Yamaha Audio VL7 User Manual

Getting Started

Owner’s Manual 1

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

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

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.

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.

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.

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

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

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.

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.

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

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.

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

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]

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.

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

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

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.

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

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.

+ 45 hidden pages

Yamaha Audio VL7 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual