into distortion and thereby drastically changing its harmonic structure.

This parameter is provided for the modulator block only. It allows a degree of timbral variation by varying the phase of the modulator signal through 360 degrees in 2- or 3-degree increments.

Look at the Harmonic Enhancer display pages again. Parameters with an inverse “K”(˚) next to them can also be controlled by key scaling — i.e. the value of the parameter changes according to the pitch of the key played. This makes it possible to achieve both natural and unprecedented timbral variations across the range of the keyboard.

NOTES ■ Refer to page 105 of t he Feature Referen ce m anual for f ull det ails on

the Harmonic Enhancer paramet ers.

Page 54

Getting Started●Mixing & The Modifiers

Dynamic Filter

The Dynamic Filter stage is similar to the dynamic filters found in many conventional synthesizers. It allows both fixed and dynamic filtering in high-pass, low-pass, bandpass, and band elimination modes, and is effective for broad tonal control.

In (from Harmonic Enhancer)

■

The Dynamic Filter Parameter Page

Dynamic

Filter

Wet/Dry Balance

Out

(to Frequency Equalizer)

The dry/wet “Balance” parameter allows delicate variations in the degree of filtration applied. The “Cutoff Tracking” parameter selects either the “Fixed” mode in which the cutoff frequency of the filter is fixed at the specified cutoff frequency in Hz (“Cutoff Freq.” parameter), or the “KeyTrack” mode in which the cutoff frequency varies according to the key played. When “KeyTrack” is selected the cutoff frequency is specified in octaves. Another important feature is “Resonance” — a parameter that produces a variable resonant peak at the specified cutoff frequency in any of the filter’s modes.

NOTES ■ Refer t o page 113 of t he Feature Refer ence m anual for f ull de t ails on

the Dynamic Filt er paramet ers.

Page 55

Getting Started●Mixing & The Modifiers

Frequency Equalizer

The Frequency Equalizer stage consists of two blocks — Auxiliary and Band —

each with its own display page.

(from Dynamic Filter)

The Equalizer Auxiliary Parameter Page

■

The Equalizer Band Parameter Page

Equalizer

(Auxiliary)

Equalizer

(Bands)

Out

(to Impulse Expander)

Mixing & The Modifiers

The Auxiliary block includes programmable low-pass and high-pass filters that can be used independently or together to create a bandpass response. Both the low-pass and high-pass filters have independent key-scaling parameters that can be used to vary the gain of the filters across the range of the keyboard. The “Input Gain” parameter adjusts the level of the signal applied to the input of the Equalizer Auxiliary stage.

The Equalizer Band block is a 5-band parametric equalizer with frequency, Q (bandwidth), and level control. The Band block functions in the same way as any standard parametric equalizer, allowing flexible response control over a wide range.

NOTES ■ Refer t o page 117, 120 of t he Feature Reference manual for f ull

details on t he Frequency Equalizer paramet ers.

Page 56

Getting Started●Mixing & The Modifiers

Impulse Expander

The Impulse Expander works in conjunction with the Resonator, described below, to simulate the effect of an instrument’s resonant cavity or sound box. It can also be used to simulate the acoustic environment in which the instrument is played.

(from Frequency Equalizer)

■

The Impulse Expander Parameter Page

Frequency-dependent Delay

Mix

Out

(to Resonator)

In contrast to the Resonator, the Impulse Expander is more suited to the simulation of metallic resonances and is thus invaluable for refining the sound of brass and metalbodied woodwinds. Other important effects are the ability to diffuse sharp attack sounds and to give depth and realism to vibrato. In fact, the Impulse Expander should only be used with voices which have a degree of vibrato or other cyclic variation, since its effect is less noticeable on uniformly sustained sounds.

Since the Impulse Expander is not essential for all voices, it can be turned completely off when not needed. It also has “Wet Level”, “Dry Level”, and stereo “Level Balance” parameters that allow its effect to be blended into the main sound as required.

NOTES ■ Refer to page 123 of t he Feature Referen ce m anual for f ull det ails on

the Im pulse Expander paramet e rs.

Page 57

Resonator

While the Impulse Expander tends to give the sound a metallic quality, the Resonator produces a more woody resonance effect. Careful adjustment of the resonator’s parameters can often bring a not-quite-right voice to life.

Getting Started●Mixing & The Modifiers

Delay

(from Impulse Expander)

■

The Resonator Parameter Page

Delay

Right Channel

Out (to Effects)

Left Channel

The Resonator basically consists of five parallel delay lines with independently programmable delay times (DL1 through DL5, variable from 0.29 to 41.54 milliseconds). Other parameters include variable “Decay Time”, “LPF Cutoff Freq.” (low-pass filtercutoff frequency), “Diffusion”, and “Phase”.

Like the Impulse Expander, the Resonator is not essential for all voices and can be turned completely off when not needed. It also has “Input Gain”, “Wet Level”, and stereo “Level Balance” parameters that allow its effect to be blended into the main sound as required (the cursor is moved around the block diagram in the “IE & RSN SETTING” page, shown below, to select the parameters associated with the various blocks).

Mixing & The Modifiers

■

The Impulse Expander & Resonator Setting Page

(IE = Impulse Expander. RSN = Resonator)

NOTES ■ Refer to page 124 of t he Feature Referen ce m anual for f ull det ails on

the Resonator paramete rs.

Page 58

Getting Started●Effects

Effects

Creating the Right Ambience

Effects are the essential finishing touches for any voice. Once you’ve created a sound you like, use one or more of the VL7’s three highperformance digital effect stages to polish and refine it as required. Each stage includes a number of effects. The Modulation, Feedback Delay, and Reverb stages can be used simultaneously, but only one of the effects available in each stage can be used at a time.

Modulation

Feedback

Delay

Reverb

All effects can be accessed from the initial EDIT mode display by press the ¡ button (“COM”) to select the common voice parameters, and then the ™ button (“Efct”) to call the effect directory. Then move the cursor to the name of the desire effect stage and press [ button.

Page 59

Getting Started●Effects

Modulation Effects

Although “modulation” usually implies some sort of cyclical variation, the VL7 Modulation stage allows selection of Flanger, Pitch Change, and Distortion effects (only Flanger fits the traditional definition of a modulation effect). Since most of these effects produce a marked change in the sound, you’ll probably only want to use them on certain voices, and maybe not all the time.

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

Flanger

Pitch Change

Distortion

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

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

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

Effects

NOTES ■ Refer t o page 44 of t he Feature Refere nce m anual for f ull det ails on

the Modulation ef f ect s and parameters .

Feedback Delay Effects

All three effects available in the Feedback Delay stage are basically designed to produce distinct repeat delays or echoes. You have extensive control over the number of repeats produced and the way they decay.

Mono

L, R

L, C, R

Since the goal in producing a delay effect is often to match the delay time to a musical time value, the VL7 includes a “time calculation” function that makes it easy to convert standard note values to their corresponding delay times in milliseconds.

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

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

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

Page 60

■ The Time Calculation Pop-up Page

NOTES ■ Refer t o page 51 of t he Feature Refere nce m anual for f ull det ails on

the Feedback Delay effe ct s and paramet ers .

Reverb Effects

You’ll probably want to apply the effects in this stage to some degree to all your voices. These are the effects that will give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound.

Getting Started●Effects

Hall 1

Hall 2

Room 1

Room 2

Studio

Plate

Space

Reverse

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

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

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

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

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

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

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

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

For even more versatility all of the reverb effects have a “Feel” parameter with four settings which produce significant changes in the basic sound of the effect. In essence you have 32 distinct reverb programs (8 effects x 4 Feel settings). Another innovative feature of the reverb effects is a Reverb Time Boost parameter which can be used to extend the tail end of the reverb sound in fine increments.

NOTES ■ Refer t o page 58 of t he Feature Refere nce m anual for f ull det ails on

the Reverb eff e ct s and paramet ers .

Page 61

Getting Started●Effects

Effects

Page 62

Getting Started●Index

Index

This index covers both the VL7 Getting Started and Feature Reference manuals for easy cross-referencing. Page numbers in the Getting Started manual are preceded by

“

Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ79

Aftertouch curve . . . . . . . . . . . . . . . . . . . . . . . . . ƒ155

Amplitude & filter envelope . . . . . . . . . . . . . . . ƒ141

Amplitude & filter key scaling . . . . . . . . . ƒ144-148

Amplitude (Element Controller) . . . . . . . . . . . . . ƒ69

Amplitude level . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ102

Assign mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ33

Breath attack gain . . . . . . . . . . . . . . . . . . . . . . . . . ƒ34

Breath attack time . . . . . . . . . . . . . . . . . . . . . . . . . ƒ34

Breath control curve . . . . . . . . . . . . . . . . . . . . . . ƒ155

Breath noise . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ71, 84

Breath noise key scaling . . . . . . . . . . . . . . . . . ƒ86-88

Bulk dump, MIDI . . . . . . . . . . . . . . . . . . . . . . . . ƒ158

Copy function . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ24

Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ78

Device number . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153

Disk format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ171

Disk status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ163

Disk, delete file . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ170

Disk, load from . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ164

Disk, rename file . . . . . . . . . . . . . . . . . . . . . . . . . ƒ168

Disk, save to . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ166

Display mode . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ156

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ49

Dynamic filter key scaling . . . . . . . . . . . . . ƒ115-116

Common miscellaneous . . . . . . . . . . . . . . . . . . . . ƒ32

Confirm mode . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ156

Continuous slider assignment . . . . . . . . . . . . . . . . ƒ40

Controller search & replace . . . . . . . . . . . . . . . . . ƒ80

Edit compare function . . . . . . . . . . . . . . . . . . . . . ƒ23

Edit recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ172

Effect control . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ43

Effect on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ22

Element level . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ36

Element names . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ31

Page 63

Getting Started●Index

Element note shift . . . . . . . . . . . . . . . . . . . . . . . . . ƒ35

Element pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ36

Element pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ35

Element random pitch . . . . . . . . . . . . . . . . . . . . . . ƒ35

Element tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ35

Embouchure & pitch envelope . . . . . . . . . . . . . . ƒ128

Embouchure & pitch envelope key scaling ƒ130-132

Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Equalizer auxiliary . . . . . . . . . . . . . . . . . . . . . . . ƒ117

Equalizer auxiliary key scaling . . . . . . . . . ƒ118-119

Equalizer band . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ120

Error messages . . . . . . . . . . . . . . . . . . . . . . . . . .

ƒ64

ƒ182

Feedback delay . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ51

Feedback delay/reverb mode . . . . . . . . . . . . . . . . ƒ43

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ45

Foot controller 2 assign . . . . . . . . . . . . . . . . . . . ƒ154

Foot switch assign . . . . . . . . . . . . . . . . . . . . . . . ƒ154

Functions & parameters, finding . . . . . . . . . . . . . . ƒ9

Greeting message . . . . . . . . . . . . . . . . . . . . . . . . ƒ157

Growl envelope . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ139

Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ72

Growl speed key scaling . . . . . . . . . . . . . . . . . . ƒ140

Impulse expander & resonator setting . . . . . . . . ƒ121

Initial edit page . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ30

Interpolate speed . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83

Keyboard transpose . . . . . . . . . . . . . . . . . . . . . . . ƒ151

L,C,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ55

L,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ53

Local on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153

Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ152

Memory protect . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ156

Micro tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ39

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153

Mixing key scaling . . . . . . . . . . . . . . . . . . . . ƒ98-101

Modes, the 3 main . . . . . . . . . . . . . . . . . . . . . . . . . ƒ8

Modifier on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ22

Modulation effect type . . . . . . . . . . . . . . . . . . . . ƒ44

Modulation wheel 2 assign . . . . . . . . . . . . . . . . . ƒ154

Mono delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ51

Index

Harmonic enhancer key scaling . . . . . . . . . ƒ108-112

Navigation aids . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ11

Octave switch hold . . . . . . . . . . . . . . . . . . . . . . . ƒ151

Page 64

Getting Started●Effects

Getting Started●Index

Pitch change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ47

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ65

Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ38

Pressure envelope . . . . . . . . . . . . . . . . . . . . . . . . ƒ127

Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ63

Quick editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ19

Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ58, 152

Velocity curve . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ155

Vibrato envelope . . . . . . . . . . . . . . . . . . . . . . . . . ƒ133

Vibrato envelope key scaling . . . . . . . . . . . ƒ135-138

Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ67

Voice name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ31

Xfade speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83

Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ70

Selecting & editing parameters . . . . . . . . . . . . . . ƒ12

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ184

Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ27

Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ33

Throat formant . . . . . . . . . . . . . . . . . . . . . . . . ƒ73, 89

Throat formant key scaling . . . . . . . . . . . . . . ƒ91-95

Time calculation, musical . . . . . . . . . . . . . . . . . . . ƒ57

Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ68

Touch EG time . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ34

Transmit channel . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153

Trigger mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . ƒ178

Page 65

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