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Yamaha VL1 Electronic Keyboard User Manual

1. 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 always a certain amount of driver sound particu larly when the instrument is heard at close range Judicious adjustment of the amount of driver signal added to the sound can signifi cantly enhance the simulation O Pipe String This is the main output from the instrument s pipe or string Driver Pipe String O 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 Out almost the same as the Pipe String signal to modifiers but since it has a different phase the tone can change drastically when the two signals are mixed due to phase cancellation and reinforcement Getting Started Mixing The Modifiers An Exercise Remix the Pan Pipes Voice Before going to the EDIT mode select and play the Pan Pipes voice for a few minutes to get a feel for how it sounds de Engage the EDIT Mode The mixing parameters are accessed via the EDIT mode Mixing page To get to this page first press the EDIT button to engage the edit mode You may have to press the EXIT button one or more times to get the initial edit display m Single Fan Pir
2. 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 UTIL SYSTEM CURLE Ereath Control Curve 4 Adjust the Breath Controller Offset The following adjustment must be performed while not blowing into the breath 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 that 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 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 maximum pressure 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
3. Owner s Manual 1 Getting Started Owner s Manual 1 Getting Started Contents Pr ca tiOrns nias e fee Goa au beret ct efe 4 About the Manuals 6 m The Getting Started Manual this manual 0 004 6 B The Feature Reference Manual eee 7 Bu CONVENTIONS a cede So dG ed las 7 VET B sieS uve 2 A ee s ER Essential Concepts for the VL1 User m What Are the Advantages 0 00 0 eee eee eee 9 m Te VLEI Model iso A Aid he eh ates 10 The Instr ment x e DEMBLIRMEDI hea eee MERIS E dues 10 The Controllers 54 e boxed a a o ES 12 The Modifiers 4 5 x3 Db A i d uer x E 13 Ehee s Mores A RECO eb x e EO 15 The Controls amp Connectors 16 A Brief Introduction To the VL1 Interface B Front Panel 41 reir Al tete 17 E Rear Painel 9 222 vue dE AREIS ee RIEN EM 20 Setting UP ouod ee de e System Connections amp Preparation m Power Supply ace ice reat tie ce ee S eR REINES 22 m Controllers 2i i a a gon EH ga Etat ae he Rp US 23 Breath Controller ceeeeeeee eree 23 Foot Controllers 1 32 29 937 fg vv uev WARE lv GO ee 23 Foot Switches ensata daia o 23 m Audio Connections 0 0 0 ccc cece eee eens 23 Headphones sedute tea tete e gst ects MMe glee 23 Stereo Sound System 0 0 eee eee ee eee 24 m MIDI Connections 24 m Power on Procedure 0 ee eee nee
4. Effects 5 28J 3 Getting Started Index Index This index covers both the VL1 Getting Started and Feature Reference manuals for easy cross referencing Page numbers in the Getting Started manual are preceded by s and page numbers in the Feature Reference manual are preceded by A Absorption 81 Aftertouch curve 157 Amplitude amp filter envelope 143 Amplitude amp filter key scaling 146 150 Amplitude 71 Assign mode 35 B Backup battery 4 Bank buttons 19 34 15 Breath attack gain 36 Breath attack time 36 Breath control curve 157 Breath controller calibration 29 Breath controller 23 Breath controller jack 19 Breath noise Gi 73 86 Breath noise key scaling 88 90 Bulk dump MIDI 161 C Common miscellaneous 34 Confirm mode 158 Continuous slider assignment Gi 43 Continuous sliders 18 47 19 Controller envelopes 46 Controller search amp replace 82 Controller parameters 40 Controller views 41 47 17 Controllers 12 38 Conventions 7 Copy button 17 Copy function 25 Crossfade speed 85 Cursor buttons 18 D Damping 80 Data dial 18 35 16 Decrement amp increment buttons Demo playback as 18 35 G16 as 26 33175 Device number 155 Disk format 171 Disk status 163 Disk delete file 170 Disk load from 164 Disk rename file 168 Disk save to 166 Display mode 158 Distortion 5 Dynamic f
5. Getting Started Mixing The Modifiers El1T El MIS5C M1lx1MG BHEB82c8195 Pan Pires Driver Output PiPerStrina DutiPut Tar nutbut Tar Setting E Fan Pires BE 1 127E 127E Tar Sign Won wg Tap Location 096 5096 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 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 Getting Started Mixing The Modifiers The Modifiers As described in the VL1 Basics section page 8 the VL1 has five Modifier stages that shape the overal 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 pro vides the right foundation for the sound you are
6. 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 VL1 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 Getting Started Setting Up O Stereo Sound System The VL1 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 VL1 voices and expressive features The VL1 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 VL1 outputs directly to the inputs of a multitrack or stereo tape recorder NOTES HB If you need to drive a mono amp or other device the VL1 output can be switched to mono the same signal appears at the L and R outputs by using the Output parameter described on page 154 of the Feature Reference manual E Make sure that both the VL1 and your sound system are tumed OFF when making connections MIDI Connections Like any other MIDI instrument the VL1 can be used with MIDI tone generators seq
7. One of the remarkable features of the VL1 s Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string Drivers Pipes String 4 d Getting Started The Controllers The input to an acoustic instrument comes from the player s lungs trachea oral cavity and lips In a string instrument it comes from the players arm movement trans mitted to the string via a bow These elements actually form an important part of the sound generating system and in the VL1 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 VL1 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 VL1 breath controller foot controller modulation wheels etc The pressure param eter 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 assi
8. Sy REN ifs Run 9 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 UTIL DEMO Tor Sond Select Tor Sond dn bumag Getting Started Setting Up Stop the Demo Press the button to stop demo playback Return To the Play Mode When Done Press the MODE button to return the PLAY mode Getting Started Setting Up Breath Controller Calibration Proper operation of the breath controller is vital to achieving the best possible sound from the VL1 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 dn bumag 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 button to select the utility mode Then if it is not already se lected when the utility mode display appears press the button to select the Sys tem function page 31 Curve PH Epam E 3 MIDI Settling u 15 ec ema Miscellaneous 3 GoTo the Utility Mode Curve Page and Select Brth Use the cursor buttons to move the cursor to 5 Curve
9. This is the initial EDIT mode display EDIT Bizcm18 Joice Name a key Mode ona Single Alto Sax Voice Mode El Name am If the initial EDIT mode display shown above does not appear when the button is pressed try pressing the button one or more times NOTES E When the edit mode is selected the VL1 will automatically go straight to the last edit page that was selected for maximum programming speed and efficiency You may have to through one or two layers of the EDIT mode display hierarchy to return to the initial display 2 Select the Element 1 Controller Parameters Press the function button immediately below E 1 on the display to select the element 1 parameters E2 also becomes available for access via when editing a voice that uses two elements JEl1 Hlto Sax i Growl i DamPina n Wi Throat ddiBbzrbPtn Hit Filtr If the display doesn t look like this press the function button below Ctrl on the display to call the Controllers 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 ENTER Getting Started The Contro
10. ah 59 m Feedback Delay Effects sines insa 0 eee ee 59 i Reverb Effects 2 db decet Me ee ee deer dee atu 60 ED o Getting Started Precautions PLEASE READ THIS BEFORE PROCEEDING E 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 Bi 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 E 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 discon necting audio and MIDI cables E MIDI Connections When connecting the VL1 to MIDI equipment be sure to use high quality cables made especially for MIDI data transmission Avoid MIDI c
11. gt Page 16 Brief descriptions of the VL1 controls and connectors and their functions 3 Setting Up gt Page 22 System connections powering up playing the demo calibrating the Breath Controller and loading the pre programmed voices 4 Voice Selection gt Page 34 Several ways to select and play the VL1 s 128 voices 5 The Controllers gt Page 38 The VL1 controllers and how they can be assigned and edited for optimum control 6 Mixing amp The Modifiers gt Page 48 Customizing the sound to suit your own personal needs T Effects gt Page 58 An overview of the built in digital effects that you can use to add depth and ambience to the VL1 sound We recommend that you go through the chapters in sequence and actually try out the various operations described Once you ve gone through the entire Getting Started manual in this way you should be familiar enough with the VL1 to need only the VL1 Feature Reference manual in future 6 Getting Started The Feature Reference Manual The Feature Reference manual is the nuts and bolts reference for the VL1 individually describing its many functions in detail The Feature Reference manual is divided into five main sections each describing the various functions within a particular VL edit or utility mode 1 General Operation gt Page 7 2 Play Mode gt Page 13 3 Edit Mode gt Page 21 4 Utility Mode
12. 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 impor tant 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 reso nance 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 VL1 basics we ve only looked at the central physical model which is the key the VL1 s unprecedented sound and musical performance There s actually much more to it To begin with the VL1 actually has two elements which function as independ ent physical models Although it is basically a monophonic solo instru ment this means that the VL1 can produce two notes at once More com monly the two elements are used as ayers of a single voice Element 1 Controllers Element 2 Controllers There s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesiz ers There are for example a range of programmable envelopes that can be applied to most of the control
13. no change The faster the change in pressure the higher the control value Pitch Wheel The self centering VL1 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 Modulation 1 Wheel 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 Modulation 2 Wheel The VL1 s second modulation 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 Foot controller 1 has the standard MIDI foot controller control change number 004 and can be assigned to any VL1 controller parameter Foot Controller 2 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 VL1 controller parameter Foot Switches 1 amp 2 In addition to their obvious sustain and portamento functions the foo
14. organized into 8 banks of 16 voices each 8 x 16 128 Any voice can be selected by specifying its bank using the bank buttons A through H and its number using the voice number buttons 1 through 16 To select voice B2 for example first press the bank button and then the voice number button The bank button indicator will flash until the voice number button is pressed and the B2 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 VL1 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 zzhui li Yhokihi rFmorh di BlueBot iddler hiClarine 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
15. 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 E Refer to page 115 of the Feature Reference manual for full details on the Dynamic Filter parameters Getting Started Mixing The Modifiers Frequency Equalizer The Frequency Equalizer stage consists of two blocks Auxiliary and Band each with its own display page Out In E Equalizer E Equalizer il Auxiliar Band from Dynamic y dad to Impulse Filter Expander suaippow ayy X uii 1 MODIFIER EGUALIZER AUSILIARY 23 Tenor Sax Eli Tenor Sax red re HzE red 24 4 kHz Fi MODIF IERCEGUAL TER BAND B Tenor Sax 1 Tenor Sax gt Fre A Level RRA J e Nou ie Tk aH l ea T H om Il 11 m Dun n 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 fre
16. procedures IMPORTANT E When you run the demo the VL1 automatically loads the required voices and system data into the 16 bank H voices thus erasing any previous data in these memory locations This is the same as the data initially contained in these memory locations when the VL1 is first shipped so if you haven t made any changes there is no problem If however you have edited the bank H data or saved data from another bank or disk to this bank you may want to save your data to floppy disk before running the demo 1 Select the Utility Mode System Page Press the button to select the utility mode Then if it is not already se lected when the utility mode display appears press the button to select the Sys tem function page ae Cure B Miscellaneous 2 Select the Demo Page Press the co button to select the Demo page System data and Bank H voice data will be erased Push ENTER if OK EL u 15 ec Getting Started Setting Up 3 Press ENTER and Confirm Press the button if it s OK to go ahead with the demo and rewrite all bank H data The VL1 will ask you to confirm again press to continue or to abort UTIL Demo gt Su ill be Are You Sure VezLINC 4HoLIDEC u Sus Bulk Disk Recl METTE 4 Select a Song Use the data dial or and buttons to select the song number you want to start with UTIL DEMO Tor Sond Select Tor Sons RED
17. steps away Press the or button briefly to decrement or increment the voice number by DEC INC one or hold either button for continuous C9 O decrementing or incrementing in the corre sponding direction The bank will switch automatically if you cross a bank voice number boundary O The Data Dial provides a fast efficient way to cover a broad range of voice numbers when for example you re looking for a voice but don t know the voice number Simply rotate the data dial clockwise for higher voice numbers or counter clockwise for lower voice numbers while watching the display The banks are automatically switched when necessary as the voice numbers are changed U0Ij28J3g 3310 Getting Started Voice Selection 3 Play Try playing the selected voice on the keyboard Select a number of different voices and try them out You will have to apply breath pressure to the breath controller press the foot controller forward or roll the MODULATION 2 wheel upward to produce sound with many of the VLI s voices A complete list of the pre programmed voices and their controller assignments is provided in the Voice List amp MIDI Data Format A brief voice list is provided below The VL1 also provides controller views described in the next chapter that let you check the current controller assignments via the VL1 display NOTES HB If you don t get any sound at this point Make sur
18. the CUSTOMER ALL voices EXAMPLE ALL Some example voices in which the controller settings are emphasized dn bumag Getting Started Voice Selection Voice Selection Selecting amp Playing the VLI s 128 Voices One of the first things you ll want to do with your VL1 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 PLAY 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 infor mation will be covered later in the manual For now here are the basics Voice name Alto Sax Voice B02 no 18 of 128 Reverb is ON Play mode Stereo output mode Reverb on Stereo Element E1 name Alto Sax Effects in use Pitch Change Feedback Delay off and L Mono voice Studio type reverb using a single element The abbreviations in the section separated by a line at the bottom of the display Cnt 1 Cnt 2 etc indicate the functions of the corresponding function buttons below the display through F8 These will be discussed later in this section Getting Started Voice Selection 2 Select a Voice The VLI s 128 voices are
19. the area of gap slit between it and the mouth Slit Friction piece varies accordingly The Slit Friction signal corresponds to the varying area of the reed mouthpiece slit Reed This signal is derived directly from the flexing of the reed 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 Bal ance 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 varia tion 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
20. trying to achieve when attempting to create an original sound The five modifier stages are Harmonic Enhancer Frequency Equalizer Dynamic Filter In from physical model Impulse Expander Resonator Out to effects stage 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 Saree Modulator Carrier 7 Source Carrier Driver Wet Dry and tap sound to Dynamic Filter 51 a suaippow ayy X uii 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 il The Modulator Parameter Page EDIT El MODIFIER HARMONIC ENHANCER BABS BBS O Tenor Sax El Tenor Sax Signal Select HPF Cutoff uer Drive eue ra ma a l 5 Bl The Carrier Parameter Page EDIT El MODIFIER HARMONIC ENHANCER HE z23 Tenor Sax Eli Tenor Sax Sisnal Selec HPF Cuta ver Drive eue AGA BE ha azc HG lect toff D L 1 Cer HER chet NOTES E If you want to experiment with the Harmonic Enha
21. up with the right end of the graph and then stop This completes the gain adjustment NOTES Gi In addition to calibrating the breath controller the UTILITY mode Curve page described here also allows you to select a range of 4 different response curves these are discussed in more detail on page 157 of the Feature Reference manual 6 Return to the Play Mode Press the button to return to the PLAY mode Getting Started Setting Up Load the Pre programmed Voice Data Although the factory pre programmed voices performance combinations and patterns are stored in the VL1 internal memory when the instrument is initially shipped there is always a possibility that all or part of the memory has been erased or modified by the time the instrument gets to you Here s how you can re load all the pre programmed data from the supplied voice disk NOTES E Loading the pre programmed voices overwrites any other data that is in the VL1 internal memory so if you have any important voices in memory make sure it is safely stored to disk before loading the data Feature Reference manual page 166 1 Insert the Voice Disk Insert the 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 button to select the utility mode Then if it is not already se lected w
22. voice Embouchure corresponds to how strongly the bow is pressed against the string Affects both pitch and timbre Pitch Changes the length of the air column and thereby the pitch of the sound The PITCH wheel is usually assigned to this parameter Vibrato 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 Tonguing 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 Amplitude Unlike Pressure this parameter simply controls the volume of the sound without varying timbre Scream Drives the entire system into chaotic oscillation creating effects that can only be achieved with physical modeling technology Breath Noise 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 73 Growl 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 Throat Formant Controls the characteristics of the simulated player s lungs trachea and oral cavity Can add a
23. 102 Chalsaw A07 007 Tull Flute C07 039 Alto Flute E07 071 Andean G07 103 Recorder A08 008 Bagpipes C08 040 Khaen E08 072 Sitar G08 104 Harmonium A09 009 GuitarHero C09 041 Cruncher E09 073 Rock Pigs G09 105 WonderBass A10 010 Mizu Horne C10 042 Marsaloboe E10 074 Synth Lite G10 106 NuDblReed A11 011 Viol Inn C11 043 Eleanor E11 075 St Ripper G11 107 Viowind A12 012 Endophone C12 044 RichReed E12 076 Scat Harp G12 108 Harmoweird A13 013 JetLipBow C13 045 Breath Bow E13 077 L7 Pluck G13 109 Cyberpluck A14 014 BowBamBoo C14 046 SquealerAT E14 078 Flak G14 110 NuAltoPipe A15 015 Bassoon C15 047 Oboe E15 079 3 AM Blow G15 111 Gerhard A16 016 Digeritek C16 048 Maysbe E16 080 Yamasteel G16 112 Mad Tube B01 017 Backwards D01 049 BlownDrone F01 081 MoreGrunge H01 113 AcoEkoSyn B02 018 Alto Sax D02 050 Loose Bari F02 082 Soprano 2 H02 114 LooseTenor B03 019 Pan Pipes D03 051 Toots F03 083 Ocarina HO3 115 Kokyu B04 020 MelodyBass D04 052 Fretless F04 084 Upright H04 116 Tube Bass BO05 021 Horn DO5 053 Tuba F05 085 Alto amp Trump H05 117 TrumpCard B06 022 50 50 D06 054 Arpoon F06 086 OldMini H06 118 PipeBowBow B07 023 C Flute D07 055 Piccolo F07 087 Fyfe H07 119 BaroquePad B08 024 HurdyGurdy D08 056 Thai Reed F08 088 Squeezebox HO8 120 Outback B09 025 JazzGuitar D09 057 Frange F09 089 Mr Mogue H09 121 FuzzyBass B10 02
24. 25 B Play the Demos at tia RED debates Nes 26 m Breath Controller Calibration 0 0 0 0 00 ccc eee 29 B Load the Pre programmed Voice Data 0 000008 31 2 a Getting Started Voice Selection 34 Selecting amp Playing the VL1 s 128 Voices m Using the Voice Directory sleseeeeee eh 36 m The Pre programmed VL1 Voices 0 0 0 0 02 cee eee eee 37 The Controllers 38 Natural Musical Nuance and Expressive Control m Physical Controllers gidri ienie ate Ta eh 39 m VLI Controller Parameters 0 00 0000 40 m Controller Views ub A ck a kee yh dde 41 B Some Exercises With the AltoSax Controllers oo o 42 m Controller Envelopes 0 0 eee e cece eee 46 m Other Controller Views llle RII 47 Mixing amp The Modifiers 48 Creating New Timbres and Original Voices Mixing 1 2 l1 efe uu Oe VR tER ie aa aat REA 48 W An Exercise Remix the Pan Pipes Voice 0008 49 The Mouiflers i 12x ava e aer rh d eer aq eee aga 51 m Harmonic Enhancer 0 0 cee eee 51 B Dynamic Filter 265b dls Fee S bed aes 54 m Frequency Equalizer 0 0 00 eee eee ee 55 m Impulse Expander 0 0 eee cee ene 56 B Resonator Log o SG Da ae 5T Effects uou ui a a oe E BS Creating the Right Ambience m Modulation Effects 0 ccc ccc ccc
25. 6 Harmophone D10 058 NuSoprPipe F10 090 HyperClari H10 122 Wheed B11 027 Fiddler D11 059 Contraire F11 091 DoubleBow H11 123 Monteverdi B12 028 Floboe D12 060 ClariLip F12 092 RuffWreck H12 124 Sax Git B13 029 Yhokihi D13 061 Conchise F13 093 Clavisynth H13 125 Cyberisen B14 030 BlueBottle D14 062 Pastorale F14 094 Claricord H14 126 Clar amp Flute B15 031 Clarinet D15 063 Barker F15 095 TrumpNSax H15 127 Saxes B16 032 Jurassic D16 064 FrenchBone F16 096 QuiScivit H16 128 Isn t Wah A more detailed voice list is provided in the Voice List amp MIDI Data Format Getting Started The Controllers The Controllers Natural Musical Nuance and Expressive Control If you ve read the VL1 Basics section if you haven t please do so page 8 you should understand the concept of controllers as applied to the VL1 The controller parameters correspond to simulated character istics 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 re quired 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 t
26. DI Data Format E When using the VL1 with other MIDI equipment it is a good idea to refer to the MIDI specifications implementation chart MIDI data format of the equip ment used to ensure compatibility dn bumag 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 VL1 volume control are turned all the way down prior to turning power on Turn on the VL1 3 Turn on the sound system 4 Raise the sound system volume to a reasonable level Gradually raise the VL1 VOLUME control while playing the keyboard to set the desired listening level NOTES E The VL 1 automatically transmits MIDI control change data correspond ing to its control status when its power switch is turned ON or OFF This can interfere with operation of other MIDI equipment connected to the VL1 MIDI OUT connector If the VL1 is connected to other MIDI equipment the VL1 power switch should be turned ON first and turned OFF last Getting Started Setting Up NR Rc IMPORTANT Play the Demo Once you ve set up your VL1 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 VL1 s selection and editing
27. E BACKUP BATTERY YOUR SELF Getting Started Internal memory data can be corrupted due to incorrect operation Be sure to save important data to floppy disk frequently so you have a backup to revert to if something happens to damage the data in memory Also note that magnetic fields can damage data on the disk so it is advisable to make a second back up copy of disks that contain very important data and keep backup disks in a safe place away from stray magnetic fields i e away from speakers appliances containing mo tors etc E 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 Do not expose the disk to magnetic fields Mag netic 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 be come 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 part
28. ITCH 1 and 2 Jacks Rear Panel AC Power Cord Socket Be sure to plug the VLI s AC power cord into this socket before plugging the power cord into an AC outlet Getting Started page 22 POWER Switch Press to turn power ON or OFF OUTPUT L and R Jacks These are the main stereo outputs from the VL1 Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the VL1 sound and effects Getting Started page 24 FOOT CONTROLLER 1 and 2 Jacks These jacks accept Yamaha FC7 Foot Controllers which can be used to control any of the VLI s controller parameters One FC7 Foot Controller is supplied with the VL1 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 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 VL1 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 VL1 performance operations or bulk data when o
29. This is because the AltoSax voice used for this example only uses one element so the controllers are listed in the central Element 1 column In a voice that uses two elements the Element 2 controllers are independently assignable and are listed in the right column In this example we can see that the breath controller is assigned to control Pres sure and H Enhancer the Harmonic Enhancer The pitch wheel controls both Pitch and Embouchure and the modulation wheel MODULATION 1 controls Vibrato Keyboard aftertouch controls the Throat parameter The remaining parameters are currently off and therefore have no effect on the sound NOTES B The cnt5 and cs function buttons access controller views that deal with different types of controllers These will be summarized in the Other Controller Views section on page 47 of this manual 41 19 01J409 3 Getting Started The Controllers Some Exercises With the AltoSax Controllers Now that you know which physical controllers are assigned to which controller parameters in the AltoSax voice 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 button to engage the edit mode
30. ables longer than about 15 meters Longer cables can pick up electrical noise that can causes data errors ED E 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 instru ment Physical shocks caused by dropping bumping or placing heavy objects on the instrument can result in scratches and more serious damage E 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 instru ment vinyl can stick to and discolor the surface Bi 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 equip ment Bi Data Backup The VL1 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 TH
31. ancer display pages again Parameters with an inverse K next to them can also be controlled by key scaling i e the value of the param eter 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 E Refer to page 107 of the Feature Reference manual for full details on the Harmonic Enhancer parameters 53 Getting Started Mixing The Modifiers Dynamic Filter The Dynamic Filter stage is similar to the dynamic filters found in many conven tional 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 Dynamic Filter In from Harmonic Enhancer Wet Dry Out Balance to Frequency Equalizer Bl The Dynamic Filter Parameter Page EDIT E1 MODIFIER D HHMIC FILTER BBaz 66221 Tenor Sax JEl Tenor Sax a Mode InPut Gain 127 Bala Iri Het atatt Tracking Cutoff Fred 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
32. ave extensive control over the number of NN repeats produced and the way they decay Mono The Mono delay effect produces a single delay sound which appears in the center of the stereo sound field LR This variation provides independently programmable delays for the left and right stereo channels LC R Independent delays are provided for the left and right channels plus a bis center delay Since the goal in producing a delay effect is often to match the delay time to a musical time value the VL1 includes a time calculation function that makes it easy to convert standard note values to their corresponding delay times in milliseconds 5128 3 Getting Started Effects E The Time Calculation Pop up Page ELIT COM EFFECT FEEDBACK DELAY Abi cael TIME CALCULATION Ielau Ty doneer NOTES E Refer to page 53 of the Feature Reference manual for full details on the Feedback Delay effects and parameters 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 dimen sion adding warmth and depth to an otherwise dry sound A simulation of the reverbation characteristics of a fairly standard Ban concert hall This hall simulation produces a richer low frequency reverb sound than Hall 2 the Hall 1 program Room 1 The ambience of a
33. d unprecedented expressive control with string voices Plug the BC2 Breath Controller supplied with the VL1 or an optional BC1 breath con troller 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 dynam ics timbre pitch and others Once you ve set up your system and begin playing refer to Breath Controller Calibration on page 29 for instructions on calibrating your Breath Controller for opti mum control precision and ease dn bumag NOTES For more information on Breath Controller setup and operation see the instructions packed with the supplied BC2 Breath Controller O Foot Controllers Although the VL1 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 CON TROLLER 2 jack If you purchase a second FC7 Foot Controller for extra control capability plug it into the FOOT CONTROLLER 1 jack NOTES E For more information on Foot Controller setup and operation see the instructions packed with the supplied FC7 Foot Controller Foot Switches The use of one or two footswitches allows sustain portamento and mono poly mode 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
34. difiers In schematic form these blocks are arranged as follows One VL Element the VL has 2 of these Controllers also envelopes M Sound out 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 vari ous instruments for the VL1 are provided in the form of pre programmed voices These are primarily woodwind brass and string voices since the VLI s physi cal model is capable of most accurately simulating the sound generating mecha nism 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 sys tem corresponding to the tube and air column or string Getting Started Reed vibration In all these instruments pressure applied here the driving point causes vibration which results in sound 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 The sound thus produced is amplified and sustained by the body of the instrument
35. 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 This line shows which controller is currently assigned to polyphony mono poly Polyphony control 2 Feature Reference manual page 36 Sustain Indicates whether sustain control is on or off 2 Feature Reference manual page 35 The VL1 has three different pitch bend modes Normal Bottom and Top The Bottom and Top modes are only effective when the Poly or Unison polyphony mode is selected When Bottom is selected the lowest of two notes Pitch Bend played will be affected by the pitch wheel and when Top is selected the high note will be affected When the Normal mode is selected both notes are affected 2 Feature Reference manual page 35 The VL1 offers a choice of portamento modes with or without MIDI control Portamento capability This line indicates the current portamento status 2 Feature Reference manual page 40 Any physical controller can be assigned to control certain of the VL1 s effects in certain ways the wet dry balance of the pitch change effect the feedback delay Effect send level or the reverb send level This line indicates which effect parameter is assigned for control by which controller 2 Feature Reference manual page 45 The function button calls the Continuous Slider CS c
36. e your sound system is turned ON and the volume is tumed up to a reasonable level make sure that the VL1 VOLUME control is tumed up to a reasonable level and check all connections carefully 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 buttons or data dial will move to the selected voice To return to the normal voice display press the button Getting Started Voice Selection The Pre programmed VLI Voices Here s an abbreviated voice list for easy reference U0Ij28J3g 3310 Voice No Voice Name Voice No Voice Name Voice No Voice Name Voice No Voice Name A01 001 Moby C01 033 Gonzilla E01 065 Dr Bonky G01 097 Lees A02 002 Tenor Sax C02 034 Soprano 1 E02 066 Bell Miked G02 098 Breath Sax A03 003 Shakuhachi C03 035 MouthKeys E03 067 Blues Harp G03 099 Bowed Saw A04 004 FingerBass C04 036 Thump Bass E04 068 Slap Bass G04 100 Birdland A05 005 Trumpet C05 037 Cornet E05 069 Muted Lips G05 101 Fanfare A06 006 Ossyncro C06 038 Igneous E06 070 Analunar G06
37. eld or press once to shift and again to release MIDI note output data is also shifted Or Wheel This self centering pitch wheel allows realistic upward and downward pitch bends Jj MODULATION 1 and MODULATION 2 Wheels Can be assigned to any of the VLI s extensive range of controller parameters for extraordinary expressive control Getting Started page 41 D PHONES Jack Accepts a standard pair of stereo headphones 1 4 stereo phone plug for headphone monitoring of the VL1 sound without the need for external amplification equipment Getting Started page 23 D Breath Controller Jack Plug the Yamaha BC2 Breath Controller supplied with the VL1 in here an optional BC1 Breath Controller may also be used Getting Started page 23 Floppy Disk Drive The VL1 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 opera tion is in progress NEVER attempt to remove a disk or turn the power off while a disk operation is in progress The eject button also below the disk slot is used to remove disks from the drive Feature Reference page 162 10122UU02 Y SJOJJUOZ ayy Getting Started The Controls Connectors 2 POWER Switch MIDI IN OUT and 9 OUTPUT L and R Jacks THRU Connectors AC Power Cord FOOT CONTROLLER 1 and 2 Jacks Socket FOOT SW
38. es suaippow ayy X uii 2 Select the Element 1 Miscellaneous Parameters Press the function button to select the element 1 parameters then press the function button again below Misc on the display to call the Miscellaneous page EDIT E1 Ba3cagiu5 Pan Fites El Pan Fires Miscellaneous us Amit i tude Brea nize 3iTIhreat Formant F adi nu 3 Select amp Edit the Mixing Parameters Move the cursor to 4 Mixing and press ENTER EDITr El MISC MIxIHG Bascmios Pan Pires Driver OutPut PiberStrira Output Tar QutPut Tar Setting HE OCR tj w m T EA a Tm m T m n E 121E Tar Sian Drivina Point Here you have all the parameters you need to mix the physical model output sig nals 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
39. evel Balance parameters that allow its effect to be blended into the main sound as required NOTES E Refer to page 125 of the Feature Reference manual for full details on the Impulse Expander parameters Getting Started Mixing The Modifiers Resonator While the Impulse Expander tends to give the sound a metallic quality the Resona tor produces a more woody resonance effect Careful adjustment of the resonator s parameters can often bring a not quite right voice to life Right Channel Out to Effects from Impulse Expander Left Channel suaippow ayy X uii MODIFIER RESONATOR 2 Tenor Sax E1 Tenor Sax H DL DL3 DL4 i 221 33 79 34 95 41 54 mse0 i 166 lmsec me ff Frea 2 54 kHz The Resonator basically consists of five parallel delay lines with independently programmable delay times DL1 through DL5 variable from 0 25 to 41 45 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 amp RSN SETTING pa
40. ge shown below to select the parameters associated with the various blocks E The Impulse Expander amp Resonator Setting Page IE Impulse Expander RSN Resonator EDIT E1 MODIFIER IE amp FSN SETTING BHazcose2 Tenor Sax Ela Tener Sax E N Inf Gain NOTES E Refer to page 126 of the Feature Reference manual for full details on the Resonator parameters 57 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 VL1 s three high per formance 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 Feedback Delay Modulation 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 Getting Started Effects Modulation Effects Although modulation usually implies some sort of cyclical variation the VL1 Modulation stage allows selection of Flanger Pitch Change a
41. gned to the breath controller in order to achieve life like response and effects Throat Controls the characteristics of the player s throat or bowing arm Growl A periodic pressure bow velocity modulation which produces the growl effect often heard in wind instruments 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 Tonguing Simulates the half tonguing technique used by saxophone players by changing the slit of the reed Pitch Changes the length of the air column or string and thereby the pitch of the sound Scream Drives the entire system into chaotic oscillation creating effects that can only be achieved with physical modelling technology Damping amp 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 VL instru ment 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 VL1 s sound producing mode
42. gt Page 151 5 Appendix gt Page 177 Once you have become familiar with the way the VL1 works by going through the Getting Started manual you should only need to refer to the Feature Reference manual from time to time to get details on functions you ve never used before or refresh your memory about functions that you don t use very often Each section of the Feature Reference manual has its own table of contents so you should be able to locate any particular function quickly and easily Functions and references can also be located by referring to the index at the back of the manual Conventions The following conventions are used through the VL1 manuals to avoid confusion and make the text easier to read Buttons amp Controls Button and control names used on the VL panel appear in the text in capital letters within a border the button for example Parameter Names Parameter names and other labels which appear on the VL1 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 7 B Getting Started VLI1 Basics Essential Concepts for the VLI User he Yamaha VL1 Virtual Acoustic Synthesizer pr
43. h and Curve parameters T E1 CTRL PRESSURE z iBl2 Hlto Sax EliAlto Sax ntroller T 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 127 Minimum 0 output 0 127 Minimum Maximum breath breath pressure 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 mini mum 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 EDIT E1 CTEL FRESSLURE BBRH26 8182 Hlto Sax EliAlto Sax Controller Breath Controller Debt Curve Getting Started The Controllers Once you pass zer
44. he basics of controller assign ment 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 VL1 as a musical instrument depends to a great deal on how well you learn to use these controllers Since the VL1 sound is produced by a computer based physical model rather than a oscil lator 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 VL1 depends more on experience and practice just as it does in any acoustic instrument 38 Getting Started The Controllers Physical Controllers First here s a list of the physical controllers available for use with the VL1 Breath Controller A natural candidate for controlling pressure tonguing throat growl and other parameters Breath Attack This unique controller can be applied only through the Breath Controller When it is selected control is applied by changes in breath pressure rather than the absolute breath pressure itself A constant pressure whether zero or maximum produces
45. hen the utility mode display appears press the button to select the Sys tem function page Eu amp Curve Mizcellaneaouz eLting SIMIDI Setting LL isk Rec emo 3 Go To the Miscellaneous Page Turn Memory Protect Off Use the cursor buttons to move the cursor to 6 Miscellaneous then press to call the Miscellaneous function page Ela Use the cursor buttons to select the Memory Protect parameter then press to turn memory protect off UTIL S STEMN MISCELLANEOUS Tisrlay Confirm Menor Protect Greeting Message is the best SYNTH u 15 ec emo dn bumag Getting Started Setting Up 4 Select the Disk Function Directory Press the function button Disk to select the utility mode disk function directory T elete File rom lis B Format Disk Eade To Disk Ye u ema D Select Load From Disk Use the cursor buttons to move the cursor to 2 Load From Disk and then press ENTER UTIL DISE LOAD FROM DISK Load From Disk 9 1 Voice Sus Lem 3 A11 Voice Ya u 6 Select All and Select the CUSTOMER All File Make sure the cursor is positioned at 1 A11 and press ENTER UTIL DISK LOAD FRO ALL SRC FILE Load From Disk gt GAStEXAMPLE A11 Sus Lem 3 A11 Voice Ye When the list of files appears use the cursor A and W buttons to select the CUSTOMER A11 file then p
46. hese buttons are also used to respond Yes or No to the Are you sure confirmation prompt when saving loading data Getting Started page 35 Feature Reference page 16 D EXIT and ENTER 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 27 Feature Reference page 10 18 Getting Started The Controls amp Connectors D Bank A through H Buttons The VL1 has 128 internal voice memory locations arranged in 8 banks of 16 voices each These buttons select the voice bank from which an individual voice will be se lected Getting Started page 35 Feature Reference page 15 B Voice Number 1 through Buttons The voice number buttons are used in conjunction with the bank buttons to select any of the VLI s 128 internal voice memory locations When editing voice parameters they are also used to select and mute elements an to turn effects and modifiers on or off Getting Started page 35 Feature Reference page 15 D Keyboard The VL1 has a 49 key keyboard that is both velocity and after touch sensitive for broad intimate expressive control B OCTAVE and Buttons Shift the pitch of the keyboard up or down one octave A utility Octave Hold function page 153 of the Feature Reference manual provides two modes shift only while the button is h
47. hieve the best display visibility LCD visibility varies greatly with viewing angle and lighting Getting Started page 34 Feature Reference page 14 7 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 Getting Started page 26 Feature Reference page 9 Q Data Dial The data entry 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 The data dial is speed sensitive allowing accurate single step selection when rotated slowly as well as large value jumps when rotated quickly Getting Started page 35 Feature Reference page 16 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 VL1 cursor appears as a dark block with inverse characters Getting Started page 32 Feature Reference page 10 10 and Buttons Used to select voices and edit parameter values in any of the VL1 edit modes Either button can be pressed briefly for single stepping in the specified direction or held for continuous scrolling T
48. ially ejected disk Using force in this situation can damage the disk drive mecha nism 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 Bi Service and Modification The VLI 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 E 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 manufac turer or their agents YAMAHA is not responsible for damage caused by improper handling or operation Getting Started About the Manuals The VL1 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 VLI 1 VL1 Basics gt Page 8 Basic concepts you ll need to understand in order to get the most out of the VL1 2 The Controls Connectors
49. ilter 54 TT 115 Dynamic filter key scaling 117 118 E Edit compare function G324 Edit recall 173 Effect control 45 Effect on off 23 Effects 58 Element detune 37 Element level 38 Element names 31 Element note shift 37 Getting Started Index Element on off 22 Element pan 38 Element random pitch 37 Element select 22 Embouchure amp pitch envelope 130 Embouchure amp pitch envelope key scaling 132 134 Impulse expander amp resonator setting Impulse expander 123 56 125 Embouchure 66 Enter button Gs 18 Equalizer auxiliary 119 Equalizer band 122 Equalizer GS 55 Equalizer key scaling 120 121 Error messages 180 Exit button GS 18 F Feedback delay effects 59 Feedback delay 53 Feedback delay reverb mode Gi 45 Flanger 47 Floppy disk drive as 19 Floppy disks amp drive handling 5 Foot controller 2 assign 156 Foot controller jacks as 20 Foot controllers Gs 23 Foot switches Gs 23 Foot switch assign a 156 Foot switch jacks as 20 Function buttons Gs 18 Functions amp parameters finding FREY G Greeting message 158 Growl envelope 141 Growl 74 Growl speed key scaling 142 H Harmonic enhancer 51 78 107 Harmonic enhancer key scaling 110 115 Headphones 23 Initial edit page 30 Interpolate speed 85 K Key mode 31 Keyboard 19 Keyboa
50. l and have a significant effect on the sound the VL1 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 In sound to the extent that you can create radical timbral variations within the current Harmonic instrument family e g saxes Page 51 Enhancer Dynamic Filter l This section is similar to the dynamic filters ua 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 key board 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 con trol 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 Frequency Equalizer Impulse Expander 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
51. lers in addition to real time player con trol And of course there s a comprehensive selection of MIDI disk and other utility functions that give the VL1 maximum versatility and conven ience Now that you understand the basics dive in and find out what the VL can really do Sound out Getting Started The Controls Connectors The Controls amp Connectors A Brief Introduction To the VL Interface The following brief descriptions of the VL1 controls and connectors should help you to understand the overall logic of the interface O MODE Buttons O Button O VOLUME Control e Button e and Control Sliders 20 Floppy Disk Drive YAMAHA a Virtual Accustic Synthesizer y r y lool OOOOOOCOocdc o MODE 5 E OCTAVE and UP Buttons m M m m m D PHONES Jack D Breath Controller Jack 9 PHONES BREATH D MODULATION 1 and Wheels O Fi through Wheel Function Buttons 16 Getting Started The Controls Connectors O LCD Display amp Control O Data Dial and Buttons Front Panel MODE Buttons The PLAY EDIT and UTILITY buttons select the corresponding VL1 modes The PLAY mode lets you select and play voices the EDIT mode give
52. llers ETEL SCREARN ise Sax EliAlto Sax H nr DIT E Ea Ca Conte e Terth Curve B Erag Frag 4 Edit the Scream Controller Parameter The cursor should be located at the Controller parameter as shown in the example display In the AltoSax 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 an inverse letter E 3 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 E 1 1 o D a i 19 01J409 941 EDIT E1 CTRL SCREAM BEB2 8185 Hl1to Sax EliAlto Sax H Controller OLER Modulation Wheel m Curve y Pad FRad NOTES E The Controller parameter has 124 settings corresponding to the 124 controller number provided by MIDI protocol Some of these are pre assigned Modulation Wheel is number 001 Breath Controller is number 002 etc When you select a pre assigned controller the corresponding controller name is shown on the display non assigned controllers are displayed as MIDI control change numbers B The Modulation Wheel setting refers to the VL1
53. n 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 deter mined by playing it Of course the same applies to the design of acoustic instruments Because of its natural acoustic behavior the VL1 is undoubt edly a little harder to play than conventional synthesizers but when mas tered this is the very characteristic that is its greatest strength The Yamaha VLI is the most musical synthesizer ever made A soloist s dream The VL1 sounds better has more depth and is more realistic in the musical sense than any other synthesizer system e Simply pressing a key in the same way does not always produce precisely the same sound The instrument is responsive and alive e Note to note transitions have the same continuity exhibited by acoustic instruments What goes on in between the notes is just as important musically as the notes themselves t 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 ED o Getting Started The VL1 Model he overall VL1 model or algorithm consists of three main blocks the instrument controllers and mo
54. ncer parameters while reading this section they can be accessed by selecting the EDIT mode and from the initial EDIT mode display try pressing if the initial EDIT display doesn t appear pressing E1 to select the Element 1 parameters then pressing Modi to select the Modifier parameters and finally moving the cursor to 1 Harmonic Enhancer and pressing ENTER Once the Harmonic Enhancer display is selected the carrier and modulator pages are selected via crr and Moa respectively The Signal Select parameters in these pages allow independent selection of the six different signal sources listed below This is the total output of the instrument model a mix of the driver Normal pipe string and tap signals This signal represents the instantaneous amplitude of the breath noise Breath Moise produced at the driver It is basically a highly distortion version of the Amplitude Slit Friction signal described below When the pressures on either side of an aperture e g a mouthpiece Flow Rate reed assembly differ a corresponding flow of air is produced There is Saturation 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 Beat The beat signal represents contact between the vibrating reed and the mouthpiece As the reed vibrates
55. nd 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 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 Flanger 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 Pitch Change 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 Distortion NOTES Refer to page 46 of the Feature Reference manual for full details on the Modulation effects and parameters Ww Feedback Delay Effects All three effects available in the Feedback Delay stage are basically designed to AN xs e produce distinct repeat delays or echoes You h
56. ne of the MIDI data transmission functions are activated Getting Started page 24 20 Getting Started The Controls amp Connectors SI0J99UUOJ Y SJOJJUOZ ayy Getting Started Setting Up Setting Up System Connections amp Preparation Foot Foot Controller Switch Headphones Breath Controller Power Supply Before making any other connections the female end of the AC power cord supplied with the VL1 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 VL1 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 Zoe CAUTION Bi Make sure your VL1 is rated for the AC voltage supplied in the gt area in which it is to be used as listed on the rear panel Connecting the VL1 to ipo the wrong AC supply can cause serious damage to the internal circuitry and may CAUTION even pose a shock hazard 22 Getting Started Setting Up Controllers Breath Controller The Breath Controller is an essential expressive tool both for realistic expression with wind instrument voices an
57. o you enter a range of negative Depth values that produce reverse controller operation i e the output level decreases as you blow harder into the Breath Controller Like the normal positive range the negative Depth range is from 0 to 127 TEL PRESSURE Alto Sax EliAlto Sax H er Breath Controller ves Pad NOTES E Many parameters with any relationship to MIDI control have a range of values from 127 through O to 127 255 steps This corresponds to the range of values that can be represented in binary form by one byte 8 bits of data the number MIDI uses to convey control values 8 Vary the Curve Parameter You may have noticed in the previous step that the relationship between breath pressure and output is linear That is a change in breath pressure produces a correspond ing change in sound The Curve parameter makes it possible to change that relation ship 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 TEL PRESSURE Alto Sax EliAlto Sax H Sath Controller HEE Pad Negative curve values 0 16 have the opposite effect Output increases rapidly at l
58. oduces sound in an entirely new way It has no oscillators or function generators no preset waveforms or samples In fact it uses none of the sound generation concepts employed in conventional synthesizers The VL1 represents the world s first practical application of computer based physi cal modeling in musical sound synthesis In the same way that computer models are used to simulate weather systems or the flight characteristics of aircraft in the design stage the VL1 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 sophisti cated Yamaha technology were necessary to achieve the real time sound generation capabilities exhibited by the ground breaking VL1 Virtual Acoustic Synthesizer Orlando Lafo a 6 XXXIIIL Basso Antoequel Dal vivofonte dela tua bontate ch ogni gente arrichifce in ogni etate ED o Getting Started What Are the Advantages E he VL1 offers many advantages in terms of musical performance Not just in terms of sound but also in terms of the behavior that makes acoustic instruments so well musical But this is not because someone has programmed a certai
59. oice the inverse E 3 will be gone and the voice will be as it was before you edited it NOTES B The VL1 has a Memory Voice Recall function that can be used to recall the last version of a voice if you accidentally make unwanted changes or lose your edited data as described above Feature Reference manual page 172 Controller Envelopes Since acoustic instruments virtually never respond instantaneously to controller changes the VE1 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 instantane ous sound The instrument requires a few milliseconds to reach the full resonance de manded by the breath pressure or bowing The VL1 provides programmable envelopes for the Pressure Embouchure Pitch Vibrato Growl and Ampli tude Filter parameters and these are described in detail on pages 128 through 150 of the Feature Reference manual 46 Getting Started The Controllers Other Controller Views If you press the co function button from the play mode you ll see the following controller view PLAY CONTROLLER VIEH 5 o Hormal Full Time MIDI Ctrl off 19 01J409 ayy The controller parameters listed in this screen are not in the same category as those
60. ontroller view which will look something like this CONTINUOUS SLIDER VIEW BiZi Alto Sax FEW Return z DCotPtchChas9 Het Ira LAY Baz C o 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 43 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 their corresponding values 47 Getting Started Mixing The Modifiers Mixing amp The Modifiers Creating New Timbres and Original Voices The VL1 provides two ways to change the timbre of a voice to cre ate original variations 1 by mixing the output signals from various parts of the physical model and 2 by using the VL1 s Modifiers to shape the overall harmonic structure You should always start with the mixing pa rameters when attempting to create a new voice so we ll describe mixing first Mixing The VL1 s physical instrument model produces three output signals that can be mixed to produce a surprising range of timbral variation
61. ow breath pressures while higher pressures produce relatively little effect L PRESSURE lto Sax EliAlto Sax H 19 01J409 ayy 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 E There are several variations on the basic controller display and param eters When you re ready to study the parameters in more detail refer to the Element Controllers section beginning on page 64 of the Feature Reference manual 10 Return to the Play Mode When Done When you re finished experimenting with the controllers press the button to return to the play mode Note that the inverse letter E 3 still appears to the left of the voice number indicating that the voice has been edited Reverb on Stereo If you want to keep the edited voice it must be saved either to an internal memory location or to floppy disk as described on pages 28 and 166 of the Feature Reference manual respectively This must be done before you select a different voice or the same voice again or your edits will be lost To confirm this try selecting a different voice and then return to the AltoSax v
62. quency Q bandwidth and level control The Band block functions in the same way as any stand ard parametric equalizer allowing flexible response control over a wide range NOTES E Refer to page 122 of the Feature Reference manual for full details on the Frequency Equalizer parameters 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 In from Frequency Equalizer Frequency dependent Delay Out to Resonator T E1 MODIFIER IMPULSE EXPANDER zZ Bd23 Tenor Sax El Tenor Sax 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 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 com pletely off when not needed It also has Wet Level Dry Level and stereo L
63. rd transpose 153 L L C R delay 57 L R delay 55 LCD display 18 Local on off 155 M Manuals about the 6 G4 Master tuning 154 Memory protect 158 Micro tuning 42 MIDI connections 24 MIDI connectors 20 MIDI settings 155 Mixing 48 98 Mixing key scaling 100 105 Mode buttons Gs 17 Modes the 3 main 8 Modifier on off 23 Modifiers GS 51 Modulation effect type Gin 46 Modulation effects Gs 59 Modulation wheel 2 assign 156 Modulation wheels as 19 Mono delay 53 N Navigation aids 11 0 Octave buttons 19 Octave switch hold 153 Output jacks 20 xapuj Getting Started Index P V Phones jack 19 Velocity curve 157 Pitch bend mode 35 Vibrato envelope 135 Pitch change Gin 49 Vibrato envelope key scaling 137 140 Pitch 67 Vibrato 69 Pitch wheel 19 Voice directory 36 Play mode display 34 14 Voice list abbreviated 37 Polyphony control 36 Voice mode 32 Portamento 40 Voice name 31 Power cord socket 20 Voice number buttons 19 34 15 22 Power supply 22 Voice selection 34 15 Power switch 20 Volume control 18 Power on procedure 25 Pre programmed voices loading 31 Pressure envelope 129 Pressure 65 Q Quick editing 19 R Receive channel 155 Resonator 57 126 Reverb effects 60 Reverb 60 S Scream 72 Selecting amp editing parameters 12 Sound system 24 Specifications 184 Store button 17 Store function 28 Sustain 35 T Throat fo
64. realistic toughness to the sound Dynamic Filter Similar to the dynamic filters found in many conventional synthesiz ers The VL1 filter has selectable high pass bandpass band elimina tion and low pass modes Harmonic Enhancer 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 at the end of the air column or string Damping Affects both pitch and timbre Similar to the above but simulating the effect of absorption at the end of the air column or string In the case of a wind instrument the Absorption Damping and Absorption parameters control the diameter and shape of the bell 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 PLAY CONTROLLER MIEM 1 The controller parameters are listed in the left column of the controller view dis play and the controllers assigned to them are listed in the center column Note that the right column is empty
65. ress ENTER again UTIL DISK LOAD FRO ALL SEC FILE Loa R HI I oad From Disk 861 CUSTOME 1 ae Are You Sure YeelINC NolDECI ERI Bulk WEISER Getting Started Setting Up T 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 41 CUSTOME Ba FACTORY are OS 3 us u ec Load From Disk gt UTIL DISE LOAD POR BLL SRC El B LE All All leted 8 Return to the Play Mode amp Eject the Disk When the Completed display appears press the PLAY 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 About the VL1 Data Disk The floppy disk supplied with the VL1 contains the following files O CUSTOMER ALL A complete set of 128 voices and system data in which the voices are programmed to allow maximum controller variation The MODULATION 2 wheel should be at its center position for normal sound FACTORY ALL A complete set of 128 voices and system data in which the voices are programmed for easy playability the controller range is not as broad as
66. rmant 75 91 Throat formant key scaling 93 97 Time calculation musical Gi 59 Tonguing 70 Touch EG time 36 Transmit channel 155 Trigger mode 85 Troubleshooting 178 64 YAMAHA ae CORPORATION O Box 1 Hamamatsu Japan M D G EMI Division Yamaha Corporation 1993 VQ65370 JADIROPR117 2CP Printed in Japan
67. s MODULATION 1 wheel The MODULATION 2 wheel can be assigned to any MIDI control change number 9 Try Out the Edited Voice amp Cancel the Vibrato Effect Try operating the wheel while playing the AltoSax 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 F6 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 B When Para appears above the function button as it does in the vibrato and several other controller pages the function button accesses another page of parameters pertaining to the controller 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 Dept
68. s you programming access to the VLI s voice and controller parameters and the UTILITY mode includes MIDI disk system and other functions that are essential for general operation e Button This button is used to copy voice parameters for fast efficient editing Feature Reference page 25 Button Used to store edited data to an internal memory location Feature Reference page 28 0 g g CO CO CI 0 2 9 OOO p ls EFFECT ON OFF p S d m m m m 11 and Buttons D Keyboard O Cursor Buttons D Bank A through H Buttons B Voice Number 1 through Buttons 10 28UU07 Y SJ0JJU07 ayy f Getting Started The Controls Connectors O 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 e and Control 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 O LCD Display Control This large multi function liquid crystal display panel shows all parameters and prompts you need to operate the VL1 with optimum ease and efficiency Use the contrast control located near the lower right hand corner of the display to ac
69. 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 suaippow ayy X uii 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 used to roll off the low frequencies of the corresponding signal The cutoff frequency can be varied from 17 0 Hz to 11 2 kHz This parameter boosts the corresponding modulator or carrier signal Overdrive forcing it into distortion and thereby drastically changing its harmonic structure This parameter is provided for the modulator block only It allows a Phase 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 Enh
70. small room rather than a large hall This effect is ideal when you just want a subtle touch of ambience Room 2 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 Studio reverberation 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 was Plate capable of producing satisfactory results in the studio This is a very realistic simulation Buts A diffuse reverberation of the type you might experience in an ex P tremely large space Reverse 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 E Refer to page 60 of the Feature Reference manual for full details on the Reverb effects and parameters 60 Getting Started
71. t 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 Aftertouch 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 Velocity Although normally assigned to pressure particularly in plucked string voices keyboard velocity can also be assigned to any other control ler parameter MIDI The MIDI protocol provides 119 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 VL1 controller parameters so external MIDI control devices can be used to full advantage 19 01J409 941 Getting Started The Controllers VLI Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VLI s controller parameters Pressure 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 Embouchure The tightness of the lips against the reed or against each other In a string instrument
72. uencers 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 wind instrument 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 VL1 MIDI transmit channel receive channel local on off and device number parameters are available in the utility mode MIDI Setting page described on page 155 of the Feature Reference manual Make sure these parameters are set to match the corre sponding settings of the external MIDI device s used with the VL1 O The VL1 transmits and receives the following MIDI data Note The played key s and velocity value Modulation wheel foot controller breath controller and other controller Control Change data Program Change Voice numbers from 1 to 128 Aftertouch Keyboard aftertouch pressure Pitch Bend Pitch bend wheel position Bulk Voice and system parameters transmitted in the form of bulk dumps 24 Getting Started Setting Up NOTES E For detailed MIDI specifications refer to the MI

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