Yamaha VL70-m Handleiding

Merk: Yamaha

Model: VL70-m

Categorie: Synthesizer

Type: Handleiding

Deze handleiding is ook geschikt voor

VL70

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY

THIS UNIT!

This product, when installed as indicated in the

instructions contained in this manual, meets FCC

requirements. Modifications not expressly approved

by Yamaha may void your authority, granted by the

FCC, to use the product.

2. IMPORTANT: When connecting this product to

accessories and/or another product use only high

quality shielded cables. Cable/s supplied with this

product MUST be used. Follow all installation in-

structions. Failure to follow instructions could void

your FCC authorization to use this product in the

USA.

3. NOTE: This product has been tested and found to

comply with the requirements listed in FCC Regula-

tions, Part 15 for Class “B” digital devices. Compli-

ance with these requirements provides a reasonable

level of assurance that your use of this product in a

residential environment will not result in harmful

interference with other electronic devices. This

equipment generates/uses radio frequencies and, if

not installed and used according to the instructions

found in the users manual, may cause interference

harmful to the operation of other electronic devices.

Compliance with FCC regulations does not guaran-

tee that interference will not occur in all installations.

If this product is found to be the source of interfer-

ence, which can be determined by turning the unit

“OFF” and “ON”, please try to eliminate the problem

by using one of the following measures:

Relocate either this product or the device that is

being affected by the interference.

Utilize power outlets that are on different branch

(circuit breaker or fuse) circuits or install AC line

filter/s.

In the case of radio or TV interference, relocate/

reorient the antenna. If the antenna lead-in is 300

ohm ribbon lead, change the lead-in to co-axial type

cable.

If these corrective measures do not produce satis-

factory results, please contact the local retailer au-

thorized to distribute this type of product. If you can

not locate the appropriate retailer, please contact

Yamaha Corporation of America, Electronic Service

Division, 6600 Orangethorpe Ave, Buena Park,

CA90620

The above statements apply ONLY to those prod-

ucts distributed by Yamaha Corporation of America

or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

NEDERLAND / NETHERLAND

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij op

het moment dat u het apparaat ann het einde van de levensduur

afdankt of de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the

end of the service life please consult your retailer or Yamaha

Service Center as follows:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical

waste.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og

type. Levér det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma

batterityp eller en ekvivalent typ som rekommenderas av

apparattillverkaren. Kassera använt batteri enlight

fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda

paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin.

Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

This product utilizes batteries or an external power supply

(adapter). DO NOT connect this product to any power

supply or adapter other than one described in the manual,

on the name plate, or specifically recommended by

Yamaha.

WARNING: Do not place this product in a position where

anyone could walk on, trip over ,or roll anything over power

or connecting cords of any kind. The use of an extension

cord is not recommended! IF you must use an extension

cord, the minimum wire size for a 25' cord (or less ) is 18

AWG. NOTE: The smaller the AWG number ,the larger the

current handling capacity. For longer extension cords,

consult a local electrician.

This product should be used only with the components

supplied or; a cart, rack, or stand that is recommended by

Yamaha. If a cart, etc., is used, please observe all safety

markings and instructions that accompany the accessory

product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be

correct at the time of printing. However, Yamaha reserves

the right to change or modify any of the specifications

without notice or obligation to update existing units.

This product, either alone or in combination with an ampli-

fier and headphones or speaker/s, may be capable of

producing sound levels that could cause permanent hear-

ing loss. DO NOT operate for long periods of time at a

high volume level or at a level that is uncomfortable. If you

experience any hearing loss or ringing in the ears, you

should consult an audiologist.

IMPORTANT: The louder the sound, the shorter the time

period before damage occurs.

Some Yamaha products may have benches and / or

accessory mounting fixtures that are either supplied with the

product or as optional accessories. Some of these items

are designed to be dealer assembled or installed. Please

make sure that benches are stable and any optional fixtures

(where applicable) are well secured BEFORE using.

Benches supplied by Yamaha are designed for seating only.

No other uses are recommended.

NOTICE:

Service charges incurred due to a lack of knowledge

relating to how a function or effect works (when the unit is

operating as designed) are not covered by the manufac-

turer’s warranty, and are therefore the owners responsibil-

ity. Please study this manual carefully and consult your

dealer before requesting service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user

safe and environmentally friendly. We sincerely believe

that our products and the production methods used to

produce them, meet these goals. In keeping with both the

letter and the spirit of the law, we want you to be aware of

the following:

SPECIAL MESSAGE SECTION

Battery Notice:

This product MAY contain a small non-rechargeable bat-

tery which (if applicable) is soldered in place. The average

life span of this type of battery is approximately five years.

When replacement becomes necessary, contact a quali-

fied service representative to perform the replacement.

This product may also use “household” type batteries.

Some of these may be rechargeable. Make sure that the

battery being charged is a rechargeable type and that the

charger is intended for the battery being charged.

When installing batteries, do not mix batteries with new, or

with batteries of a different type. Batteries MUST be in-

stalled correctly. Mismatches or incorrect installation may

result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery.

Keep all batteries away from children. Dispose of used

batteries promptly and as regulated by the laws in your

area. Note: Check with any retailer of household type

batteries in your area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair, or

for some reason its useful life is considered to be at an

end, please observe all local, state, and federal regula-

tions that relate to the disposal of products that contain

lead, batteries, plastics, etc. If your dealer is unable to

assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the top of the product. The

model number, serial number, power requirements, etc.,

are located on this plate. You should record the model

number, serial number, and the date of purchase in the

spaces provided below and retain this manual as a per-

manent record of your purchase.

Model

Serial No.

Purchase Date

92-BP

PLEASE KEEP THIS MANUAL

* The serial number of this product is shown at the rear panel.

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

Thank you for choosing a Yamaha VL70-m Virtual Acoustic

Tone Generator. The VL70-m is a monophonic tone generator incor-

porating Yamaha’s revolutionary “Virtual Acoustic Synthesis” tone

generation system — based on the most advanced computer physical

modeling technology. Virtual Acoustic Synthesis produces sound that

is more realistic, more expressive, and more musical than any other

system available at this time. The VL70-m includes 256 preset

voices, from super-realistic to innovative, that can add a new dimen-

sion to your sound … whether you play a keyboard, wind controller,

MIDI guitar synthesizer, or use a sequencer to create music.

Please read this owner’s manual carefully, and follow the

instructions within in order to ensure proper operation. Also keep

this manual in a safe place for later reference.

About the Manual

The VL70-m is a very unique tone generator that operates on totally new

principles that were simply unheard of until Yamaha released the worlds first

“Virtual Acoustic” synthesizer based on computer physical modelling. If you’ve

had some experience with the Yamaha VL1, VL1-m, VL-7, or their “Version 2”

upgrades, you will have very little trouble understanding the VL70-m. If you are

new to VA synthesis, however, you will need a little background before attempt-

ing to edit and modify voices. We urge you to read the following section of this

manual — “Virtual Acoustic Synthesis — before getting into the details. It will

make a huge difference in how quickly you understand the VL70-m system, and

how efficiently you will be able to edit voices to create the sound you’re look-

ing for.

Other than the above, the structure of the manual is fairly straightforward. You

can approach it in a “linear” manner, reading through from beginning to end, or

on an “on demand” basis, going directly to the information you need as you

need it. Use the table of contents at the beginning, and the index at the end of

the manual to find the information you need.

The following conventions are used through the VL70-m manuals to avoid

confusion and make the text easier to read.

■ Buttons & Controls

Button and control names used on the VL70-m panel appear in the text in

capital letters within square brackets: “the [ENTER] button”, for example.

■ Parameter Ranges

An ellipsis is used to indicate a range of parameter values: e.g. “0 … 127”. This

minimizes the confusion sometimes caused by the use of a hyphen or dash for

this purpose.

Conventions

About the Manual

Contents

Precautions 4

Virtual Acoustic Synthesis 6

VA Advantages . . . . . . . . . . . . . . . . . . . . . . . 6

The VL70-m Model . . . . . . . . . . . . . . . . . . . . 7

■

The Instrument . . . . . . . . . . . . . . . . . . . 8

■

The Controllers . . . . . . . . . . . . . . . . . . . 9

■

The Modifiers . . . . . . . . . . . . . . . . . . . 10

There’s More … . . . . . . . . . . . . . . . . . . . . . . 11

The Controls & Connectors 12

■

Front Panel . . . . . . . . . . . . . . . . . . . . . 12

■

Rear Panel . . . . . . . . . . . . . . . . . . . . . . 14

Setting Up 15

Power Supply . . . . . . . . . . . . . . . . . . . . . . . . 15

MIDI Connections . . . . . . . . . . . . . . . . . . . . 16

Breath Controller . . . . . . . . . . . . . . . . . . . . . 17

WX-series Wind MIDI Controller . . . . . . . . 18

G50 Guitar MIDI Converter . . . . . . . . . . . . . 19

Connecting to a Personal Computer . . . . . 20

■

Connecting to an Apple Macintosh

Series Computer . . . . . . . . . . . . . . . . . 20

■

Connecting to an IBM PC/AT Series

Computer . . . . . . . . . . . . . . . . . . . . . . . 21

■

Connecting to an NEC PC-9801/9821

Series Computer . . . . . . . . . . . . . . . . . 21

Audio Connections . . . . . . . . . . . . . . . . . . . 22

●

Headphones . . . . . . . . . . . . . . . . . . 22

●

Stereo Sound System . . . . . . . . . . . 22

Power-on Procedure . . . . . . . . . . . . . . . . . . 23

Play the Demo . . . . . . . . . . . . . . . . . . . . . . . 24

The Supplied Demo Disk . . . . . . . . . . . . . . . 25

The VL70-m Voice Editing Software . . . . . 25

Voice Organization and Sound

Module Modes 26

Voice Organization . . . . . . . . . . . . . . . . . . . 26

The VL70-m Sound Module Modes . . . . . . 27

■

The VOICE Mode . . . . . . . . . . . . . . . . . 27

■

The VL-XG Mode . . . . . . . . . . . . . . . . . 28

■

Selecting the VOICE or VL-XG Sound

Module Mode . . . . . . . . . . . . . . . . . . . 29

●

VL Extension for XG . . . . . . . . . . . 30

The VOICE PLAY Mode 31

The VOICE PLAY Main Control Mode . . . . 31

The VOICE PLAY Sub-control Mode . . . . . . 34

The VL-XG PLAY Mode 36

●

A Simple XG System Incorporating

the VL70-m . . . . . . . . . . . . . . . . . . . 36

The VL-XG PLAY Main Control Mode . . . . 37

The VL-XG PLAY Sub-control Mode . . . . . . 40

Controllers & Control Editing 42

●

Physical Controllers . . . . . . . . . . . . 43

●

VL70-m Controller Parameters . . . 45

Accessing & Editing the Control

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 46

The Control Edit Parameters . . . . . . . . . . . 48

■

VOICE Sound Module Mode Control

Edit Parameters . . . . . . . . . . . . . . . . . . 48

■

VL-XG Sound Module Mode Control

Edit Parameters . . . . . . . . . . . . . . . . . . 50

■

Control Edit Parameter Descriptions . 52

●

Pitch Bend . . . . . . . . . . . . . . . . . . . 52

●

Modulation Wheel . . . . . . . . . . . . 53

●

Aftertouch . . . . . . . . . . . . . . . . . . . 53

●

Assignable Controller . . . . . . . . . . 54

●

Expression . . . . . . . . . . . . . . . . . . . 54

●

Pressure . . . . . . . . . . . . . . . . . . . . . 55

●

Filter . . . . . . . . . . . . . . . . . . . . . . . . 55

●

Amplitude . . . . . . . . . . . . . . . . . . . 56

●

Embouchure . . . . . . . . . . . . . . . . . . 57

●

Tonguing . . . . . . . . . . . . . . . . . . . . 58

●

Scream . . . . . . . . . . . . . . . . . . . . . . 59

●

Breath Noise . . . . . . . . . . . . . . . . . 60

●

Growl . . . . . . . . . . . . . . . . . . . . . . . 61

●

Throat Formant . . . . . . . . . . . . . . . 62

●

Harmonic Enhancer . . . . . . . . . . . . 62

●

Damping . . . . . . . . . . . . . . . . . . . . . 63

●

Absorption . . . . . . . . . . . . . . . . . . . 64

Contents

Filter & Envelope Generator Editing 66

●

Amplitude & Filter EG . . . . . . . . . . 66

●

Pitch & Embouchre EG . . . . . . . . . 66

Accessing & Editing the Filter &

EG Parameters . . . . . . . . . . . . . . . . . . . . . . . 67

The Filter & EG Edit Parameters . . . . . . . . 69

■

VOICE Sound Module Mode Filter &

EG Edit Parameters . . . . . . . . . . . . . . . 69

■

VL-XG Sound Module Mode Filter &

EG Edit Parameters . . . . . . . . . . . . . . . 70

■

Filter & EG Edit Parameter

Descriptions . . . . . . . . . . . . . . . . . . . . . 71

●

Filter . . . . . . . . . . . . . . . . . . . . . . . . 71

●

Amplitude & Filter Envelope . . . . 72

●

Pitch & Embouchure Envelope . . . 73

Other Edit Parameters 75

Accessing & Editing the “Others”

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 75

The “Others” Edit Parameters . . . . . . . . . . 77

■

VOICE Sound Module Mode

“Others” Edit Parameters . . . . . . . . . 77

■

VL-XG Sound Module Mode

“Others” Edit Parameters . . . . . . . . . 78

■

“Others” Edit Parameter Descriptions 79

●

Vibrato . . . . . . . . . . . . . . . . . . . . . . 79

●

Detune & Voice Level . . . . . . . . . . 79

●

Assignment & Expansion . . . . . . . 80

●

Velocity Sensitivity . . . . . . . . . . . . . 81

●

Note Limits . . . . . . . . . . . . . . . . . . . 81

●

Portamento . . . . . . . . . . . . . . . . . . 82

●

Dry Level & Voice Name . . . . . . . . 82

The Store Function 84

Storing an Edited Voice . . . . . . . . . . . . . . . 84

Effects & Effect Editing 86

Effect Signal Flow . . . . . . . . . . . . . . . . . . . . 86

●

When the Variation Stage is

an Insertion Effect . . . . . . . . . . . . . 86

●

When the Variation Stage is

a System Effect . . . . . . . . . . . . . . . 87

Accessing & Editing the Effect Parameters 88

The Reverb Parameters . . . . . . . . . . . . . . . . 90

The Chorus Parameters . . . . . . . . . . . . . . . . 91

The Variation Parameters . . . . . . . . . . . . . . 92

The Distortion Parameters . . . . . . . . . . . . . 94

Breath Settings 95

Accessing & Editing the Breath Parameters 95

The Breath Parameters . . . . . . . . . . . . . . . . 96

The Utility Mode 97

The System Parameters . . . . . . . . . . . . . . . . 98

The Dump Out Function . . . . . . . . . . . . . . 100

●

DUMPOUT Operation . . . . . . . . . 100

The Initialize Function . . . . . . . . . . . . . . . 102

Appendix 103

Show Control Change . . . . . . . . . . . . . . . . 103

Show Exclusive . . . . . . . . . . . . . . . . . . . . . . 103

The Message Window . . . . . . . . . . . . . . . . 104

●

Message Window Data Format . 104

Bitmap Window . . . . . . . . . . . . . . . . . . . . . 105

●

Bitmap Window Data Format . . 105

●

Creating Bitmap Data . . . . . . . . . 105

Checksum . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Troubleshooting . . . . . . . . . . . . . . . . . . . . . 107

Answers to Some Common Questions . . 110

Error Messages . . . . . . . . . . . . . . . . . . . . . . 112

Specifications . . . . . . . . . . . . . . . . . . . . . . . 113

Index 114

Precautions

Precautions !! PLEASE READ THIS BEFORE PROCEEDING !!

■ Location

Do not expose the instrument to the following conditions to avoid deformation,

discoloration, or more serious damage.

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

• High temperatures (e.g. near a heat source, outside, or in a car during the

daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■ Power Supply

• Turn the power switch OFF when the instrument is not in use.

• The power adaptor should be unplugged from the AC outlet if the instrument

is not to be used for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC outlet as appliances with

high power consumption, such as electric heaters or ovens. Also avoid using

multi-plug adaptors since these can result in reduced sound quality and

possibly damage.

■ Turn Power OFF When Making Connections

• To avoid damage to the instrument and other devices to which it is con-

nected (a sound system, for example), turn the power switches of all related

devices OFF prior to connecting or disconnecting audio and MIDI cables.

■ MIDI Connections

• When connecting the VL70-m to MIDI equipment, be sure to use high-

quality cables made especially for MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters. Longer cables can pick up

electrical noise that can causes data errors.

■ Handling and Transport

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

instrument.

• Always unplug cables by gripping the plug firmly,

not by pulling on the

cable.

• Disconnect all cables before moving the instrument.

• Physical shocks caused by dropping, bumping, or placing heavy objects on

the instrument can result in scratches and more serious damage.

■ Cleaning

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

• A slightly damp cloth may be used to remove stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

■ Electrical Interference

• This instrument contains digital circuitry and may cause interference if

placed too close to radio or television receivers. If this occurs, move the

instrument further away from the affected equipment.

■ Data Backup

• The VL70-m 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

“Battery Low!” will appear on the display when the power is turned on.

When this happens, have the backup battery replaced by qualified Yamaha

service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP

BATTERY YOURSELF!

■ Service and Modification

• The VL70-m contains no user serviceable parts. Opening it or tampering

with it in any way can lead to irreparable damage and possibly electric

shock. Refer all servicing to qualified YAMAHA personnel.

■ Third-party Software

• Yamaha can not take any responsibility for software produced for this

product by third-party manufacturers. Please direct any questions or com-

ments about such software to the manufacturer or their agents.

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

Precautions

Virtual Acoustic Synthesis

Unlike previous tone generation systems which use oscillators, function genera-

tors, preset waveforms or samples to produce sound, Yamaha Virtual Acoustic

(“VA”) Synthesis applies sophisticated computer-based “physical modeling”

technology to 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 VL70-m simulates the very complex vibrations, reso-

nances, reflections and other acoustic phenomena that occur in a real wind or

string instrument.

VA Advantages

The VL70-m 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! Yamaha Virtual Acoustic Synthesis is

simply the most musical tone generation system ever created.

• The VL70-m sounds better, has more depth, and is more realistic in the

musical sense than any other tone generation system.

• Simply playing a note in the same way does not always produce precisely

the same sound. The instrument is responsive and “alive”.

• Note-to-note transitions have the same continuity exhibited by acoustic

instruments. What goes on in between the notes is just as important musi-

cally as the notes themselves.

• It has extraordinary expressive capability. Rather than simply controlling

parameters like volume or pitch, you can control characteristics such as

breath and reed pressure with appropriate complex effects on the timbre of

the sound.

Virtual Acoustic Synthesis

Controllers (also envelopes)

Instrument Modifiers

Sound out

The VL70-m Model

The overall VL70-m model or “algorithm” consists of three main blocks:

the instrument, controllers, and modifiers. In schematic form these blocks

are arranged as follows:

Virtual Acoustic Synthesis

■

NOTES

• The sound thus

produced is amplified

and sustained by the

body of the instrument.

• The pitch of the sound

is determined by the

length of the air

column or string, and

the timbre is a complex

product of the driving

source (reed, lip, air,

string), the shape of

the resonant cavity, the

materials from which

the instrument is made,

etc.

One of the remarkable features of the VL70-m’s Virtual Acoustic Synthesis

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

Drivers Pipes/String

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 instrument model

consists primarily of a driver — the reed/mouthpiece, lip/mouthpiece, or bow/

string system — and a resonant system corresponding to the tube and air

column or string.

The Instrument

In all these instruments pressure applied

here (the driving point) causes vibration

which results in sound.

String

vibration

Air vibration

Lip

vibration

Reed

vibration

Virtual Acoustic Synthesis

The Controllers

The input to an acoustic wind instrument comes from the player’s lungs, tra-

chea, oral cavity, and lips. In a string instrument it comes from the player’s arm

movement, transmitted to the string via a bow. These elements actually form an

important part of the sound generating system and, in the VL70-m 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 param-

eters provided by the VL70-m 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 external controller that can be used

with the VL70-m: breath controller, foot controller, modulation wheel, etc. The

pressure parameter, for example, will normally be assigned to a breath controller

so the player can control the dynamics of the instrument by varying the breath

pressure applied to the controller — a natural, instinctive way to play wind-

instrument voices. At the same time the growl and throat parameters might also

be assigned to the breath controller in order to achieve life-like response and

effects.

Pitch

Changes the length of

the air column or

string, and thereby the

pitch of the sound.

Damping & Absorption

Simulate the effects of

air friction in the pipe

or on the string, and of

high-frequency losses

at the end of the pipe

or string.

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.

Scream

Drives the entire system

into chaotic oscillation,

creating effects that can

only be achieved with

physical modelling

technology.

Throat

Controls the characteris-

tics of the “player’s”

throat or bowing arm.

Pressure

The amount of breath

pressure applied to the

reed or mouthpiece, or

bow velocity applied to

the string.

Growl

A periodic pressure (bow

velocity) modulation

which produces the

“growl” effect often

heard in wind instru-

ments.

The Modifiers

Virtual Acoustic Synthesis

The modifiers block consists of 4 sections as shown in the diagram. Although

these may appear to be simple effects, they are actually intimately related to the

VL70-m’s sound-producing model and have a significant effect on the sound

(the VL70-m has a separate effects stage with reverb, chorus, variation, and

distortion effects — see page 86).

● Harmonic Enhancer

The Harmonic Enhancer determines the

harmonic structure of the sound to the

extent that it can produce radical timbral

variations within an instrument “family”

(e.g. saxes). The harmonic enhancer param-

eters can be accessed via the Yamaha VL70-

m Expert Editor software (page 25).

● Dynamic Filter

This section is similar to the dynamic filters

found in many conventional synthesizers,

with high-pass, bandpass, band elimination,

and low-pass modes. Some filter parameters

are available via the VL70-m controls, but

detailed editing of parameters such as the

filter type requires the Yamaha VL70-m

Expert Editor software (page 25)

● Frequency Equalizer

This is a 5-band parametric equalizer with frequency, Q (bandwidth), and level

control. The equalizer also has pre-EQ high- and low-pass filters as well as key

scaling capability for precise response control throughout the instrument’s

range. Although only simplified treble and bass parameters are available via the

VL70-m controls, the full range of equalizer parameters can be accessed via the

Yamaha VL70-m Expert Editor software (page 25).

● Resonator

The Resonator uses simulated “resonator” pipes or strings and delays to produce

a “woody” resonance effect — although it has little or no effect on some voices.

The resonator parameters can be accessed via the Yamaha VL70-m Expert

Editor software (page 25).

Frequency

Equalizer

Dynamic

Filter

Harmonic

Enhancer

Resonator

Virtual Acoustic Synthesis

There’s More …

In this brief introduction to VL70-m basics we’ve only looked at the central

physical model which is the key the VL70-m’s unprecedented sound and

musical performance. There’s actually much more to it. There’s also an exten-

sive range of other functions and features that are similar to those you may be

familiar with from conventional synthesizers. There are, for example, program-

mable envelopes that can be applied to most of the controllers in addition to

real-time player control. And, of course, there’s a comprehensive selection of

utility functions that give the VL70-m maximum versatility and convenience.

Now that you understand the basics, dive in and find out what the VL70-m can

really do.

The Controls & Connectors

The following brief descriptions of the VL70-m controls and connectors

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

Front Panel

[POWER/VOL] Control

Press to turn power ON or OFF. Rotate to adjust

overall output volume (clockwise to increase the

volume).

Breath Controller Jack

An optional Yamaha BC3, BC2 or BC1 Breath

Controller can be plugged in here.

➲

page 17

WX IN Jack

Allows direct connection of a Yamaha WX-

series Wind MIDI Controller such as the WX11

or WX7, without the need for a WT11 or BT7

wind controller interface.

➲

page 18

PHONES Jack

Accepts a standard pair of stereo headphones

(stereo mini phone plug) for headphone monitor-

ing of the VL70-m sound without the need for

external amplification equipment. The volume of

the headphone sound is adjusted via the

[POWER/VOL] control.

Display

This large backlit liquid crystal display panel

shows all parameters and prompts necessary for

easy, efficient operation and programming of the

VL70-m. The display contrast can be adjusted as

described on page 99.

➲

page 31

[PLAY] Button

Press this button to select the VL70-m PLAY

mode in which voices can be selected and

played. If the PLAY mode is already selected,

pressing the [PLAY] button causes the currently

selected voice to sound — a convenient test

feature.

➲

page 31

[EDIT] Button

Activates the VL70-m EDIT mode in which

voices can be edited to create new sounds.

➲

page 46

[UTIL] Button

Selects the VL70-m UTILITY mode. The

UTILITY mode includes a range of important

utility functions that affect operation of the

VL70-m: SYSTEM SETUP, DUMP OUT,

INITIALIZE, and DEMO SONG.

➲

page 97

[EFFECT] Button

Selects the VL70-m EFFECT mode in which the

built-in reverb, chorus, variation, and distortion

effects can be assigned and edited as required.

➲

page 88

[MODE] Button

Accesses the VL70-m sound module mode

selection function.

➲

page 29

[BREATH] Button

Selects the BREATH SETTING which includes

parameters that determine how the VL70-m

responds to control from a breath controller,

WX-series Wind MIDI Controller, or similar

device.

➲

page 95

[MIDI/WX] Button

Pressing this button alternately selects the VL70-

m MIDI and WX control modes (when the rear-

panel HOST SELECT switch is set to Mac, PC-

1, PC-2).

➲

page 18

[ENTER] Button

The [ENTER] button is used to engage sub-

modes, confirm input, and execute certain

operations. Double-clicking this button (i.e.

press the button twice in rapid succession)

provides access to the SHOW CONTROL and

SHOW EXCLUSIVE (page 103) modes.

➲

page 24

[EXIT] Button

This button is used to exit from sub-modes and

cancel certain operations. No matter where you

are in the VL70-m display structure, pressing the

[EXIT] button (a number of times if necessary)

will eventually return you to the PLAY mode.

➲

page 24

PART [-] and [+] Buttons

When the VL-XG sound module mode is se-

lected (page 28) these buttons select the part to

be played. Either button can be pressed briefly

for single stepping in the specified direction, or

held for continuous scrolling. In either the VL-

XG or VOICE sound module mode (page 27)

pressing both buttons simultaneously switches in

and out of the PLAY mode sub-control mode

(pages 34 and 40).

When the EDIT mode is selected the PART

buttons can be used to switch between param-

eters without having to return to the EDIT mode

menu.

➲

page 36

SELECT [<] and [>] Buttons

These buttons are used to select sub-modes or

parameters. In some cases the selection will be

made from a menu displays, and in others the

SELECT buttons will actually switch display

pages.

➲

page 31

VALUE [-] and [+] Buttons

Used to select voices and edit parameter values.

Either button can be pressed briefly for single

stepping in the specified direction, or held for

continuous scrolling. They also have a large-step

function which allows you to skip ahead or

backward in larger increments when selecting

voices or editing numeric parameters: press

either the [-] or [+] button while holding the

other button.

➲

page 31

The Controls & Connectors

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

q t

w y

!1e

DC IN Connector

The DC output cable from the Yamaha PA-3B

AC Power Adaptor supplied with the VL70-m is

plugged in here.

➲

page 15

OUTPUT L/MONO and R Jacks

These are the main stereo outputs from the

VL70-m. Be sure to connect both outputs to the

appropriate channels of a stereo sound system in

order to appreciate the full quality of the VL70-

m sound and effects. The L/MONO jack can be

used alone when connecting to a mono sound

system (e.g. a musical instrument amplifier).

➲

page 22

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 VL70-

m. 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 VL70-m Breath

Controller operation, or bulk data when one of

the MIDI data transmission functions are acti-

vated. The MIDI OUT connector can also be

used to “echo” (re-transmit) data received via

the MIDI IN or TO HOST connectors.

➲

page 16

TO HOST Connector & HOST SELECT Switch

This jack and selector switch allow direct

connection to a personal computer for sequenc-

ing and other music applications — without the

need for a separate MIDI interface.

➲

page 20

The Controls & Connectors

Rear Panel

MIDI

THRU OUT IN

MIDI Mac

PC-2 PC-1

HOST SELECT

TO HOST DC IN

SER NO.

R L/MONO

OUTPUT

!8 !9@1@0

Setting Up

Power Supply

Your VL70-m comes supplied with a Yamaha PA-3B AC adaptor. Plug the

DC output cable from the AC adaptor into the DC IN jack on the rear panel,

then plug the adaptor into a convenient wall AC power socket. It is also a good

idea to clip the adaptor’s DC cable into the cable clip on the VL70-m rear panel

to minimize the possibility of accidentally unplugging the cable during opera-

tion.

■

CAUTION

• Do not attempt to use an AC adaptor other than the supplied unit or an appropriate

replacement provided by your Yamaha dealer to power the VL70-m. The use of an

incompatible adaptor may cause irreparable damage to the VL70-m, and might pose a

serious shock hazard!

• Be sure to unplug the AC adaptor from the AC mains socket when the VL70-m is not in

use.

DC-IN

PA-3B

MIDI Mac

PC-2 PC-1

HOST SELECT

TO HOST DC IN

SER NO.

R L/MONO

OUTPUT

AC power socket

Setting Up

MIDI Connections

The VL70-m can be used with virtually any type of MIDI controller: key-

board, wind controller, sequencer, etc. To ensure reliable error-free transfer

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 VL70-m MIDI receive channel and device number parameters are available

via the PLAY mode display and PLAY mode sub-control display (pages 32 and

34). Make sure these parameters are set to match the corresponding settings of

the MIDI controller used with the VL70-m.

The played note and velocity values.

Modulation wheel, breath controller, foot controller, sustain, and

other controller data.

Keyboard aftertouch pressure (channel aftertouch only).

Pitch bend wheel position.

Voice numbers and bank select messages.

Voice and system data transmitted in the form of “bulk dumps.”

● The VL70-m receives the following MIDI data:

■

NOTES

• IMPORTANT!: The rear-panel HOST SELECT switch must be set to “MIDI” when the VL70-

m is not connected to a computer via the TO HOST connector.

• For detailed MIDI specifications refer to the “MIDI Data Format” on page 26 of the List

Book.

• When using the VL70-m with other MIDI equipment, it is a good idea to refer to the

MIDI specifications (implementation chart, MIDI data format) of the equipment used to

ensure compatibility.

Note

Control Change

Aftertouch

Pitch Bend

Program Change

& Bank Select

System Exclusive

Setting Up

Breath Controller

If you will be using the VL70-m with a keyboard, a breath controller is an

essential expressive tool — both for realistic expression with wind-instru-

ment voices and unprecedented expressive control with string voices. Plug an

optional Yamaha BC3, BC2 or BC1 Breath Controller into the front-panel

breath controller jack. If the controlling MIDI keyboard has a breath controller

jack, it might be more convenient to plug the breath contoller in there rather

than directly into the VL70-m. 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.

■

IMPORTANT!

• If you will be using a BC3, BC2, or BC1 breath controller plugged into the BREATH jack,

the “Breath Mode” parameter must be set to “BC/WX” (page 96). This is also necessary if

you plug the breath controller into the keyboard’s breath controller jack.

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

MIDI OUT

MIDI IN

BREATH

BC3

VL70-m

MIDI keyboard

Setting Up

WX-series Wind MIDI Controller

The VL70-m is an ideal tone generator for use with a Yamaha WX-series

Wind MIDI Controller such as the WX11 or WX7. In either case the con-

troller can be plugged directly into the WX IN connector on the VL70-m front

panel, without the need for a WT11 or BT7 wind controller interface.

The Breath Mode parameter (page 96) must be set to “BC/WX”

in order for the VL70-m to recognize breath data from the

controller.

If you intend to drive additional MIDI devices via the VL70-m

MIDI OUT connector when using a Wind MIDI Controller, the

VL70-m sound module mode should be set to VOICE (page 29).

When the VL-XG mode is selected MIDI note data received via

the MIDI IN connector is not re-transmitted via the MIDI OUT

connector.

WX-series Wind MIDI Controllers produce pitch bend data

ranging from “-16” to “+32” in response to lip (reed) pressure.

The WX Lip parameter (page 98) determines whether these

values are used as is (“Norm”), or expanded to a “-64” through

“+63” range (“Expd”). When the “Expd” mode is selected, the

expanded pitch bend data is also transmitted via the MIDI OUT

connector. The “Expd” setting is recommended when using a

WX controller in the “tight lip” mode. The “Norm” setting is

recommended when using the WX controller “loose lip” mode.

When the VL70-m is connected to a WX controller and a

computer via the TO HOST connector, and the HOST SELECT

switch is set to any position other than “MIDI”, the front-panel

[MIDI/WX] button must be used to select the “WX” mode (a

small WX icon will appear on the left side of the display) in

order for the VL70-m to recognize data from the WX controller.

When the HOST SELECT switch is set to “MIDI” the VL70-m

accepts both MIDI and WX data (both the MIDI and WX icons

appear on the display), and the [MIDI/WX] button has no effect.

Special care must be taken with the following parameters and controls when

using a WX-series Wind MIDI Controller:

■

NOTES

• If a WX controller is unplugged while the VL70-m power is on, the breath level may

remain fixed at “0” and subsequently played notes may not sound. If this happens, turn

the VL70-m power off and then on again.

BREATH MODE

SOUND MODULE

MODE

LIP MODE

MIDI/WX

SETTING

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

WX IN

WX11

VL70-m

Setting Up

G50 Guitar MIDI Converter

The Yamaha G50 is a high-performance Guitar MIDI Converter designed to

work in conjunction with the Yamaha G1D Divided Pickup Unit installed on

an electric or steel-string acoustic guitar. The G50 offers unprecedented MIDI

guitar synthesizer performance with exceptionally fast response and a range of

advanced features that bring the true creative potential of MIDI control to guitar

players for the first time. Naturally, the VL70-m is an ideal tone generator for

use with a MIDI guitar system based on the G50.

GUITAR MIDI

CONVERTER

PARAMETER

WRITE

GUITAR SETUP EXTERNAL TG SETUP

A PLAYING STYLE

B NOTE ON LEVEL

C NOTE OFF LEVEL

D VELO CITY

E CHROMATIC

F TRANSPOSE

G PITCH BEND RANGE

H PROGRAM CHANGE #

I BANK MSB

J BANK LSB

K VOLUME

L PAN

M ASSIGNABLE 1

VALUE

O ASSIGNABLE 2

P VALUE

Q SPLIT

R MEMORY2#

S MEM2 LOCATION

T PICKING CONTROL

U FRONT

V REAR

W TOUCH CONTROL

X SENSITIVITY

Y SUSTAIN/HOLD PEDAL

REALTIME CONTROL

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

MIDI OUT

MIDI IN

VL70-m

G50

G1D

Since the G50 produces MIDI output, the standard MIDI connection rules that

apply to a keyboard or any other MIDI controller also apply when connecting

the G50 to the VL70-m (page 16).

Guitar

Setting Up

Connecting to a Personal Computer

Although the VL70-m can be connected to a personal computer via the

MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector

and selector switch allow direct connection to Apple Macintosh, IBM PC/AT, or

NEC PC-9801/9821 series personal computers for sequencing and other music

applications without the need for a separate MIDI interface.

■

IMPORTANT!

• If the VL70-m is to be connected to a computer via the TO HOST connector and a MIDI

controller via the MIDI IN connector, the “echo back” function of the music software or

sequencer you are using must be turned “on” so that the MIDI note data from the

controller is returned to the VL70-m and any subsequent devices connected to the VL70-

m MIDI OUT connector.

Connecting to an Apple Macintosh Series Computer

Connect the TO HOST connector of the VL70-m to the modem or printer port

on your Macintosh, depending on which port your MIDI software is using for

MIDI data communication, using a standard Macintosh 8-pin system peripheral

cable. Set the TO HOST selector to the “Mac” position.

You may also have to make other MIDI interface settings on the computer side,

depending on the type of software you use (refer to your software owner’s

manual). In any case the clock speed should be set to 1 MHz.

● “Mac” Cable Connections

• 8-pin system peripheral cable.

• Data transfer rate: 31,250 bps.

mini Din 8-pin mini Din 8-pin

678

123456789

10 11 12

14 15 16

18 19 20

21 22

23 24 25

54321

9876

mini Din 8-pin

D-SUB 9-pin

D-SUB 25-pin

IBM

Personal System/V

PS/V

Personal System/V

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

RS-232C

TO HOSTMIDI IN

MIDI OUT

VL70-m

MIDI controller

Modem or

Printer port

Personal

computer

●Connector Pin

Numbers

Setting Up

Connecting to an NEC PC-9801/9821 Series Computer

The NEC PC-9801/9821 computers are widely used in Japan. Connect the TO

HOST connector of the VL70-m to the RS-232C port on your NEC computer,

using a standard 8-pin MINI DIN → 25-pin D-SUB cross cable. Set the TO

HOST selector to the “PC-1” position.

Refer to your software owner’s manual for information on any settings you

might have to make on the computer side.

■

NOTES

• If your system doesn’t work properly with the connections and settings listed above,

your software may require different settings. Check your software operation manual and

set the HOST SELECT switch to the position the provides the appropriate data transfer

rate.

● “PC-1” Cable Connections

• 8-pin mini DIN

→

25-pin D-SUB cable. Use a “PC-2” type cable if

your computer uses a 9-pin serial port.

• Data transfer rate: 31,250 bps.

mini Din 8-pin D-SUB 25-pin

Connecting to an IBM PC/AT Series Computer

Connect the TO HOST connector of the VL70-m to the RS-232C port on your

IBM computer, using a standard 8-pin MINI DIN → 9-pin D-SUB cross cable.

Set the TO HOST selector to the “PC-2” position.

Refer to your software owner’s manual for information on any settings you

might have to make on the computer side.

● “PC-2” Cable Connections

• 8-pin mini DIN

→

9-pin D-SUB cable. Use a “PC-1” type cable if

your computer uses a 25-pin serial port.

• Data transfer rate: 38,400 bps.

mini Din 8-pin D-SUB 9-pin

Setting Up

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. Any standard pair of stereo headphones with a

stereo mini phone plug and an impedance of between about 8 and 150 ohms can

be used.

■ Stereo Sound System

The VL70-m 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

VL70-m voices and expressive features. The VL70-m OUTPUT L/MONO 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 VL70-m outputs directly to the inputs of a multitrack or stereo tape

recorder.

■

NOTES

• If you need to drive a mono amp or other device, connect only the L/MONO output jack.

The left and right channel signals are automatically combined and delivered via the L/

MONO jack when a single phone plug is inserted in this jack and the R output jack is left

unconnected.

• Make sure that both the VL70-m and your sound system are turned OFF when making

connections.

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

VL70-m volume control are turned all the way down prior to turning

power on.

2. Turn on the VL70-m.

3. Turn on your MIDI controller (and computer/sequencer, if used).

4. Turn on the sound system.

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

6. Gradually raise the VL70-m VOLUME control while playing the MIDI

controller to set the desired listening level.

■

NOTES

• Some keyboards and other MIDI controllers automatically transmit MIDI control change

data corresponding to their control status when the power switch is turned ON or OFF.

The VL70-m is programmed to receive this data and respond accordingly, so it is prefer-

able to turn the VL70-m ON before turning the controlling device ON.

Setting Up

Play the Demo

Once you’ve set up your VL70-m 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 VL70-m’s selection

and editing procedures.

■

NOTES

• When the demo is played all system setup parameters and current voice are initialized. If

your VL70-m memory contains data you want to keep, be sure to use the bulk dump

function (page 100) to save the data to an external MIDI data recorder or other appro-

priate storage device before playing the demo.

1. Select the Utility Mode

Press the [UTILITY] button to select the utility mode.

2. Select the Demo Mode

Use the SELECT [<] and [>] buttons to select the “DEMO” mode.

3. Press [ENTER] and Confirm

Press the [ENTER] button if it’s OK to go ahead with the demo. The VL70-

m will ask you to confirm: press [ENTER] again to proceed to the demo

song select display, or [EXIT] to abort.

4. Select a Song

Use the VALUE [-] and [+] buttons to select the demo song number you

want to start with.

5. Run the Demo

Press the [ENTER] 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.

6. Stop the Demo

Press the [EXIT] button to stop demo playback. This will return you to the

demo song select display.

7. Return To the Play Mode When Done

Press the [PLAY] button to return to the PLAY mode.

Setting Up

The Supplied Demo Disk

The VL70-m is supplied with a demonstration data disk which contains

several songs which demonstrate some of the VL70-m’s advanced musical

capabilities. The songs on this disk can be reproduced using any sequencer or

computer-based sequence software which can handle SMF (Standard MIDI File

— format 0) song files.

All of the demo songs use the VL70-m for the main melody line, while a

second XG tone generator (Yamaha MU50 or MU80 for example) supplies the

backing.

■

NOTES

• The supplied disk is a 2DD type (720 kilobytes) using MS-DOS format. The disk can be

read by Macintosh computers by using the PC Exchange application and an application

such as ResEdit which can change the file’s file type.

The VL70-m Voice Editing Software

— What It Is & Where To Get It —

The range of parameters accessible via the VL70-m programming interface

is limited to the simplest “upper level” of virtual acoustic synthesis parameters.

The “core” parameters which are the true foundation of physical modeling are

extremely complex, and were therefore not made directly accessible.

The VL70-m Expert Editor voice editing software provides full access to the

complete range of physical modeling parameters. It can be used alone to create

new voices, or edit voices loaded from the VL70-m. The VL70-m Expert Editor

is basically a refined version of the editing software Yamaha voicing profession-

als use to create original voices for VL-series synthesizers and tone generators.

It therefore gives you full professional-level programming power and potential.

Another handy VL editing software is the VL Visual Editor. The VL Visual

Editor makes it easy for anyone to create new VL voices via a graphic, easy-to-

use editing interface. The VL70-m Expert Editor can read voice files created by

the VL Visual Editor, allowing further in-depth programming.

The VL Voice Editing Software can be obtained via Yamaha’s XG

home page on the World Wide Web, “http://www.yamaha.co.jp./english/xg/html/

libhm.html”.

Voice Organization and Sound Module

Modes

Voice Organization

The VL70-m voices are organized into four main banks. Additional banks

are used when the VL70-m is set to operate in the VL-XG sound module

mode (page 29). The four main banks are as follows:

The PRESET 1 bank contains 128 preset voices which have been

created primarily to be played via a keyboard.

The PRESET 2 bank contains 128 preset voices which have been

created to provide maximum expressive capability when played

with a breath controller or WX-series Wind MIDI Controller.

The CUSTOM bank has 6 memory locations in which voices can

be edited in detail via an appropriate personal computer and

the Yamaha VL70-m Expert Editor application software (page

25). When the VL70-m is initially shipped CUSTOM voice num-

bers 001 through 006 contain a selection of sound-effect type

voices from the PRESET banks.

The INTERNAL bank has 64 memory locations in which voices

you have edited can be stored and easy recalled for use as

required. Unlike CUSTOM voices, INTERNAL voices can be edited

via the VL70-m panel controls. When the VL70-m is initially

shipped INTERNAL voice numbers 001 through 064 contain a

selection of voices from the PRESET 1 and PRESET 2 banks, set

up to be played via a WX-series Wind MIDI Controller.

Banks 112 through 119 become available when the VL70-m is set to the VL-XG

sound module mode (page 29). In the VL-XG sound module mode some voices

from the PRESET 1 and PRESET 2 banks are assigned MIDI bank and program

change numbers conforming to the Yamaha XG format. Since the VL70-m does

not have a full set of XG-compatible voices, however, some voice numbers will

be skipped (e.g. 23, 24, 27, etc.).

■

NOTES

• PRESET 1, PRESET 2, and CUSTOM voices can be edited via the VL70-m panel controls,

but the edited voices cannot be stored to the PRESET 1, PRESET 2, or CUSTOM bank.

Edited voices can only be stored to the INTERNAL bank, and only when the VL70-m is set

to the VOICE sound module mode (page 29).

• The factory preset CUSTOM and INTERNAL

voices can be restored by using the Factory Set

Initialize function described on page 102.

• Refer to the separate “List Book” for a com-

plete listing of the VL70-m voices.

• Use the MIDI bank MSB (control number 00)

and LSB (control number 32) numbers listed at

right to select VL70-m banks from an external

MIDI device. In the VOICE sound module mode,

the MSB is ignored (recognized as 33) and only

LSB numbers 0 through 3 are recognized.

BANK MSB LSB

PRESET 1 33 0

PRESET 2 33 1

CUSTOM 33 2

INTERNAL 33 3

BANK 112 97 or 81 112

BANK 113 97 or 81 113

BANK 114 97 or 81 114

BANK 115 97 or 81 115

BANK 116 97 or 81 116

BANK 117 97 or 81 117

BANK 118 97 or 81 118

BANK 119 97 or 81 119

PRESET 1

PRESET 2

CUSTOM

INTERNAL

Voice Organization and Sound Module Modes

The VL70-m Sound Module Modes

The VL70-m has two main Sound Module Modes: VOICE and VL-XG. It is

important to understand the difference between these modes because they

determine how the VL70-m responds to MIDI program change and bank num-

bers received from a MIDI keyboard or other controller, and how the internal

effects relate to the individual voices.

The VOICE Mode

In this mode the VL70-m functions as a “standard” tone generator module. The

VOICE mode should be used when the VL70-m is being used alone or with

other non-XG tone generators/synthesizers (see “VL Extension for XG”, page

30).

● Voice Selection

The PRESET 1, PRESET 2, CUSTOM, and INTERNAL voices can be indi-

vidually selected by the VL70-m panel VALUE [-] and [+] buttons, or appropri-

ate MIDI program change numbers and bank numbers received from your

keyboard or controller (see the “Voice Organization” section, above).

● Voice Editing

In the VOICE mode the INTERNAL voices can be individually edited via the

VL70-m panel controls. Each voice has its own edit parameters which can be

stored with the voice are recalled whenever the voice is selected. In fact, the

edited data

must be stored with the voice before a new voice is selected other-

wise the edited data will be lost.

● Effects

Each voice has its own effect settings which are recalled whenever the voice is

selected, so that effects become an important part of the individual sound of

each voice. As with edited voice data, edited effect data

must be stored with the

voice before a new voice is selected otherwise the edited effects data will be

lost.

● MIDI Output

Normally, MIDI data received at the VL70-m MIDI IN connector is re-transmit-

ted “as is” via the MIDI OUT connector. The Note Filter function described on

page 99 can be used to filter out (i.e. block) note data transmission on specified

channels.

Voice Organization and Sound Module Modes

The VL-XG Mode

In this mode the VL70-m functions as an “XG expansion” tone generator

module. The VL-XG mode should be selected when the VL70-m is being used

with other XG tone generators/synthesizers to play music data created for tone

generators complying with the Yamaha XG format (see “VL Extension for XG”,

page 30).

● Voice Selection

The PRESET 1, PRESET 2, CUSTOM, and INTERNAL voices can be indi-

vidually selected by the VL70-m panel VALUE [-] and [+] buttons, or appropri-

ate MIDI program change numbers and bank numbers received from your

keyboard or controller (see the “Voice Organization” section, above). In the VL-

XG mode banks 112 through 119 become available, and some voices from the

PRESET 1 and PRESET 2 banks are assigned MIDI bank and program change

numbers conforming to the Yamaha XG format. Since the VL70-m does not

have a full set of XG-basic voices, however, some voice numbers will be

skipped (e.g. 23, 24, 27, etc.).

● Voice Editing

In the VL-XG mode only one set of voice parameters is provided for all voices.

Voices

can not be individually edited and stored in the INTERNAL bank as in

the VOICE mode. In fact, the VL-XG mode has no store function. Any voice

parameter edits are retained no matter what voice is selected. This allows the

same controller and other settings to be retained while switching to different

voices.

● Effects

In the VL-XG mode only one set of effect parameters is provided for all voices.

Effects

can not be edited and stored with each individual voice in the INTER-

NAL bank as in the VOICE mode. The current effect settings are retained no

matter what voice is selected. This allows the same reverb and other “ambience-

defining” settings to be retained while switching to different voices.

● MIDI Output

Only MIDI messages which are not used by the VL70-m are re-transmitted via

the MIDI OUT connector. The Note Filter function described on page 99 can be

used to filter out (i.e. block) note data transmission on specified channels.

Voice Organization and Sound Module Modes

Selecting the VOICE or VL-XG Sound Module Mode

The current sound module mode is indicated by the triangular pointer in the

lower right- corner of the display in the PLAY mode.

The VOICE or VL-XG sound module mode is selected as follows:

1. Press the [MODE] Button

Press the [MODE] button access the VL70-m sound module modes selection

function.

2. Select the VOICE or VL-XG Mode

Use the VALUE [-] and [+] buttons to select the “VOICE” or “VL-XG” sound

module mode, as required.

3. Press [EXIT] or [PLAY] When Done

Press the [EXIT] or [PLAY] button to return to the PLAY mode when the

desired sound module mode has been selected.

VOICE

VL-XG

Voice Organization and Sound Module Modes

■ VL Extension for XG

The VL Extension for XG (“VL Extension for XG” is

abbreviated to VL-XG) included in the VL70-m Virtual

Acoustic Tone Generator significantly enhances and

expands the musical capabilities of the XG format with

the superior sound and expressive potential of Yamaha Virtual Acoustic

Synthesis. A VL70-m can be used in conjunction with a Yamaha MU80

or MU50 XG tone generator, for example: the VL70-m providing supe-

rior wind and string instrument voices while the MU80 or MU50 supplies

drums, percussion, keyboard, and other voices.

The XG format is basically a set of rules describing how a tone generator

will respond to MIDI data. The current GM (General MIDI) format is a

similar concept, allowing GM music data to be reproduced accurately on

any GM tone generator from any manufacturer. GM, however, applies

only to a limited set of parameters. XG significantly expands on the basic

GM format, providing many more voices, voice editing capability,

effects, external input, and other features that contribute to enhanced

musical expression. And since XG is totally upward compatible with GM,

GM data can be accurately reproduced on any XG tone generator.

* The VL70-m does not contain the basic set for the XG format.

When the VOICE sound module mode is selected (see “The VL70-m Sound

Module Modes, page 27), pressing the [PLAY] button engages the VL70-m

VOICE PLAY mode. This mode allows voices to be selected and played, and

thus is the mode you’ll normally use when playing the VL70-m. The VOICE

PLAY mode also provides access to several important performance parameters

including volume, panning, etc. The VOICE PLAY mode actually has two

control modes — the main control mode and the sub-control mode — which

provide access to different sets of parameters, as described below.

The VOICE PLAY Mode

The VOICE PLAY Main Control Mode

This mode is initially selected when the VL70-m power is turned on. If the

sub-control mode is active (see page 34), the main control mode can be

selected by simultaneously pressing the PART [-] and [+] buttons. The VOICE

PLAY main control mode display looks like this:

PART MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY

The various parameters in this mode are selected via the SELECT [<] and [>]

buttons. The name of the currently selected parameter appears in the upper right

corner of the display (when the bank and program number parameters are

showing a solid triangular pointer indicates which of the two parameters is

selected). A small triangular pointer appears above the icon corresponding to the

selected parameter in the bottom line of the display. Once the desired parameter

has been selected, it’s value can be set as required via the VALUE [-] and [+]

buttons.

• System Transpose

• Variation Return

• Chorus Return

• Reverb Return

• Pan

• Device Number

• Bank Number

• Program Number

• Volume

The VOICE PLAY Mode

DevNo. (Device Number)

Settings: 001 … 016, all

The Device Number parameter must be set prop-

erly when you want to transmit or receive MIDI

system exclusive data to or from another VL70-m

or other MIDI device (system exclusive data

includes voice parameters, system setup param-

eters, etc). The VL70-m Device number must be

set to the same number as the Device Number of

the external device. Select a device number from

“001” to “016”, or “all”. When “all” is selected,

MIDI system exclusive data can be received on all

device numbers, but transmission occurs via device

number 001.

(Bank Number)

Settings: Pr1, Pr2, Cst, Int

Selects the VL70-m PRESET 1 (Pr1), PRESET 2

(Pr2), CUSTOM (Cst), or INTERNAL (Int) voice

bank (see “Voice Organization” on page 26).

(Program Number)

Settings: 001 … 128

Selects the voice to played on the VL70-m. The

PRESET 1 and PRESET 2 banks each have voice

numbers from “001” to “128”, while the INTER-

NAL bank has voice numbers from “001” to

“064”, and the CUSTOM bank has voice numbers

from “001” to “006”.

Volume

Settings: 000 … 127

Sets the volume of the current voice. The higher

the value the louder the volume.

Pan

Settings: Rnd, L63 … C … R63

Sets the pan position of the current voice — i.e.

the position of the voice between left and right in

the stereo sound field. A setting of “L63: sets the

pan position full left, “C” sets the pan at center,

and “R63” sets the pan full right. In between

settings produce corresponding intermediate pan

positions. The “Rnd” setting produces a randomly-

generated pan position.

RevRtn (Reverb Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m reverb effect stage. The higher the value,

the higher the level of the reverb signal.

The VOICE PLAY Mode

ChoRtn (Chorus Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m chorus effect stage. The higher the value,

the higher the level of the chorus signal.

VarRtn (Variation Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m variation effect stage. The higher the

value, the higher the level of the variation signal.

SysTran (System Transpose)

Settings: -24 … 0 … +24

Transposes the pitch of the entire VL70-m system

(a single setting applies to all voices) down or up

in semitone steps over a ±2 octave range. “+00”

corresponds to standard pitch. Each increment

corresponds to a semitone. A setting of “-12”, for

example, transposes the pitch down one octave.

■

NOTES

• The Volume, Pan, Reverb Return, Chorus Return, and

Variation Return settings are actually voice param-

eters, and are stored and recalled with each indi-

vidual voice. This means that any edits you make may

change when a new voice is selected.

The VOICE PLAY Sub-control Mode

The sub control mode can be selected from the main control mode by

simultaneously pressing the PART [-] and [+] buttons. The VOICE PLAY

sub-control mode display looks like this:

The various parameters in this mode are selected via the SELECT [<] and [>]

buttons. The name of the currently selected parameter appears in the upper right

corner of the display (when the bank and program pointer parameters are

showing a solid triangular pointer indicates which of the two parameters is

selected). A small triangular pointer appears above the icon corresponding to the

selected parameter in the bottom line of the display. Once the desired parameter

has been selected, it’s value can be set as required via the VALUE [-] and [+]

buttons.

Rcv CH (Receive Channel)

Settings: 01 … 16, all

Sets the MIDI receive channel on which the VL70-

m will receive data from your keyboard or other

controller. The receive channel must be set to the

same channel that the controlling device is trans-

mitting on (“01” through “16”), or “all” to allow

reception on all channels.

The VOICE PLAY Mode

PART MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY

• Note Shift

• Variation Send

• Chorus Send

• Reverb Send

• Receive Channel

• Bank Pointer

• Program Pointer

The VOICE PLAY Mode

(Bank Pointer)

Settings: Pr1, Pr2, Cst

This parameter refers to the bank containing the

selected voice in the VOICE PLAY main control

mode. It selects the VL70-m PRESET 1 (Pr1),

PRESET 2 (Pr2) or CUSTOM (Cst) voice bank

(see “Voice Organization” on page 26).

(Program Pointer)

Settings: 001 … 128

This parameter refers to the selected voice in the

VOICE PLAY main control mode. The PRESET 1

and PRESET 2 banks each have voice numbers

from “001” to “128”, and the CUSTOM bank has

voice numbers from “001” to “006”.

RevSend (Reverb Send)

Settings: 000 … 127

Adjusts the level of the signal sent to the VL70-m

reverb effect stage. The higher the value, the

higher the level of the reverb send signal.

ChoSend (Chorus Send)

Settings: 000 … 127

Adjusts the level of the signal sent to the VL70-m

chorus effect stage. The higher the value, the

higher the level of the chorus send signal.

VarSend (Variation Send)

Settings: 000 … 127

Adjusts the level of the signal sent to the VL70-m

variation effect stage. The higher the value, the

higher the level of the variation send signal.

NoteSft (Note Shift)

Settings: -24 … 0 … +24

Transposes the pitch of the current voice down or

up in semitone steps over a ±2 octave range. “+00”

corresponds to standard pitch. Each increment

corresponds to a semitone. A setting of “-12”, for

example, transposes the pitch down one octave.

■

NOTES

• The Reverb Send, Chorus Send, Variation Send, Note

Shift settings are actually voice parameters, and are

stored and recalled with each individual voice. This

means that any edits you make may change when a

new voice is selected.

The VL-XG PLAY Mode

When the VL-XG sound module mode is selected (see “The VL70-m Sound

Module Modes, page 27), pressing the [PLAY] button engages the VL70-m VL-

XG PLAY mode. In this mode the VL70-m can be used as an “XG expansion”

tone generator module with other XG tone generators/synthesizers to play music

data created for tone generators complying with the Yamaha XG format (see

“VL Extension for XG”, page 30). Like the VOICE PLAY mode, the VL-XG

PLAY mode also provides access to several important performance parameters

via two control modes — the main control mode and the sub-control mode.

When the VL-XG sound module mode is selected the PART [-] and [+] buttons

select the XG “part” to be played. Either button can be pressed briefly for single

stepping in the specified direction, or held for continuous scrolling. XG parts

“01” to “16” can be selected, or the part parameter can be turned “Of” (off). No

sound will be produced when “Of” is selected.

■

NOTES

• When selecting an XG part from the external MIDI device, specify the part number and

transmit ON message using “NOTE ASSIGN” of the Current Voice/Common Part param-

eter (see page 34 in the separate “List Book”). If the external MIDI device transmits OFF

message, “Of” is selected.

IBM

Personal System/V

PS/V

Personal System/V

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

RS-232C

TO HOSTMIDI OUTMIDI IN

MIDI OUT

MIDI IN

VL70-m

INPUT

PHONES POWE R/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

PLAY EDIT

UTIL EFFECT

MODE

MUTE/

SOLO

ENTER

EXIT

PART

SELECT

VALUE

ALL

TG300B

DOC

PERFORM

MIDI controller

Modem or

Printer port

Personal

computer

XG tone generator

● A Simple XG System Incorporating the VL70-m

The VL-XG PLAY Mode

The VL-XG PLAY Main Control Mode

This mode is initially engaged when the VL-XG sound module mode is

selected. If the sub-control mode is active (see page 40), the main control

mode can be selected by simultaneously pressing the PART [-] and [+] buttons.

The VL-XG PLAY main control mode display looks like this:

PART MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY

• Note Shift

• Variation Send

• Chorus Send

• Reverb Send

• Pan

• Receive Channel

• Bank Number

• Program Number

• Volume

• Expression

• Part Number

The various parameters in this mode are selected via the SELECT [<] and [>]

buttons. The name of the currently selected parameter appears in the upper right

corner of the display (when the bank and program number parameters are

showing a solid triangular pointer indicates which of the two parameters is

selected). A small triangular pointer appears above the icon corresponding to the

selected parameter in the bottom line of the display. Once the desired parameter

has been selected, it’s value can be set as required via the VALUE [-] and [+]

buttons.

Rcv CH (Receive Channel)

Settings: 01 … 16, OFF

Sets the MIDI receive channel on which the VL70-

m will receive data from your keyboard or other

controller. The receive channel must be set to the

same channel that the controlling device is trans-

mitting on (“01” through “16”). When “OFF” is

selected, the VL70-m will not receive any data

from external MIDI devices.

(Bank Number)

Settings: 112 … 119, Pr1, Pr2, Cst, Int

Selects the VL70-m voice bank: 112 through 119,

PRESET 1 (Pr1), PRESET 2 (Pr2), CUSTOM

(Cst), or INTERNAL (Int). See “Voice Organiza-

tion” on page 26.

(Program Number)

Settings: 001 … 128

Selects the voice to played on the VL70-m. Banks

112 through 119 allow selection of voice numbers

from “022” to “128”, although some voice num-

bers are skipped since the VL70-m does not have a

full basic XG voice set. The PRESET 1 and

PRESET 2 banks each have voice numbers from

“001” to “128”, while the CUSTOM bank has

voice numbers from “001” to “006”, and the

INTERNAL bank has voice numbers from “001”

to “064”

Volume

Settings: 000 … 127

Sets the volume of the current voice. The higher

the value the louder the volume.

Expresn (Expression)

Settings: 000 … 127

Sets the expression level of the current voice. The

higher the value the higher the expression level.

Pan

Settings: Rnd, L63 … C … R63

Sets the pan position of the current voice — i.e.

the position of the voice between left and right in

the stereo sound field. A setting of “L63: sets the

pan position full left, “C” sets the pan at center,

and “R63” sets the pan full right. In between

settings produce corresponding intermediate pan

positions. The “Rnd” setting produces a randomly-

generated pan position.

The VL-XG PLAY Mode

RevSend (Reverb Send)

Settings: 000 … 127

Adjusts the level of the signal sent to the VL70-m

reverb effect stage. The higher the value, the

higher the level of the reverb send signal.

ChoSend (Chorus Send)

Settings: 000 … 127

Adjusts the level of the signal sent to the VL70-m

chorus effect stage. The higher the value, the

higher the level of the chorus send signal.

VarSend (Variation Send)

Settings: 000 … 127 (on, off when “INS”)

When the variation stage is connected as a system

effect (page 87), this parameter adjusts the level of

the signal sent to the VL70-m variation effect

stage. The higher the value, the higher the level of

the variation send signal. When the variation stage

is connected as an “insertion” effect (page 86), this

parameter turns variation send “on” or “off”.

The VL-XG PLAY Mode

NoteSft (Note Shift)

Settings: -24 … 0 … +24

Transposes the pitch of the current voice down or

up in semitone steps over a ±2 octave range. “+00”

corresponds to standard pitch. Each increment

corresponds to a semitone. A setting of “-12”, for

example, transposes the pitch down one octave.

The VL-XG PLAY Sub-control Mode

The sub control mode can be selected from the main control mode by

simultaneously pressing the PART [-] and [+] buttons. The VL-XG PLAY

sub-control mode display looks like this:

PART MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY

• Transpose

• Variation Return

• Chorus Return

• Reverb Return

• Device Number

• Master Volume

The VL-XG PLAY Mode

The various parameters in this mode are selected via the SELECT [<] and [>]

buttons. The name of the currently selected parameter appears in the upper right

corner of the display. A small triangular pointer appears above the icon corre-

sponding to the selected parameter in the bottom line of the display. Once the

desired parameter has been selected, it’s value can be set as required via the

VALUE [-] and [+] buttons.

• When you enter the VL-XG sub control mode from the

main control mode, “ALL” is automatically selected for the

“part” by simultaneously pressing the PART [-] and [+]

buttons (“ALL”).

DevNo. (Device Number)

Settings: 001 … 016, all

The Device Number parameter must be set prop-

erly when you want to transmit or receive MIDI

system exclusive data to or from another VL70-m

or other MIDI device (system exclusive data

includes voice parameters, system setup param-

eters, etc). The VL70-m Device number must be

set to the same number as the Device Number of

the external device. Select a device number from

“001” to “016”, or “all” . When “all” is selected,

MIDI system exclusive data can be received on all

device numbers, but transmission occurs via device

number 001.

M.Volum (Master Volume)

Settings: 000 … 127

Sets the VL70-m master volume level. The higher

the value the louder the volume.

RevRtn (Reverb Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m reverb effect stage. The higher the value,

the higher the level of the reverb signal.

ChoRtn (Chorus Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m chorus effect stage. The higher the value,

the higher the level of the chorus signal.

VarRtn (Variation Return)

Settings: 000 … 127

Adjusts the level of the signal returned from the

VL70-m variation effect stage. The higher the

value, the higher the level of the variation signal.

This parameter is not available (“***” will appear

in place of the VarRtn value) when the variation

stage is connected as an “insertion” effect (page

86).

Trans (Transpose)

Settings: -24 … 0 … +24

Transposes the pitch of the entire VL70-m system

(a single setting applies to all voices) down or up

in semitone steps over a ±2 octave range. “+00”

corresponds to standard pitch. Each increment

corresponds to a semitone. A setting of “-12”, for

example, transposes the pitch down one octave.

The VL-XG PLAY Mode

Controllers & Control Editing

If you’ve read the “Virtual Acoustic Synthesis” section (if you haven’t, please

do so — page 6) you should understand the concept of “controllers” as applied

to the VL70-m. 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. a breath

controller or modulation wheel — assigned to the required controller parameter.

The effectiveness of the VL70-m as a musical instrument depends to a great

deal on how well you learn to use these controllers. Since the VL70-m sound is

produced by a computer-based physical model rather than a oscillator-based

tone generator, there are no hard-and-fast rules as to how any controller will

actually affect the sound. There are guidelines, based on the rule of the corre-

sponding controller parameter within the physical model, but proficiency with

the VL70-m depends more on experience and practice — just as it does in any

acoustic instrument.

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.

Controllers & Control Editing

A natural candidate for controlling pressure, tonguing, throat

formant, growl, and other parameters.

The pitch bend wheel on your keyboard or other MIDI device

can be assigned to a range of parameters, but it’s “standard”

function is pitch control. A controller parameter such as Embou-

chure can also be assigned to the pitch bend wheel for more

realistic pitch variations.

Since the modulation wheel on your keyboard or other MIDI

device can be assigned to any controller parameter, it can be an

important tool for musical expression. Use it in conjunction with

a breath controller or a foot controller for broad expressive

variation.

Like the modulation wheel, a foot controller connected to your

keyboard or other MIDI device can be assigned to any VL70-m

controller parameter.

Keyboard aftertouch allows you to control any controller

parameter by the pressure you apply to a key after it is initially

pressed. This is perhaps the most “intimate” type of keyboard

expression control.

Although normally assigned to pressure (particularly in plucked

string voices), keyboard velocity can also be assigned to any

other controller parameter.

The MIDI protocol provides 119 control change numbers, some

of which are pre-assigned to specific controllers — as noted

above, “01” is “Modulation Wheel”, for example. 95 of these

are available for assignments to the VL70-m controller param-

eters, so any available MIDI control devices can be used to full

advantage. A complete list of the available MIDI control change

numbers is given below.

Controllers & Control Editing

● Physical Controllers

First, here’s a list of some of the physical controllers you might want to use

with the VL70-m:

Breath Controller

(MIDI control

change no. 02)

Pitch Bend Wheel

Modulation

Wheel

(MIDI control

change no. 01)

Foot Controller

(MIDI control

change no. 04)

Aftertouch

Velocity

Others

Control No. Controller

off(00) off (used by Bank Select MSB)

01 Modulation Wheel

02 Breath Controller

03 Unassigned

04 Foot Controller

05 Portamento Time

06 Data Entry MSB

07 Volume Control

08~09 Unassigned

10 Panpot

11 Expression

12~31 Unassigned

● MIDI Control Change Number Assignments

Controllers & Control Editing

Control No. Controller

off(32) off (used by Bank Select LSB)

33~37 Unassigned

38 Data Entry LSB

39~63 Unassigned

64 Hold1

65 Portamento Switch

66 Unassigned

67 Soft Pedal

68~70 Unassigned

71 Harmonic Content

72 Release Time

73 Attack Time

74 Brightness

75~90 Unassigned

91 Effect Send Level (Reverb

Effect)

92 Unassigned

93 Effect Send Level 3 (Chorus

Effect)

94 Effect Send Level 4 (Variation

Effect)

95 Unassigned

AT After Touch

VEL Velocity

PB Pitch Bend

● VL70-m Controller Parameters

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

the VL70-m’s controller parameters:

The amount of breath pressure applied to a reed or mouthpiece,

or the speed of the bow applied to a string. Pressure variations

affect both volume and timbre.

The tightness of the lips against the reed or against each other.

In a string instrument voice Embouchure corresponds to how

strongly the bow is pressed against the string. Affects both pitch

and timbre.

Simulates the half-tonguing technique used by saxophone

players by changing the “slit” of the reed. The slit is the space

between the tip of the reed and the mouthpiece.

Unlike Pressure, this parameter simply controls the volume of

the sound without varying timbre.

Drives the entire system into chaotic oscillation, creating effects

that can only be achieved with physical modeling technology.

Adds breath noise to produce exceptionally realistic effects with

many wind instruments.

A periodic pressure modulation which produces the “growl”

effect often heard in wind instruments.

Controls the characteristics of the simulated player’s lungs,

trachea, and oral cavity. Can add a realistic “roughness” to the

sound. Throat formant only applies to some reed-type voices.

Similar to the dynamic filters found in many conventional

synthesizers, the cutoff frequency can be varied to produce a

wide range of timbral variations. Most voices use the low-pass

filter type, but some use the bandpass, high-pass, or band

eliminate types. Some voices use very little filter processing at

all. Changing the filter settings may not produce a particularly

noticeable effect. For detailed filter parameter programming use

the VL70-m Expert Editor software (page 25).

The Harmonic Enhancer can vary the harmonic structure of the

sound over a wide range. Since most VL70-m voices have

sufficient natural harmonic content, the Harmonic Enhancer is

actually only used on a few voices. Therefore changing the

controller destination with many voices will produce either no

change in the sound or a simple change in amplitude. For

detailed harmonic enhancer programming use the VL70-m

Expert Editor software (page 25).

Simulates the effect of damping due to losses within the body of

a wind instrument or in a string due to air friction. Affects both

pitch and timbre.

Simulates the effect of high-frequency loss at the end of the air

column or string. In the case of a wind instrument, the Damping

and Absorption parameters control the diameter and shape of

the bell.

Pressure

Embouchure

Tonguing

Amplitude

Scream

Breath Noise

Growl

Throat Formant

Filter

Harmonic

Enhancer

Damping

Absorption

Controllers & Control Editing

Accessing & Editing the Control Param-

eters

The CONTROL EDIT mode can be accessed from the VOICE PLAY mode

as follows:

1. Press [EDIT]

Press the [EDIT] button to go to the VOICE EDIT sub-mode menu.

2. Select the CONTROL Sub-mode

Use the SELECT [<] and [>] buttons to select the CONTROL sub-mode, if

necessary. The icon to the left of “CONTROL” on the display will flash

when the CONTROL sub-mode is selected.

3. Press [ENTER]

Press the [ENTER] button to go to the CONTROL EDIT mode. “CONTROL

EDIT” will appear at the top of the display along with the number of the

currently selected control parameter.

4. Select a Parameter

Use the SELECT [<] and [>] buttons to select the parameter you want to

edit (see “The Control Edit Parameters”, below). The name of the currently

selected parameter and its current setting appear on the second line of the

display. An arrow to the left and/or right of the parameter name/value

indicates that the SELECT [<] and/or [>] buttons can be used to select

more parameters in the indicated direction.

5. Edit the Selected Parameter

Use the VALUE [-] and [+] buttons to set the value of the selected parameter

as required.

6. Repeat As Necessary

Repeat steps 4 and 5 to edit as many parameters as required.

7. Exit When Done

Press ther [EXIT] button to return to the VOICE EDIT sub-mode menu, or

the [PLAY] button to return to the VOICE PLAY mode when you’re finished

editing.

■

IMPORTANT!

• If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the

edited voice to an appropriate INTERNAL voice number before selecting a new voice. All

edited data will be lost if you select a new voice before storing the edited voice!

Controllers & Control Editing

Pitch Bend ........................................................................................ 52

01: PB Ctrl (Pitch Bend Control)

02: PB LowCtrl (Pitch Bend Low Control)

03: PBLFO PMod (Pitch Bend LFO Pitch Modulation)

Modulation Wheel .......................................................................... 53

04: MWLFO PMod (Modulation Wheel LFO Pitch Modulation)

05: MWLFO FMod (Modulation Wheel LFO Filter Modulation)

Aftertouch ....................................................................................... 53

06: ATFil Ctrl (Aftertouch Filter Control)

07: ATLFO PMod (Aftertouch LFO Pitch Modulation)

Assignable Controller ..................................................................... 54

08: AC1 CC No. (Assignable Controller 1 Control Change Number)

09: AC1FilCtrl (Assignable Controller 1 Filter Control)

10: AC1AmpCtrl (Assignable Controller 1 Amplitude Control)

11: AC1LFOPMod (Assignable Controller 1 LFO Pitch Modulation)

Expression ........................................................................................ 54

12: Exp Mode (Expression Mode)

Pressure ............................................................................................ 55

13: Prs CC No. (Pressure Control Change Number)

14: PrsCtrlDpt (Pressure Control Depth)

15: Prs Curve (Pressure Curve)

Filter .............................................................................................. 55

16: Fil CC No. (Filter Control Change Number)

17: FilCtrlDpt (Filter Control Depth)

18: Fil Curve (Filter Curve)

Amplitude ........................................................................................ 56

19: Amp CC No. (Amplitude Control Change Number)

20: AmpCtrlDpt (Amplitude Control Depth)

21: Amp Curve (Amplitude Curve)

Controllers & Control Editing

The Control Edit Parameters

Please note that a number of CONTROL EDIT parameters which are avail-

able in the VOICE sound module mode are not available in the VL-XG

sound module mode (page 28). The parameter numbers are therefore different in

each mode. Some of the value ranges are also different — the differences will

be listed with the actual parameter descriptions.

● VOICE Sound Module Mode Control Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Controllers & Control Editing

Embouchure ..................................................................................... 57

22: Emb CC No. (Embouchure Control Change Number)

23: EmbUpprDpt (Embouchure Upper Control Depth)

24: EmbLowrDpt (Embouchure Lower Control Depth)

25: Emb Mode (Embouchure Mode)

Tonguing .......................................................................................... 58

26: Tng CC No. (Tonguing Control Change Number)

27: TngCtrlDpt (Tonguing Control Depth)

28: Tng Curve (Tonguing Curve)

Scream .............................................................................................. 59

29: Scr CC No. (Scream Control Change Number)

30: ScrCtrlDpt (Scream Control Depth)

31: Scr Curve (Scream Curve)

Breath Noise .................................................................................... 60

32: Bnz CC No. (Breath Noise Control Change Number)

33: BnzCtrlDpt (Breath Noise Control Depth)

34: Bnz Curve (Breath Noise Curve)

Growl .............................................................................................. 61

35: Grl CC No. (Growl Control Change Number)

36: GrlCtrlDpt (Growl Control Depth)

37: Grl Curve (Growl Curve)

Throat Formant ............................................................................... 62

38: Thr CC No. (Throat Formant Control Change Number)

39: ThrCtrlDpt (Throat Formant Control Depth)

40: Thr Curve (Throat Formant Curve)

Harmonic Enhancer ......................................................................... 62

41: Hrm CC No. (Harmonic Enhancer Control Change Number)

42: HrmCtrlDpt (Harmonic Enhancer Control Depth)

43: Hrm Curve (Harmonic Enhancer Curve)

Damping .......................................................................................... 63

44: Dmp CC No. (Damping Control Change Number)

45: DmpCtrlDpt (Damping Control Depth)

46: Dmp Curve (Damping Curve)

Absorption ....................................................................................... 64

47: Abs CC No. (Apsorption Control Change Number)

48: AbsCtrlDpt (Absorption Control Depth)

49: Abs Curve (Absorption Curve)

Controllers & Control Editing

● VL-XG Sound Module Mode Control Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Pitch Bend ........................................................................................ 52

01: PB Ctrl (Pitch Bend Control)

02: PB LowCtrl (Pitch Bend Low Control)

03: PBLFO PMod (Pitch Bend LFO Pitch Modulation)

Modulation Wheel .......................................................................... 53

04: MWLFO PMod (Modulation Wheel LFO Pitch Modulation)

05: MWLFO FMod (Modulation Wheel LFO Filter Modulation)

Aftertouch ....................................................................................... 53

06: ATFil Ctrl (Aftertouch Filter Control)

07: ATLFO PMod (Aftertouch LFO Pitch Modulation)

Assignable Controller ..................................................................... 54

08: AC1 CC No. (Assignable Controller 1 Control Change Number)

09: AC1FilCtrl (Assignable Controller 1 Filter Control)

10: AC1AmpCtrl (Assignable Controller 1 Amplitude Control)

11: AC1LFOPMod (Assignable Controller 1 LFO Pitch Modulation)

Pressure ............................................................................................ 55

12: Prs CC No. (Pressure Control Change Number)

13: PrsCtrlDpt (Pressure Control Depth)

Embouchure ..................................................................................... 57

14: Emb CC No. (Embouchure Control Change Number)

15: EmbCtrlDpt (Embouchure Control Depth)

Tonguing .......................................................................................... 58

16: Tng CC No. (Tonguing Control Change Number)

17: TngCtrlDpt (Tonguing Control Depth)

Scream .............................................................................................. 59

18: Scr CC No. (Scream Control Change Number)

19: ScrCtrlDpt (Scream Control Depth)

Breath Noise .................................................................................... 60

20: Bnz CC No. (Breath Noise Control Change Number)

21: BnzCtrlDpt (Breath Noise Control Depth)

Growl .............................................................................................. 61

22: Grl CC No. (Growl Control Change Number)

23: GrlCtrlDpt (Growl Control Depth)

Throat Formant ............................................................................... 62

24: Thr CC No. (Throat Formant Control Change Number)

25: ThrCtrlDpt (Throat Formant Control Depth)

Harmonic Enhancer ......................................................................... 62

26: Hrm CC No. (Harmonic Enhancer Control Change Number)

27: HrmCtrlDpt (Harmonic Enhancer Control Depth)

Damping .......................................................................................... 63

28: Dmp CC No. (Damping Control Change Number)

29: DmpCtrlDpt (Damping Control Depth)

Absorption ....................................................................................... 64

30: Abs CC No. (Apsorption Control Change Number)

31: AbsCtrlDpt (Absorption Control Depth)

Controllers & Control Editing

● Control Edit Parameter Descriptions

The small parameter numbers in parentheses apply in the VL-XG sound module mode.

Pitch Bend

(01): PB Ctrl

• Pitch Bend Control

• Settings: -24 … +24

This parameter sets the maximum amount of pitch

bend which will occur when the pitch controller is

set to its maximum position (e.g. when the pitch

bend wheel on a keyboard is rolled all the way up).

Minus setting produce a downward pitch bend.

Each increment corresponds to a semitone. A

setting of “+12”, for example, results in maximum

upward pitch bend of one octave.

• This setting automaically switches the plus/

minus status of the “PB LowCtrl” parameter,

below: If “PB Ctrl” is set to a “+” value, “PB

LowCtrl” is automatically switched to a “-”

value, and vice-versa.

• Natural acoustic musical instruments have no

“pitch parameter”. Pitch is determined by the

properties of the instrument’s resonant body as

well as the condition of the instrument’s driver.

The same applies to Virtual Acoustic Synthesis:

in the VL70-m pitch bend is simulated by

manipulating the appropriate pipe/string length

and driver characteristics. As a result, the pitch

bend range may not always be “mathemati-

cally” accurate.

02(02): PB LowCtrl

• Pitch Bend Low Control

• Settings: -24 … +24

“PB LowCtrl” sets the maximum amount of pitch

bend which will occur when the pitch controller is

set to its lowest position (e.g. when the pitch bend

wheel on a keyboard is rolled all the way down).

Plus settings produce an upward pitch bend. Each

increment corresponds to a semitone. A setting of

“-12”, for example, results in maximum downward

pitch bend of one octave.

03(03): PBLFO PMod

• Pitch Bend LFO Pitch Modulation

• Settings: 000 … 127

Sets the amount of LFO pitch modulation applied

by the pitch controller (e.g. the pitch bend wheel

on a keyboard). The higher the value the greater

the amount of pitch modulation produced by pitch

controller operation. A setting of “000” produces

no pitch modulation.

• In the VL70-m pitch modulation produces

extremely realistic vibrato effects by simulta-

neously modulating the pitch, embouchure, and

pressure parameters.

Controllers & Control Editing

Modulation Wheel

(04): MWLFO PMod

• Modulation Wheel LFO Pitch Modulation

• Settings: 000 … 127

Sets the amount of LFO pitch modulation applied

by the modulation controller (e.g. the modulation

wheel on a keyboard — MIDI control change

number 01). The higher the value the greater the

amount of pitch modulation produced by modula-

tion controller operation. A setting of “000”

produces no pitch modulation.

05(05): MWLFO FMod

• Modulation Wheel LFO Filter Modulation

• Settings: 000 … 127

Sets the amount of LFO filter cutoff frequency

modulation applied by the modulation controller

(e.g. the modulation wheel on a keyboard — MIDI

control change number 01). The higher the value

the greater the amount of filter modulation pro-

duced by modulation controller operation. A setting

of “000” produces no filter modulation.

Aftertouch

(06): ATFil Ctrl

• Aftertouch Filter Control

• Settings: -64 … +63

Determines the degree to which the filter is

affected by keyboard aftertouch. Plus settings

cause the cutoff frequency of the filter to increase

in response to increasing aftertouch pressure, while

minus values cause the filter frequency to decrease

in response to increasing aftertouch pressure.

07(07): ATLFO PMod

• Aftertouch LFO Pitch Modulation

• Settings: 000 … 127

Sets the amount of LFO pitch modulation applied

by keyboard aftertouch. The higher the value the

greater the amount of pitch modulation produced

by aftertouch pressure. A setting of “000” produces

no pitch modulation.

Assignable Controller

(08): AC1 CC No.

• Assignable Controller 1 Control Change Number

• Settings: off … 95

Assigns the specified control change number as

“Assignable Controller 1”. The assigned controller

can then be used to control filter, amplitude, and/or

pitch modulation as specified by the “AC1FilCtrl”,

AC1AmpCtrl, and “AC1LFOPMod” parameters.

below. For example, if this parameter is set to “04”

(Foot Controller), then a MIDI foot controller can

be used to control any of the parameters just

mentioned.

09(09): AC1FilCtrl

• Assignable Controller 1 Filter Control

• Settings: -64 … +63

Determines the degree to which the filter is

affected by Assignable Controller 1 (see “AC1 CC

No.”, above). Plus settings cause the cutoff fre-

quency of the filter to increase in response to

increasing controller values, while minus values

cause the filter frequency to decrease in response

to increasing controller values.

10(10): AC1AmpCtrl

• Assignable Controller 1 Amplitude Control

• Settings: -64 … +63

Determines the degree to which amplitude (vol-

ume) is affected by Assignable Controller 1 (see

“AC1 CC No.”, above). Plus settings cause the

amplitude to increase in response to increasing

controller values, while minus values cause the

amplitude to decrease in response to increasing

controller values.

11(11): AC1LFOPMod

• Assignable Controller 1 LFO Pitch Modulation

• Settings: 000 … 127

Sets the amount of LFO pitch modulation applied

by Assignable Controller 1 (see “AC1 CC No.”,

above). The higher the value the greater the

amount of pitch modulation produced by the

controller. A setting of “000” produces no pitch

modulation.

Controllers & Control Editing

Expression

12: Exp Mode

(VOICE mode only)

• Expression Mode

• Settings: BC, Vol

Determines whether expression control (MIDI

control change number 11) will function as volume

control or as breath controller. When set to “Vol”

expression will affect volume, but when set to

“BC” expression will produce the same effect as a

breath controller connected to the VL70-m

BREATH jack, affecting the same breath-controlled

parameters.

Pressure

(12): Prs CC No.

• Pressure Control Change Number

• Settings: off… 95, AT, VEL, PB

“Pressure” corresponds to the amount of breath

pressure applied to a reed or mouthpiece, or the

speed of the bow applied to a string. Pressure

variations affect both volume and timbre. The “Prs

CC No.” parameter specifies the controller to be

used for pressure control. When set to “off”

maximum pressure is applied at all times.

• Please note that pressure affects not only

volume, but timbre and pitch as well. Accurate

keyboard/controller pitch is produced only at

maximum pressure.

• The “PrsCtrlDpt” parameter, below, must be set

to an appropriate value (higher than “+01” or

lower than “-01”) for pressure control to have

any effect.

14(13): PrsCtrlDpt

• Pressure Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to pressure. The higher the

value the greater the variation. Positive values

cause an increase in pressure in response to higher

controller values (e.g. increased breath pressure or

higher modulation wheel position), while minus

values cause a decrease in pressure in response to

higher controller values. The “Depth” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents pressure.

• Set this parameter to “+00” if do not intend to

control pressure via a controller.

15: Prs Curve (VOICE mode only)

• Pressure Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and pressure. When set to “+00” the relation-

ship is linear. That is, a change in the controller

value produces a corresponding change in pressure.

As the curve value increases the lower end of the

controller range has relatively little effect on the

sound while higher controller values produce more

dramatic changes. Negative curve values have the

opposite effect: the sound changes dramatically at

low controller values while higher values produce

relatively little effect. The “Curve” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents pressure.

Controllers & Control Editing

Filter

16: Fil CC No.

(VOICE mode only)

• Filter Control Change Number

• Settings: off… 95, AT, VEL, PB

The “Fil CC No.” parameter specifies the control-

ler to be used for filter cutoff frequency control

(page 45). When set to “off” no filter frequency

variation can be applied via a controller.

• The “FilCtrlDpt” parameter, below, must be set

to an appropriate value (higher than “+01” or

lower than “-01”) for filter control to have any

effect.

• Most voices use the low-pass filter type, but

some use the bandpass, high-pass, or band

eliminate types. Some voices use very little

filter processing at all. Changing the filter

settings may not produce a particularly notice-

able effect. For detailed filter parameter pro-

gramming use the VL70-m Expert Editor

software (page 25).

17: FilCtrlDpt (VOICE mode only)

• Filter Control Depth

• Settings: -127 … +127

Sets the amount of variation produced by the

controller assigned to dynamic filter. The higher

the value the greater the variation. Positive values

cause an increase in filter cutoff frequency in

response to higher controller values (e.g. increased

breath pressure or higher modulation wheel

position), while minus values cause a decrease in

filter cutoff frequency in response to higher

controller values. The “Depth” setting is reflected

in the graph at the bottom of the display — the

horizontal axis represents the controller value and

the vertical axis represents filter cutoff frequency.

• The effect of the filter may be barely noticeable

on some voices. In some cases it may be

necessary to lower the cutoff frequency to

produce the desired effect.

18: Fil Curve (VOICE mode only)

• Filter Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and dynamic filter cutoff frequency. When

set to “+00” the relationship is linear. That is, a

change in the controller value produces a corre-

sponding change in frequency. As the curve value

increases the lower end of the controller range has

relatively little effect on the sound while higher

controller values produce more dramatic changes.

Negative curve values have the opposite effect: the

sound changes dramatically at low controller

values while higher values produce relatively little

effect. The “Curve” setting is reflected in the graph

at the bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents filter cutoff frequency.

Controllers & Control Editing

Amplitude

19: Amp CC No.

(VOICE mode only)

• Amplitude Control Change Number

• Settings: off… 95, AT, VEL, PB

Unlike pressure, “Amplitude” controls the volume

of the sound without varying timbre or pitch. The

“Amp CC No.” parameter specifies the controller

to be used for amplitude control. When set to “off”

maximum volume is produced at all times.

• The “AmpCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

or lower than “-01”) for amplitude control to

have any effect.

20: AmpCtrlDpt (VOICE mode only)

• Amplitude Control Depth

• Settings: -127 … +127

Sets the amount of variation produced by the

controller assigned to amplitude. The higher the

value the greater the variation. Positive values

cause an increase in amplitude in response to

higher controller values (e.g. increased breath

pressure or higher modulation wheel position),

while minus values cause a decrease in amplitude

in response to higher controller values. The

“Depth” setting is reflected in the graph at the

bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents amplitude.

21: Amp Curve (VOICE mode only)

• Amplitude Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and amplitude. When set to “+00” the

relationship is linear. That is, a change in the

controller value produces a corresponding change

in amplitude. As the curve value increases the

lower end of the controller range has relatively

little effect on the sound while higher controller

values produce more dramatic changes. Negative

curve values have the opposite effect: the sound

changes dramatically at low controller values while

higher values produce relatively little effect. The

“Curve” setting is reflected in the graph at the

bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents amplitude.

Embouchure

(14): Emb CC No.

• Embouchure Control Change Number

• Settings: off… 95, AT, VEL, PB

“Embouchure” corresponds to the tightness of the

lips against the reed or against each other. In a

string instrument voice embouchure corresponds to

how strongly the bow is pressed against the string.

Affects both pitch and timbre. The “Emp CC No.”

parameter specifies the controller to be used for

embouchure control. When set to “off” medium

embouchure is applied at all times.

• Please note that with many voices accurate

keyboard/controller pitch is produced only at

medium embouchure.

• The “EmbUpprDpt” and “EmbLowrDpt”

parameters, below, must be set to appropriate

values (higher than “+01” or lower than “-01”)

for embouchure control to have any effect.

23: EmbUpprDpt (VOICE mode only)

• Embouchure Upper Control Depth

• Settings: -127 … +127

Sets the amount of variation produced by the

controller assigned to embouchure when the

controller is set to its maximum position (e.g. a

modulation wheel rolled all the way up). The

higher the value the greater the variation. Positive

values cause an increase in embouchure in re-

sponse to higher controller values, while minus

values cause a decrease in embouchure in response

to higher controller values.

Controllers & Control Editing

24: EmbLowrDpt (VOICE mode only)

• Embouchure Lower Control Depth

• Settings: -127 … +127

Sets the amount of variation produced by the

controller assigned to embouchure when the

controller is set to it minimum position (e.g. a

modulation wheel rolled all the way down). The

higher the value the greater the variation. Positive

values cause an increase in embouchure in re-

sponse to lower controller values, while minus

values cause a decrease in embouchure in response

to lower controller values. The “EmbLowrDpt”

parameter has no effect when the “Emb Mode”

parameter, below, is set to “Min”.

25: Emb Mode (VOICE mode only)

• Embouchure Mode

• Settings: Cntr, Min

Selects the controller value (position) which will

produce “normal” embouchure. When set to “Cntr”

(Center) a central controller position will produce

normal embouchure, allowing both downward and

upward variation. A setting of “Min” (Minimum)

will produce normal embouchure when the control-

ler is set to its minimum position, allowing only

upward variation.

Controllers & Control Editing

● VL-XG MODE

In the VL-XG sound module mode (page 28)

the “EmbUpprDpt” and EmbLowrDpt”

parameters are replaced by a single

“EmbCtrlDpt” parameter, as follows:

15: EmbCtrlDpt

• Embouchure Control Depth

• Settings: -64 … +63

Sets the amount of variation produced by the

controller assigned to embouchure. The

higher the value the greater the variation.

Positive values cause an increase in embou-

chure in response to higher controller values

(e.g. increased breath pressure or higher

modulation wheel position), while minus

values cause an decrease in embouchure in

response to higher controller values.

Tonguing

(16): Tng CC No.

• Tonguing Control Change Number

• Settings: off … 95, AT, VEL, PB

“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. The “Tng CC No.”

parameter specifies the controller to be used for

tonguing control. When set to “off” no tonguing is

applied.

• Please note that accurate keyboard pitch is

produced only when maximum tonguing is

applied or the tonguing controller is turned off.

• The “TngCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

or lower than “-01”) for tonguing control to

have any effect.

27(17): TngCtrlDpt

• Tonguing Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to tonguing. The higher the

value the greater the variation. Positive values

cause an decrease in tonguing in response to higher

controller values (e.g. increased breath pressure or

higher modulation wheel position), while minus

values cause an increase in tonguing in response to

higher controller values. The “Depth” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents tonguing.

28: Tng Curve (VOICE mode only)

• Tonguing Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and tonguing. When set to “+00” the rela-

tionship is linear. That is, a change in the controller

value produces a corresponding change in tongu-

ing. As the curve value increases the lower end of

the controller range has relatively little effect on

the sound while higher controller values produce

more dramatic changes. Negative curve values

have the opposite effect: the sound changes

dramatically at low controller values while higher

values produce relatively little effect. The “Curve”

setting is reflected in the graph at the bottom of the

display — the horizontal axis represents the

controller value and the vertical axis represents

tonguing.

Scream

(18): Scr CC No.

• Scream Control Change Number

• Settings: off … 95, AT, VEL, PB

“Scream” drives the entire system into chaotic

oscillation, creating effects that can only be

achieved with physical modeling technology. The

“Scr CC No.” parameter specifies the controller to

be used for scream control. When set to “off”, no

scream variation can be produced via a controller,

but a continuous scream value is determined by the

“30(19): ScrCtrlDpt” parameter, below (negative

values increase the scream level).

• The “ScrCtrlDpt” parameter, below, must be set

to an appropriate value (higher than “+01” or

lower than “-01”) for scream control to have

any effect.

30(19): ScrCtrlDpt

• Scream Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to scream. The higher the value

the greater the variation. Positive values cause an

increase in scream effect in response to higher

controller values (e.g. increased breath pressure or

higher modulation wheel position), while minus

values cause a decrease in scream effect in re-

sponse to higher controller values. The “Depth”

setting is reflected in the graph at the bottom of the

display — the horizontal axis represents the

controller value and the vertical axis represents

scream.

Controllers & Control Editing

31: Scr Curve (VOICE mode only)

• Scream Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and scream. When set to “+00” the relation-

ship is linear. That is, a change in the controller

value produces a corresponding change in scream

effect. As the curve value increases the lower end

of the controller range has relatively little effect on

the sound while higher controller values produce

more dramatic changes. Negative curve values

have the opposite effect: the sound changes

dramatically at low controller values while higher

values produce relatively little effect. The “Curve”

setting is reflected in the graph at the bottom of the

display — the horizontal axis represents the

controller value and the vertical axis represents

scream.

• The “BnzCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

ro lower than “-01”) for breath noise control to

have any effect.

33(21): BnzCtrlDpt

• Breath Noise Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to breath noise. The higher the

value the greater the variation. Positive values

cause an increase in breath noise in response to

higher controller values (e.g. increased breath

pressure or higher modulation wheel position),

while minus values cause a decrease in breath

noise in response to higher controller values. The

“Depth” setting is reflected in the graph at the

bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents breath noise.

34: Bnz Curve (VOICE mode only)

• Breath Noise Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and breath noise. When set to “+00” the

relationship is linear. That is, a change in the

controller value produces a corresponding change

in breath noise. As the curve value increases the

lower end of the controller range has relatively

little effect on the sound while higher controller

values produce more dramatic changes. Negative

curve values have the opposite effect: the sound

changes dramatically at low controller values while

higher values produce relatively little effect. The

“Curve” setting is reflected in the graph at the

bottom of the display — the horizontal axis

Controllers & Control Editing

Breath Noise

(20): Bnz CC No.

• Breath Noise Control Change Number

• Settings: off… 95, AT, VEL, PB

“Breath Noise” can be used to add the required

amount of breath noise to a voice. The “Bnz CC

No.” parameter specifies the controller to be used

for breath noise control. When set to “off”, no

breath noise variation can be produced via a

controller, but a continuous breath noise value is

determined by the “33(21): BnzCtrlDpt” parameter,

below (negative values increase the breath noise

level).

represents the controller value and the vertical axis

represents breath noise.

• The amount of breath noise produced also

depends on pressure, so the breath noise curve

indicated by the graph at the bottom of the

display may not always accurately reflect the

perceived curve.

Sets the amount of variation produced by the

controller assigned to growl. The higher the value

the greater the variation. Positive values cause an

increase in growl effect in response to higher

controller values (e.g. increased breath pressure or

higher modulation wheel position), while minus

values cause a decrease in growl effect in response

to higher controller values. The “Depth” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents growl.

37: Grl Curve (VOICE mode only)

• Growl Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and growl. When set to “+00” the relation-

ship is linear. That is, a change in the controller

value produces a corresponding change in growl.

As the curve value increases the lower end of the

controller range has relatively little effect on the

sound while higher controller values produce more

dramatic changes. Negative curve values have the

opposite effect: the sound changes dramatically at

low controller values while higher values produce

relatively little effect. The “Curve” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents growl.

Controllers & Control Editing

Growl

(22): Grl CC No.

• Growl Control Change Number

• Settings: off… 95, AT, VEL, PB

“Growl” produces a periodic pressure modulation

which produces the “growl” effect often heard in

wind instruments. The “Grl CC No.” parameter

specifies the controller to be used for growl

control. When set to “off”, no growl variation can

be produced via a controller, but a continuous

growl value is determined by the “36(23):

GrlCtrlDpt” parameter, below (negative values

increase the growl level).

• The “GrlCtrlDpt” parameter, below, must be set

to an appropriate value (higher than “+01” or

lower than “-01”) for growl control to have any

effect.

36(23): GrlCtrlDpt

• Growl Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Throat Formant

(24): Thr CC No.

• Throat Formant Control Change Number

• Settings: off… 95, AT, VEL, PB

“Throat Formant” controls the characteristics of

the simulated player’s lungs, trachea, and oral

cavity. Can add a realistic “roughness” to the

sound. The “Thr CC No.” parameter specifies the

controller to be used for throat formant control.

When set to “off”, no throat formant variation can

be produced via a controller, but a continuous

throat formant value is determined by the “39(25):

ThrCtrlDpt” parameter, below (negative values

increase the throat formant level).

• The “ThrCtrlDpt” parameter, below, must be set

to an appropriate value (higher than “+01” or

lower than “-01”) for throat formant control to

have any effect.

• Throat Formant only applies to some reed-type

voices.

39(25): ThrCtrlDpt

• Throat Formant Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to throat formant. The higher

the value the greater the variation. Positive values

cause an increase in throat formant effect in

response to higher controller values (e.g. increased

breath pressure or higher modulation wheel

position), while minus values cause a decrease in

throat formant effect in response to higher control-

ler values. The “Depth” setting is reflected in the

graph at the bottom of the display — the horizontal

axis represents the controller value and the vertical

axis represents throat formant depth.

40: Thr Curve (VOICE mode only)

• Throat Formant Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and throat formant depth. When set to “+00”

the relationship is linear. That is, a change in the

controller value produces a corresponding change

in throat formant depth. As the curve value in-

creases the lower end of the controller range has

relatively little effect on the sound while higher

controller values produce more dramatic changes.

Negative curve values have the opposite effect: the

sound changes dramatically at low controller

values while higher values produce relatively little

effect. The “Curve” setting is reflected in the graph

at the bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents throat formant depth.

Controllers & Control Editing

Harmonic Enhancer

(26): Hrm CC No.

• Harmonic Enhancer Control Change Number

• Settings: off … 95, AT, VEL, PB

The Harmonic Enhancer can vary the harmonic

structure of the sound over a wide range. The

“Hrm CC No.” parameter specifies the controller to

be used for harmonic enhancer depth (wet/dry

balance) control. When set to “off” no harmonic

enhancer depth variation can be applied via a

controller.

• The “HrmCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

or lower than “-01”) for harmonic enhancer

control to have any effect.

• Since most VL70-m voices have sufficient

natural harmonic content, the Harmonic En-

hancer is actually only used on a few voices.

Therefore changing the controller destination

with many voices will produce either no change

in the sound or a simple change in amplitude.

For detailed harmonic enhancer programming

use the VL70-m Expert Editor software (page

25).

42(27): HrmCtrlDpt

• Harmonic Enhancer Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to the harmonic enhancer. The

higher the value the greater the variation. Positive

values cause an increase in harmonic enhancer

depth in response to higher controller values (e.g.

increased breath pressure or higher modulation

wheel position), while minus values cause a

decrease in harmonic enhancer depth in response to

higher controller values. The “Depth” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents harmonic

enhancer depth .

43: Hrm Curve (VOICE mode only)

• Harmonic Enhancer Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and harmonic enhancer depth. When set to

“+00” the relationship is linear. That is, a change

in the controller value produces a corresponding

change in harmonic enhancer depth. As the curve

value increases the lower end of the controller

range has relatively little effect on the sound while

higher controller values produce more dramatic

changes. Negative curve values have the opposite

effect: the sound changes dramatically at low

controller values while higher values produce

relatively little effect. The “Curve” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents harmonic

enhancer depth.

Controllers & Control Editing

Damping

(28): Dmp CC No.

• Damping Control Change Number

• Settings: off… 95, AT, VEL, PB

“Damping” simulates the effect of damping due to

losses within the body of a wind instrument or in a

string due to air friction. Affects both pitch and

timbre. The “Dmp CC No.” parameter specifies the

controller to be used for damping control. When

set to “off” no damping variation can be applied

via a controller.

• Please note that accurate keyboard pitch is

produced only when damping is maximum.

• The “DmpCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

or lower than “-01”) for damping control to

have any effect.

45(29): DmpCtrlDpt

• Damping Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to damping. The higher the

value the greater the variation. Positive values

cause a decrease in damping in response to higher

controller values (e.g. increased breath pressure or

higher modulation wheel position), while minus

values cause an increase in damping in response to

higher controller values. The “Depth” setting is

reflected in the graph at the bottom of the display

— the horizontal axis represents the controller

value and the vertical axis represents damping.

46: Dmp Curve (VOICE mode only)

• Damping Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and damping. When set to “+00” the rela-

tionship is linear. That is, a change in the controller

value produces a corresponding change in damp-

ing. As the curve value increases the lower end of

the controller range has relatively little effect on

the sound while higher controller values produce

more dramatic changes. Negative curve values

have the opposite effect: the sound changes

dramatically at low controller values while higher

values produce relatively little effect. The “Curve”

setting is reflected in the graph at the bottom of the

display — the horizontal axis represents the

controller value and the vertical axis represents

damping.

Controllers & Control Editing

Absorption

(30): Abs CC No.

• Absorption Control Change Number

• Settings: off … 95, AT, VEL, PB

“Absorption” simulates the effect of high-fre-

quency loss at the end of the air column or string.

The “Abs CC No.” parameter specifies the control-

ler to be used for absorption control. When set to

“off” no absorption variation can be applied via a

controller.

• Please note that accurate keyboard pitch is

produced only at when absorption is maximum.

• The “AbsCtrlDpt” parameter, below, must be

set to an appropriate value (higher than “+01”

or lower than “-01”) for absorption control to

have any effect.

48(31): AbsCtrlDpt

• Absorption Control Depth

• Settings: -127 … +127 (VL-XG Mode: -64 … +63)

Sets the amount of variation produced by the

controller assigned to absorption. The higher the

value the greater the variation. Positive values

cause a decrease in absorption in response to

higher controller values (e.g. increased breath

pressure or higher modulation wheel position),

while minus values cause an increase in absorption

in response to higher controller values. The

“Depth” setting is reflected in the graph at the

bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents absorption.

Controllers & Control Editing

49: Abs Curve (VOICE mode only)

• Absorption Curve

• Settings: -16 … +16

Determines the relationship between the controller

value and absoprtion. When set to “+00” the

relationship is linear. That is, a change in the

controller value produces a corresponding change

in absorption. As the curve value increases the

lower end of the controller range has relatively

little effect on the sound while higher controller

values produce more dramatic changes. Negative

curve values have the opposite effect: the sound

changes dramatically at low controller values while

higher values produce relatively little effect. The

“Curve” setting is reflected in the graph at the

bottom of the display — the horizontal axis

represents the controller value and the vertical axis

represents absorption.

• Absorption control can have a significant effect

on pitch.

Filter & Envelope Generator Editing

The VL70-m has two envelope generators which can be independently pro-

grammed to produce time-based variations in the sound.

● Amplitude & Filter EG

The Amplitude & Filter Envelope Generator controls both the amplitude of the

sound and the cutoff frequency of the VL70-m filter from note attack to release.

This envelope generator has three parameters which can be edited via the VL70-

m panel: attack time, decay time, and release time. Amplitude control defines

the basic “shape” of the notes produced, while filter control makes it possible to

create a variety of dynamic timbral sweeps.

■

NOTES

• Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band

eliminate types. The filter type cannot be edited via the VL70-m panel controls. For

detailed filter parameter programming use the VL70-m Expert Editor software (page 25).

• Very little filter processing is used on some voices. In such cases, the effect of the filter

may be barely noticeable.

• The effect of editing the Amplitude & Filter envelope generator parameters may not

always be as expected — particularly with plucked string instrument voices such as guitar

or bass. This is because the VL70-m actually simulates the plucking, free oscillation, and

muting of the strings rather than simply using an EG to approximate these events.

● Pitch & Embouchre EG

The Pitch EG controls both the pitch of the note and the embouchre applied to

the note from attack to release. Initial level, attack time, release level, and

release time parameters make it possible to produce a wide range of pitch

variations at note attack and release.

■

NOTES

• Pitch control alone may not always produce the expected result with voices in which the

internal parameters emphasize embouchure rather than pitch. For detailed editing of all

VL70-m parameters use the VL70-m Expert Editor software (page 25).

Filter & Envelope Generator Editing

Accessing & Editing the Filter & EG Param-

eters

The FILTER & EG EDIT mode can be accessed from the PLAY mode as

follows:

1. Press [EDIT]

Press the [EDIT] button to go to the EDIT sub-mode menu.

2. Select the FIL&EG Sub-mode

Use the SELECT [<] and [>] buttons to select the FIL&EG sub-mode, if

necessary. The icon to the left of “FIL&EG” on the display will flash when

the FIL&EG sub-mode is selected.

3. Press [ENTER]

Press the [ENTER] button to go to the FILTER & EG EDIT mode.

“FIL&EG EDIT” will appear at the top of the display along with the number

of the currently selected control parameter.

4. Select a Parameter

Use the SELECT [<] and [>] buttons to select the parameter you want to

edit (see “The Filter & EG Edit Parameters”, below). The name of the

currently selected parameter and its current setting appear on the second line

of the display. An arrow to the left and/or right of the parameter name/value

indicates that the SELECT [<] and/or [>] buttons can be used to select

more parameters in the indicated direction.

5. Edit the Selected Parameter

Use the VALUE [-] and [+] buttons to set the value of the selected parameter

as required.

6. Repeat As Necessary

Repeat steps 4 and 5 to edit as many parameters as required.

7. Exit When Done

Press the [EXIT] button to return to the EDIT sub-mode menu, or the

[PLAY] button to return to the PLAY mode when you’re finished editing.

■

IMPORTANT!

• If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the

edited voice to an appropriate INTERNAL voice number before selecting a new voice. All

edited data will be lost if you select a new voice before storing the edited voice!

Filter & Envelope Generator Editing

The Filter & EG Edit Parameters

Please note that a number of FIL&EG EDIT parameters which are available

in the VOICE sound module mode are not available in the VL-XG sound

module mode (page 28). The parameter numbers are therefore different in each

mode.

● VOICE Sound Module Mode Filter & EG Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Filter .............................................................................................. 71

01: CutoffFreq (Cutoff Frequency)

02: Resonance (Resonance)

03: FilEG Dept (Filter Envelope Generator Depth)

04: CutoffScBP (Cutoff Scaling Breakpoint)

05: CutoffScDpt (Cutoff Scaling Depth)

06: Bass (Bass Tone Control)

07: Treble (Treble Tone Control)

Amplitude & Filter Envelope ......................................................... 72

08: Attack Time (Amplitude & Filter Envelope Attack Time)

09: Decay Time (Amplitude & Filter Envelope Decay Time)

10: ReleaseTime (Amplitude & Filter Envelope Release Time)

11: AmpLvlScBP (Amplitude Level Scaling Breakpoint)

12: AmpLvlScDpt (Amplitude Level Scaling Depth)

Pitch & Embouchure Envelope ...................................................... 73

13: PEGInitLvl (Pitch & Embouchure Envelope Initial Level)

14: PEGAtakTime (Pitch & Embouchure Envelope Attack Time)

15: PEGReleLvl (Pitch & Embouchure Envelope Release Level)

16: PEGReleTime (Pitch & Embouchure Envelope Release Time)

Filter & Envelope Generator Editing

Filter .............................................................................................. 71

01: CutoffFreq (Cutoff Frequency)

02: Resonance (Resonance)

03: FilEG Dept (Filter Envelope Generator Depth)

04: Bass (Bass Tone Control)

05: Treble (Treble Tone Control)

Amplitude & Filter Envelope ......................................................... 72

06: Attack Time (Amplitude & Filter Envelope Attack Time)

07: Decay Time (Amplitude & Filter Envelope Decay Time)

08: ReleaseTime (Amplitude & Filter Envelope Release Time)

Pitch & Embouchure Envelope ...................................................... 73

09: PEGInitLvl (Pitch & Embouchure Envelope Initial Level)

10: PEGAtakTime (Pitch & Embouchure Envelope Attack Time)

11: PEGReleLvl (Pitch & Embouchure Envelope Release Level)

12: PEGReleTime (Pitch & Embouchure Envelope Release Time)

● VL-XG Sound Module Mode Filter & EG Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Filter & Envelope Generator Editing

● Filter & EG Edit Parameter Descriptions

The small parameter numbers in parentheses apply in the VL-XG sound module mode.

Filter

(03): FilEG Dept

• Filter EG Depth

• Settings: -64 … +63

The “FilEG Dept” parameter determines to what

degree the amplitude /filter envelope generator (see

“08(06): Attack Time”, “09(07): Decay Time”, and

“10(08): ReleaseTime”, below) affects the filter’s

cutoff frequency. Higher values allow the envelope

generator to vary the filter cutoff frequency over a

wider range.

04: CutoffScBP (VOICE mode only)

• Cutoff Scaling Breakpoint

• Settings: C-2 … G8

Filter cutoff frequency “scaling” ( or “key scal-

ing”) produces natural timbre variations across the

VL70-m note range by allowing an increasing or

decreasing filter “depth” curve to be applied above

or below a specified “breakpoint” note. The

“CutoffScBP” parameter specifies the breakpoint

note.

05: CutoffScDpt (VOICE mode only)

• Cutoff Scaling Depth

• Settings: -64 … +63

This parameter specifies the amount of filter cutoff

frequency key scaling to be applied above or below

Filter & Envelope Generator Editing

01(01): CutoffFreq

• Cutoff Frequency

• Settings: -64 … +63

Sets the cutoff frequency of the VL70-m filter.

02(02): Resonance

• Resonance

• Settings: -64 … +63

This parameter produces a resonant peak at the

filter’s cutoff frequency, thereby emphasizing

frequency components at that frequency. When

“Resoance” is set to its minimum value, the filter

response rolls off sharply at the cutoff point. As the

resonance value is increased, however, a peak of

correspondingly increasing amplitude is produced

at the cutoff frequency.

● Example: low pass filter

frequencyfrequency

Passband

level level

Cutoff

frequency

Cutoff

frequency

Resonance

• Resonance: minimum

• Resonance: maximum

the breakpoint note specified by the “CutoffScBP”

parameter, above. A setting of “+00” produces no

key scaling. Positive values apply scaling to notes

below the breakpoint (i.e. on a keyboard, notes to

the left of the breakpoint), producing a gradual

lowering of the cutoff frequency down the scale.

Negative values apply scaling to notes above the

breakpoint (i.e. on a keyboard, notes to the right of

the breakpoint), producing a gradual lowering of

the cutoff frequency up the scale. Higher positive

or negative values produce a greater variation in

the filter cutoff frequency.

06(04): Bass

• Bass Tone Control

• Settings: -64 … +63

Boosts or cuts the low frequencies. Positive values

boost the lows while negative values cut the lows.

A setting of “+00” produces no boost or cut.

07(05): Treble

• Treble Tone Control

• Settings: -64 … +63

Boosts or cuts the high frequencies. Positive values

boost the highs while negative values cut the highs.

A setting of “+00” produces no boost or cut.

Filter & Envelope Generator Editing

Amplitude & Filter Envelope

level

time

Note

off

Attack

time

Decay

time

Release

time

08(06): Attack Time

• Amplitude & Filter Envelope Attack Time

• Settings: -64 … +63

Sets the attack time of the amplitude & filter

envelope generator. “Attack time” refers to the

length of time it takes for the envelope to reach

maximum level from the instant a note is played.

Positive values produce a slower attack while

negative values produce a faster attack.

09(07): Decay Time

• Amplitude & Filter Envelope Decay Time

• Settings: -64 … +63

Sets the decay time of the amplitude & filter

envelope generator. “Decay time” refers to the

length of time it takes for the envelope to fall to

the sustain level after the maximum attack level

has been reached. Positive values produce a slower

decay while negative values produce a faster decay.

10(08): ReleaseTime

• Amplitude & Filter Envelope Release Time

• Settings: -64 … +63

Sets the release time of the amplitude & filter

envelope generator. “Release time” refers to the

length of time it takes for the envelope to fall to

“zero” level after the note has been released.

Positive values produce a slower release while

negative values produce a faster release.

11: AmpLvlScBP (VOICE mode only)

• Amplitude Level Scaling Breakpoint

• Settings: C-2 … G8

Amplitude level “scaling” ( or “key scaling”)

produces natural level variations across the VL70-

m note range by allowing an increasing or decreas-

ing amplitude “depth” curve to be applied above or

below a specified “breakpoint” note. The

“AmpLvlScBP” parameter specifies the breakpoint

note.

12: AmpLvlScDpt (VOICE mode only)

• Amplitude Level Scaling Depth

• Settings: -64 … +63

This parameter specifies the amount of amplitude

level key scaling to be applied above or below the

breakpoint note specified by the “AmpLvlScBP”

parameter, above. A setting of “+00” produces no

key scaling. Positive values apply scaling to notes

below the breakpoint (i.e. on a keyboard, notes to

the left of the breakpoint), producing a gradual

Filter & Envelope Generator Editing

lowering of amplitude level down the scale.

Negative values apply scaling to notes above the

breakpoint (i.e. on a keyboard, notes to the right of

the breakpoint), producing a gradual lowering of

amplitude level up the scale. Higher positive or

negative values produce a greater variation in the

amplitude level.

Pitch & Embouchure Envelope

pitch level

–

time

Attack

time

Release

time

Initial level

Release level

Note

off

13(09): PEGInitLvl

• Pitch & Embouchure Envelope Initial Level

• Settings: -64 … +63

Sets the initial level of the pitch & embouchure

envelope generator. A setting of “+00” starts the

pitch envelope at normal pitch. Positive values

raise the initial pitch while negative values lower

the initial pitch in relation to normal pitch.

14(10): PEGAtakTime

• Pitch & Embouchure Envelope Attack Time

• Settings: -64 … +63

Sets the attack time of the pitch & embouchure

envelope generator. In this case “attack time”

refers to the length of time it takes for the pitch

envelope to reach normal pitch (“+00” level) from

the instant a note is played. Positive values pro-

duce a slower attack while negative values produce

a faster attack.

15(11): PEGReleLvl

• Pitch & Embouchure Envelope Release Level

• Settings -64 … +63

Sets the final pitch to be reached after a note is

released. A setting of “+00” produces normal pitch.

Positive values raise the final pitch while negative

values lower the final pitch in relation to normal

pitch.

16(12): PEGReleTime

• Pitch & Embouchure Envelope Release Time

• Settings: -64 … +63

Sets the release time of the pitch & embouchure

envelope generator. “Release time” refers to the

length of time it takes for the pitch envelope to

reach the release level specified by the

“PEGReleLvl” parameter (above) after a note is

released. Positive values produce a slower release

while negative values produce a faster release.

Filter & Envelope Generator Editing

■

NOTES

• The effect of the Pitch & Embouchure EG settings

may be less noticeable on voices in which the

embouchure is changed.

Other Edit Parameters

The OTHERS EDIT mode provides access to a range of editable voice param-

eters that do fall into the CONTROLLER or FILTER & EG categories.

Other Edit Parameters

Accessing & Editing the “Others” Param-

eters

The OTHERS EDIT mode can be accessed from the PLAY mode as follows:

1. Press [EDIT]

Press the [EDIT] button to go to the EDIT sub-mode menu.

2. Select the OTHERS Sub-mode

Use the SELECT [<] and [>] buttons to select the OTHERS sub-mode, if

necessary. The icon to the left of “OTHERS” on the display will flash when

the OTHERS sub-mode is selected.

3. Press [ENTER]

Press the [ENTER] button to go to the OTHERS EDIT mode. “OTHERS”

will appear at the top of the display along with the number of the currently

selected control parameter.

4. Select a Parameter

Use the SELECT [<] and [>] buttons to select the parameter you want to

edit (see “The Others Parameters”, below). The name of the currently

selected parameter and its current setting appear on the second line of the

display. An arrow to the left and/or right of the parameter name/value

indicates that the SELECT [<] and/or [>] buttons can be used to select

more parameters in the indicated direction.

5. Edit the Selected Parameter

Use the VALUE [-] and [+] buttons to set the value of the selected parameter

as required.

6. Repeat As Necessary

Repeat steps 4 and 5 to edit as many parameters as required.

7. Exit When Done

Press ther [EXIT] button to return to the EDIT sub-mode menu, or the

[PLAY] button to return to the PLAY mode when you’re finished editing.

■

IMPORTANT!

• If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the

edited voice to an appropriate INTERNAL voice number before selecting a new voice. All

edited data will be lost if you select a new voice before storing the edited voice!

Other Edit Parameters

The “Others” Edit Parameters

Please note that a number of OTHERS EDIT parameters which are available

in the VOICE sound module mode are not available in the VL-XG sound

module mode (page 28). The parameter numbers are therefore different in each

mode.

● VOICE Sound Module Mode “Others” Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Vibrato ............................................................................................. 79

01: Vib Rate (Vibrato Rate)

02: Vib Depth (Vibrato Depth)

03: Vib Delay (Vibrato Delay)

Detune & Voice Level ..................................................................... 79

04: Detune (Detune)

05: VoiceLevel (Voice Level)

Assignment & Expansion ............................................................... 80

06: Mono/Poly (Monophonic/Polyphonic Mode)

07: AssignMode (Assign Mode)

08: PolyExpnd (Polyphonic Expansion)

Velocity Sensitivity ......................................................................... 81

09: VelSensDpt (Velocity Sensitivity Depth)

10: VelSensOfs (Velocity Sensitivity Offset)

Note Limits ...................................................................................... 81

11: NoteLimitL (Low Note Limit)

12: NoteLimitH (High Note Limit)

Portamento ...................................................................................... 82

13: Porta Mode (Portamento Mode)

14: Porta Sw (Portamento Switch)

15: Porta Time (Portamento Time)

Dry Level & Voice Name................................................................. 82

16: Dry Level (Dry Output Level)

17: Voice Name (Voice Name)

Other Edit Parameters

● VL-XG Sound Module Mode “Others” Edit Parameters

Refer to the page numbers listed for full details on each parameter.

Vibrato ............................................................................................. 79

01: Vib Rate (Vibrato Rate)

02: Vib Depth (Vibrato Depth)

03: Vib Delay (Vibrato Delay)

Detune ............................................................................................. 79

04: Detune (Detune)

Assignment ...................................................................................... 80

05: Mono/Poly (Monophonic/Polyphonic Mode)

Velocity Sensitivity ......................................................................... 81

06: VelSensDpt (Velocity Sensitivity Depth)

07: VelSensOfs (Velocity Sensitivity Offset)

Note Limits ...................................................................................... 81

08: NoteLimitL (Low Note Limit)

09: NoteLimitH (High Note Limit)

Portamento ...................................................................................... 82

10: Porta Sw (Portamento Switch)

11: Porta Time (Portamento Time)

Dry Level .......................................................................................... 82

12: Dry Level (Dry Output Level)

Other Edit Parameters

● “Others” Edit Parameter Descriptions

The small parameter numbers in parentheses apply in the VL-XG sound module mode.

Detune & Voice Level

(04): Detune

• Detune

• Settings: -12.8 … +12.7 Hz

The “Detune” parameter allows the pitch of the

VL70-m to be shifted slighlty upward or down-

ward to produce detune effects in relation to other

VL70-m units or other tone generators being used

with the VL70-m. Positive values shift the pitch

upward by the indicated amount in Hertz, and

negative values shift the pitch downward.

05: Voice Level (VOICE mode only)

• Voice Level

• Settings: 000 … 127

Sets the level (volume) of the voice. The higher the

value the higher the volume. The minimum setting

of “000” will result in no sound.

Other Edit Parameters

Vibrato

(01): Vib Rate

• Vibrato Rate

• Settings: -64 … +63

The vibrato effect produces a cyclic variation in

pitch and embouchure. The “Vib Rate” parameter

sets the speed of the vibrato effect. Positive values

produce a faster vibrato, while negative values

produce a slower vibrato.

• In the VL70-m extremely realistic vibrato

effects are produced by simultaneously modu-

lating the pitch, embouchure, and pressure

parameters.

02(02): Vib Depth

• Vibrato Depth

• Settings: -64 … +63

Sets the depth of the vibrato effect. The higher the

value the greater the vibrato depth. Positive values

produce greater vibrato depth while negative values

result in reduced vibrato depth.

03(03): Vib Delay

• Vibrato Delay

• Settings: -64 … +63

Sets the delay time between the beginning of a

note and the beginning of the vibrato effect.

Positive values produce longer delays while

negative values result in shorter delays.

Assignment & Expansion

(05): Mono/Poly

• Monophonic/Polyphonic Mode

• Settings: mono, poly

Selects the VL70-m monophonic or polyphonic

note mode. When the “mono” mode is selected

note output will always be generated as long as a

MIDI note-on message is being received. For

example, if you play key “A” on your keyboard

and then, while still holding “A”, play key “B”,

note “B” will sound but will switch back to note

“A” the instant key “B” is released. In the “poly”

mode however, sound output will stop the instant

key “B” is released.

• When “mono” is selected and the “14(10):

Porta Sw” parameter is turned “on”, the

“single-trigger” mode is engaged (i.e. the EG is

not re-triggered if a new note is played while a

previous note is held). In all other cases (e.g.

the “poly” mode is selected or the “14(10):

Porta Sw” parameter is turned “off”) the

“multi-trigger” mode is engaged and the EG

will be re-triggered every time a note is played.

07: AssignMode (VOICE mode only)

• Assign Mode

• Settings: Botm, Top, Last

Determines which note will be played when more

than one note is played at a time. When “Botm”

(Bottom) is selected only the lowest note in a

group of notes played simultaneously will sound.

When “Top” is selected only the highest note in a

group of notes played simultaneously will sound.

The “Last” setting causes only the last note played

to sound.

08: PolyExpnd (VOICE mode only)

• Polyphonic Expansion

• Settings: 0ff, 02>01, 02>02, 03>01, 03>02, 03>03 …

32>32

This parameter is used when several VL70-m units

are used together to increase the number of notes

which can be played simultaneously (polyphony).

The number preceding the “>” should be set to

correspond to the number of VL70-m units to be

used. The number following the “>” should be set

to a different consecutive number for each VL70-m

unit. For example, if you use four VL70-m units

their “PolyExpnd” parameters should be set as

follows:

Other Edit Parameters

VL70-m Unit No. PolyExpnd Setting

1 04>01

2 04>02

3 04>03

4 04>04

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

PHONES

WX IN BREATH

POWER/VOL

PUSH ON/OFF

PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY

BC/WX

VELOCITY

TOUCH EG

VOICE

VL-XG

PLAY EDIT

UTIL

EFFECT

BREATH

MODE

MIDI/

ENTER

EXIT

PART

SELECT

VALUE

ALL

VIRTUAL ACOUSTIC TONE GENERATOR

MIDI IN

04>01

04>02

04>03

04>04

MIDI

THRU

MIDI

OUT

MIDI IN

MIDI

THRU

MIDI IN

MIDI

THRU

MIDI IN

MIDI controller

VL70-m (1st)

VL70-m (2nd)

VL70-m (3rd)

VL70-m (4th)

The horizontal axis represents keyboard velocity

and the vertical axis represents output level.

Other Edit Parameters

• Polyphonic Expansion will not function when

the “06(05): Mono/Poly” parameter is set to

“mono”.

• When using Polyphonic Expansion be sure to

set the “07: AssignMode” parameter to “Last”.

11(08): NoteLimitL

• Low Note Limit

• Settings: C-2 … G8

Specifies the lowest note that will be produced by

the VL70-m. This and the “NoteLimitH” param-

eter, below, specify the VL70-m note range.

12(09): NoteLimitH

• High Note Limit

• Settings: C-2 … G8

Specifies the highest note that will be produced by

the VL70-m. This and the “NoteLimitL” parameter,

above, specify the VL70-m note range.

Note Limits

Velocity Sensitivity

(06): VelSensDpt

• Velocity Sensitivity Depth

• Settings: 000 … 127

Determines how the VL70-m responds to keyboard

velocity. When set to “000”, keyboard velocity (i.e.

how fast or hard the keyboard is played) has no

effect on the sound. At values higher than “001”,

however, high keyboard velocities will increase the

level of the sound and low keyboard velocities will

decrease the level of the sound. The higher the

value the greater the effect of keyboard velocity on

the voice level. The graph at the bottom of the

display indicates the current velocity sensitivity

response as determined by the “09(06):

VelSensDpt” and “10(07): VelSensOfs” parameters.

The horizontal axis represents keyboard velocity

and the vertical axis represents output level.

10(07): VelSensOfs

• Velocity Sensitivity Offset

• Settings: 000 … 127

Specifies an offset value that will apply to the

lowest keyboard velocity level. The graph at the

bottom of the display indicates the current velocity

sensitivity response as determined by the “09(06):

VelSensDpt” and “10(07): VelSensOfs” parameters.

note range no soundno sound

Low note limit High note limit

Portamento

13: Porta Mode

(VOICE mode only)

• Portamento Mode

• Settings: Full, Fngr

Portamento produces a “slide” effect between

subsequently played notes. The “Portamento

Mode” parameter determines how the portamento

slide is produced. When “Full” is selected the

portamento slide will occur between any two

subsequent notes when the “14(10): Porta Sw”

parameter, below, is “on” even if the first note is

released before the second is played. When

“Fngr”(Fingered) is selected the portamento slide

will only occur if the first note is still held when

the second note is played.

• Portamento may not produce a perfectly smooth

slide with voices in which the driver character-

istics affect pitch (brass instruments, for

example).

14(10): Porta Sw

• Portamento Switch

• Settings: off, on

Turns portamento “on” or “off”. When “on” the

portamento effect will produced as determined by

the “13: Porta Mode” and “15: Porta Time”

parameters.

• This parameter also selects the “single-trigger”

or “multi-trigger” mode. Refer to “06(05):

Mono/Poly” on page 80.

15(11): Porta Time

• Portamento Time

• Settings: 000 … 127

The “Time” parameter sets the portamento time

(i.e. the length of the slide between notes). A

setting of “000” produces the fastest portamento

time; “127” produces the longest portamento slide

effect.

Dry Level & Voice Name

(12): Dry Level

• Dry Output Level

• Settings: 000 … 127

Sets the output level of the VL70-m “dry” (i.e.

without effects) sound. The higher the value the

higher the dry output level. Increased dry levels

produce a relative reduction in the perceived

“depth” of any applied effects.

• This parameter display will not appear when

the VARIATION EDIT mode “VarConnect”

parameter is set to “INS” (Insertion Effect).

Other Edit Parameters

17: Voice Name (VOICE mode only)

• Voice Name

• Settings: A voice name of up to 8 characters.

To enter a voice name first select the “Voice

Name” parameter and press the [ENTER] button.

The current voice name will appear between square

brackets on the display with the first character

flashing (the flashing character is selected for

editing). Use the VALUE [-] and [+] buttons to

select a new character for the current edit location,

as required, then use the SELECT [<] and/or [>]

buttons to move to the next character to be edited,

and repeat until done. When the voice name is

complete press [EXIT] to return to the OTHERS

edit mode.

Other Edit Parameters

● Character List

(space) ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7

8 9 : ; < = > ? @

A B C D E F G H I J K L M N O P Q R S T U V W

X Y Z [ ¥ ] ^ _ `

a b c d e f g h i j k l m n o p q r s t u v w x y z

{

} → ←

The Store Function

Once you’ve created a new voice in the edit mode, it’s necessary to store the

voice to one of the VL70-m INTERNAL memory locations otherwise the edited

data will be lost when a new voice is selected.

■

NOTES

• Any previous data in the memory location to which the new voice is stored will be

erased. If you want to keep the previous data, save it to an external MIDI data storage

device via the UTILITY mode DUMP OUT function (page 100).

• The STORE function is not available in the VL-XG sound module mode.

Storing an Edited Voice

The STORE function mode can be accessed from the VOICE PLAY mode

as follows:

1. Press [EDIT]

Press the [EDIT] button to go to the EDIT sub-mode menu.

2. Select the STORE Sub-mode

Use the SELECT [<] and [>] buttons to select the STORE sub-mode, if

necessary. The icon to the left of “STORE” on the display will flash when

the STORE sub-mode is selected.

3. Press [ENTER]

Press the [ENTER] button to go to the STORE function. “Store Voice” will

appear at the top of the display along with the flashing number of the

currently selected INTERNAL voice number.

4. Select a Destination Voice Number

Use the VALUE [-] and [+] buttons to select the number of the INTERNAL

memory location you want to store the edited voice to (I01" through “I64”).

The Store Function

5. Press [ENTER] to Store

Press the [ENTER] button to store the voice. “Executing” will appear on the

display briefly while the data is being stored, then the VL70-m will return to

the EDIT sub-mode menu. Press [EXIT] rather than [ENTER] if you want to

abort the store operation.

The Store Function

Effects & Effect Editing

The VL70-m features a versatile internal effects system which consists of four

independent effect stages: REVERB, CHORUS, VARIATION, and DISTOR-

TION. Of these the REVERB and CHORUS stages function as “system ef-

fects”, the VARIATION stage can be used either as a system or “insertion”

effect, and the DISTORTION stage always functions as an insertion effect. See

the signal-flow diagrams below for the different between “system” and “Inser-

tion” effects.

■

NOTES

• When the VOICE sound module mode is selected (page 27) effect edits can be stored

with each individual voice.

Effect Signal Flow

The following diagrams should help you to understand how the VL70-m

effect stages relate to overall signal flow.

● When the Variation Stage is an Insertion Effect

In this case the output from the tone generator is first sent to the distortion

stage, and the distortion effect signal is then mixed back into the main signal

line via the corresponding “Dry/Wet” parameter. Next is the variation stage,

with the same “Dry/Wet” mixing capability. In this connection mode the distor-

tion and variation stages are both functioning as insertion effects. After the

insertion effects the signal can be sent to the reverb and chorus stages via the

“RevSend” and “ChoSend” parameters available in the PLAY mode (pages 35

and 39). The output from both of these stages is stereo, and the effect signal can

be mixed back in with the main signal line via the “RevRtn” and “ChoRtn”

Effects & Effect Editing

Dry/Wet

RevSend

SendCho→Rev

ChoSend

DryLine

RevRtn

ChoRtnChoPan

RevPan

Dry/Wet

Output

Distortion Variation

Reverb

Chorus

Tone

generator

Monaural

Stereo

parameters available in the PLAY mode (pages 32 and 41). The

“SendCho→Rev” parameter (page 91) can be used to send some or all of the

output from the chorus stage to the reverb stage. If the the “SendCho→Rev”

parameter is set to maximum and the “ChoRtn” parameter is set to “000”, the

chorus stage and reverb stage are effectively connected in series.

● When the Variation Stage is a System Effect

Effects & Effect Editing

Dry/Wet

RevSend

SendCho→Rev

ChoSend

DryLevel DryLine

RevRtn

ChoRtnChoPan

SendVar→Cho

SendVar→Rev

VarSend

VarRtnVarPan

RevPan

Monaural

Stereo

Output

Distortion

Variation

Reverb

Chorus

Tone

generator

In this case the output from the tone generator is first sent to the distortion

stage, and the distortion effect signal is then mixed back into the main signal

line via the corresponding “Dry/Wet” parameter. In this connection mode only

the distortion stage is functioning as an insertion effect. After the distortion

stage the signal can be sent to the reverb, chorus and variation stages via the

“RevSend”, “ChoSend”, and “VarSend” parameters available in the PLAY mode

(pages 35 and 39). The output from all three of these stages is stereo, and the

effect signal can be mixed back in with the main signal line via the “RevRtn”,

“ChoRtn”, and “VarRtn” parameters available in the PLAY mode (pages 32, 33

and 41). The “SendCho→Rev” parameter (page 32) can be used to send some

or all of the output from the chorus stage to the reverb stage. If the

“SendCho→Rev” parameter is set to maximum and the “ChoRtn” parameter is

set to “000”, the chorus stage and reverb stage are effectively connected in

series. The “SendVar→Rev” and “SendVar→Cho” parameters (page 93) can be

used to send some or all of the output from the variation stage to the reverb and

chorus stages, respectively.

Accessing & Editing the Effect Parameters

The EFFECT sub-modes — REV, CHO, VAR, and DIST — and the param-

eters they contain can be accessed from the PLAY mode as follows:

1. Press [EFFECT]

Press the [EFFECT] button to go to the EFFECT sub-mode menu.

2. Select the Desired Sub-mode

Use the SELECT [<] and [>] buttons to select the REV (reverb), CHO

(chorus), VAR (variation), or DIST (distortion) sub-mode. The icon to the

left of the name of the selected sub-mode will flash when the corresponding

sub-mode is selected.

3. Press [ENTER]

Press the [ENTER] button to go to the selected sub-mode. “REVERB

EDIT”, “CHORUS EDIT”, “VARIATION EDIT”, or “DISTORTAION

EDIT” will appear at the top of the display, depending on the selected sub-

mode.

4. Select a Parameter

Use the SELECT [<] and [>] buttons to select the parameter you want to

edit (see the parameter descriptions, below). The name of the currently

selected parameter and its current setting appear on the second line of the

display. An arrow to the left and/or right of the parameter name/value

indicates that the SELECT [<] and/or [>] buttons can be used to select

more parameters in the indicated direction.

5. Edit the Selected Parameter

Use the VALUE [-] and [+] buttons to set the value of the selected parameter

as required.

Effects & Effect Editing

6. Repeat As Necessary

Repeat steps 4 and 5 to edit as many parameters as required.

7. Exit When Done

Press ther [EXIT] button to return to the EFFECT sub-mode menu, or the

[PLAY] button to return to the PLAY mode when you’re finished editing.

■

IMPORTANT!

• If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the

edited voice to an appropriate INTERNAL voice number before selecting a new voice. All

edited data will be lost if you select a new voice before storing the edited voice!

Effects & Effect Editing

The Reverb Parameters

The reverb effects are essential to give your sound ambience and a sense of dimension, adding

warmth and depth to an otherwise dry sound.

Type

• Reverb Type

• Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1,

ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, WHITE

ROOM, TUNNEL, CANYON, BASEMENT

Selects the reverb type, or “NO EFFECT” if no

reverb effect is required. Refer to the separate “List

Book” for brief descriptions of each of the reverb

types.

Type-Specific Reverb Parameters

• See separate “List Book”

Each of the reverb types, selected via the “Type”

parameter, above, has a different set of parameters

that specify the actual reverb sound. Refer to the

separate “List Book” for information on the

individual parameters for each reverb type.

Rev Pan

• Reverb Pan

• Settings: L63 … C … R63

Sets the pan position of the reverb sound — i.e. the

perceived position of the reverb sound within the

stereo sound field. A setting of “L63” sets the

reverb sound full left, “R63” sets the sound full

right, and “C” places the sound in the center.

Intermediate settings pan the reverb sound to

corresponding positions in the stereo sound field.

Effects & Effect Editing

The Chorus Parameters

The VL70-m chorus stage actually includes a number of modulation-type effects that can be used

to give your sound extra animation and life.

Type

• Chorus Type

• Settings: NO EFFECT, CHORUS 1, CHORUS 2, CHORUS

3, CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1,

FLANGER 2, SYMPHONIC, PHASER

Selects the chorus type, or “NO EFFECT” if no

chorus effect is required. Refer to the separate

“List Book” for brief descriptions of each of the

chorus types.

Type-Specific Chorus Parameters

• See separate “List Book”

Each of the chorus types, selected via the “Type”

parameter, above, has a different set of parameters

that specify the actual chorus sound. Refer to the

separate “List Book” for information on the

individual parameters for each chorus type.

Cho Pan

• Chorus Pan

• Settings: L63 … C … R63

Sets the pan position of the chorus sound — i.e.

the perceived position of the chorus sound within

the stereo sound field. A setting of “L63” sets the

chorus sound full left, “R63” sets the sound full

right, and “C” places the sound in the center.

Intermediate settings pan the chorus sound to

corresponding positions in the stereo sound field.

SendCho➔Rev

• Chorus-to-Reverb Send Level

• Settings: 000 … 127

Sets the amount of signal sent from the output of

the chorus effect stage back to the input of the

reverb effect stage (see diagram on pages 86 and

87). The higher the value, the more chorus signal

is sent to the reverb stage. If this parameter and the

PLAY mode “ChoRtn” parameter are both set to

values higher than “001”, the output of the chorus

stage will be sent in corresponding amounts to the

input of the reverb stage and the main outputs.

Effects & Effect Editing

The Variation Parameters

The variation stage includes reverb, delay, echo, modulation, distortion, wah, and a range of other

effects.

Type

• Variation Type

• Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1,

ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, DELAY

LCR, DELAY L,R, ECHO, CROSSDELAY, ER1, ER2, GATE

REV, REVRS GATE, KARAOKE 1, KARAOKE 2,

KARAOKE 3, CHORUS 1, CHORUS 2, CHORUS 3,

CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1,

FLANGER 2, SYMPHONIC, ROTARY SP, TREMOLO,

AUTO PAN, PHASER, DISTORTION, OVERDRIVE, AMP

SIM, 3-BAND EQ, 2-BAND EQ, AUTO WAH, PITCH

CHNG, AURAL EXCT*, TOUCH WAH, WAH+DIST,

COMPRESSOR, NOISE GATE, THRU

Selects the variation type, or “NO EFFECT” if no

variation effect is required. Refer to the separate

“List Book” for brief descriptions of each of the

variation types.

* Aural Exciter®is a registered trademark of and

is manufacutured under license from Aphex

Systems Ltd.

Type-Specific Variation Parameters

• See separate “List Book”

Each of the variation types, selected via the “Type”

parameter, above, has a different set of parameters

that specify the actual variation effect sound. Refer

to the separate “List Book” for information on the

individual parameters for each variation type.

AT VarCtrl

• Aftertouch Variation Control

• Settings: -64 … +63

This parameter only becomes available when the

“VarConnect” parameter (page 93) is set to “INS”

(i.e. when the variation stage is connected as an

insertion effect). Aftertouch variation control

allows one of the selected variation effect param-

eters to be controlled in real time via keyboard

aftertouch pressure. The parameter which can be

controlled is individually preset for each variation

effect type (see the separate “List Book”). The “AT

VarCtrl” parameter determines to what degree the

effect parameter is affected by aftertouch pressure.

For example, if the TREMOLO effect is selected

aftertouch controls the “LFO Frequency” param-

eter. In this case higher positive “AT VarCtrl”

values cause increased aftertouch pressure to

increase the LFO speed, while higher negative

values cause increased aftertouch pressure to

decrease the LFO speed. If this parameter is set to

“+00” aftertouch control has no effect.

AC1VarCtrl

• Assignable Controller 1 Variation Control

• Settings: -64 … +63

This parameter only becomes available when the

“VarConnect” parameter (page 93) is set to “INS”

(i.e. when the variation stage is connected as an

insertion effect). Assignable Controller variation

Effects & Effect Editing

higher the value, the more variation signal is sent

to the chorus stage. If this parameter and the PLAY

mode “VarRtn” parameter are both set to values

higher than “001”, the output of the variation stage

will be sent in corresponding amounts to the input

of the chorus stage and the main outputs. This

parameter becomes available when the

“VarConnect” parameter is set to “SYS” (i.e. when

the variation stage is connected as a system effect.)

SendVar➔Rev

• Variation-to-Reverb Send Level

• Settings: 000 … 127

Sets the amount of signal sent from the output of

the variation effect stage back to the input of the

reverb effect stage (see diagram on page 87). The

higher the value, the more variation signal is sent

to the reverb stage. If this parameter and the PLAY

mode “VarRtn” parameter are both set to values

higher than “001”, the output of the variation stage

will be sent in corresponding amounts to the input

of the reverb stage and the main outputs. This

parameter becomes available when the

“VarConnect” parameter is set to “SYS” (i.e. when

the variation stage is connected as a system effect.)

VarConnect

• Variation Connection Mode

• Settings: INS, SYS

Determines whether the variation effects stage

functions as an insertion effect (“INS”) or as a

system effect (“SYS”). See the diagrams and

explanations on pages 86 and 87 for the difference

between these connection modes.

control allows one of the selected variation effect

parameters to be controlled in real time via assign-

able controller 1 (page 54). The parameter which

can be controlled is individually preset for each

variation effect type (see the separate “List Book”).

The “AC1VarCtrl” parameter determines to what

degree the effect parameter is affected by the

controller. For example, if the TREMOLO effect is

selected the controller affects the “LFO Frequency”

parameter. In this case higher positive

“AC1VarCtrl” values cause increased controller

settings to increase the LFO speed, while higher

negative values cause increased controller settings

to decrease the LFO speed. If this parameter is set

to “+00” assignable controller 1 has no effect.

Var Pan

• Variation Pan

• Settings: L63 … C … R63

Sets the pan position of the variation effect sound

— i.e. the perceived position of the variation effect

sound within the stereo sound field. A setting of

“L63” sets the variation sound full left, “R63” sets

the sound full right, and “C” places the sound in

the center. Intermediate settings pan the variation

effect sound to corresponding positions in the

stereo sound field. This parameter becomes avail-

able when the “VarConnect” parameter is set to

“SYS” (i.e. when the variation stage is connected

as a system effect.)

SendVar➔Cho

• Variation-to-Chorus Send Level

• Settings: 000 … 127

Sets the amount of signal sent from the output of

the variation effect stage back to the input of the

chorus effect stage (see diagram on page 87). The

Effects & Effect Editing

The Distortion Parameters

Distortion is an excellent way to drastically change a sound — although subtle distortion settings can

produce surprisingly delicate variations.

Type

• Distortion Type

• Settings: THRU, DISTORTION, OVERDRIVE, 3-BAND EQ

Selects the distortion type, or “THRU” if no

distortion effect is required. Refer to the separate

“List Book” for brief descriptions of each of the

distortion types.

Type-Specific Distortion Parameters

• See separate “List Book”

Each of the distortion types, selected via the

“Type” parameter, above, has a different set of

parameters that specify the actual distortion sound.

Refer to the separate “List Book” for information

on the individual parameters for each distortion

type.

AT DstCtrl

• Aftertouch Distortion Control

• Settings: -64 … +63

Aftertouch distortion control allows one of the

selected distortion effect parameters to be con-

trolled in real time via keyboard aftertouch pres-

sure. The parameter which can be controlled is

individually preset for each distortion effect type

(see the separate “List Book”). The “AT DstCtrl”

parameter determines to what degree the effect

parameter is affected by aftertouch pressure. For

example, if the OVERDRIVE effect is selected

aftertouch controls the “Drive” parameter. In this

case higher positive “AT DstCtrl” values cause

increased aftertouch pressure to increase the

amount of drive, while higher negative values

cause increased aftertouch pressure to decrease the

amount of drive. If this parameter is set to “+00”

aftertouch control has no effect.

AC1DstCtrl

• Assignable Controller 1 Distortion Control

• Settings: -64 … +63

Assignable Controller variation control allows one

of the selected distortion effect parameters to be

controlled in real time via assignable controller 1

(page 54). The parameter which can be controlled

is individually preset for each distortion effect type

(see the separate “List Book”). The “AC1DstCtrl”

parameter determines to what degree the effect

parameter is affected by the controller. For ex-

ample, if the OVERDRIVE effect is selected the

controller affects the “Drive” parameter. In this

case higher positive “AC1DstCtrl” values cause

increased controller settings to increase the amount

of drive, while higher negative values cause

increased controller settings to decrease the amount

of drive. If this parameter is set to “+00” assign-

able controller 1 has no effect.

Dist Part

• Distortion Part

• Settings: off, on

Turns the distortion effect stage “on” or “off”.

Effects & Effect Editing

Breath Settings

The Breath Setting includes a number of setting that determine how the VL70-

m responds to breath control from a breath controller, a Yamaha WX-series

Wind MIDI controller, or MIDI.

Accessing & Editing the Breath Parameters

The BREATH parameters can be accessed and edited from the PLAY mode

as follows:

1. Press [BREATH]

Press the [BREATH] button to go to the Breath Setting.

2. Select a Parameter

Use the SELECT [<] and [>] buttons to select the parameter you want to

edit (see “The Breath Parameters”, below). The name of the currently

selected parameter and its current setting will appear on the top line of the

display while the parameter’s current setting appears on the second line. An

arrow to the left and/or right of the parameter name indicates that the SE-

LECT [<] and/or [>] buttons can be used to select more parameters in the

indicated direction.

3. Edit the Selected Parameter

Use the VALUE [-] and [+] buttons to set the value of the selected parameter

as required.

4. Repeat As Necessary

Repeat steps 2 and 3 to edit as many parameters as required.

5. Exit When Done

Press ther [EXIT] or [PLAY] button to return to the PLAY mode when

you’re finished editing.

The Breath Parameters

Breath Mode

• Settings: BC/WX, Velocity, Touch EG

Sets the control source to be used for “breath”

control. This parameter should be set to “BC/WX”

when a breath controller or Yamaha WX-series

Wind MIDI Controller is being used (page 18).

When set to “Velocity”, breath variation is con-

trolled by keyboard initial touch response. When

“Touch EG” is selected breath variation is con-

trolled by a combination if initial keyboard touch

response and aftertouch pressure. Initial key

velocity sets the initial breath level, then aftertouch

pressure determines the shape of the subsequent

breath envelope.

• The icon of the “Breath Mode”, “Breath

Control” and “Breath Setting Lock” parameters

indicates which “Breath Mode” parameter

setting is selected.

Breath Control

• Settings: BC, Exp

Specifies the MIDI control change number to be

used for breath control when breath control is

applied from a breath controller, WX-series Wind

MIDI Controller, or via the VL70-m MIDI IN

connector. When “BC” is selected control change

number “02” (breath control) is used for breath

copntrol. When “Exp” is selected control change

number “11” (expression) is used for breath

control. This setting also affects both MIDI and

HOST output from the VL70-m.

Breath Curve

• Settings: -16 … +16

Determines the relationship between breath control

data received from a breath controller, WX-series

Wind MIDI Controller, or via the MIDI IN connec-

tor, and the actual amount of breath variation

applied. Minus settings result in a large breath

variation with a relatively small amount of breath

pressure applied to the controller, while plus

settings required a greater range of input breath

control values to produce the same degree of

breath variation. The graph at the bottom of the

display represents this relationship: the horizontal

axis is input breath pressure and the vertical axis is

actual breath variation.

Breath Setting Lock

• off, on

When this parameters is “off” the VL70-m “Breath

Mode” parameter (above) will be automatically set

to “BC/WX” whenever a MIDI “XG SYSTEM

ON” or “VOICE MODE ON” message is received.

At the same the “Breath Control” parameter

(above) is set to “BC” and the “Breath Curve”

parameter (also above) is set to +00". Turn this

parameter “on” if you do not want received MIDI

messages to affect the breath setting parameters.

Breath Settings

The Utility Mode

The UTILITY mode provides access to a range of parameters that affect basic

operation of the VL70-m, and some functions that contribute to system flexibil-

ity. Select the UTILITY sub-mode menu from the PLAY mode by pressing the

[UTILITY] button. Four sub-modes are available:

The SYSTEM sub-mode includes parameters that affect overall

operation of the VL70-m. Page 98.

The Dump Out function allows VL70-m setup and system

exclusive data to be transmitted to a second VL70-m or an

external MIDI storage device such as the Yamaha MDF2 MIDI

Data Filer via the MIDI OUT or TO HOST connector. Page 100.

The VL70-m Initialize function includes two sub-modes —

“Factory Set” and “System Initialize”. “Factory Set” initialization

restores all VL70-m data to the initial factory settings … includ-

ing all Custom and Internal voices. “System Initialize” restores all

system setup parameters (page 98) to their default settings.

Page 102.

A “demonstration” function demonstrates some of the VL70-m

voices and capabilities. The DEMO function is described in detail

on page 24.

SYSTEM

DUMPOUT

INITIAL

DEMO

The Utility Mode

The System Parameters

The UTILITY SYSTEM sub-mode includes parameters that affect overall operation of the VL70-

M.Tune

• Master Tuning

• Settings: -102.4c … +102.3c

Fine tunes the overall pitch of the VL70-m in 0.1-

cent steps (a “cent” is 1/100th of a semitone). The

maximum minus and plus settings produce a

downward or upward pitch shift of just over a

semitone. A setting of “+000.0” produces no pitch

change.

RcvSysExcl

• System Exclusive Receive

• Settings: off, on

This parameter determines whether or not the

VL70-m will receive MIDI system exclusive

messages. System exclusive data is received when

this parameter is “on”, and ignored when this

parameter is “off”.

TransmitCH

• MIDI Transmit Channel

• Settings: 1 … 16

Selects the MIDI channel via which data corre-

sponding to operation of a breath controller

connected to the VL70-m will be transmitted.

WX Lip

• WX Lip Mode

• Settings: Norm, Expd

WX-series Wind MIDI Controllers produce pitch

bend data ranging from “-16” to “+32” in response

to lip (reed) pressure. The “WX Lip” parameter

determines whether these values are used as is

(“Norm”), or expanded to a full “-64” through

“+63” range (“Expd”). When the “Expd” mode is

selected, the expanded pitch bend data is also

transmitted via the MIDI OUT and TO HOST

connector. The “Expd” setting is recommended

when using a WX controller in the “tight lip”

mode. The “Norm” setting is recommended when

using the WX controller “loose lip” mode.

WX LipLock

• WX Lip Lock

• Settings: off, on

When this parameters is “off” the VL70-m “WX

Lip” parameter (above) will be automatically set to

“Norm” whenever a MIDI “XG SYSTEM ON” or

“VOICE MODE ON” message is received. Turn

this parameter “on” if you do not want received

MIDI messages to affect the “WX Lip” setting.

The Utility Mode

Contrast

• Display Contrast

• Settings: 1 … 8

Sets the contrast of the VL70-m display for

optimum visibility. The best setting will depend on

your viewing angle and the ambient lighting

conditions. A setting of “1” produces the strongest

contrast, while a setting of “8” produces the

“softest” contrast.

DumpIntrval

• MIDI Bulk Dump Interval

• Settings: 50, 100, 150, 200, 300

Sets the length of time intervals to be inserted

between data blocks during a “Dump Out” opera-

tion (page 100). The required interval will depend

on the receiving MIDI device. The settings are in

milliseconds: i.e. 50 milliseconds, 100 millisec-

onds, etc. Try adjusting this parameter if the

receiving MIDI device generates an error message

while receiving a bulk dump from the VL70-m.

NoteFilter

• MIDI Note Filter

• Settings: ch01 … ch16, Thru

This parameter can be used to prevent MIDI note

on/off messages received on the specified channel

from being re-transmitted via the MIDI OUT

connector. Select the channel to be filtered out, or

“Thru” to allow all data to pass.

• When the VL-XG sound module mode is

selected and a program change number correspond-

ing to a VL70-m voice is received, the “NoteFilter”

parameter is automatically set to the channel on

which the program change number was received.

This does not occur in the VOICE sound module

mode.

• When the VL70-m MIDI receive channel is

changed via the panel controls (pages 34 and 38),

the “NoteFilter” parameter is automatically set to

the same channel if it is initially set to 01 … 16,

but not when it is set to “Thru”. This does not

occur when the MIDI receive channel is changed

via a MIDI system exclusive message.

The Utility Mode

100

The Dump Out Function

The Dump Out function allows VL70-m setup and system exclusive data to

be transmitted to a second VL70-m or an external MIDI storage device such

as the Yamaha MDF2 MIDI Data Filer via the MID OUT or TO HOST connec-

tor.

■

NOTES

• The MIDI Device Number of the receiving device must the same as that set via the VL70-

m PLAY mode “DevNo.” parameter (pages 32 and 41).

• You might have to try a few different DumpIntrval parameter (page 99) settings before

the receiving device will receive the data from the VL70-m without errors.

● DUMPOUT Operation

When the DUMPOUT sub-mode is selected from the UTILITY mode menu, a

second menu appears which allows you to choose the type of data to be trans-

mitted: SYSTEM, CURRENT, CUSTOM, or INTERNL. From this menu:

All “system” data, including system setup and breath setting

data.

Transmits the currently selected voice (i.e. the voice that was

selected immediately prior to engaging the UTILITY mode).

Transmits all 6 CUSTOM bank voices, or a single specified

CUSTOM bank voice. When “ALL” is selected all 6 CUSTOM

voices are transmitted, and when “C1” through “C6” is selected

the corresponding single CUSTOM voice is transmitted.

Transmits all 64 INTERNAL bank voices, or a single specified

INTERNAL bank voice. When “ALL” is selected all 64 INTERNAL

voices are transmitted, and when “I01” through “I64” is selected

the corresponding single INTERNAL voice is transmitted.

SYSTEM

CURRENT

CUSTOM

INTERNL

1. Select a Data Type

Use the SELECT [<] and [>] buttons to select SYSTEM, CURRENT,

CUSTOM, or INTERNL. The icon to the left of the name of the selected

data type will flash when selected.

The Utility Mode

101

2. Press [ENTER]

Press the [ENTER] button to go to the confirmation/select display for the

selected data type.

3. Select “ALL” or a Single Voice for CUSTOM or INTERNL

If you have selected the CUSTOM or INTERNL data type, you can use the

VALUE [-] and [+] buttons at this point to specify whether you want to

transmit “ALL” voices from the CUSTOM or INTERNAL bank, or a single

voice: when the CUSTOM data type is specified select “C1” through C6, or

when the INTRNL data type is specified select “I01” through “I64”.

4. Press [ENTER] to Dump

Press the [ENTER] button to begin actual data transmission (or [EXIT] to

abort). “Transmitting” will appear on the display while the data is being

transmitted, then the display will return to the data type menu.

5. Exit When Done

Press the [EXIT] button to return to the UTILITY mode menu, or [PLAY] to

return directly to the PLAY mode when done.

The Utility Mode

102

The Initialize Function

The VL70-m Initialize function includes two sub-modes — “Factory Set”

and “System Initialize”. “Factory Set” initialization restores all VL70-m data

to the initial factory settings … including all Custom and Internal voices.

“System Initialize” restores all system setup parameters (page 98) to their

default settings.

1. Select an Initialize Sub-mode

Use the SELECT [<] and [>] buttons to select Factory Set or System

Initialize.

2. Press [ENTER]

Press the [ENTER] button to go to the confirmation display for the selected

sub-mode.

3. Press [ENTER] to Initialize

Press the [ENTER] button to begin actual initialization (or [EXIT] to abort).

“Executing” will appear on the display while the data is being initialized,

then the display will return to the Initialize sub-mode menu.

4. Exit When Done

Press the [EXIT] button to return to the UTILITY mode menu, or [PLAY] to

return directly to the PLAY mode when done.

The Utility Mode

103

Appendix

Show Control Change

This function displays the MIDI control change

data string required to control the parameter

currently displayed in the PLAY mode from an

external MIDI device. The MIDI data is displayed

in hexadecimal format.

To engage the Show Control Change function first

select the desired parameter in the PLAY mode,

then “double click” the [ENTER] button (i.e. press

the [ENTER] button twice in rapid succession).

The Show Control Change display will appear.

Show Exclusive

This function displays the MIDI system

exclusive data string required to control the

currently-displayed parameter from an external

MIDI device. The MIDI data is displayed in

hexadecimal format.

To engage the Show Exclusive function first select

the desired parameter, then “double click” the

[ENTER] button (i.e. press the [ENTER] button

twice in rapid succession). The Show Exclusive

display will appear.

Depending on the selected parameter, control

change data may be displayed in place of system

exclusive data. This variation is described in the

preceding section: “The Show Control Change

Function”.

While the Show Exclusive function is engaged the

VALUE [-] and [+] buttons can be used to change

values, and the SELECT [<] and [>] buttons can

be used to select different parameters.

Press the [EXIT] button to return to the previous

display.

With the VL70-m it is possible to control just

about any parameter via MIDI system exclusive

messages from an external MIDI device. This

makes it possibe, for example, to change filter or

EG settings while playing, to change the sound as

required. You could also change effect settings, the

pitch of individual drum instruments, or just about

any ohter parameter to add life and variety to your

music. Until now, however, the process of using

this capability has been rather tedious: find the

required parameter in the MIDI documentation,

figure out what data string is required to perform

the desired operation, and so on. The VL70-m

Show Exlusive function shows the required data

string for the selected parameter immediately.

Depending on the selected parameter, system

exlusive data may be displayed in place of control

change data. This variation is described in the next

section: “The Show Exclusive Function”.

While the Show Control Change function is

engaged the VALUE [-] and [+] buttons can be

used to change values, and the SELECT [<] and

[>] buttons can be used to select different param-

eters.

Press the [EXIT] button to return to the previous

display.

MIDI channel.

Part number.

Current parameter

name & value.

MIDI channel message

(control change).

MIDI exclusive message.

104

The Message Window

The VL70-m Message Window function makes

it possible to display text messages up to 32

characters in length on the VL70-m display in the

PLAY mode. The messages can be transmitted in

the form of a data string from an external MIDI

device, and will appear on the VL70-m display for

about 3 seconds. A message could be placed at the

beginning of a song data file, for example, so that

the title of the song and other information appears

on the display at the beginning of the song.

Message

■ Message Window Data Format

The format for message window data is as follows

(hexadecimal format):

F0 43 1n 4C 06 00 00 xx xx .... xx xx F7

“n” is the device number minus one. If the VL70-

m device number is set to “1”, for example, “n”

should be “0”.

“xx xx .... xx xx” is the text data. Each character is

represented by a single ASCII -code byte (2

hexadecimal digits). Refer to the chart below for

the ASCII code for each displayable character. The

numbers in the top row are the first digit and the

numbers in the leftmost column are the second

digit in the byte representing each character. The

capital letter “A”, for example, is represented by

hexadecimal byte “41”.

01234567

0 (space) 0 @ P ` p

1!1AQaq

2"2BRbr

3#3CScs

4$4DTdt

5%5EUeu

6&6FVfv

7'7GWgw

8(8HXhx

9)9IYiy

A*:JZjz

B+;K[k{

C,<L¥ l

D-=M]m}

E.>N^n

–

F/?O_o

The message “HELLO VL70-m” would be dis-

played by transmitting the following data string to

the VL70-m:

Appendix

F0 43 1n 4C 06 00 00 48 45 4C 4C 4F 20 56 4C 37 30 2D 6D F7

HEL LO V L70 -m

105

Bitmap Window

The VL70-m Bitmap Window function makes

it possible to display 16 x 16 dot icons and

simple animation sequences on the VL70-m

display in the PLAY mode. The bitmap data can be

transmitted in the form of a data string from an

external MIDI device, and will appear on the

VL70-m display for about 3 seconds.

■ Bitmap Window Data Format

The format for message window data is as follows

(hexadecimal format):

F0 43 1n 4C 07 00 00 xx xx .... xx xx F7

“n” is the device number minus one. If the VL70-

m device number is set to “1”, for example, “n”

should be “0”.

“xx xx .... xx xx” is the bitmap data consisting of a

string of 48 2-digit hexadecimal bytes.

■ Creating Bitmap Data

1. Block out the desired design on a 16 x 16

grid, as shown in the example below.

2. Filled squares will be represented by ones,

and empty squares by zeroes.

12345678910111213141516

Icon

12345678910111213141516

0000001111000000

0001110000110000

0110000000001100

1000000000000010

0000000000000001

0000001111000000

0000111111110000

0001001111001000

0010011111100100

0100010100100010

1000011100100001

0100011100100010

0010011111100100

0001001111001000

0000111111110000

0000001111000000

3. Divide the design horizontally into three

sections: two seven-columns and one two-

columns in width. Add one column of squares

the left of each section, and 5 columns to the

right of the 2-column section, as shown in

the example below. You now have 48 rows,

each 8 columns in width.

4. Use the chart below to convert the ones and

zeroes in each row from binary format to

hexadecimal format. The “bits” in columns 0

through 3 become the first digit, and the bits

in columns 4 through 7 become the second

digit of each hexadecimal byte.

For example, the 11th row in the example

forms the binary byte:” “01000011”. Columns 0

through 3 form “0100”, which, using the chart,

becomes hexadecimal digit “4”. Columns 4

through 7 form “0011”, which, using the chart,

becomes hexadecimal digit “3”. The 11th row

in the design can therefore be represented by

hexadecimal byte “43”.

1234567 1234567 12

0000001 1110000 00

0001110 0001100 00

0110000 0000011 00

1000000 0000000 10

0000000 0000000 01

0000001 1110000 00

0000111 1111100 00

0001001 1110010 00

0010011 1111001 00

0100010 1001000 10

1000011 1001000 01

0100011 1001000 10

0010011 1111001 00

0001001 1110010 00

0000111 1111100 00

0000001 1110000 00

Added

columns

binary hexadecimal

format format

0000 0

0001 1

0010 2

0011 3

0100 4

0101 5

0110 6

0111 7

binary hexadecimal

format format

1000 8

1001 9

1010 A

1011 B

1100 C

1101 D

1110 E

1111 F

Appendix

106

After converting all 48 rows in the example we

have the following hexadecimal bytes:

Checksum

Some VL70-m system exclusive message

require a “checksum” — a data byte which is

used to check for errors during MIDI data transfer.

The checksum is calculated using the system

exclusive message start address and data (data

size). A method of calculating the checksum is

given below, using a simple data format as an

example.

1. Convert the hexadecimal start address and

data bytes (underlined in the example) to

decimal format using the chart below. Each

two-digit hexadecimal byte becomes a

decimal number.

• “mm”, the Model ID, is “57” when the VOICE

sound module mode is selected, and “4C” when

the VL-XG sound module mode is selected.

5. Plug the data derived from the bitmap design

into the “xx xx .... xx xx” portion of the

bitmap window data format, and you have

the data stream required to display the

design on the VL70-m display.

FO 43 0n

ss ss ss xx xx •• xx xx CS F7

Checksum

Data (size)Model ID

Start address

Device number.

HEX DEC

00 0

01 1

02 2

03 3

04 4

05 5

06 6

07 7

08 8

09 9

0A 10

0B 11

0C 12

0D 13

0E 14

0F 15

HEX DEC

10 16

11 17

12 18

13 19

14 20

15 21

16 22

17 23

18 24

19 25

1A 26

1B 27

1C 28

1D 29

1E 30

1F 31

HEX DEC

20 32

21 33

22 34

23 35

24 36

25 37

26 38

27 39

28 40

29 41

2A 42

2B 43

2C 44

2D 45

2E 46

2F 47

HEX DEC

30 48

31 49

32 50

33 51

34 52

35 53

36 54

37 55

38 56

39 57

3A 58

3B 59

3C 60

3D 61

3E 62

3F 63

Appendix

01 0E 30 40 00 01 07 09 13 22 43 23 13 09 07 01

70 0C 03 00 00 70 7C 72 79 48 48 48 79 72 7C 70

00 00 00 40 20 00 00 00 00 40 20 40 00 00 00 00

107

2. Add all the converted numbers.

3. Divide the total by 128 and note the remain-

der.

4. Subtract the remainder from 128. The result

is the checksum.

5. Convert the decimal checksum back to

hexadecimal format using the above chart.

Troubleshooting

The VL70-m is a very versatile tone generator

with many features and functions that affect

operation. In many cases, what appears to be a

fault with the VL70-m can actually be traced to an

improperly set parameter or something as simple as

a bad connection.

Here’s how to determine if the problem is internal

(e.g. parameter settings) or external (e.g. connec-

tions, amplifier, etc.):

● Listen via headphones. Plug a pair of head-

phones into the VL70-m and play. If the

headphone sound is OK, then the problem is

most likely in the amplifier or mixer you are

using, or the audio connection cables.

● Try adjusting all operational controllers —

modulation wheels, foot controllers, etc. In

some cases extreme controller settings can

cause unexpected sound or pitch … or even no

sound at all.

● Try selecting different voices. If the problem

occurs only on one voice then the voice param-

eters are most likely at fault. If the problem

occurs on all voices then a utility parameter

should be suspected.

The following are some common problems and

probable causes:

Symptom

• No power.

Possible Causes

• Is the AC adaptor properly connected to both

the VL70-m and an AC wall outlet (page 15)?

• If the AC apaptor is connected to a switched

AC outlet on another piece of equipment (an

amplifier, for example) is that devide switched

on?

HEX DEC

40 64

41 65

42 66

43 67

44 68

45 69

46 70

47 71

48 72

49 73

4A 74

4B 75

4C 76

4D 77

4E 78

4F 79

HEX DEC

50 80

51 81

52 82

53 83

54 84

55 85

56 86

57 87

58 88

59 89

5A 90

5B 91

5C 92

5D 93

5E 94

5F 95

HEX DEC

60 96

61 97

62 98

63 99

64 100

65 101

66 102

67 103

68 104

69 105

6A 106

6B 107

6C 108

6D 109

6E 110

6F 111

HEX DEC

70 112

71 113

72 114

73 115

74 116

75 117

76 118

77 119

78 120

79 121

7A 122

7B 123

7C 124

7D 125

7E 126

7F 127

Appendix

108

Symptom

• No sound.

Possible Causes

• Is the amplifier/mixer power turned on?

• Is the amplifier/mixer volume set to an appro-

priate level?

• Is the VL70-m volume control set to an appro-

priate level?

• Are the VL70-m outputs properly connected to

the amplifier/mixer inputs?

• Are the connection cables shorted, open, or

otherwise faulty?

• Is the HOST SELECT switch set appropriately

for your system (page 20)?

• Is the echo back (or MIDI THRU) function on

your computer or sequencer set properly?

• Is the VL70-m MIDI receive channel set

properly (pages 34 and 38)?

• Is the PLAY mode Volume parameter set

properly (pages 32 and 38)?

• Is the PLAY mode Master Volume parameter

set properly (page 41)?

• Is the PLAY mode Expression parameter set

properly (page 38)?

• Are the filter and EG attack times set to

unusually long values (page 72)?

• Are the high and low note limit parameters in

the “Others” edit mode set to appropriate values

(page 81)?

• Is the Voice Level parameter in the “Others”

edit mode set to an appropriate value (page

79)?

• Is the Breath Mode parameter set properly

(page 96)?

• If a WX-series Wind MIDI Controller is

unplugged from the VL70-m while no breath is

applied to the controller, the breath value can

get “stuck” at “0”, resulting in no sound output.

Symptom

• Volume too low.

Possible Causes

• Is the PLAY mode Volume parameter set

properly (pages 32 and 38)?

• Is the PLAY mode Expression parameter set

properly (page 38)?

• Is the PLAY mode Master Volume parameter

set properly (page 41)?

• Is the Voice Level parameter in the “Others”

edit mode set to an appropriate value (page

79)?

• Are the “Others” edit mode Velocity Depth and

Velocity Offset parameters set to appropriate

values (page 81)?

Symptom

• Distorted sound.

Possible Causes

• Is the VL70-m connected to a high-sensitivity

microphone or instrument input on your

amplifier or mixer? Try turning the VL70-m

DOWN controls down to avoid overloading the

amplifier/mixer inputs.

• Is a distortion-type effect being used (page 94)?

Symptom

• Wrong pitch.

Possible Causes

• Is the master tune parameter set properly (page

98)?

• Is the transpose or system transpose parameter

set properly (pages 33 and 41)?

• Is the note shift parameter set properly (page

35)?

• Is the “Others” edit mode Detune parameter set

properly (page 79)?

• Are inappropriate RPN Fine Tune or RPN

Coarse Tune MIDI message being received

from an external MIDI device?

Symptom

• Can only play one note at a time (i.e. no

polyphony).

Possible Causes

• The VL70-m is a monophonic tone generator

which is capable of producing only one note at

a time.

Appendix

109

Symptom

• No effects.

Possible Causes

• Are the effect send levels set properly (pages

35 and 39)?

• Are the effect return levels set properly (pages

32, 33 and 41)?

• Is “NO EFFECT” or “THRU” selected as the

effect type (pages 90 – 92 and 94)?

• If distortion is being used, is the distortion part

turned “off” (page 94)?

Symptom

• A connected breath controller has no effect.

Possible Causes

• Is the Breath Mode parameter set properly

(page 96)?

• Is the breath control number set properly (page

96)?

• Are the parameters to be controlled by the

breath controller set properly (page 48)?

• If the VL70-m is connected to a computer via

the TO HOST connector, is the computer “echo

back” function set properly (page 20)?

• Is the receive channel parameter set properly

(pages 34 and 38)?

Symptom

• A connected WX-series controller has no effect.

Possible Causes

• If the VL70-m is connected to a computer via

the TO HOST connector, make sure that the

“WX” is selected via the [MIDI/WX] button

(page 18).

• If the VL70-m is connected to a computer via

the TO HOST connector, is the computer “echo

back” function set properly (page 20)?

• Is the Breath Mode parameter set properly

(page 96)?

• Is the breath control number set properly (page

96)?

• Are the parameters to be controlled by breath

data from the WX-series controller set properly

(page 48)?

• Is the receive channel parameter set properly

(pages 34 and 38)?

Symptom

• Cannot receive MIDI bulk data.

Possible Causes

• Is the Receive System Exclusive parameter

turned “on” (page 98)?

• Is the Device Number parameter set properly

(pages 32 and 41)?

Symptom

• Song data is not played properly.

Possible Causes

• Is the WX Lip Lock parameter set properly

(page 98)?

• Is the Breath Setting Lock parameter set

properly (page 96)?

• In some cases song data which has not been

specifically created for playback via the VL70-

m, or song data which does not bear the “VL

Extension for XG” logo, will not play back

properly on the VL70-m.

Appendix

110

Answers to Some Com-

mon Questions

1. The VL70-m is a monophonic tone generator.

Why is the “poly” mode initialy selected

when the VL-XG sound module mode is

engaged?

This is to provide compatibility between the

currrent XG format and future polyphonic VL-

series tone generators. It also provides a certain

degree of compatibility to allow playback of

VL-XG song data on existing tone generators

which do not feature the VL-XG extension.

Specifically, to switch the VL70-m to the mono

mode a “mono mode” command (control

change no.126, value 0-16) is embedded in the

song data which, when received by a 32-note or

64-note polyphonic XG tone generator,

switches the appropriate parts to the mono

mode. The same will apply to future polyphonic

VL-series tone generators, so no changes will

be required. The VL70-m therefore has a

“poly” which is automatically selected when a

MIDI “XG on” system exclusive message is

received.

2. Can the Treble and Bass parameters be edit

during performance or playback?

In fact, they are a valuable expressive tool.

Although the Treble and Bass parameters are

basically similar in effect to the corresponding

controls on an amplifier, for example, their

actual effect varies slightly from voice to voice.

In many cases they also affect the critical mid-

frequency range, making it possible to give a

voice extra “presence”, as required. The Bass

parameter, in particular, can be used to bring a

voice “forward” in an ensemble.

3. Why do some voices sound as if they are in

the original octave even when shifted down

an octave?

This is because Virtual Acoustic synthesis

accurately simulates the acoustic behaviour of a

pipe or string. Simply stated, the harmonic

balance of the voice when played in the normal

octave is retained even when the voice is

shifted down an octave. The change in timbre

can be greater or less, depending on the se-

lected voice.

4. Why does portamento produce more of a

glissando effect on some voices?

Trumpets and some other brass instruments

tend to exhibit this phenomenon more than

others. In a S/VA tone generator portamento is

produced by lengthening or shortening the

instrument’s pipe or string and changing the

Embouchure. A trumpet is designed to empha-

size the “modes” of the pipe(s) to produce

notes over a wide range using only three

valves. When portameto is applied to a trumpet

voice, the pitch tends to jump from mode to

mode, thus producing the observed glissando

effect. The same effect occurs with some flute

voices. Saxophone modes are not nearly as

strong as trumpet modes, but some sax voices

do have two definite modes which, when

spanned by a portamento slide, can produce

irregularities.

5. Why do the filter, EG, and other parameters

have more effect on some voices than oth-

ers?

Most voices use the low-pass filter type, but

some use the bandpass, high-pass, or band

eliminate types. Some voices use very little

filter processing at all. Changing the filter

settings may not produce a particularly notice-

able effect. Also the internal Breath Noise,

Throat Formant, Growl, Harmonic Enhancer

and Pitch EG parameter settings can have a

significant effect on how much the parameters

accessible via the VL70-m controls actually

affect the sound. For detailed programming of

all S/VA parameters, use the VL70-m Expert

Editor software(page 25).

Appendix

111

6. Why do some bowed string instrument voices

tend to “squeek”?

As anyone who has played (or tried to play) a

real violin knows, these instruments naturally

tend to squeek if not properly controlled. The

same occurs with S/VA synthesis. As with a

real bowed string instrument, bow speed and

pressure must be properly controlled in the

VL70-m to produce the desired sound. Bow

speed is usually controlled either via breath

control or an expression pedal. Bow pressure is

controlled via control number 13: “64” is

medium pressure, lower values produced

reduced bow pressure, and higher values

produce increased bow pressure.

7. Why are pitch bends produced by a pitch

bend wheel not always accurate?

Natural acoustic musical instruments have no

“pitch parameter”. Pitch is determined by the

properties of the instrument’s resonant body as

well as the condition of the instrument’s driver.

The same applies to Virtual Acoustic Synthesis:

in the VL70-m pitch bend is simulated by

manipulating the appropriate pipe/string length

and driver characteristics. As a result, the pitch

bend range may not always be “mathemati-

cally” accurate.

With reed instruments such as saxophone or

clarinet, highly realistic pitch bends are pro-

duced by controlling both pitch and embou-

chure at the same time. Since the embouchure

component of the pitch bend behaves with

characteristics acoustic unpredictability, precise

pitch bends are not always produced. If you

want the kind of pitch-bend precision produced

by conventional synthesizers, select the VOICE

sound module mode, go to the CONTROL

EDIT mode, and set the Embouchure Depth and

Embouchure Depth parameters to “+00”. Then

set the pitch bend range to the desired value.

Other controller parameers assigned to “pitch

bend” can affect pitch bend accuracy, so check

to make sure that none are assigned.

8. Why do some voices not respond as expected

to EG edits?

The effect of editing envelope generator

parameters may not always be as expected —

particularly with plucked string instrument

voices such as guitar or bass. This is because

the VL70-m actually simulates the plucking,

free oscillation, and muting of the strings rather

than simply using an EG to approximate these

events. If the sound of a string voice decays

naturally, for example, setting a long release

time will have little or no effect on the actual

sound of the voice. Since the attack and decay

portions of the voice also have natural timbre

variations, these can be unnaturally altered by

inappropriate EG settings — which is OK if

you’re trying to produce an unnatural effect.

Trial and experimentation and the only sure

ways to determine how the EG parameters are

going to affect a particular voice.

Appendix

112

Error Messages

When an operational error or other problem

occurs, the VL70-m will display one of the

following error messages to inform you of the

problem.

Battery Low!

The internal backup battery needs to be replaced.

Have the battery replaced by qualified Yamaha

service personnel.

Illegal Data!

A data error has occurred durinng MIDI data

reception. Try receiving the data again.

MIDI Buffer Full!

The MIDI receive buffer is full. Reduce the

amount of data being transmitted to the VL70-m.

HOST is Offline!

The cable connection to the host computer has

been broken, or the computer power is off. Also

check for proper operation of the computer driver

and MIDI application software.

SysEx Adrs ERROR!

The received system exclusive message address is

wrong.

SysEx Data ERROR!

The received system exclusive message data is

wrong.

SysEx Size ERROR!

The received system exclusive message size is

wrong.

Check Sum ERROR!

An error has been detected in the received MIDI

data. Check the transmitting device, MIDI cables,

MIDI data and Check Sum, and try again.

This Parameter isn’t Excl Data

The parameter selected for viewing using the Show

Exclusive function can not be controlled via

system exclusive data.

No Parameter

The parameter selected for viewing using the Show

Exclusive or Show Control Change function is not

available.

Rcv CH is OFF!

Since the part receive channel for the parameter

selected via the Show Control Change function is

turned off, the corresponding MIDI data could not

be received. Set an appropriate receive channel.

Appendix

113

Specifications

■ Tone Generator

Type S/VA (Self-oscillating Virtual

Acoustic Synthesis: VLR Algo-

rithm)

Modifiers Harmonic Enhancer

Dynamic Filter

Equalizer

Resonator

Effects Reverb: 12 types

Chorus: 10 types

Variation: 44 types

Distortion: 3 types

Polyphony 1 note (monophonic)

Sound Module Modes

Voice Mode

VL-XG Mode

(VL extension for XG)

■ Memory

Preset 256 voices (including 137 VL-XG

voices)

Custom 6 voices

Internal 64 voices

■ Panel Switches

PLAY

EDIT

UTIL

EFFECT

MODE

BREATH

MIDI/WX

ENTER

EXIT

PART [-], [+]

SELECT [<], [>]

VALUE [-], [+]

HOST SELECT (rear panel)

■ Display

Custom backlit liquid crystal

display

6 LED indicators

■ Connectors

Front Panel PHONES (stereo mini-jack)

WX IN (WX11, WX7)

BREATH (BC3, BC2, BC1)

Rear Panel OUTPUT X 2 (L/MONO, R)

MIDI IN

MIDI OUT

MIDI THRU

TO HOST

DC IN

■ Output Level

Line +5.5 dBm into 10 kΩ.

Headphones -2.0 dBm into 33 Ω.

■ Power Requirements

PA-3B AC Power Adaptor

(supplied).

■ General

Dimensions (W x D x H)

220 x 212 x 46 mm.

(8-11/16" x 8-3/8" x 1-13/16")

Weight 1.3 kg (2 lbs., 14 oz.)

■ Accessories

Owner’s Manual

List Book

PA-3B AC Power Adaptor

Demonstration Disk

Demonstration Disk Song List

* Specifications subject to change without notice.

Appendix

114

Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Absorption Control Change Number . . . . . . . . . . . . 64

Absorption Control Depth . . . . . . . . . . . . . . . . . . . . . 64

Absorption Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Aftertouch Filter Control . . . . . . . . . . . . . . . . . . . . . . 53

Aftertouch LFO Pitch Modulation . . . . . . . . . . . . . . . 53

Amplitude & Filter Envelope Attack Time . . . . . . . . 72

Amplitude & Filter Envelope Decay Time . . . . . . . . . 72

Amplitude & Filter Envelope Release Time . . . . . . . 73

Amplitude & filter EG . . . . . . . . . . . . . . . . . . . . . . . . . 66

Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Amplitude Control Change Number . . . . . . . . . . . . . 56

Amplitude Control Depth . . . . . . . . . . . . . . . . . . . . . 56

Amplitude Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Amplitude Level Scaling Breakpoint . . . . . . . . . . . . . 73

Amplitude Level Scaling Depth . . . . . . . . . . . . . . . . . 73

Answers to some common questions . . . . . . . . . . . 110

Assign Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Assignable Controller 1 Amplitude Control . . . . . . . 54

Assignable Controller 1 Control Change Number . . 54

Assignable Controller 1 Filter Control . . . . . . . . . . . 54

Assignable Controller 1 LFO Pitch Modulation . . . . 54

Assignable Controller 1 Variation control . . . . . . . . 92

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Bank number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 38

Bank pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Bass Tone Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Bitmap window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

BREATH button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Breath control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Breath controller . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 43

Breath controller jack . . . . . . . . . . . . . . . . . . . . . . . . . 12

Breath curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Breath mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 96

Breath Noise Control Change Number . . . . . . . . . . . 60

Breath Noise Control Depth . . . . . . . . . . . . . . . . . . . . 60

Breath Noise Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Breath noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Breath setting lock . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Breath settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Checksum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Chorus pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chorus parameters, type specific . . . . . . . . . . . . . . . . 91

Chorus return . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 41

Chorus send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39

Chorus type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chorus-to-reverb send level . . . . . . . . . . . . . . . . . . . . 91

Control change number assignments . . . . . . . . . . . . 43

Control editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Control parameters, accessing and editing . . . . . . . 46

Controller parameters . . . . . . . . . . . . . . . . . . . . . . . . 45

Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 42

Index

Custom voice bank . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Cutoff Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Cutoff Scaling Breakpoint . . . . . . . . . . . . . . . . . . . . . 71

Cutoff Scaling Depth . . . . . . . . . . . . . . . . . . . . . . . . . 71

Damping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Damping Control Change Number . . . . . . . . . . . . . . 63

Damping Control Depth . . . . . . . . . . . . . . . . . . . . . . . 63

Damping Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

DC IN connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Demo disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Demo playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Device number . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 41

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Display contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Distortion control, aftertouch . . . . . . . . . . . . . . . . . . 94

Distortion control, assignable controller 1 . . . . . . . . 94

Distortion parameters, type specific . . . . . . . . . . . . . 94

Distortion part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Distortion type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Dry Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Dump out function . . . . . . . . . . . . . . . . . . . . . . . . . . 100

EDIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Editing software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

EFFECT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Effect editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Effect signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Embouchure Control Change Number . . . . . . . . . . . 57

Embouchure Lower Control Depth . . . . . . . . . . . . . . 58

Embouchure Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Embouchure Upper Control Depth . . . . . . . . . . . . . . 57

ENTER button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

EXIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Expression Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Filter and envelope generator editing . . . . . . . . . . . 66

Filter Control Change Number . . . . . . . . . . . . . . . . . 55

Filter Control Depth . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Filter Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Filter Envelope Generator Depth . . . . . . . . . . . . . . . 71

G50 MIDI Guitar Converter . . . . . . . . . . . . . . . . . . . . 19

Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Growl Control Change Number . . . . . . . . . . . . . . . . . 61

Growl Control Depth . . . . . . . . . . . . . . . . . . . . . . . . . 61

Growl Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Index

115

Harmonic Enhancer Control Change Number . . . . . 62

Harmonic Enhancer Control Depth . . . . . . . . . . . . . . 63

Harmonic Enhancer Curve . . . . . . . . . . . . . . . . . . . . . 63

Harmonic enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

High Note Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

HOST SELECT switch . . . . . . . . . . . . . . . . . . . . . . . . . . 14

IBM PC, connecting to . . . . . . . . . . . . . . . . . . . . . . . . 21

Initialize function . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Internal voice bank . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Lip mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Low Note Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Macintosh, connecting to . . . . . . . . . . . . . . . . . . . . . . 20

Manual, about the . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Master Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Message window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

MIDI bulk dump interval . . . . . . . . . . . . . . . . . . . . . . 99

MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MIDI connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

MIDI note filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

MIDI transmit channel . . . . . . . . . . . . . . . . . . . . . . . . 98

MIDI/WX button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

MIDI/WX setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

MODE button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Modulation Wheel LFO Filter Modulation . . . . . . . . 53

Modulation Wheel LFO Pitch Modulation . . . . . . . . 53

Modulation wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Monophonic/Polyphonic Mode . . . . . . . . . . . . . . . . . 80

NEC PC-9801/9821, connecting to . . . . . . . . . . . . . . . 21

Note shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39

Other Edit Parameters . . . . . . . . . . . . . . . . . . . . . . . . 75

OUTPUT L/MONO and R jacks . . . . . . . . . . . . . . . . . . 14

Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 38

PART buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Personal computer, connecting to . . . . . . . . . . . . . . . 20

PHONES jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Pitch & Embouchure Envelope Attack Time . . . . . . . 74

Pitch & Embouchure Envelope Initial Level . . . . . . . 73

Pitch & Embouchure Envelope Release Level . . . . . . 74

Pitch & Embouchure Envelope Release Time . . . . . . 74

Pitch & embouchure EG . . . . . . . . . . . . . . . . . . . . . . . 66

Pitch Bend Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Pitch Bend LFO Pitch Modulation . . . . . . . . . . . . . . . 52

Pitch Bend Low Control . . . . . . . . . . . . . . . . . . . . . . . 52

Pitch bend wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

PLAY button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Polyphonic Expansion . . . . . . . . . . . . . . . . . . . . . . . . . 80

Portamento Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Portamento Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Portamento Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Power-on procedure . . . . . . . . . . . . . . . . . . . . . . . . . . 23

POWER/VOL control . . . . . . . . . . . . . . . . . . . . . . . . . . 12

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

Preset voice banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Pressure Control Change Number . . . . . . . . . . . . . . . 55

Pressure Control Depth . . . . . . . . . . . . . . . . . . . . . . . 55

Pressure Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Program number . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 38

Program pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 38

Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Reverb pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Reverb parameters, type specific . . . . . . . . . . . . . . . . 90

Reverb return . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 41

Reverb send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39

Reverb type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Scream Control Change Number . . . . . . . . . . . . . . . . 59

Scream Control Depth . . . . . . . . . . . . . . . . . . . . . . . . 59

Scream Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

SELECT buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Show control change . . . . . . . . . . . . . . . . . . . . . . . . 103

Show exclusive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Sound module mode . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sound module modes . . . . . . . . . . . . . . . . . . . . . . 27, 29

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Stereo sound system . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

System exclusive receive . . . . . . . . . . . . . . . . . . . . . . . 98

System transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Throat Formant Control Change Number . . . . . . . . 62

Throat Formant Control Depth . . . . . . . . . . . . . . . . . 62

Throat Formant Curve . . . . . . . . . . . . . . . . . . . . . . . . 62

Throat formant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

TO HOST connectors . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Tonguing Control Change Number . . . . . . . . . . . . . . 58

Tonguing Control Depth . . . . . . . . . . . . . . . . . . . . . . 59

Tonguing Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Treble Tone Control . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Index

116

UTIL button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Utility mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

VALUE buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Variation connection mode . . . . . . . . . . . . . . . . . . . . 93

Variation pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Variation parameters, type specific . . . . . . . . . . . . . . 92

Variation return . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 41

Variation send . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39

Variation stage as insertion effect . . . . . . . . . . . . . . 86

Variation stage as system effect . . . . . . . . . . . . . . . . 87

Variation type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Variation-to-chorus send level . . . . . . . . . . . . . . . . . . 93

Variation-to-reverb send level . . . . . . . . . . . . . . . . . . 93

Velocity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Velocity Sensitivity Depth . . . . . . . . . . . . . . . . . . . . . . 81

Velocity Sensitivity Offset . . . . . . . . . . . . . . . . . . . . . . 81

Vibrato Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Vibrato Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Vibrato Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Virtual Acoustic Synthesis . . . . . . . . . . . . . . . . . . . . . . . 6

VL Extension for XG . . . . . . . . . . . . . . . . . . . . . . . . . . 30

VL-XG play main control mode . . . . . . . . . . . . . . . . . 37

VL-XG play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

VL-XG play sub-control mode . . . . . . . . . . . . . . . . . . 40

VL-XG sound module mode . . . . . . . . . . . . . . . . . . . . 28

VL70-m model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Voice Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Voice Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Voice organization . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Voice play main control mode . . . . . . . . . . . . . . . . . . 31

Voice play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Voice play sub-control mode . . . . . . . . . . . . . . . . . . . 34

Voice sound module mode . . . . . . . . . . . . . . . . . . . . 27

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 38

WX IN jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

WX lip lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

WX lip mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

WX wind MIDI controller . . . . . . . . . . . . . . . . . . . . . . 18

Index

117

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Nie-

derlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha

ou au distributeur le plus proche de vous figurant dans la liste suivante.

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

PORTUGAL

Valentim de Carvalho CI SA

Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,

Portugal

Tel: 01-443-3398/4030/1823

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

Warner Music Finland OY/Fazer Music

Aleksanterinkatu 11, P.O. Box 260

SF-00101 Helsinki, Finland

Tel: 0435 011

NORWAY

Narud Yamaha AS

Grini Næringspark 17

N-1345 Østerås, Norway

Tel: 67 14 47 90

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 730-1098

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

#131-31, Neung-Dong, Sungdong-Ku, Seoul

Korea

Tel: 02-466-0021~5

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

16-28, Jalan SS 2/72, Petaling Jaya, Selangor,

Malaysia

Tel: 3-717-8977

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 17A Toa Payoh #01-190 Lorong 7

Singapore 1231

Tel: 354-0133

TAIWAN

Kung Hsue She Trading Co., Ltd.

No. 322, Section 1, FuHsing S. Road,

Taipei 106, Taiwan. R.O.C.

Tel: 02-709-1266

THAILAND

Siam Music Yamaha Co., Ltd.

865 Phornprapha Building, Rama I Road,

Patumwan, Bangkok 10330, Thailand

Tel: 2-215-3443

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2317

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2312

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205,

Australia

Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2317

MIDDLE & SOUTH AMERICA

MEXICO

Yamaha De Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRASIL

Yamaha Musical Do Brasil LTDA.

Ave. Reboucas 2636, São Paulo, Brasil

Tel: 011-853-1377

PANAMA

Yamaha De Panama S.A.

Edificio Interseco, Calle Elvira Mendez no.10,

Piso 3, Oficina #105, Ciudad de Panama, Panama

Tel: 507-69-5311

OTHER LATIN AMERICAN COUNTRIES

AND CARIBBEAN COUNTRIES

Yamaha Music Latin America Corp.

6101 Blue Lagoon Drive, Miami, Florida 33126,

U.S.A.

Tel: 305-261-4111

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2312

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 0222-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Valée Cedex 2, France

Tel: 01-64-61-4000

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430

Tel: 053-460-2445

SY11

VV11820 606POCP3.2-01A0 Printed in Japan

Documenttranscriptie

FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guaran- tee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/ reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. NEDERLAND / NETHERLAND • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion. VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. NOTICE: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly. NAME PLATE LOCATION: The name plate is located on the top of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. WX IN ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. 92-BP Battery Notice: BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF Model Serial No. Purchase Date PLEASE KEEP THIS MANUAL * The serial number of this product is shown at the rear panel. Thank you for choosing a Yamaha VL70-m Virtual Acoustic Tone Generator. The VL70-m is a monophonic tone generator incorporating Yamaha’s revolutionary “Virtual Acoustic Synthesis” tone generation system — based on the most advanced computer physical modeling technology. Virtual Acoustic Synthesis produces sound that is more realistic, more expressive, and more musical than any other system available at this time. The VL70-m includes 256 preset voices, from super-realistic to innovative, that can add a new dimension to your sound … whether you play a keyboard, wind controller, MIDI guitar synthesizer, or use a sequencer to create music. Please read this owner’s manual carefully, and follow the instructions within in order to ensure proper operation. Also keep this manual in a safe place for later reference. About the Manual The VL70-m is a very unique tone generator that operates on totally new principles that were simply unheard of until Yamaha released the worlds first “Virtual Acoustic” synthesizer based on computer physical modelling. If you’ve had some experience with the Yamaha VL1, VL1-m, VL-7, or their “Version 2” upgrades, you will have very little trouble understanding the VL70-m. If you are new to VA synthesis, however, you will need a little background before attempting to edit and modify voices. We urge you to read the following section of this manual — “Virtual Acoustic Synthesis — before getting into the details. It will make a huge difference in how quickly you understand the VL70-m system, and how efficiently you will be able to edit voices to create the sound you’re looking for. Other than the above, the structure of the manual is fairly straightforward. You can approach it in a “linear” manner, reading through from beginning to end, or on an “on demand” basis, going directly to the information you need as you need it. Use the table of contents at the beginning, and the index at the end of the manual to find the information you need. Conventions The following conventions are used through the VL70-m manuals to avoid confusion and make the text easier to read. ■ Buttons & Controls Button and control names used on the VL70-m panel appear in the text in capital letters within square brackets: “the [ENTER] button”, for example. ■ 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. About the Manual 1 Contents Precautions 4 Virtual Acoustic Synthesis 6 VA Advantages . . . . . . . . . . . . . . . . . . . . . . . 6 The VL70-m Model . . . . . . . . . . . . . . . . . . . . 7 ■ The Instrument . . . . . . . . . . . . . . . . . . . 8 ■ The Controllers . . . . . . . . . . . . . . . . . . . 9 ■ The Modifiers . . . . . . . . . . . . . . . . . . . 10 There’s More … . . . . . . . . . . . . . . . . . . . . . . 11 The Controls & Connectors ■ ■ Front Panel . . . . . . . . . . . . . . . . . . . . . 12 Rear Panel . . . . . . . . . . . . . . . . . . . . . . 14 Setting Up Power Supply . . . . . . . . . . . . . . . . . . . . . . . . MIDI Connections . . . . . . . . . . . . . . . . . . . . Breath Controller . . . . . . . . . . . . . . . . . . . . . WX-series Wind MIDI Controller . . . . . . . . G50 Guitar MIDI Converter . . . . . . . . . . . . . Connecting to a Personal Computer . . . . . ■ Connecting to an Apple Macintosh Series Computer . . . . . . . . . . . . . . . . . ■ Connecting to an IBM PC/AT Series Computer . . . . . . . . . . . . . . . . . . . . . . . ■ Connecting to an NEC PC-9801/9821 Series Computer . . . . . . . . . . . . . . . . . Audio Connections . . . . . . . . . . . . . . . . . . . ● Headphones . . . . . . . . . . . . . . . . . . ● Stereo Sound System . . . . . . . . . . . Power-on Procedure . . . . . . . . . . . . . . . . . . Play the Demo . . . . . . . . . . . . . . . . . . . . . . . The Supplied Demo Disk . . . . . . . . . . . . . . . The VL70-m Voice Editing Software . . . . . Voice Organization and Sound Module Modes Voice Organization . . . . . . . . . . . . . . . . . . . The VL70-m Sound Module Modes . . . . . . ■ The VOICE Mode . . . . . . . . . . . . . . . . . ■ The VL-XG Mode . . . . . . . . . . . . . . . . . ■ Selecting the VOICE or VL-XG Sound Module Mode . . . . . . . . . . . . . . . . . . . ● VL Extension for XG . . . . . . . . . . . 2 12 Contents 15 15 16 17 18 19 20 20 21 21 22 22 22 23 24 25 25 26 26 27 27 28 29 30 The VOICE PLAY Mode 31 The VOICE PLAY Main Control Mode . . . . 31 The VOICE PLAY Sub-control Mode . . . . . . 34 The VL-XG PLAY Mode 36 A Simple XG System Incorporating the VL70-m . . . . . . . . . . . . . . . . . . . 36 The VL-XG PLAY Main Control Mode . . . . 37 The VL-XG PLAY Sub-control Mode . . . . . . 40 ● Controllers & Control Editing Physical Controllers . . . . . . . . . . . . VL70-m Controller Parameters . . . Accessing & Editing the Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . The Control Edit Parameters . . . . . . . . . . . ■ VOICE Sound Module Mode Control Edit Parameters . . . . . . . . . . . . . . . . . . ■ VL-XG Sound Module Mode Control Edit Parameters . . . . . . . . . . . . . . . . . . ■ Control Edit Parameter Descriptions . ● Pitch Bend . . . . . . . . . . . . . . . . . . . ● Modulation Wheel . . . . . . . . . . . . ● Aftertouch . . . . . . . . . . . . . . . . . . . ● Assignable Controller . . . . . . . . . . ● Expression . . . . . . . . . . . . . . . . . . . ● Pressure . . . . . . . . . . . . . . . . . . . . . ● Filter . . . . . . . . . . . . . . . . . . . . . . . . ● Amplitude . . . . . . . . . . . . . . . . . . . ● Embouchure . . . . . . . . . . . . . . . . . . ● Tonguing . . . . . . . . . . . . . . . . . . . . ● Scream . . . . . . . . . . . . . . . . . . . . . . ● Breath Noise . . . . . . . . . . . . . . . . . ● Growl . . . . . . . . . . . . . . . . . . . . . . . ● Throat Formant . . . . . . . . . . . . . . . ● Harmonic Enhancer . . . . . . . . . . . . ● Damping . . . . . . . . . . . . . . . . . . . . . ● Absorption . . . . . . . . . . . . . . . . . . . ● ● 42 43 45 46 48 48 50 52 52 53 53 54 54 55 55 56 57 58 59 60 61 62 62 63 64 Filter & Envelope Generator Editing 66 Amplitude & Filter EG . . . . . . . . . . Pitch & Embouchre EG . . . . . . . . . Accessing & Editing the Filter & EG Parameters . . . . . . . . . . . . . . . . . . . . . . . The Filter & EG Edit Parameters . . . . . . . . ■ VOICE Sound Module Mode Filter & EG Edit Parameters . . . . . . . . . . . . . . . ■ VL-XG Sound Module Mode Filter & EG Edit Parameters . . . . . . . . . . . . . . . ■ Filter & EG Edit Parameter Descriptions . . . . . . . . . . . . . . . . . . . . . ● Filter . . . . . . . . . . . . . . . . . . . . . . . . ● Amplitude & Filter Envelope . . . . ● Pitch & Embouchure Envelope . . . 66 66 ● ● Other Edit Parameters Accessing & Editing the “Others” Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . The “Others” Edit Parameters . . . . . . . . . . ■ VOICE Sound Module Mode “Others” Edit Parameters . . . . . . . . . ■ VL-XG Sound Module Mode “Others” Edit Parameters . . . . . . . . . ■ “Others” Edit Parameter Descriptions ● Vibrato . . . . . . . . . . . . . . . . . . . . . . ● Detune & Voice Level . . . . . . . . . . ● Assignment & Expansion . . . . . . . ● Velocity Sensitivity . . . . . . . . . . . . . ● Note Limits . . . . . . . . . . . . . . . . . . . ● Portamento . . . . . . . . . . . . . . . . . . ● Dry Level & Voice Name . . . . . . . . The Store Function 67 69 69 70 71 71 72 73 75 75 77 77 78 79 79 79 80 81 81 82 82 84 Storing an Edited Voice . . . . . . . . . . . . . . . 84 Effects & Effect Editing 86 Effect Signal Flow . . . . . . . . . . . . . . . . . . . . ● When the Variation Stage is an Insertion Effect . . . . . . . . . . . . . ● When the Variation Stage is a System Effect . . . . . . . . . . . . . . . Accessing & Editing the Effect Parameters The Reverb Parameters . . . . . . . . . . . . . . . . The Chorus Parameters . . . . . . . . . . . . . . . . The Variation Parameters . . . . . . . . . . . . . . The Distortion Parameters . . . . . . . . . . . . . Breath Settings 86 86 87 88 90 91 92 94 95 Accessing & Editing the Breath Parameters 95 The Breath Parameters . . . . . . . . . . . . . . . . 96 The Utility Mode 97 The System Parameters . . . . . . . . . . . . . . . . 98 The Dump Out Function . . . . . . . . . . . . . . 100 ● DUMPOUT Operation . . . . . . . . . 100 The Initialize Function . . . . . . . . . . . . . . . 102 Appendix 103 Show Control Change . . . . . . . . . . . . . . . . Show Exclusive . . . . . . . . . . . . . . . . . . . . . . The Message Window . . . . . . . . . . . . . . . . ● Message Window Data Format . Bitmap Window . . . . . . . . . . . . . . . . . . . . . ● Bitmap Window Data Format . . ● Creating Bitmap Data . . . . . . . . . Checksum . . . . . . . . . . . . . . . . . . . . . . . . . . Troubleshooting . . . . . . . . . . . . . . . . . . . . . Answers to Some Common Questions . . Error Messages . . . . . . . . . . . . . . . . . . . . . . Specifications . . . . . . . . . . . . . . . . . . . . . . . Index 103 103 104 104 105 105 105 106 107 110 112 113 114 Contents 3 Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! ■ Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • Direct sunlight (e.g. near a window). • High temperatures (e.g. near a heat source, outside, or in a car during the daytime). • Excessive humidity. • Excessive dust. • Strong vibration. ■ Power Supply • Turn the power switch OFF when the instrument is not in use. • The power adaptor should be unplugged from the AC outlet if the instrument is not to be used for an extended period of time. • Unplug the instrument during electric storms. • Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adaptors since these can result in reduced sound quality and possibly damage. ■ Turn Power OFF When Making Connections • To avoid damage to the instrument and other devices to which it is connected (a sound system, for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables. ■ MIDI Connections • When connecting the VL70-m to MIDI equipment, be sure to use highquality cables made especially for MIDI data transmission. • Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors. ■ Handling and Transport • Never apply excessive force to the controls, connectors or other parts of the instrument. • Always unplug cables by gripping the plug firmly, not by pulling on the cable. • Disconnect all cables before moving the instrument. • Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage. 4 Precautions ■ • • • 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. ■ Electrical Interference • This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment. ■ Data Backup • The VL70-m 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 “Battery Low!” will appear on the display when the power is turned on. When this happens, have the backup battery replaced by qualified Yamaha service personnel. DO NOT ATTEMPT TO REPLACE THE BACKUP BATTERY YOURSELF! ■ Service and Modification • The VL70-m contains no user serviceable parts. Opening it or tampering with it in any way can lead to irreparable damage and possibly electric shock. Refer all servicing to qualified YAMAHA personnel. ■ Third-party Software • Yamaha can not take any responsibility for software produced for this product by third-party manufacturers. Please direct any questions or comments about such software to the manufacturer or their agents. YAMAHA is not responsible for damage caused by improper handling or operation. Precautions 5 Virtual Acoustic Synthesis Unlike previous tone generation systems which use oscillators, function generators, preset waveforms or samples to produce sound, Yamaha Virtual Acoustic (“VA”) Synthesis applies sophisticated computer-based “physical modeling” technology to 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 VL70-m simulates the very complex vibrations, resonances, reflections and other acoustic phenomena that occur in a real wind or string instrument. VA Advantages The VL70-m 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! Yamaha Virtual Acoustic Synthesis is simply the most musical tone generation system ever created. • The VL70-m sounds better, has more depth, and is more realistic in the musical sense than any other tone generation system. • Simply playing a note in the same way does not always produce precisely the same sound. The instrument is responsive and “alive”. • 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. • It has extraordinary expressive capability. Rather than simply controlling parameters like volume or pitch, you can control characteristics such as breath and reed pressure with appropriate complex effects on the timbre of the sound. 6 Virtual Acoustic Synthesis The VL70-m Model The overall VL70-m model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as follows: Controllers (also envelopes) Instrument Modifiers Sound out Virtual Acoustic Synthesis 7 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 instrument model consists primarily of a driver — the reed/mouthpiece, lip/mouthpiece, or bow/ string system — and a resonant system corresponding to the tube and air column or string. In all these instruments pressure applied here (the driving point) causes vibration which results in sound. ■ NOTES • The sound thus produced is amplified and sustained by the body of the instrument. Reed vibration • The pitch of the sound is determined by the length of the air column or string, and the timbre is a complex product of the driving source (reed, lip, air, string), the shape of the resonant cavity, the materials from which the instrument is made, etc. Lip vibration Air vibration String vibration One of the remarkable features of the VL70-m’s Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string. Drivers 8 Virtual Acoustic Synthesis Pipes/String The Controllers The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player’s arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL70-m 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 VL70-m 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 external controller that can be used with the VL70-m: breath controller, foot controller, modulation wheel, etc. The pressure parameter, for example, will normally be assigned to a breath controller so the player can control the dynamics of the instrument by varying the breath pressure applied to the controller — a natural, instinctive way to play windinstrument voices. At the same time the growl and throat parameters might also be assigned to the breath controller in order to achieve life-like response and effects. 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 halftonguing 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. Damping & Absorption Simulate the effects of air friction in the pipe or on the string, and of high-frequency losses at the end of the pipe or string. Throat Controls the characteristics of the “player’s” throat or bowing arm. Pressure The amount of breath pressure applied to the reed or mouthpiece, or bow velocity applied to the string. Growl A periodic pressure (bow velocity) modulation which produces the “growl” effect often heard in wind instruments. Scream Drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modelling technology. Virtual Acoustic Synthesis 9 The Modifiers The modifiers block consists of 4 sections as shown in the diagram. Although these may appear to be simple effects, they are actually intimately related to the VL70-m’s sound-producing model and have a significant effect on the sound (the VL70-m has a separate effects stage with reverb, chorus, variation, and distortion effects — see page 86). ● Harmonic Enhancer The Harmonic Enhancer determines the harmonic structure of the sound to the extent that it can produce radical timbral variations within an instrument “family” (e.g. saxes). The harmonic enhancer parameters can be accessed via the Yamaha VL70m Expert Editor software (page 25). ● Dynamic Filter This section is similar to the dynamic filters found in many conventional synthesizers, with high-pass, bandpass, band elimination, and low-pass modes. Some filter parameters are available via the VL70-m controls, but detailed editing of parameters such as the filter type requires the Yamaha VL70-m Expert Editor software (page 25) Harmonic Enhancer Dynamic Filter Frequency Equalizer Resonator ● Frequency Equalizer This is a 5-band parametric equalizer with frequency, Q (bandwidth), and level control. The equalizer also has pre-EQ high- and low-pass filters as well as key scaling capability for precise response control throughout the instrument’s range. Although only simplified treble and bass parameters are available via the VL70-m controls, the full range of equalizer parameters can be accessed via the Yamaha VL70-m Expert Editor software (page 25). ● Resonator The Resonator uses simulated “resonator” pipes or strings and delays to produce a “woody” resonance effect — although it has little or no effect on some voices. The resonator parameters can be accessed via the Yamaha VL70-m Expert Editor software (page 25). 10 Virtual Acoustic Synthesis There’s More … In this brief introduction to VL70-m basics we’ve only looked at the central physical model which is the key the VL70-m’s unprecedented sound and musical performance. There’s actually much more to it. There’s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesizers. There are, for example, programmable envelopes that can be applied to most of the controllers in addition to real-time player control. And, of course, there’s a comprehensive selection of utility functions that give the VL70-m maximum versatility and convenience. Now that you understand the basics, dive in and find out what the VL70-m can really do. Virtual Acoustic Synthesis 11 The Controls & Connectors The following brief descriptions of the VL70-m controls and connectors should help you to understand the overall logic of the interface. Front Panel q [POWER/VOL] Control Press to turn power ON or OFF. Rotate to adjust overall output volume (clockwise to increase the volume). pressing the [PLAY] button causes the currently selected voice to sound — a convenient test feature. ➲ page 31 w Breath Controller Jack An optional Yamaha BC3, BC2 or BC1 Breath Controller can be plugged in here. ➲ page 17 u [EDIT] Button Activates the VL70-m EDIT mode in which voices can be edited to create new sounds. ➲ page 46 e WX IN Jack Allows direct connection of a Yamaha WXseries Wind MIDI Controller such as the WX11 or WX7, without the need for a WT11 or BT7 wind controller interface. ➲ page 18 i [UTIL] Button Selects the VL70-m UTILITY mode. The UTILITY mode includes a range of important utility functions that affect operation of the VL70-m: SYSTEM SETUP, DUMP OUT, INITIALIZE, and DEMO SONG. ➲ page 97 r PHONES Jack Accepts a standard pair of stereo headphones (stereo mini phone plug) for headphone monitoring of the VL70-m sound without the need for external amplification equipment. The volume of the headphone sound is adjusted via the [POWER/VOL] control. t Display This large backlit liquid crystal display panel shows all parameters and prompts necessary for easy, efficient operation and programming of the VL70-m. The display contrast can be adjusted as described on page 99. ➲ page 31 y [PLAY] Button Press this button to select the VL70-m PLAY mode in which voices can be selected and played. If the PLAY mode is already selected, 12 The Controls & Connectors o [EFFECT] Button Selects the VL70-m EFFECT mode in which the built-in reverb, chorus, variation, and distortion effects can be assigned and edited as required. ➲ page 88 !0 [MODE] Button Accesses the VL70-m sound module mode selection function. ➲ page 29 !1 [BREATH] Button Selects the BREATH SETTING which includes parameters that determine how the VL70-m responds to control from a breath controller, WX-series Wind MIDI Controller, or similar device. ➲ page 95 !2 [MIDI/WX] Button Pressing this button alternately selects the VL70m MIDI and WX control modes (when the rearpanel HOST SELECT switch is set to Mac, PC1, PC-2). ➲ page 18 !3 [ENTER] Button The [ENTER] button is used to engage submodes, confirm input, and execute certain operations. Double-clicking this button (i.e. press the button twice in rapid succession) provides access to the SHOW CONTROL and SHOW EXCLUSIVE (page 103) modes. ➲ page 24 !4 [EXIT] Button This button is used to exit from sub-modes and cancel certain operations. No matter where you are in the VL70-m display structure, pressing the [EXIT] button (a number of times if necessary) will eventually return you to the PLAY mode. ➲ page 24 !5 PART [-] and [+] Buttons When the VL-XG sound module mode is selected (page 28) these buttons select the part to be played. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. In either the VLe XG or VOICE sound module mode (page 27) pressing both buttons simultaneously switches in and out of the PLAY mode sub-control mode (pages 34 and 40). When the EDIT mode is selected the PART buttons can be used to switch between parameters without having to return to the EDIT mode menu. ➲ page 36 !6 SELECT [<] and [>] Buttons These buttons are used to select sub-modes or parameters. In some cases the selection will be made from a menu displays, and in others the SELECT buttons will actually switch display pages. ➲ page 31 !7 VALUE [-] and [+] Buttons Used to select voices and edit parameter values. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. They also have a large-step function which allows you to skip ahead or backward in larger increments when selecting voices or editing numeric parameters: press either the [-] or [+] button while holding the other button. ➲ page 31 w WX IN y u i o !0 !1 BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY !5 !6 !7 PUSH ON/OFF r q t !2 !3 !4 The Controls & Connectors 13 Rear Panel !8 DC IN Connector The DC output cable from the Yamaha PA-3B AC Power Adaptor supplied with the VL70-m is plugged in here. ➲ page 15 !9 OUTPUT L/MONO and R Jacks These are the main stereo outputs from the VL70-m. Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the VL70m sound and effects. The L/MONO jack can be used alone when connecting to a mono sound system (e.g. a musical instrument amplifier). ➲ page 22 @0 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 VL70m. The MIDI THRU connector simply retransmits the data received at the MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI OUT connector transmits data corresponding to VL70-m Breath Controller operation, or bulk data when one of the MIDI data transmission functions are activated. The MIDI OUT connector can also be used to “echo” (re-transmit) data received via the MIDI IN or TO HOST connectors. ➲ page 16 @1 TO HOST Connector & HOST SELECT Switch This jack and selector switch allow direct connection to a personal computer for sequencing and other music applications — without the need for a separate MIDI interface. ➲ page 20 MIDI MIDI Mac PC-2 PC-1 THRU OUT OUTPUT HOST SELECT TO HOST DC IN R L/MONO IN SER NO. @0 14 The Controls & Connectors @1 !8 !9 Setting Up Power Supply Your VL70-m comes supplied with a Yamaha PA-3B AC adaptor. Plug the DC output cable from the AC adaptor into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. It is also a good idea to clip the adaptor’s DC cable into the cable clip on the VL70-m rear panel to minimize the possibility of accidentally unplugging the cable during operation. ■ CAUTION • Do not attempt to use an AC adaptor other than the supplied unit or an appropriate replacement provided by your Yamaha dealer to power the VL70-m. The use of an incompatible adaptor may cause irreparable damage to the VL70-m, and might pose a serious shock hazard! • Be sure to unplug the AC adaptor from the AC mains socket when the VL70-m is not in use. DC-IN OUTPUT HOST SELECT MIDI Mac PC-2 PC-1 TO HOST DC IN R L/MONO SER NO. PA-3B AC power socket Setting Up 15 MIDI Connections The VL70-m can be used with virtually any type of MIDI controller: keyboard, wind controller, sequencer, etc. To ensure reliable error-free transfer 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 VL70-m MIDI receive channel and device number parameters are available via the PLAY mode display and PLAY mode sub-control display (pages 32 and 34). Make sure these parameters are set to match the corresponding settings of the MIDI controller used with the VL70-m. ● The VL70-m receives the following MIDI data: Note The played note and velocity values. Control Change Modulation wheel, breath controller, foot controller, sustain, and other controller data. Aftertouch Keyboard aftertouch pressure (channel aftertouch only). Pitch Bend Pitch bend wheel position. Program Change Voice numbers and bank select messages. & Bank Select System Exclusive Voice and system data transmitted in the form of “bulk dumps.” ■ NOTES • IMPORTANT!: The rear-panel HOST SELECT switch must be set to “MIDI” when the VL70m is not connected to a computer via the TO HOST connector. • For detailed MIDI specifications refer to the “MIDI Data Format” on page 26 of the List Book. • When using the VL70-m with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equipment used to ensure compatibility. 16 Setting Up Breath Controller If you will be using the VL70-m with a keyboard, a breath controller is an essential expressive tool — both for realistic expression with wind-instrument voices and unprecedented expressive control with string voices. Plug an optional Yamaha BC3, BC2 or BC1 Breath Controller into the front-panel breath controller jack. If the controlling MIDI keyboard has a breath controller jack, it might be more convenient to plug the breath contoller in there rather than directly into the VL70-m. The Breath Controller is ideal for controlling parameters that would normally be affected by a wind player’s breath: dynamics, timbre, pitch, and others. ■ IMPORTANT! • If you will be using a BC3, BC2, or BC1 breath controller plugged into the BREATH jack, the “Breath Mode” parameter must be set to “BC/WX” (page 96). This is also necessary if you plug the breath controller into the keyboard’s breath controller jack. MIDI OUT MIDI keyboard MIDI IN WX IN BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT BREATH PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF BC3 VL70-m Setting Up 17 WX-series Wind MIDI Controller The VL70-m is an ideal tone generator for use with a Yamaha WX-series Wind MIDI Controller such as the WX11 or WX7. In either case the controller can be plugged directly into the WX IN connector on the VL70-m front panel, without the need for a WT11 or BT7 wind controller interface. WX IN BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT WX IN PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF VL70-m WX11 Special care must be taken with the following parameters and controls when using a WX-series Wind MIDI Controller: ■ NOTES • If a WX controller is unplugged while the VL70-m power is on, the breath level may remain fixed at “0” and subsequently played notes may not sound. If this happens, turn the VL70-m power off and then on again. BREATH MODE The Breath Mode parameter (page 96) must be set to “BC/WX” in order for the VL70-m to recognize breath data from the controller. SOUND MODULE If you intend to drive additional MIDI devices via the VL70-m MIDI OUT connector when using a Wind MIDI Controller, the MODE VL70-m sound module mode should be set to VOICE (page 29). When the VL-XG mode is selected MIDI note data received via the MIDI IN connector is not re-transmitted via the MIDI OUT connector. 18 Setting Up LIP MODE WX-series Wind MIDI Controllers produce pitch bend data ranging from “-16” to “+32” in response to lip (reed) pressure. The WX Lip parameter (page 98) determines whether these values are used as is (“Norm”), or expanded to a “-64” through “+63” range (“Expd”). When the “Expd” mode is selected, the expanded pitch bend data is also transmitted via the MIDI OUT connector. The “Expd” setting is recommended when using a WX controller in the “tight lip” mode. The “Norm” setting is recommended when using the WX controller “loose lip” mode. MIDI/WX SETTING When the VL70-m is connected to a WX controller and a computer via the TO HOST connector, and the HOST SELECT switch is set to any position other than “MIDI”, the front-panel [MIDI/WX] button must be used to select the “WX” mode (a small WX icon will appear on the left side of the display) in order for the VL70-m to recognize data from the WX controller. When the HOST SELECT switch is set to “MIDI” the VL70-m accepts both MIDI and WX data (both the MIDI and WX icons appear on the display), and the [MIDI/WX] button has no effect. G50 Guitar MIDI Converter The Yamaha G50 is a high-performance Guitar MIDI Converter designed to work in conjunction with the Yamaha G1D Divided Pickup Unit installed on an electric or steel-string acoustic guitar. The G50 offers unprecedented MIDI guitar synthesizer performance with exceptionally fast response and a range of advanced features that bring the true creative potential of MIDI control to guitar players for the first time. Naturally, the VL70-m is an ideal tone generator for use with a MIDI guitar system based on the G50. Guitar G50 MIDI OUT PARAMETER GUITAR MIDI CONVERTER GUITAR SETUP WRITE EXTERNAL TG SETUP A PLAYING STYLE H PROGRAM CHANGE # B NOTE ON LEVEL I BANK MSB C NOTE OFF LEVEL J BANK LSB D VELO CITY K VOLUME E CHROMATIC L PAN F TRANSPOSE M ASSIGNABLE 1 G PITCH BEND RANGE N VALUE O ASSIGNABLE 2 P VALUE REALTIME CONTROL Q SPLIT R MEMORY2# S MEM2 LOCATION T PICKING CONTROL U FRONT V REAR W TOUCH CONTROL X SENSITIVITY Y SUSTAIN/HOLD PEDAL G1D MIDI IN WX IN BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF VL70-m Since the G50 produces MIDI output, the standard MIDI connection rules that apply to a keyboard or any other MIDI controller also apply when connecting the G50 to the VL70-m (page 16). Setting Up 19 Connecting to a Personal Computer Although the VL70-m can be connected to a personal computer via the MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector and selector switch allow direct connection to Apple Macintosh, IBM PC/AT, or NEC PC-9801/9821 series personal computers for sequencing and other music applications without the need for a separate MIDI interface. ■ IMPORTANT! • If the VL70-m is to be connected to a computer via the TO HOST connector and a MIDI controller via the MIDI IN connector, the “echo back” function of the music software or sequencer you are using must be turned “on” so that the MIDI note data from the controller is returned to the VL70-m and any subsequent devices connected to the VL70m MIDI OUT connector. ●Connector Pin Numbers mini Din 8-pin Modem or Printer port MIDI controller MIDI OUT 6 7 8 3 4 5 1 2 Personal System/V PS/V RS-232C Personal System/V IBM D-SUB 9-pin MIDI IN 5 4 3 2 1 9 8 7 6 WX IN TO HOST BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT D-SUB 25-pin PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL Personal computer VOICE VL-XG PART 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF VL70-m Connecting to an Apple Macintosh Series Computer Connect the TO HOST connector of the VL70-m to the modem or printer port on your Macintosh, depending on which port your MIDI software is using for MIDI data communication, using a standard Macintosh 8-pin system peripheral cable. Set the TO HOST selector to the “Mac” position. You may also have to make other MIDI interface settings on the computer side, depending on the type of software you use (refer to your software owner’s manual). In any case the clock speed should be set to 1 MHz. ● “Mac” Cable Connections mini Din 8-pin • 8-pin system peripheral cable. • Data transfer rate: 31,250 bps. 20 Setting Up mini Din 8-pin Connecting to an IBM PC/AT Series Computer Connect the TO HOST connector of the VL70-m to the RS-232C port on your IBM computer, using a standard 8-pin MINI DIN → 9-pin D-SUB cross cable. Set the TO HOST selector to the “PC-2” position. Refer to your software owner’s manual for information on any settings you might have to make on the computer side. ● “PC-2” Cable Connections mini Din 8-pin D-SUB 9-pin • 8-pin mini DIN → 9-pin D-SUB cable. Use a “PC-1” type cable if your computer uses a 25-pin serial port. • Data transfer rate: 38,400 bps. Connecting to an NEC PC-9801/9821 Series Computer The NEC PC-9801/9821 computers are widely used in Japan. Connect the TO HOST connector of the VL70-m to the RS-232C port on your NEC computer, using a standard 8-pin MINI DIN → 25-pin D-SUB cross cable. Set the TO HOST selector to the “PC-1” position. Refer to your software owner’s manual for information on any settings you might have to make on the computer side. ■ NOTES • If your system doesn’t work properly with the connections and settings listed above, your software may require different settings. Check your software operation manual and set the HOST SELECT switch to the position the provides the appropriate data transfer rate. ● “PC-1” Cable Connections mini Din 8-pin D-SUB 25-pin • 8-pin mini DIN → 25-pin D-SUB cable. Use a “PC-2” type cable if your computer uses a 9-pin serial port. • Data transfer rate: 31,250 bps. Setting Up 21 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. Any standard pair of stereo headphones with a stereo mini phone plug and an impedance of between about 8 and 150 ohms can be used. ■ Stereo Sound System The VL70-m 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 VL70-m voices and expressive features. The VL70-m OUTPUT L/MONO 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 VL70-m outputs directly to the inputs of a multitrack or stereo tape recorder. ■ NOTES • If you need to drive a mono amp or other device, connect only the L/MONO output jack. The left and right channel signals are automatically combined and delivered via the L/ MONO jack when a single phone plug is inserted in this jack and the R output jack is left unconnected. • Make sure that both the VL70-m and your sound system are turned OFF when making connections. 22 Setting Up 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 VL70-m volume control are turned all the way down prior to turning power on. 2. Turn on the VL70-m. 3. Turn on your MIDI controller (and computer/sequencer, if used). 4. Turn on the sound system. 5. Raise the sound system volume to a reasonable level. 6. Gradually raise the VL70-m VOLUME control while playing the MIDI controller to set the desired listening level. ■ NOTES • Some keyboards and other MIDI controllers automatically transmit MIDI control change data corresponding to their control status when the power switch is turned ON or OFF. The VL70-m is programmed to receive this data and respond accordingly, so it is preferable to turn the VL70-m ON before turning the controlling device ON. Setting Up 23 Play the Demo Once you’ve set up your VL70-m system, you might like to play the preprogrammed demo sequence to hear how some of the voices sound. This process will also help to familiarize you with some of the VL70-m’s selection and editing procedures. ■ NOTES • When the demo is played all system setup parameters and current voice are initialized. If your VL70-m memory contains data you want to keep, be sure to use the bulk dump function (page 100) to save the data to an external MIDI data recorder or other appropriate storage device before playing the demo. 1. Select the Utility Mode Press the [UTILITY] button to select the utility mode. 2. Select the Demo Mode Use the SELECT [<] and [>] buttons to select the “DEMO” mode. 3. Press [ENTER] and Confirm Press the [ENTER] button if it’s OK to go ahead with the demo. The VL70m will ask you to confirm: press [ENTER] again to proceed to the demo song select display, or [EXIT] to abort. 4. Select a Song Use the VALUE [-] and [+] buttons to select the demo song number you want to start with. 5. Run the Demo Press the [ENTER] 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. 6. Stop the Demo Press the [EXIT] button to stop demo playback. This will return you to the demo song select display. 7. Return To the Play Mode When Done Press the [PLAY] button to return to the PLAY mode. 24 Setting Up The Supplied Demo Disk The VL70-m is supplied with a demonstration data disk which contains several songs which demonstrate some of the VL70-m’s advanced musical capabilities. The songs on this disk can be reproduced using any sequencer or computer-based sequence software which can handle SMF (Standard MIDI File — format 0) song files. All of the demo songs use the VL70-m for the main melody line, while a second XG tone generator (Yamaha MU50 or MU80 for example) supplies the backing. ■ NOTES • The supplied disk is a 2DD type (720 kilobytes) using MS-DOS format. The disk can be read by Macintosh computers by using the PC Exchange application and an application such as ResEdit which can change the file’s file type. The VL70-m Voice Editing Software — What It Is & Where To Get It — The range of parameters accessible via the VL70-m programming interface is limited to the simplest “upper level” of virtual acoustic synthesis parameters. The “core” parameters which are the true foundation of physical modeling are extremely complex, and were therefore not made directly accessible. The VL70-m Expert Editor voice editing software provides full access to the complete range of physical modeling parameters. It can be used alone to create new voices, or edit voices loaded from the VL70-m. The VL70-m Expert Editor is basically a refined version of the editing software Yamaha voicing professionals use to create original voices for VL-series synthesizers and tone generators. It therefore gives you full professional-level programming power and potential. Another handy VL editing software is the VL Visual Editor. The VL Visual Editor makes it easy for anyone to create new VL voices via a graphic, easy-touse editing interface. The VL70-m Expert Editor can read voice files created by the VL Visual Editor, allowing further in-depth programming. The VL Voice Editing Software can be obtained via Yamaha’s XG home page on the World Wide Web, “http://www.yamaha.co.jp./english/xg/html/ libhm.html”. Setting Up 25 Voice Organization and Sound Module Modes Voice Organization The VL70-m voices are organized into four main banks. Additional banks are used when the VL70-m is set to operate in the VL-XG sound module mode (page 29). The four main banks are as follows: PRESET 1 The PRESET 1 bank contains 128 preset voices which have been created primarily to be played via a keyboard. PRESET 2 The PRESET 2 bank contains 128 preset voices which have been created to provide maximum expressive capability when played with a breath controller or WX-series Wind MIDI Controller. CUSTOM The CUSTOM bank has 6 memory locations in which voices can be edited in detail via an appropriate personal computer and the Yamaha VL70-m Expert Editor application software (page 25). When the VL70-m is initially shipped CUSTOM voice numbers 001 through 006 contain a selection of sound-effect type voices from the PRESET banks. INTERNAL The INTERNAL bank has 64 memory locations in which voices you have edited can be stored and easy recalled for use as required. Unlike CUSTOM voices, INTERNAL voices can be edited via the VL70-m panel controls. When the VL70-m is initially shipped INTERNAL voice numbers 001 through 064 contain a selection of voices from the PRESET 1 and PRESET 2 banks, set up to be played via a WX-series Wind MIDI Controller. Banks 112 through 119 become available when the VL70-m is set to the VL-XG sound module mode (page 29). In the VL-XG sound module mode some voices from the PRESET 1 and PRESET 2 banks are assigned MIDI bank and program change numbers conforming to the Yamaha XG format. Since the VL70-m does not have a full set of XG-compatible voices, however, some voice numbers will be skipped (e.g. 23, 24, 27, etc.). ■ NOTES • PRESET 1, PRESET 2, and CUSTOM voices can be edited via the VL70-m panel controls, but the edited voices cannot be stored to the PRESET 1, PRESET 2, or CUSTOM bank. Edited voices can only be stored to the INTERNAL bank, and only when the VL70-m is set to the VOICE sound module mode (page 29). • The factory preset CUSTOM and INTERNAL voices can be restored by using the Factory Set Initialize function described on page 102. • Refer to the separate “List Book” for a complete listing of the VL70-m voices. • Use the MIDI bank MSB (control number 00) and LSB (control number 32) numbers listed at right to select VL70-m banks from an external MIDI device. In the VOICE sound module mode, the MSB is ignored (recognized as 33) and only LSB numbers 0 through 3 are recognized. 26 Voice Organization and Sound Module Modes BANK PRESET 1 PRESET 2 CUSTOM INTERNAL BANK 112 BANK 113 BANK 114 BANK 115 BANK 116 BANK 117 BANK 118 BANK 119 MSB 33 33 33 33 97 or 97 or 97 or 97 or 97 or 97 or 97 or 97 or 81 81 81 81 81 81 81 81 LSB 0 1 2 3 112 113 114 115 116 117 118 119 The VL70-m Sound Module Modes The VL70-m has two main Sound Module Modes: VOICE and VL-XG. It is important to understand the difference between these modes because they determine how the VL70-m responds to MIDI program change and bank numbers received from a MIDI keyboard or other controller, and how the internal effects relate to the individual voices. The VOICE Mode In this mode the VL70-m functions as a “standard” tone generator module. The VOICE mode should be used when the VL70-m is being used alone or with other non-XG tone generators/synthesizers (see “VL Extension for XG”, page 30). ● Voice Selection The PRESET 1, PRESET 2, CUSTOM, and INTERNAL voices can be individually selected by the VL70-m panel VALUE [-] and [+] buttons, or appropriate MIDI program change numbers and bank numbers received from your keyboard or controller (see the “Voice Organization” section, above). ● Voice Editing In the VOICE mode the INTERNAL voices can be individually edited via the VL70-m panel controls. Each voice has its own edit parameters which can be stored with the voice are recalled whenever the voice is selected. In fact, the edited data must be stored with the voice before a new voice is selected otherwise the edited data will be lost. ● Effects Each voice has its own effect settings which are recalled whenever the voice is selected, so that effects become an important part of the individual sound of each voice. As with edited voice data, edited effect data must be stored with the voice before a new voice is selected otherwise the edited effects data will be lost. ● MIDI Output Normally, MIDI data received at the VL70-m MIDI IN connector is re-transmitted “as is” via the MIDI OUT connector. The Note Filter function described on page 99 can be used to filter out (i.e. block) note data transmission on specified channels. Voice Organization and Sound Module Modes 27 The VL-XG Mode In this mode the VL70-m functions as an “XG expansion” tone generator module. The VL-XG mode should be selected when the VL70-m is being used with other XG tone generators/synthesizers to play music data created for tone generators complying with the Yamaha XG format (see “VL Extension for XG”, page 30). ● Voice Selection The PRESET 1, PRESET 2, CUSTOM, and INTERNAL voices can be individually selected by the VL70-m panel VALUE [-] and [+] buttons, or appropriate MIDI program change numbers and bank numbers received from your keyboard or controller (see the “Voice Organization” section, above). In the VLXG mode banks 112 through 119 become available, and some voices from the PRESET 1 and PRESET 2 banks are assigned MIDI bank and program change numbers conforming to the Yamaha XG format. Since the VL70-m does not have a full set of XG-basic voices, however, some voice numbers will be skipped (e.g. 23, 24, 27, etc.). ● Voice Editing In the VL-XG mode only one set of voice parameters is provided for all voices. Voices can not be individually edited and stored in the INTERNAL bank as in the VOICE mode. In fact, the VL-XG mode has no store function. Any voice parameter edits are retained no matter what voice is selected. This allows the same controller and other settings to be retained while switching to different voices. ● Effects In the VL-XG mode only one set of effect parameters is provided for all voices. Effects can not be edited and stored with each individual voice in the INTERNAL bank as in the VOICE mode. The current effect settings are retained no matter what voice is selected. This allows the same reverb and other “ambiencedefining” settings to be retained while switching to different voices. ● MIDI Output Only MIDI messages which are not used by the VL70-m are re-transmitted via the MIDI OUT connector. The Note Filter function described on page 99 can be used to filter out (i.e. block) note data transmission on specified channels. 28 Voice Organization and Sound Module Modes Selecting the VOICE or VL-XG Sound Module Mode The current sound module mode is indicated by the triangular pointer in the lower right- corner of the display in the PLAY mode. VOICE VL-XG The VOICE or VL-XG sound module mode is selected as follows: 1. Press the [MODE] Button Press the [MODE] button access the VL70-m sound module modes selection function. 2. Select the VOICE or VL-XG Mode Use the VALUE [-] and [+] buttons to select the “VOICE” or “VL-XG” sound module mode, as required. 3. Press [EXIT] or [PLAY] When Done Press the [EXIT] or [PLAY] button to return to the PLAY mode when the desired sound module mode has been selected. Voice Organization and Sound Module Modes 29 ■ VL Extension for XG The VL Extension for XG (“VL Extension for XG” is abbreviated to VL-XG) included in the VL70-m Virtual Acoustic Tone Generator significantly enhances and expands the musical capabilities of the XG format with the superior sound and expressive potential of Yamaha Virtual Acoustic Synthesis. A VL70-m can be used in conjunction with a Yamaha MU80 or MU50 XG tone generator, for example: the VL70-m providing superior wind and string instrument voices while the MU80 or MU50 supplies drums, percussion, keyboard, and other voices. The XG format is basically a set of rules describing how a tone generator will respond to MIDI data. The current GM (General MIDI) format is a similar concept, allowing GM music data to be reproduced accurately on any GM tone generator from any manufacturer. GM, however, applies only to a limited set of parameters. XG significantly expands on the basic GM format, providing many more voices, voice editing capability, effects, external input, and other features that contribute to enhanced musical expression. And since XG is totally upward compatible with GM, GM data can be accurately reproduced on any XG tone generator. * The VL70-m does not contain the basic set for the XG format. 30 Voice Organization and Sound Module Modes The VOICE PLAY Mode When the VOICE sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLAY] button engages the VL70-m VOICE PLAY mode. This mode allows voices to be selected and played, and thus is the mode you’ll normally use when playing the VL70-m. The VOICE PLAY mode also provides access to several important performance parameters including volume, panning, etc. The VOICE PLAY mode actually has two control modes — the main control mode and the sub-control mode — which provide access to different sets of parameters, as described below. The VOICE PLAY Main Control Mode This mode is initially selected when the VL70-m power is turned on. If the sub-control mode is active (see page 34), the main control mode can be selected by simultaneously pressing the PART [-] and [+] buttons. The VOICE PLAY main control mode display looks like this: PART • Device Number • Bank Number • Program Number • Volume MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY • • • • • System Transpose Variation Return Chorus Return Reverb Return Pan The various parameters in this mode are selected via the SELECT [<] and [>] buttons. The name of the currently selected parameter appears in the upper right corner of the display (when the bank and program number parameters are showing a solid triangular pointer indicates which of the two parameters is selected). A small triangular pointer appears above the icon corresponding to the selected parameter in the bottom line of the display. Once the desired parameter has been selected, it’s value can be set as required via the VALUE [-] and [+] buttons. The VOICE PLAY Mode 31 DevNo. (Device Number) Volume Settings: 001 … 016, all Settings: 000 … 127 The Device Number parameter must be set properly when you want to transmit or receive MIDI system exclusive data to or from another VL70-m or other MIDI device (system exclusive data includes voice parameters, system setup parameters, etc). The VL70-m Device number must be set to the same number as the Device Number of the external device. Select a device number from “001” to “016”, or “all”. When “all” is selected, MIDI system exclusive data can be received on all device numbers, but transmission occurs via device number 001. Sets the volume of the current voice. The higher the value the louder the volume. (Bank Number) Settings: Pr1, Pr2, Cst, Int Pan Settings: Rnd, L63 … C … R63 Sets the pan position of the current voice — i.e. the position of the voice between left and right in the stereo sound field. A setting of “L63: sets the pan position full left, “C” sets the pan at center, and “R63” sets the pan full right. In between settings produce corresponding intermediate pan positions. The “Rnd” setting produces a randomlygenerated pan position. RevRtn (Reverb Return) Selects the VL70-m PRESET 1 (Pr1), PRESET 2 (Pr2), CUSTOM (Cst), or INTERNAL (Int) voice bank (see “Voice Organization” on page 26). Settings: 000 … 127 (Program Number) Settings: 001 … 128 Adjusts the level of the signal returned from the VL70-m reverb effect stage. The higher the value, the higher the level of the reverb signal. Selects the voice to played on the VL70-m. The PRESET 1 and PRESET 2 banks each have voice numbers from “001” to “128”, while the INTERNAL bank has voice numbers from “001” to “064”, and the CUSTOM bank has voice numbers from “001” to “006”. 32 The VOICE PLAY Mode ChoRtn (Chorus Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus signal. VarRtn (Variation Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m variation effect stage. The higher the value, the higher the level of the variation signal. SysTran (System Transpose) Settings: -24 … 0 … +24 Transposes the pitch of the entire VL70-m system (a single setting applies to all voices) down or up in semitone steps over a ±2 octave range. “+00” corresponds to standard pitch. Each increment corresponds to a semitone. A setting of “-12”, for example, transposes the pitch down one octave. ■ NOTES • The Volume, Pan, Reverb Return, Chorus Return, and Variation Return settings are actually voice parameters, and are stored and recalled with each individual voice. This means that any edits you make may change when a new voice is selected. The VOICE PLAY Mode 33 The VOICE PLAY Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the PART [-] and [+] buttons. The VOICE PLAY sub-control mode display looks like this: PART MIDI BANK/PGM VOL EXP PAN REV • Receive Channel • Bank Pointer • Program Pointer CHO VAR KEY • • • • Note Shift Variation Send Chorus Send Reverb Send The various parameters in this mode are selected via the SELECT [<] and [>] buttons. The name of the currently selected parameter appears in the upper right corner of the display (when the bank and program pointer parameters are showing a solid triangular pointer indicates which of the two parameters is selected). A small triangular pointer appears above the icon corresponding to the selected parameter in the bottom line of the display. Once the desired parameter has been selected, it’s value can be set as required via the VALUE [-] and [+] buttons. Rcv CH (Receive Channel) Settings: 01 … 16, all Sets the MIDI receive channel on which the VL70m will receive data from your keyboard or other controller. The receive channel must be set to the same channel that the controlling device is transmitting on (“01” through “16”), or “all” to allow reception on all channels. 34 The VOICE PLAY Mode (Bank Pointer) ChoSend (Chorus Send) Settings: Pr1, Pr2, Cst Settings: 000 … 127 This parameter refers to the bank containing the selected voice in the VOICE PLAY main control mode. It selects the VL70-m PRESET 1 (Pr1), PRESET 2 (Pr2) or CUSTOM (Cst) voice bank (see “Voice Organization” on page 26). Adjusts the level of the signal sent to the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus send signal. VarSend (Variation Send) Settings: 000 … 127 (Program Pointer) Settings: 001 … 128 This parameter refers to the selected voice in the VOICE PLAY main control mode. The PRESET 1 and PRESET 2 banks each have voice numbers from “001” to “128”, and the CUSTOM bank has voice numbers from “001” to “006”. Adjusts the level of the signal sent to the VL70-m variation effect stage. The higher the value, the higher the level of the variation send signal. NoteSft (Note Shift) Settings: -24 … 0 … +24 RevSend (Reverb Send) Settings: 000 … 127 Adjusts the level of the signal sent to the VL70-m reverb effect stage. The higher the value, the higher the level of the reverb send signal. Transposes the pitch of the current voice down or up in semitone steps over a ±2 octave range. “+00” corresponds to standard pitch. Each increment corresponds to a semitone. A setting of “-12”, for example, transposes the pitch down one octave. ■ NOTES • The Reverb Send, Chorus Send, Variation Send, Note Shift settings are actually voice parameters, and are stored and recalled with each individual voice. This means that any edits you make may change when a new voice is selected. The VOICE PLAY Mode 35 The VL-XG PLAY Mode When the VL-XG sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLAY] button engages the VL70-m VLXG PLAY mode. In this mode the VL70-m can be used as an “XG expansion” tone generator module with other XG tone generators/synthesizers to play music data created for tone generators complying with the Yamaha XG format (see “VL Extension for XG”, page 30). Like the VOICE PLAY mode, the VL-XG PLAY mode also provides access to several important performance parameters via two control modes — the main control mode and the sub-control mode. When the VL-XG sound module mode is selected the PART [-] and [+] buttons select the XG “part” to be played. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. XG parts “01” to “16” can be selected, or the part parameter can be turned “Of” (off). No sound will be produced when “Of” is selected. ■ NOTES • When selecting an XG part from the external MIDI device, specify the part number and transmit ON message using “NOTE ASSIGN” of the Current Voice/Common Part parameter (see page 34 in the separate “List Book”). If the external MIDI device transmits OFF message, “Of” is selected. ● A Simple XG System Incorporating the VL70-m XG tone generator PLAY EDIT MUTE/ SOLO PART UTIL EFFECT ENTER SELECT EXIT VALUE ALL MIDI IN INPUT PHONES XG TG300B C/M DOC POWER/VOL PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY MODE PERFORM PUSH ON/OFF Modem or Printer port MIDI controller MIDI OUT PS/V RS-232C MIDI IN WX IN MIDI OUT TO HOST BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES BC/WX VELOCITY TOUCH EG POWER/VOL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF VL70-m 36 The VL-XG PLAY Mode MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL Personal System/V Personal System/V IBM Personal computer The VL-XG PLAY Main Control Mode This mode is initially engaged when the VL-XG sound module mode is selected. If the sub-control mode is active (see page 40), the main control mode can be selected by simultaneously pressing the PART [-] and [+] buttons. The VL-XG PLAY main control mode display looks like this: PART • • • • Part Number Receive Channel Bank Number Program Number • Volume • Expression MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY • • • • • Note Shift Variation Send Chorus Send Reverb Send Pan The various parameters in this mode are selected via the SELECT [<] and [>] buttons. The name of the currently selected parameter appears in the upper right corner of the display (when the bank and program number parameters are showing a solid triangular pointer indicates which of the two parameters is selected). A small triangular pointer appears above the icon corresponding to the selected parameter in the bottom line of the display. Once the desired parameter has been selected, it’s value can be set as required via the VALUE [-] and [+] buttons. The VL-XG PLAY Mode 37 Rcv CH (Receive Channel) Volume Settings: 01 … 16, OFF Settings: 000 … 127 Sets the MIDI receive channel on which the VL70m will receive data from your keyboard or other controller. The receive channel must be set to the same channel that the controlling device is transmitting on (“01” through “16”). When “OFF” is selected, the VL70-m will not receive any data from external MIDI devices. Sets the volume of the current voice. The higher the value the louder the volume. Expresn (Expression) Settings: 000 … 127 (Bank Number) Settings: 112 … 119, Pr1, Pr2, Cst, Int Sets the expression level of the current voice. The higher the value the higher the expression level. Pan Settings: Rnd, L63 … C … R63 Selects the VL70-m voice bank: 112 through 119, PRESET 1 (Pr1), PRESET 2 (Pr2), CUSTOM (Cst), or INTERNAL (Int). See “Voice Organization” on page 26. (Program Number) Settings: 001 … 128 Selects the voice to played on the VL70-m. Banks 112 through 119 allow selection of voice numbers from “022” to “128”, although some voice numbers are skipped since the VL70-m does not have a full basic XG voice set. The PRESET 1 and PRESET 2 banks each have voice numbers from “001” to “128”, while the CUSTOM bank has voice numbers from “001” to “006”, and the INTERNAL bank has voice numbers from “001” to “064” 38 The VL-XG PLAY Mode Sets the pan position of the current voice — i.e. the position of the voice between left and right in the stereo sound field. A setting of “L63: sets the pan position full left, “C” sets the pan at center, and “R63” sets the pan full right. In between settings produce corresponding intermediate pan positions. The “Rnd” setting produces a randomlygenerated pan position. RevSend (Reverb Send) NoteSft (Note Shift) Settings: 000 … 127 Settings: -24 … 0 … +24 Adjusts the level of the signal sent to the VL70-m reverb effect stage. The higher the value, the higher the level of the reverb send signal. Transposes the pitch of the current voice down or up in semitone steps over a ±2 octave range. “+00” corresponds to standard pitch. Each increment corresponds to a semitone. A setting of “-12”, for example, transposes the pitch down one octave. ChoSend (Chorus Send) Settings: 000 … 127 Adjusts the level of the signal sent to the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus send signal. VarSend (Variation Send) Settings: 000 … 127 (on, off when “INS”) When the variation stage is connected as a system effect (page 87), this parameter adjusts the level of the signal sent to the VL70-m variation effect stage. The higher the value, the higher the level of the variation send signal. When the variation stage is connected as an “insertion” effect (page 86), this parameter turns variation send “on” or “off”. The VL-XG PLAY Mode 39 The VL-XG PLAY Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the PART [-] and [+] buttons. The VL-XG PLAY sub-control mode display looks like this: PART • Device Number • Master Volume MIDI BANK/PGM VOL EXP PAN REV CHO VAR KEY • • • • Transpose Variation Return Chorus Return Reverb Return • When you enter the VL-XG sub control mode from the main control mode, “ALL” is automatically selected for the “part” by simultaneously pressing the PART [-] and [+] buttons (“ALL”). The various parameters in this mode are selected via the SELECT [<] and [>] buttons. The name of the currently selected parameter appears in the upper right corner of the display. A small triangular pointer appears above the icon corresponding to the selected parameter in the bottom line of the display. Once the desired parameter has been selected, it’s value can be set as required via the VALUE [-] and [+] buttons. 40 The VL-XG PLAY Mode DevNo. (Device Number) ChoRtn (Chorus Return) Settings: 001 … 016, all Settings: 000 … 127 The Device Number parameter must be set properly when you want to transmit or receive MIDI system exclusive data to or from another VL70-m or other MIDI device (system exclusive data includes voice parameters, system setup parameters, etc). The VL70-m Device number must be set to the same number as the Device Number of the external device. Select a device number from “001” to “016”, or “all” . When “all” is selected, MIDI system exclusive data can be received on all device numbers, but transmission occurs via device number 001. Adjusts the level of the signal returned from the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus signal. M.Volum (Master Volume) Settings: 000 … 127 VarRtn (Variation Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m variation effect stage. The higher the value, the higher the level of the variation signal. This parameter is not available (“***” will appear in place of the VarRtn value) when the variation stage is connected as an “insertion” effect (page 86). Trans (Transpose) Sets the VL70-m master volume level. The higher the value the louder the volume. Settings: -24 … 0 … +24 RevRtn (Reverb Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m reverb effect stage. The higher the value, the higher the level of the reverb signal. Transposes the pitch of the entire VL70-m system (a single setting applies to all voices) down or up in semitone steps over a ±2 octave range. “+00” corresponds to standard pitch. Each increment corresponds to a semitone. A setting of “-12”, for example, transposes the pitch down one octave. The VL-XG PLAY Mode 41 Controllers & Control Editing If you’ve read the “Virtual Acoustic Synthesis” section (if you haven’t, please do so — page 6) you should understand the concept of “controllers” as applied to the VL70-m. The “controller parameters” correspond to simulated characteristics of the instrument model — e.g. breath pressure, embouchure or tonguing. Any of these can be controlled by you via “physical controllers” — e.g. a breath controller or modulation wheel — assigned to the required controller parameter. 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 VL70-m as a musical instrument depends to a great deal on how well you learn to use these controllers. Since the VL70-m sound is produced by a computer-based physical model rather than a oscillator-based tone generator, there are no hard-and-fast rules as to how any controller will actually affect the sound. There are guidelines, based on the rule of the corresponding controller parameter within the physical model, but proficiency with the VL70-m depends more on experience and practice — just as it does in any acoustic instrument. 42 Controllers & Control Editing ● Physical Controllers First, here’s a list of some of the physical controllers you might want to use with the VL70-m: Breath Controller A natural candidate for controlling pressure, tonguing, throat (MIDI control formant, growl, and other parameters. change no. 02) Pitch Bend Wheel The pitch bend wheel on your keyboard or other MIDI device 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 bend wheel for more realistic pitch variations. Modulation Wheel (MIDI control change no. 01) Since the modulation wheel on your keyboard or other MIDI device can be assigned to any controller parameter, it can be an important tool for musical expression. Use it in conjunction with a breath controller or a foot controller for broad expressive variation. Foot Controller (MIDI control change no. 04) Like the modulation wheel, a foot controller connected to your keyboard or other MIDI device can be assigned to any VL70-m controller parameter. 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 controller parameter. Others The MIDI protocol provides 119 control change numbers, some of which are pre-assigned to specific controllers — as noted above, “01” is “Modulation Wheel”, for example. 95 of these are available for assignments to the VL70-m controller parameters, so any available MIDI control devices can be used to full advantage. A complete list of the available MIDI control change numbers is given below. ● MIDI Control Change Number Assignments Control No. Controller off(00) off (used by Bank Select MSB) 01 Modulation Wheel 02 Breath Controller 03 Unassigned 04 Foot Controller 05 Portamento Time 06 Data Entry MSB 07 Volume Control 08~09 Unassigned 10 Panpot 11 Expression 12~31 Unassigned Controllers & Control Editing 43 44 Controllers & Control Editing Control No. Controller off(32) off (used by Bank Select LSB) 33~37 Unassigned 38 Data Entry LSB 39~63 Unassigned 64 Hold1 65 Portamento Switch 66 Unassigned 67 Soft Pedal 68~70 Unassigned 71 Harmonic Content 72 Release Time 73 Attack Time 74 Brightness 75~90 Unassigned 91 Effect Send Level (Reverb Effect) 92 Unassigned 93 Effect Send Level 3 (Chorus Effect) 94 Effect Send Level 4 (Variation Effect) 95 Unassigned AT After Touch VEL Velocity PB Pitch Bend ● VL70-m Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VL70-m’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 voice Embouchure corresponds to how strongly the bow is pressed against the string. Affects both pitch and timbre. 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 to produce exceptionally realistic effects with many wind instruments. Growl A periodic pressure modulation which produces the “growl” effect often heard in wind instruments. Throat Formant Controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound. Throat formant only applies to some reed-type voices. Filter Similar to the dynamic filters found in many conventional synthesizers, the cutoff frequency can be varied to produce a wide range of timbral variations. Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band eliminate types. Some voices use very little filter processing at all. Changing the filter settings may not produce a particularly noticeable effect. For detailed filter parameter programming use the VL70-m Expert Editor software (page 25). Harmonic Enhancer The Harmonic Enhancer can vary the harmonic structure of the sound over a wide range. Since most VL70-m voices have sufficient natural harmonic content, the Harmonic Enhancer is actually only used on a few voices. Therefore changing the controller destination with many voices will produce either no change in the sound or a simple change in amplitude. For detailed harmonic enhancer programming use the VL70-m Expert Editor software (page 25). Damping Simulates the effect of damping due to losses within the body of a wind instrument or in a string due to air friction. Affects both pitch and timbre. Absorption Simulates the effect of high-frequency loss at the end of the air column or string. In the case of a wind instrument, the Damping and Absorption parameters control the diameter and shape of the bell. Controllers & Control Editing 45 Accessing & Editing the Control Parameters The CONTROL EDIT mode can be accessed from the VOICE PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the VOICE EDIT sub-mode menu. 2. Select the CONTROL Sub-mode Use the SELECT [<] and [>] buttons to select the CONTROL sub-mode, if necessary. The icon to the left of “CONTROL” on the display will flash when the CONTROL sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the CONTROL EDIT mode. “CONTROL EDIT” will appear at the top of the display along with the number of the currently selected control parameter. 4. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see “The Control Edit Parameters”, below). The name of the currently selected parameter and its current setting appear on the second line of the display. An arrow to the left and/or right of the parameter name/value indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction. 5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 46 Controllers & Control Editing 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the VOICE EDIT sub-mode menu, or the [PLAY] button to return to the VOICE PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice. All edited data will be lost if you select a new voice before storing the edited voice! Controllers & Control Editing 47 The Control Edit Parameters Please note that a number of CONTROL EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. Some of the value ranges are also different — the differences will be listed with the actual parameter descriptions. ● VOICE Sound Module Mode Control Edit Parameters Refer to the page numbers listed for full details on each parameter. Pitch Bend ........................................................................................ 52 01: PB Ctrl (Pitch Bend Control) 02: PB LowCtrl (Pitch Bend Low Control) 03: PBLFO PMod (Pitch Bend LFO Pitch Modulation) Modulation Wheel .......................................................................... 53 04: MWLFO PMod (Modulation Wheel LFO Pitch Modulation) 05: MWLFO FMod (Modulation Wheel LFO Filter Modulation) Aftertouch ....................................................................................... 53 06: ATFil Ctrl (Aftertouch Filter Control) 07: ATLFO PMod (Aftertouch LFO Pitch Modulation) Assignable Controller ..................................................................... 54 08: AC1 CC No. (Assignable Controller 1 Control Change Number) 09: AC1FilCtrl (Assignable Controller 1 Filter Control) 10: AC1AmpCtrl (Assignable Controller 1 Amplitude Control) 11: AC1LFOPMod (Assignable Controller 1 LFO Pitch Modulation) Expression ........................................................................................ 54 12: Exp Mode (Expression Mode) Pressure ............................................................................................ 55 13: Prs CC No. (Pressure Control Change Number) 14: PrsCtrlDpt (Pressure Control Depth) 15: Prs Curve (Pressure Curve) Filter .............................................................................................. 55 16: Fil CC No. (Filter Control Change Number) 17: FilCtrlDpt (Filter Control Depth) 18: Fil Curve (Filter Curve) Amplitude ........................................................................................ 56 19: Amp CC No. (Amplitude Control Change Number) 20: AmpCtrlDpt (Amplitude Control Depth) 21: Amp Curve (Amplitude Curve) 48 Controllers & Control Editing Embouchure ..................................................................................... 57 22: Emb CC No. (Embouchure Control Change Number) 23: EmbUpprDpt (Embouchure Upper Control Depth) 24: EmbLowrDpt (Embouchure Lower Control Depth) 25: Emb Mode (Embouchure Mode) Tonguing .......................................................................................... 58 26: Tng CC No. (Tonguing Control Change Number) 27: TngCtrlDpt (Tonguing Control Depth) 28: Tng Curve (Tonguing Curve) Scream .............................................................................................. 59 29: Scr CC No. (Scream Control Change Number) 30: ScrCtrlDpt (Scream Control Depth) 31: Scr Curve (Scream Curve) Breath Noise .................................................................................... 60 32: Bnz CC No. (Breath Noise Control Change Number) 33: BnzCtrlDpt (Breath Noise Control Depth) 34: Bnz Curve (Breath Noise Curve) Growl .............................................................................................. 61 35: Grl CC No. (Growl Control Change Number) 36: GrlCtrlDpt (Growl Control Depth) 37: Grl Curve (Growl Curve) Throat Formant ............................................................................... 62 38: Thr CC No. (Throat Formant Control Change Number) 39: ThrCtrlDpt (Throat Formant Control Depth) 40: Thr Curve (Throat Formant Curve) Harmonic Enhancer ......................................................................... 62 41: Hrm CC No. (Harmonic Enhancer Control Change Number) 42: HrmCtrlDpt (Harmonic Enhancer Control Depth) 43: Hrm Curve (Harmonic Enhancer Curve) Damping .......................................................................................... 63 44: Dmp CC No. (Damping Control Change Number) 45: DmpCtrlDpt (Damping Control Depth) 46: Dmp Curve (Damping Curve) Absorption ....................................................................................... 64 47: Abs CC No. (Apsorption Control Change Number) 48: AbsCtrlDpt (Absorption Control Depth) 49: Abs Curve (Absorption Curve) Controllers & Control Editing 49 ● VL-XG Sound Module Mode Control Edit Parameters Refer to the page numbers listed for full details on each parameter. Pitch Bend ........................................................................................ 52 01: PB Ctrl (Pitch Bend Control) 02: PB LowCtrl (Pitch Bend Low Control) 03: PBLFO PMod (Pitch Bend LFO Pitch Modulation) Modulation Wheel .......................................................................... 53 04: MWLFO PMod (Modulation Wheel LFO Pitch Modulation) 05: MWLFO FMod (Modulation Wheel LFO Filter Modulation) Aftertouch ....................................................................................... 53 06: ATFil Ctrl (Aftertouch Filter Control) 07: ATLFO PMod (Aftertouch LFO Pitch Modulation) Assignable Controller ..................................................................... 54 08: AC1 CC No. (Assignable Controller 1 Control Change Number) 09: AC1FilCtrl (Assignable Controller 1 Filter Control) 10: AC1AmpCtrl (Assignable Controller 1 Amplitude Control) 11: AC1LFOPMod (Assignable Controller 1 LFO Pitch Modulation) Pressure ............................................................................................ 55 12: Prs CC No. (Pressure Control Change Number) 13: PrsCtrlDpt (Pressure Control Depth) Embouchure ..................................................................................... 57 14: Emb CC No. (Embouchure Control Change Number) 15: EmbCtrlDpt (Embouchure Control Depth) Tonguing .......................................................................................... 58 16: Tng CC No. (Tonguing Control Change Number) 17: TngCtrlDpt (Tonguing Control Depth) Scream .............................................................................................. 59 18: Scr CC No. (Scream Control Change Number) 19: ScrCtrlDpt (Scream Control Depth) Breath Noise .................................................................................... 60 20: Bnz CC No. (Breath Noise Control Change Number) 21: BnzCtrlDpt (Breath Noise Control Depth) Growl .............................................................................................. 61 22: Grl CC No. (Growl Control Change Number) 23: GrlCtrlDpt (Growl Control Depth) 50 Controllers & Control Editing Throat Formant ............................................................................... 62 24: Thr CC No. (Throat Formant Control Change Number) 25: ThrCtrlDpt (Throat Formant Control Depth) Harmonic Enhancer ......................................................................... 62 26: Hrm CC No. (Harmonic Enhancer Control Change Number) 27: HrmCtrlDpt (Harmonic Enhancer Control Depth) Damping .......................................................................................... 63 28: Dmp CC No. (Damping Control Change Number) 29: DmpCtrlDpt (Damping Control Depth) Absorption ....................................................................................... 64 30: Abs CC No. (Apsorption Control Change Number) 31: AbsCtrlDpt (Absorption Control Depth) Controllers & Control Editing 51 ● Control Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Pitch Bend 01(01): PB Ctrl 02(02): PB LowCtrl • Pitch Bend Low Control • Settings: -24 … +24 • Pitch Bend Control • Settings: -24 … +24 This parameter sets the maximum amount of pitch bend which will occur when the pitch controller is set to its maximum position (e.g. when the pitch bend wheel on a keyboard is rolled all the way up). Minus setting produce a downward pitch bend. Each increment corresponds to a semitone. A setting of “+12”, for example, results in maximum upward pitch bend of one octave. • This setting automaically switches the plus/ minus status of the “PB LowCtrl” parameter, below: If “PB Ctrl” is set to a “+” value, “PB LowCtrl” is automatically switched to a “-” value, and vice-versa. • Natural acoustic musical instruments have no “pitch parameter”. Pitch is determined by the properties of the instrument’s resonant body as well as the condition of the instrument’s driver. The same applies to Virtual Acoustic Synthesis: in the VL70-m pitch bend is simulated by manipulating the appropriate pipe/string length and driver characteristics. As a result, the pitch bend range may not always be “mathematically” accurate. 52 Controllers & Control Editing “PB LowCtrl” sets the maximum amount of pitch bend which will occur when the pitch controller is set to its lowest position (e.g. when the pitch bend wheel on a keyboard is rolled all the way down). Plus settings produce an upward pitch bend. Each increment corresponds to a semitone. A setting of “-12”, for example, results in maximum downward pitch bend of one octave. 03(03): PBLFO PMod • Pitch Bend LFO Pitch Modulation • Settings: 000 … 127 Sets the amount of LFO pitch modulation applied by the pitch controller (e.g. the pitch bend wheel on a keyboard). The higher the value the greater the amount of pitch modulation produced by pitch controller operation. A setting of “000” produces no pitch modulation. • In the VL70-m pitch modulation produces extremely realistic vibrato effects by simultaneously modulating the pitch, embouchure, and pressure parameters. Modulation Wheel 04(04): MWLFO PMod • Modulation Wheel LFO Pitch Modulation • Settings: 000 … 127 Sets the amount of LFO pitch modulation applied by the modulation controller (e.g. the modulation wheel on a keyboard — MIDI control change number 01). The higher the value the greater the amount of pitch modulation produced by modulation controller operation. A setting of “000” produces no pitch modulation. Aftertouch 06(06): ATFil Ctrl • Aftertouch Filter Control • Settings: -64 … +63 Determines the degree to which the filter is affected by keyboard aftertouch. Plus settings cause the cutoff frequency of the filter to increase in response to increasing aftertouch pressure, while minus values cause the filter frequency to decrease in response to increasing aftertouch pressure. 07(07): ATLFO PMod 05(05): MWLFO FMod • Modulation Wheel LFO Filter Modulation • Settings: 000 … 127 Sets the amount of LFO filter cutoff frequency modulation applied by the modulation controller (e.g. the modulation wheel on a keyboard — MIDI control change number 01). The higher the value the greater the amount of filter modulation produced by modulation controller operation. A setting of “000” produces no filter modulation. • Aftertouch LFO Pitch Modulation • Settings: 000 … 127 Sets the amount of LFO pitch modulation applied by keyboard aftertouch. The higher the value the greater the amount of pitch modulation produced by aftertouch pressure. A setting of “000” produces no pitch modulation. Controllers & Control Editing 53 Assignable Controller 08(08): AC1 CC No. • Assignable Controller 1 Control Change Number • Settings: off … 95 amplitude to increase in response to increasing controller values, while minus values cause the amplitude to decrease in response to increasing controller values. 11(11): AC1LFOPMod • Assignable Controller 1 LFO Pitch Modulation • Settings: 000 … 127 Assigns the specified control change number as “Assignable Controller 1”. The assigned controller can then be used to control filter, amplitude, and/or pitch modulation as specified by the “AC1FilCtrl”, AC1AmpCtrl, and “AC1LFOPMod” parameters. below. For example, if this parameter is set to “04” (Foot Controller), then a MIDI foot controller can be used to control any of the parameters just mentioned. Sets the amount of LFO pitch modulation applied by Assignable Controller 1 (see “AC1 CC No.”, above). The higher the value the greater the amount of pitch modulation produced by the controller. A setting of “000” produces no pitch modulation. 09(09): AC1FilCtrl • Assignable Controller 1 Filter Control • Settings: -64 … +63 Expression 12: Exp Mode (VOICE mode only) • Expression Mode • Settings: BC, Vol Determines the degree to which the filter is affected by Assignable Controller 1 (see “AC1 CC No.”, above). Plus settings cause the cutoff frequency of the filter to increase in response to increasing controller values, while minus values cause the filter frequency to decrease in response to increasing controller values. 10(10): AC1AmpCtrl • Assignable Controller 1 Amplitude Control • Settings: -64 … +63 Determines the degree to which amplitude (volume) is affected by Assignable Controller 1 (see “AC1 CC No.”, above). Plus settings cause the 54 Controllers & Control Editing Determines whether expression control (MIDI control change number 11) will function as volume control or as breath controller. When set to “Vol” expression will affect volume, but when set to “BC” expression will produce the same effect as a breath controller connected to the VL70-m BREATH jack, affecting the same breath-controlled parameters. Pressure 13(12): Prs CC No. 15: Prs Curve (VOICE mode only) • Pressure Curve • Settings: -16 … +16 • Pressure Control Change Number • Settings: off… 95, AT, VEL, PB “Pressure” corresponds to the amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre. The “Prs CC No.” parameter specifies the controller to be used for pressure control. When set to “off” maximum pressure is applied at all times. • Please note that pressure affects not only volume, but timbre and pitch as well. Accurate keyboard/controller pitch is produced only at maximum pressure. • The “PrsCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for pressure control to have any effect. Determines the relationship between the controller value and pressure. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in pressure. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents pressure. 14(13): PrsCtrlDpt • Pressure Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Filter 16: Fil CC No. (VOICE mode only) • Filter Control Change Number • Settings: off… 95, AT, VEL, PB Sets the amount of variation produced by the controller assigned to pressure. The higher the value the greater the variation. Positive values cause an increase in pressure in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in pressure in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents pressure. • Set this parameter to “+00” if do not intend to control pressure via a controller. The “Fil CC No.” parameter specifies the controller to be used for filter cutoff frequency control (page 45). When set to “off” no filter frequency variation can be applied via a controller. • The “FilCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for filter control to have any effect. • Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band Controllers & Control Editing 55 eliminate types. Some voices use very little filter processing at all. Changing the filter settings may not produce a particularly noticeable effect. For detailed filter parameter programming use the VL70-m Expert Editor software (page 25). 17: FilCtrlDpt (VOICE mode only) • Filter Control Depth • Settings: -127 … +127 relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents filter cutoff frequency. Amplitude Sets the amount of variation produced by the controller assigned to dynamic filter. The higher the value the greater the variation. Positive values cause an increase in filter cutoff frequency in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in filter cutoff frequency in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents filter cutoff frequency. • The effect of the filter may be barely noticeable on some voices. In some cases it may be necessary to lower the cutoff frequency to produce the desired effect. 18: Fil Curve (VOICE mode only) • Filter Curve • Settings: -16 … +16 19: Amp CC No. (VOICE mode only) • Amplitude Control Change Number • Settings: off… 95, AT, VEL, PB Unlike pressure, “Amplitude” controls the volume of the sound without varying timbre or pitch. The “Amp CC No.” parameter specifies the controller to be used for amplitude control. When set to “off” maximum volume is produced at all times. • The “AmpCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for amplitude control to have any effect. 20: AmpCtrlDpt (VOICE mode only) • Amplitude Control Depth • Settings: -127 … +127 Determines the relationship between the controller value and dynamic filter cutoff frequency. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in frequency. As the curve value increases the lower end of the controller range has 56 Controllers & Control Editing Sets the amount of variation produced by the controller assigned to amplitude. The higher the value the greater the variation. Positive values cause an increase in amplitude in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in amplitude in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents amplitude. 21: Amp Curve (VOICE mode only) • Amplitude Curve • Settings: -16 … +16 Determines the relationship between the controller value and amplitude. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in amplitude. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents amplitude. Embouchure 22(14): Emb CC No. • Embouchure Control Change Number • Settings: off… 95, AT, VEL, PB “Embouchure” corresponds to the tightness of the lips against the reed or against each other. In a string instrument voice embouchure corresponds to how strongly the bow is pressed against the string. Affects both pitch and timbre. The “Emp CC No.” parameter specifies the controller to be used for embouchure control. When set to “off” medium embouchure is applied at all times. • Please note that with many voices accurate keyboard/controller pitch is produced only at medium embouchure. • The “EmbUpprDpt” and “EmbLowrDpt” parameters, below, must be set to appropriate values (higher than “+01” or lower than “-01”) for embouchure control to have any effect. 23: EmbUpprDpt (VOICE mode only) • Embouchure Upper Control Depth • Settings: -127 … +127 Sets the amount of variation produced by the controller assigned to embouchure when the controller is set to its maximum position (e.g. a modulation wheel rolled all the way up). The higher the value the greater the variation. Positive values cause an increase in embouchure in response to higher controller values, while minus values cause a decrease in embouchure in response to higher controller values. Controllers & Control Editing 57 24: EmbLowrDpt (VOICE mode only) 25: Emb Mode (VOICE mode only) • Embouchure Lower Control Depth • Settings: -127 … +127 • Embouchure Mode • Settings: Cntr, Min Sets the amount of variation produced by the controller assigned to embouchure when the controller is set to it minimum position (e.g. a modulation wheel rolled all the way down). The higher the value the greater the variation. Positive values cause an increase in embouchure in response to lower controller values, while minus values cause a decrease in embouchure in response to lower controller values. The “EmbLowrDpt” parameter has no effect when the “Emb Mode” parameter, below, is set to “Min”. Selects the controller value (position) which will produce “normal” embouchure. When set to “Cntr” (Center) a central controller position will produce normal embouchure, allowing both downward and upward variation. A setting of “Min” (Minimum) will produce normal embouchure when the controller is set to its minimum position, allowing only upward variation. ● VL-XG MODE In the VL-XG sound module mode (page 28) the “EmbUpprDpt” and EmbLowrDpt” parameters are replaced by a single “EmbCtrlDpt” parameter, as follows: Tonguing 26(16): Tng CC No. • Tonguing Control Change Number • Settings: off … 95, AT, VEL, PB 15: EmbCtrlDpt • Embouchure Control Depth • Settings: -64 … +63 Sets the amount of variation produced by the controller assigned to embouchure. The higher the value the greater the variation. Positive values cause an increase in embouchure in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an decrease in embouchure in response to higher controller values. 58 Controllers & Control Editing “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. The “Tng CC No.” parameter specifies the controller to be used for tonguing control. When set to “off” no tonguing is applied. • Please note that accurate keyboard pitch is produced only when maximum tonguing is applied or the tonguing controller is turned off. • The “TngCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for tonguing control to have any effect. 27(17): TngCtrlDpt • Tonguing Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Scream 29(18): Scr CC No. • Scream Control Change Number • Settings: off … 95, AT, VEL, PB Sets the amount of variation produced by the controller assigned to tonguing. The higher the value the greater the variation. Positive values cause an decrease in tonguing in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in tonguing in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents tonguing. 28: Tng Curve (VOICE mode only) • Tonguing Curve • Settings: -16 … +16 “Scream” drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modeling technology. The “Scr CC No.” parameter specifies the controller to be used for scream control. When set to “off”, no scream variation can be produced via a controller, but a continuous scream value is determined by the “30(19): ScrCtrlDpt” parameter, below (negative values increase the scream level). • The “ScrCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for scream control to have any effect. 30(19): ScrCtrlDpt • Scream Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Determines the relationship between the controller value and tonguing. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in tonguing. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents tonguing. Sets the amount of variation produced by the controller assigned to scream. The higher the value the greater the variation. Positive values cause an increase in scream effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in scream effect in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents scream. Controllers & Control Editing 59 31: Scr Curve (VOICE mode only) • Scream Curve • Settings: -16 … +16 • The “BnzCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” ro lower than “-01”) for breath noise control to have any effect. 33(21): BnzCtrlDpt • Breath Noise Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Determines the relationship between the controller value and scream. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in scream effect. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents scream. Sets the amount of variation produced by the controller assigned to breath noise. The higher the value the greater the variation. Positive values cause an increase in breath noise in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in breath noise in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents breath noise. 34: Bnz Curve (VOICE mode only) Breath Noise • Breath Noise Curve • Settings: -16 … +16 32(20): Bnz CC No. • Breath Noise Control Change Number • Settings: off… 95, AT, VEL, PB “Breath Noise” can be used to add the required amount of breath noise to a voice. The “Bnz CC No.” parameter specifies the controller to be used for breath noise control. When set to “off”, no breath noise variation can be produced via a controller, but a continuous breath noise value is determined by the “33(21): BnzCtrlDpt” parameter, below (negative values increase the breath noise level). 60 Controllers & Control Editing Determines the relationship between the controller value and breath noise. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in breath noise. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents breath noise. • The amount of breath noise produced also depends on pressure, so the breath noise curve indicated by the graph at the bottom of the display may not always accurately reflect the perceived curve. Sets the amount of variation produced by the controller assigned to growl. The higher the value the greater the variation. Positive values cause an increase in growl effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in growl effect in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents growl. 37: Grl Curve (VOICE mode only) Growl • Growl Curve • Settings: -16 … +16 35(22): Grl CC No. • Growl Control Change Number • Settings: off… 95, AT, VEL, PB “Growl” produces a periodic pressure modulation which produces the “growl” effect often heard in wind instruments. The “Grl CC No.” parameter specifies the controller to be used for growl control. When set to “off”, no growl variation can be produced via a controller, but a continuous growl value is determined by the “36(23): GrlCtrlDpt” parameter, below (negative values increase the growl level). • The “GrlCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for growl control to have any effect. Determines the relationship between the controller value and growl. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in growl. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents growl. 36(23): GrlCtrlDpt • Growl Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Controllers & Control Editing 61 Throat Formant 38(24): Thr CC No. 40: Thr Curve (VOICE mode only) • Throat Formant Curve • Settings: -16 … +16 • Throat Formant Control Change Number • Settings: off… 95, AT, VEL, PB “Throat Formant” controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound. The “Thr CC No.” parameter specifies the controller to be used for throat formant control. When set to “off”, no throat formant variation can be produced via a controller, but a continuous throat formant value is determined by the “39(25): ThrCtrlDpt” parameter, below (negative values increase the throat formant level). • The “ThrCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for throat formant control to have any effect. • Throat Formant only applies to some reed-type voices. Determines the relationship between the controller value and throat formant depth. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in throat formant depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents throat formant depth. 39(25): ThrCtrlDpt • Throat Formant Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Harmonic Enhancer 41(26): Hrm CC No. • Harmonic Enhancer Control Change Number • Settings: off … 95, AT, VEL, PB Sets the amount of variation produced by the controller assigned to throat formant. The higher the value the greater the variation. Positive values cause an increase in throat formant effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in throat formant effect in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents throat formant depth. 62 Controllers & Control Editing The Harmonic Enhancer can vary the harmonic structure of the sound over a wide range. The “Hrm CC No.” parameter specifies the controller to be used for harmonic enhancer depth (wet/dry balance) control. When set to “off” no harmonic enhancer depth variation can be applied via a controller. • The “HrmCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” • or lower than “-01”) for harmonic enhancer control to have any effect. Since most VL70-m voices have sufficient natural harmonic content, the Harmonic Enhancer is actually only used on a few voices. Therefore changing the controller destination with many voices will produce either no change in the sound or a simple change in amplitude. For detailed harmonic enhancer programming use the VL70-m Expert Editor software (page 25). change in harmonic enhancer depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth. 42(27): HrmCtrlDpt • Harmonic Enhancer Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Damping 44(28): Dmp CC No. Sets the amount of variation produced by the controller assigned to the harmonic enhancer. The higher the value the greater the variation. Positive values cause an increase in harmonic enhancer depth in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in harmonic enhancer depth in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth . 43: Hrm Curve (VOICE mode only) • Harmonic Enhancer Curve • Settings: -16 … +16 • Damping Control Change Number • Settings: off… 95, AT, VEL, PB “Damping” simulates the effect of damping due to losses within the body of a wind instrument or in a string due to air friction. Affects both pitch and timbre. The “Dmp CC No.” parameter specifies the controller to be used for damping control. When set to “off” no damping variation can be applied via a controller. • Please note that accurate keyboard pitch is produced only when damping is maximum. • The “DmpCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for damping control to have any effect. 45(29): DmpCtrlDpt Determines the relationship between the controller value and harmonic enhancer depth. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding • Damping Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Controllers & Control Editing 63 Sets the amount of variation produced by the controller assigned to damping. The higher the value the greater the variation. Positive values cause a decrease in damping in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in damping in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents damping. 46: Dmp Curve (VOICE mode only) • Damping Curve • Settings: -16 … +16 Determines the relationship between the controller value and damping. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in damping. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents damping. 64 Controllers & Control Editing Absorption 47(30): Abs CC No. • Absorption Control Change Number • Settings: off … 95, AT, VEL, PB “Absorption” simulates the effect of high-frequency loss at the end of the air column or string. The “Abs CC No.” parameter specifies the controller to be used for absorption control. When set to “off” no absorption variation can be applied via a controller. • Please note that accurate keyboard pitch is produced only at when absorption is maximum. • The “AbsCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” or lower than “-01”) for absorption control to have any effect. 48(31): AbsCtrlDpt • Absorption Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Sets the amount of variation produced by the controller assigned to absorption. The higher the value the greater the variation. Positive values cause a decrease in absorption in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in absorption in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents absorption. 49: Abs Curve (VOICE mode only) • Absorption Curve • Settings: -16 … +16 Determines the relationship between the controller value and absoprtion. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in absorption. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents absorption. • Absorption control can have a significant effect on pitch. Controllers & Control Editing 65 Filter & Envelope Generator Editing The VL70-m has two envelope generators which can be independently programmed to produce time-based variations in the sound. ● Amplitude & Filter EG The Amplitude & Filter Envelope Generator controls both the amplitude of the sound and the cutoff frequency of the VL70-m filter from note attack to release. This envelope generator has three parameters which can be edited via the VL70m panel: attack time, decay time, and release time. Amplitude control defines the basic “shape” of the notes produced, while filter control makes it possible to create a variety of dynamic timbral sweeps. ■ NOTES • Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band eliminate types. The filter type cannot be edited via the VL70-m panel controls. For detailed filter parameter programming use the VL70-m Expert Editor software (page 25). • Very little filter processing is used on some voices. In such cases, the effect of the filter may be barely noticeable. • The effect of editing the Amplitude & Filter envelope generator parameters may not always be as expected — particularly with plucked string instrument voices such as guitar or bass. This is because the VL70-m actually simulates the plucking, free oscillation, and muting of the strings rather than simply using an EG to approximate these events. ● Pitch & Embouchre EG The Pitch EG controls both the pitch of the note and the embouchre applied to the note from attack to release. Initial level, attack time, release level, and release time parameters make it possible to produce a wide range of pitch variations at note attack and release. ■ NOTES • Pitch control alone may not always produce the expected result with voices in which the internal parameters emphasize embouchure rather than pitch. For detailed editing of all VL70-m parameters use the VL70-m Expert Editor software (page 25). 66 Filter & Envelope Generator Editing Accessing & Editing the Filter & EG Parameters The FILTER & EG EDIT mode can be accessed from the PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu. 2. Select the FIL&EG Sub-mode Use the SELECT [<] and [>] buttons to select the FIL&EG sub-mode, if necessary. The icon to the left of “FIL&EG” on the display will flash when the FIL&EG sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the FILTER & EG EDIT mode. “FIL&EG EDIT” will appear at the top of the display along with the number of the currently selected control parameter. 4. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see “The Filter & EG Edit Parameters”, below). The name of the currently selected parameter and its current setting appear on the second line of the display. An arrow to the left and/or right of the parameter name/value indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction. Filter & Envelope Generator Editing 67 5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press the [EXIT] button to return to the EDIT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice. All edited data will be lost if you select a new voice before storing the edited voice! 68 Filter & Envelope Generator Editing The Filter & EG Edit Parameters Please note that a number of FIL&EG EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. ● VOICE Sound Module Mode Filter & EG Edit Parameters Refer to the page numbers listed for full details on each parameter. Filter .............................................................................................. 71 01: CutoffFreq (Cutoff Frequency) 02: Resonance (Resonance) 03: FilEG Dept (Filter Envelope Generator Depth) 04: CutoffScBP (Cutoff Scaling Breakpoint) 05: CutoffScDpt (Cutoff Scaling Depth) 06: Bass (Bass Tone Control) 07: Treble (Treble Tone Control) Amplitude & Filter Envelope ......................................................... 72 08: Attack Time (Amplitude & Filter Envelope Attack Time) 09: Decay Time (Amplitude & Filter Envelope Decay Time) 10: ReleaseTime (Amplitude & Filter Envelope Release Time) 11: AmpLvlScBP (Amplitude Level Scaling Breakpoint) 12: AmpLvlScDpt (Amplitude Level Scaling Depth) Pitch & Embouchure Envelope ...................................................... 73 13: PEGInitLvl (Pitch & Embouchure Envelope Initial Level) 14: PEGAtakTime (Pitch & Embouchure Envelope Attack Time) 15: PEGReleLvl (Pitch & Embouchure Envelope Release Level) 16: PEGReleTime (Pitch & Embouchure Envelope Release Time) Filter & Envelope Generator Editing 69 ● VL-XG Sound Module Mode Filter & EG Edit Parameters Refer to the page numbers listed for full details on each parameter. Filter .............................................................................................. 71 01: CutoffFreq (Cutoff Frequency) 02: Resonance (Resonance) 03: FilEG Dept (Filter Envelope Generator Depth) 04: Bass (Bass Tone Control) 05: Treble (Treble Tone Control) Amplitude & Filter Envelope ......................................................... 72 06: Attack Time (Amplitude & Filter Envelope Attack Time) 07: Decay Time (Amplitude & Filter Envelope Decay Time) 08: ReleaseTime (Amplitude & Filter Envelope Release Time) Pitch & Embouchure Envelope ...................................................... 73 09: PEGInitLvl (Pitch & Embouchure Envelope Initial Level) 10: PEGAtakTime (Pitch & Embouchure Envelope Attack Time) 11: PEGReleLvl (Pitch & Embouchure Envelope Release Level) 12: PEGReleTime (Pitch & Embouchure Envelope Release Time) 70 Filter & Envelope Generator Editing ● Filter & EG Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. 03(03): FilEG Dept • Filter EG Depth • Settings: -64 … +63 Filter ● Example: low pass filter • Resonance: minimum level • Resonance: maximum level Resonance Passband Passband frequency Cutoff frequency Cutoff frequency frequency 01(01): CutoffFreq • Cutoff Frequency • Settings: -64 … +63 The “FilEG Dept” parameter determines to what degree the amplitude /filter envelope generator (see “08(06): Attack Time”, “09(07): Decay Time”, and “10(08): ReleaseTime”, below) affects the filter’s cutoff frequency. Higher values allow the envelope generator to vary the filter cutoff frequency over a wider range. 04: CutoffScBP (VOICE mode only) • Cutoff Scaling Breakpoint • Settings: C-2 … G8 Sets the cutoff frequency of the VL70-m filter. 02(02): Resonance • Resonance • Settings: -64 … +63 This parameter produces a resonant peak at the filter’s cutoff frequency, thereby emphasizing frequency components at that frequency. When “Resoance” is set to its minimum value, the filter response rolls off sharply at the cutoff point. As the resonance value is increased, however, a peak of correspondingly increasing amplitude is produced at the cutoff frequency. Filter cutoff frequency “scaling” ( or “key scaling”) produces natural timbre variations across the VL70-m note range by allowing an increasing or decreasing filter “depth” curve to be applied above or below a specified “breakpoint” note. The “CutoffScBP” parameter specifies the breakpoint note. 05: CutoffScDpt (VOICE mode only) • Cutoff Scaling Depth • Settings: -64 … +63 This parameter specifies the amount of filter cutoff frequency key scaling to be applied above or below Filter & Envelope Generator Editing 71 the breakpoint note specified by the “CutoffScBP” parameter, above. A setting of “+00” produces no key scaling. Positive values apply scaling to notes below the breakpoint (i.e. on a keyboard, notes to the left of the breakpoint), producing a gradual lowering of the cutoff frequency down the scale. Negative values apply scaling to notes above the breakpoint (i.e. on a keyboard, notes to the right of the breakpoint), producing a gradual lowering of the cutoff frequency up the scale. Higher positive or negative values produce a greater variation in the filter cutoff frequency. 06(04): Bass Amplitude & Filter Envelope level time Attack time Note on Decay time Release time Note off 08(06): Attack Time • Bass Tone Control • Settings: -64 … +63 • Amplitude & Filter Envelope Attack Time • Settings: -64 … +63 Boosts or cuts the low frequencies. Positive values boost the lows while negative values cut the lows. A setting of “+00” produces no boost or cut. Sets the attack time of the amplitude & filter envelope generator. “Attack time” refers to the length of time it takes for the envelope to reach maximum level from the instant a note is played. Positive values produce a slower attack while negative values produce a faster attack. 07(05): Treble • Treble Tone Control • Settings: -64 … +63 09(07): Decay Time • Amplitude & Filter Envelope Decay Time • Settings: -64 … +63 Boosts or cuts the high frequencies. Positive values boost the highs while negative values cut the highs. A setting of “+00” produces no boost or cut. Sets the decay time of the amplitude & filter envelope generator. “Decay time” refers to the length of time it takes for the envelope to fall to the sustain level after the maximum attack level has been reached. Positive values produce a slower decay while negative values produce a faster decay. 72 Filter & Envelope Generator Editing 10(08): ReleaseTime • Amplitude & Filter Envelope Release Time • Settings: -64 … +63 lowering of amplitude level down the scale. Negative values apply scaling to notes above the breakpoint (i.e. on a keyboard, notes to the right of the breakpoint), producing a gradual lowering of amplitude level up the scale. Higher positive or negative values produce a greater variation in the amplitude level. Sets the release time of the amplitude & filter envelope generator. “Release time” refers to the length of time it takes for the envelope to fall to “zero” level after the note has been released. Positive values produce a slower release while negative values produce a faster release. 11: AmpLvlScBP (VOICE mode only) • Amplitude Level Scaling Breakpoint • Settings: C-2 … G8 Pitch & Embouchure Envelope pitch level + Initial level 0 time Release level Amplitude level “scaling” ( or “key scaling”) produces natural level variations across the VL70m note range by allowing an increasing or decreasing amplitude “depth” curve to be applied above or below a specified “breakpoint” note. The “AmpLvlScBP” parameter specifies the breakpoint note. – Attack time Note on Release time Note off 13(09): PEGInitLvl • Pitch & Embouchure Envelope Initial Level • Settings: -64 … +63 12: AmpLvlScDpt (VOICE mode only) • Amplitude Level Scaling Depth • Settings: -64 … +63 This parameter specifies the amount of amplitude level key scaling to be applied above or below the breakpoint note specified by the “AmpLvlScBP” parameter, above. A setting of “+00” produces no key scaling. Positive values apply scaling to notes below the breakpoint (i.e. on a keyboard, notes to the left of the breakpoint), producing a gradual Sets the initial level of the pitch & embouchure envelope generator. A setting of “+00” starts the pitch envelope at normal pitch. Positive values raise the initial pitch while negative values lower the initial pitch in relation to normal pitch. Filter & Envelope Generator Editing 73 14(10): PEGAtakTime • Pitch & Embouchure Envelope Attack Time • Settings: -64 … +63 Sets the attack time of the pitch & embouchure envelope generator. In this case “attack time” refers to the length of time it takes for the pitch envelope to reach normal pitch (“+00” level) from the instant a note is played. Positive values produce a slower attack while negative values produce a faster attack. 15(11): PEGReleLvl • Pitch & Embouchure Envelope Release Level • Settings -64 … +63 Sets the final pitch to be reached after a note is released. A setting of “+00” produces normal pitch. Positive values raise the final pitch while negative values lower the final pitch in relation to normal pitch. 16(12): PEGReleTime • Pitch & Embouchure Envelope Release Time • Settings: -64 … +63 Sets the release time of the pitch & embouchure envelope generator. “Release time” refers to the length of time it takes for the pitch envelope to reach the release level specified by the “PEGReleLvl” parameter (above) after a note is released. Positive values produce a slower release while negative values produce a faster release. 74 Filter & Envelope Generator Editing ■ NOTES • The effect of the Pitch & Embouchure EG settings may be less noticeable on voices in which the embouchure is changed. Other Edit Parameters The OTHERS EDIT mode provides access to a range of editable voice parameters that do fall into the CONTROLLER or FILTER & EG categories. Accessing & Editing the “Others” Parameters The OTHERS EDIT mode can be accessed from the PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu. 2. Select the OTHERS Sub-mode Use the SELECT [<] and [>] buttons to select the OTHERS sub-mode, if necessary. The icon to the left of “OTHERS” on the display will flash when the OTHERS sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the OTHERS EDIT mode. “OTHERS” will appear at the top of the display along with the number of the currently selected control parameter. 4. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see “The Others Parameters”, below). The name of the currently selected parameter and its current setting appear on the second line of the display. An arrow to the left and/or right of the parameter name/value indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction. Other Edit Parameters 75 5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the EDIT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice. All edited data will be lost if you select a new voice before storing the edited voice! 76 Other Edit Parameters The “Others” Edit Parameters Please note that a number of OTHERS EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. ● VOICE Sound Module Mode “Others” Edit Parameters Refer to the page numbers listed for full details on each parameter. Vibrato ............................................................................................. 79 01: Vib Rate (Vibrato Rate) 02: Vib Depth (Vibrato Depth) 03: Vib Delay (Vibrato Delay) Detune & Voice Level ..................................................................... 79 04: Detune (Detune) 05: VoiceLevel (Voice Level) Assignment & Expansion ............................................................... 80 06: Mono/Poly (Monophonic/Polyphonic Mode) 07: AssignMode (Assign Mode) 08: PolyExpnd (Polyphonic Expansion) Velocity Sensitivity ......................................................................... 81 09: VelSensDpt (Velocity Sensitivity Depth) 10: VelSensOfs (Velocity Sensitivity Offset) Note Limits ...................................................................................... 81 11: NoteLimitL (Low Note Limit) 12: NoteLimitH (High Note Limit) Portamento ...................................................................................... 82 13: Porta Mode (Portamento Mode) 14: Porta Sw (Portamento Switch) 15: Porta Time (Portamento Time) Dry Level & Voice Name ................................................................. 82 16: Dry Level (Dry Output Level) 17: Voice Name (Voice Name) Other Edit Parameters 77 ● VL-XG Sound Module Mode “Others” Edit Parameters Refer to the page numbers listed for full details on each parameter. Vibrato ............................................................................................. 79 01: Vib Rate (Vibrato Rate) 02: Vib Depth (Vibrato Depth) 03: Vib Delay (Vibrato Delay) Detune ............................................................................................. 79 04: Detune (Detune) Assignment ...................................................................................... 80 05: Mono/Poly (Monophonic/Polyphonic Mode) Velocity Sensitivity ......................................................................... 81 06: VelSensDpt (Velocity Sensitivity Depth) 07: VelSensOfs (Velocity Sensitivity Offset) Note Limits ...................................................................................... 81 08: NoteLimitL (Low Note Limit) 09: NoteLimitH (High Note Limit) Portamento ...................................................................................... 82 10: Porta Sw (Portamento Switch) 11: Porta Time (Portamento Time) Dry Level .......................................................................................... 82 12: Dry Level (Dry Output Level) 78 Other Edit Parameters ● “Others” Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Vibrato 01(01): Vib Rate • Vibrato Rate • Settings: -64 … +63 Sets the delay time between the beginning of a note and the beginning of the vibrato effect. Positive values produce longer delays while negative values result in shorter delays. Detune & Voice Level The vibrato effect produces a cyclic variation in pitch and embouchure. The “Vib Rate” parameter sets the speed of the vibrato effect. Positive values produce a faster vibrato, while negative values produce a slower vibrato. • In the VL70-m extremely realistic vibrato effects are produced by simultaneously modulating the pitch, embouchure, and pressure parameters. 02(02): Vib Depth • Vibrato Depth • Settings: -64 … +63 04(04): Detune • Detune • Settings: -12.8 … +12.7 Hz The “Detune” parameter allows the pitch of the VL70-m to be shifted slighlty upward or downward to produce detune effects in relation to other VL70-m units or other tone generators being used with the VL70-m. Positive values shift the pitch upward by the indicated amount in Hertz, and negative values shift the pitch downward. 05: Voice Level (VOICE mode only) Sets the depth of the vibrato effect. The higher the value the greater the vibrato depth. Positive values produce greater vibrato depth while negative values result in reduced vibrato depth. 03(03): Vib Delay • Vibrato Delay • Settings: -64 … +63 • Voice Level • Settings: 000 … 127 Sets the level (volume) of the voice. The higher the value the higher the volume. The minimum setting of “000” will result in no sound. Other Edit Parameters 79 Assignment & Expansion 06(05): Mono/Poly • Monophonic/Polyphonic Mode • Settings: mono, poly Selects the VL70-m monophonic or polyphonic note mode. When the “mono” mode is selected note output will always be generated as long as a MIDI note-on message is being received. For example, if you play key “A” on your keyboard and then, while still holding “A”, play key “B”, note “B” will sound but will switch back to note “A” the instant key “B” is released. In the “poly” mode however, sound output will stop the instant key “B” is released. • When “mono” is selected and the “14(10): Porta Sw” parameter is turned “on”, the “single-trigger” mode is engaged (i.e. the EG is not re-triggered if a new note is played while a previous note is held). In all other cases (e.g. the “poly” mode is selected or the “14(10): Porta Sw” parameter is turned “off”) the “multi-trigger” mode is engaged and the EG will be re-triggered every time a note is played. 07: AssignMode (VOICE mode only) • Assign Mode • Settings: Botm, Top, Last 08: PolyExpnd (VOICE mode only) • Polyphonic Expansion • Settings: 0ff, 02>01, 02>02, 03>01, 03>02, 03>03 … 32>32 This parameter is used when several VL70-m units are used together to increase the number of notes which can be played simultaneously (polyphony). The number preceding the “>” should be set to correspond to the number of VL70-m units to be used. The number following the “>” should be set to a different consecutive number for each VL70-m unit. For example, if you use four VL70-m units their “PolyExpnd” parameters should be set as follows: VL70-m Unit No. PolyExpnd Setting 1 2 3 4 04>01 04>02 04>03 04>04 MIDI controller MIDI OUT MIDI IN WX IN BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL 04>01 VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF MIDI THRU VL70-m (1st) MIDI IN WX IN BREATH PHONES POWER/VOL VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT BC/WX VELOCITY TOUCH EG MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL 04>02 VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF Determines which note will be played when more than one note is played at a time. When “Botm” (Bottom) is selected only the lowest note in a group of notes played simultaneously will sound. When “Top” is selected only the highest note in a group of notes played simultaneously will sound. The “Last” setting causes only the last note played to sound. MIDI THRU VL70-m (2nd) MIDI IN WX IN BREATH PHONES POWER/VOL VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT BC/WX VELOCITY TOUCH EG MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY MIDI THRU VL70-m (3rd) MIDI IN WX IN BREATH VIRTUAL ACOUSTIC TONE GENERATOR PLAY EDIT UTIL EFFECT PHONES BC/WX VELOCITY TOUCH EG POWER/VOL MODE BREATH MIDI/ WX PART ENTER SELECT EXIT VALUE ALL VOICE VL-XG PART MIDI BANK/PGM# VOL EXP PAN REV CHO VAR KEY PUSH ON/OFF VL70-m (4th) 80 Other Edit Parameters 04>03 VOICE VL-XG PART PUSH ON/OFF 04>04 • • Polyphonic Expansion will not function when the “06(05): Mono/Poly” parameter is set to “mono”. When using Polyphonic Expansion be sure to set the “07: AssignMode” parameter to “Last”. The horizontal axis represents keyboard velocity and the vertical axis represents output level. Note Limits Velocity Sensitivity 09(06): VelSensDpt no sound note range no sound • Velocity Sensitivity Depth • Settings: 000 … 127 Low note limit High note limit 11(08): NoteLimitL Determines how the VL70-m responds to keyboard velocity. When set to “000”, keyboard velocity (i.e. how fast or hard the keyboard is played) has no effect on the sound. At values higher than “001”, however, high keyboard velocities will increase the level of the sound and low keyboard velocities will decrease the level of the sound. The higher the value the greater the effect of keyboard velocity on the voice level. The graph at the bottom of the display indicates the current velocity sensitivity response as determined by the “09(06): VelSensDpt” and “10(07): VelSensOfs” parameters. The horizontal axis represents keyboard velocity and the vertical axis represents output level. • Low Note Limit • Settings: C-2 … G8 Specifies the lowest note that will be produced by the VL70-m. This and the “NoteLimitH” parameter, below, specify the VL70-m note range. 12(09): NoteLimitH • High Note Limit • Settings: C-2 … G8 10(07): VelSensOfs • Velocity Sensitivity Offset • Settings: 000 … 127 Specifies the highest note that will be produced by the VL70-m. This and the “NoteLimitL” parameter, above, specify the VL70-m note range. Specifies an offset value that will apply to the lowest keyboard velocity level. The graph at the bottom of the display indicates the current velocity sensitivity response as determined by the “09(06): VelSensDpt” and “10(07): VelSensOfs” parameters. Other Edit Parameters 81 Portamento 13: Porta Mode (VOICE mode only) 15(11): Porta Time • Portamento Time • Settings: 000 … 127 • Portamento Mode • Settings: Full, Fngr Portamento produces a “slide” effect between subsequently played notes. The “Portamento Mode” parameter determines how the portamento slide is produced. When “Full” is selected the portamento slide will occur between any two subsequent notes when the “14(10): Porta Sw” parameter, below, is “on” even if the first note is released before the second is played. When “Fngr”(Fingered) is selected the portamento slide will only occur if the first note is still held when the second note is played. • Portamento may not produce a perfectly smooth slide with voices in which the driver characteristics affect pitch (brass instruments, for example). The “Time” parameter sets the portamento time (i.e. the length of the slide between notes). A setting of “000” produces the fastest portamento time; “127” produces the longest portamento slide effect. Dry Level & Voice Name 16(12): Dry Level • Dry Output Level • Settings: 000 … 127 14(10): Porta Sw • Portamento Switch • Settings: off, on Turns portamento “on” or “off”. When “on” the portamento effect will produced as determined by the “13: Porta Mode” and “15: Porta Time” parameters. • This parameter also selects the “single-trigger” or “multi-trigger” mode. Refer to “06(05): Mono/Poly” on page 80. 82 Other Edit Parameters Sets the output level of the VL70-m “dry” (i.e. without effects) sound. The higher the value the higher the dry output level. Increased dry levels produce a relative reduction in the perceived “depth” of any applied effects. • This parameter display will not appear when the VARIATION EDIT mode “VarConnect” parameter is set to “INS” (Insertion Effect). 17: Voice Name (VOICE mode only) • Voice Name • Settings: A voice name of up to 8 characters. To enter a voice name first select the “Voice Name” parameter and press the [ENTER] button. The current voice name will appear between square brackets on the display with the first character flashing (the flashing character is selected for editing). Use the VALUE [-] and [+] buttons to select a new character for the current edit location, as required, then use the SELECT [<] and/or [>] buttons to move to the next character to be edited, and repeat until done. When the voice name is complete press [EXIT] to return to the OTHERS edit mode. ● Character List (space) ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 89:;<=>?@ ABCDEFGHIJKLMNOPQRSTUVW XYZ[¥]^_` abcdefghijklmnopqrstuvwxyz { }→← Other Edit Parameters 83 The Store Function Once you’ve created a new voice in the edit mode, it’s necessary to store the voice to one of the VL70-m INTERNAL memory locations otherwise the edited data will be lost when a new voice is selected. ■ NOTES • Any previous data in the memory location to which the new voice is stored will be erased. If you want to keep the previous data, save it to an external MIDI data storage device via the UTILITY mode DUMP OUT function (page 100). • The STORE function is not available in the VL-XG sound module mode. Storing an Edited Voice The STORE function mode can be accessed from the VOICE PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu. 2. Select the STORE Sub-mode Use the SELECT [<] and [>] buttons to select the STORE sub-mode, if necessary. The icon to the left of “STORE” on the display will flash when the STORE sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the STORE function. “Store Voice” will appear at the top of the display along with the flashing number of the currently selected INTERNAL voice number. 4. Select a Destination Voice Number Use the VALUE [-] and [+] buttons to select the number of the INTERNAL memory location you want to store the edited voice to (I01" through “I64”). 84 The Store Function 5. Press [ENTER] to Store Press the [ENTER] button to store the voice. “Executing” will appear on the display briefly while the data is being stored, then the VL70-m will return to the EDIT sub-mode menu. Press [EXIT] rather than [ENTER] if you want to abort the store operation. The Store Function 85 Effects & Effect Editing The VL70-m features a versatile internal effects system which consists of four independent effect stages: REVERB, CHORUS, VARIATION, and DISTORTION. Of these the REVERB and CHORUS stages function as “system effects”, the VARIATION stage can be used either as a system or “insertion” effect, and the DISTORTION stage always functions as an insertion effect. See the signal-flow diagrams below for the different between “system” and “Insertion” effects. ■ NOTES • When the VOICE sound module mode is selected (page 27) effect edits can be stored with each individual voice. Effect Signal Flow The following diagrams should help you to understand how the VL70-m effect stages relate to overall signal flow. ● When the Variation Stage is an Insertion Effect Distortion Tone generator Monaural Stereo Variation Dry/Wet Dry/Wet Reverb RevSend RevPan RevRtn SendCho→Rev Output Chorus ChoSend ChoPan ChoRtn DryLine In this case the output from the tone generator is first sent to the distortion stage, and the distortion effect signal is then mixed back into the main signal line via the corresponding “Dry/Wet” parameter. Next is the variation stage, with the same “Dry/Wet” mixing capability. In this connection mode the distortion and variation stages are both functioning as insertion effects. After the insertion effects the signal can be sent to the reverb and chorus stages via the “RevSend” and “ChoSend” parameters available in the PLAY mode (pages 35 and 39). The output from both of these stages is stereo, and the effect signal can be mixed back in with the main signal line via the “RevRtn” and “ChoRtn” 86 Effects & Effect Editing parameters available in the PLAY mode (pages 32 and 41). The “SendCho→Rev” parameter (page 91) can be used to send some or all of the output from the chorus stage to the reverb stage. If the the “SendCho→Rev” parameter is set to maximum and the “ChoRtn” parameter is set to “000”, the chorus stage and reverb stage are effectively connected in series. ● When the Variation Stage is a System Effect Monaural Stereo Distortion Tone generator Dry/Wet Reverb RevSend RevPan RevRtn SendCho→Rev Chorus ChoSend ChoPan ChoRtn SendVar→Cho Output SendVar→Rev Variation VarSend DryLevel VarPan VarRtn DryLine In this case the output from the tone generator is first sent to the distortion stage, and the distortion effect signal is then mixed back into the main signal line via the corresponding “Dry/Wet” parameter. In this connection mode only the distortion stage is functioning as an insertion effect. After the distortion stage the signal can be sent to the reverb, chorus and variation stages via the “RevSend”, “ChoSend”, and “VarSend” parameters available in the PLAY mode (pages 35 and 39). The output from all three of these stages is stereo, and the effect signal can be mixed back in with the main signal line via the “RevRtn”, “ChoRtn”, and “VarRtn” parameters available in the PLAY mode (pages 32, 33 and 41). The “SendCho→Rev” parameter (page 32) can be used to send some or all of the output from the chorus stage to the reverb stage. If the “SendCho→Rev” parameter is set to maximum and the “ChoRtn” parameter is set to “000”, the chorus stage and reverb stage are effectively connected in series. The “SendVar→Rev” and “SendVar→Cho” parameters (page 93) can be used to send some or all of the output from the variation stage to the reverb and chorus stages, respectively. Effects & Effect Editing 87 Accessing & Editing the Effect Parameters The EFFECT sub-modes — REV, CHO, VAR, and DIST — and the parameters they contain can be accessed from the PLAY mode as follows: 1. Press [EFFECT] Press the [EFFECT] button to go to the EFFECT sub-mode menu. 2. Select the Desired Sub-mode Use the SELECT [<] and [>] buttons to select the REV (reverb), CHO (chorus), VAR (variation), or DIST (distortion) sub-mode. The icon to the left of the name of the selected sub-mode will flash when the corresponding sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the selected sub-mode. “REVERB EDIT”, “CHORUS EDIT”, “VARIATION EDIT”, or “DISTORTAION EDIT” will appear at the top of the display, depending on the selected submode. 4. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see the parameter descriptions, below). The name of the currently selected parameter and its current setting appear on the second line of the display. An arrow to the left and/or right of the parameter name/value indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction. 5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 88 Effects & Effect Editing 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the EFFECT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice. All edited data will be lost if you select a new voice before storing the edited voice! Effects & Effect Editing 89 The Reverb Parameters The reverb effects are essential to give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound. Type Rev Pan • Reverb Type • Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, WHITE ROOM, TUNNEL, CANYON, BASEMENT • Reverb Pan • Settings: L63 … C … R63 Selects the reverb type, or “NO EFFECT” if no reverb effect is required. Refer to the separate “List Book” for brief descriptions of each of the reverb types. Type-Specific Reverb Parameters • See separate “List Book” Each of the reverb types, selected via the “Type” parameter, above, has a different set of parameters that specify the actual reverb sound. Refer to the separate “List Book” for information on the individual parameters for each reverb type. 90 Effects & Effect Editing Sets the pan position of the reverb sound — i.e. the perceived position of the reverb sound within the stereo sound field. A setting of “L63” sets the reverb sound full left, “R63” sets the sound full right, and “C” places the sound in the center. Intermediate settings pan the reverb sound to corresponding positions in the stereo sound field. The Chorus Parameters The VL70-m chorus stage actually includes a number of modulation-type effects that can be used to give your sound extra animation and life. Type • Chorus Type • Settings: NO EFFECT, CHORUS 1, CHORUS 2, CHORUS 3, CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1, FLANGER 2, SYMPHONIC, PHASER right, and “C” places the sound in the center. Intermediate settings pan the chorus sound to corresponding positions in the stereo sound field. SendCho➔Rev • Chorus-to-Reverb Send Level • Settings: 000 … 127 Selects the chorus type, or “NO EFFECT” if no chorus effect is required. Refer to the separate “List Book” for brief descriptions of each of the chorus types. Type-Specific Chorus Parameters • See separate “List Book” Sets the amount of signal sent from the output of the chorus effect stage back to the input of the reverb effect stage (see diagram on pages 86 and 87). The higher the value, the more chorus signal is sent to the reverb stage. If this parameter and the PLAY mode “ChoRtn” parameter are both set to values higher than “001”, the output of the chorus stage will be sent in corresponding amounts to the input of the reverb stage and the main outputs. Each of the chorus types, selected via the “Type” parameter, above, has a different set of parameters that specify the actual chorus sound. Refer to the separate “List Book” for information on the individual parameters for each chorus type. Cho Pan • Chorus Pan • Settings: L63 … C … R63 Sets the pan position of the chorus sound — i.e. the perceived position of the chorus sound within the stereo sound field. A setting of “L63” sets the chorus sound full left, “R63” sets the sound full Effects & Effect Editing 91 The Variation Parameters The variation stage includes reverb, delay, echo, modulation, distortion, wah, and a range of other effects. Type AT VarCtrl • Variation Type • Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, DELAY LCR, DELAY L,R, ECHO, CROSSDELAY, ER1, ER2, GATE REV, REVRS GATE, KARAOKE 1, KARAOKE 2, KARAOKE 3, CHORUS 1, CHORUS 2, CHORUS 3, CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1, FLANGER 2, SYMPHONIC, ROTARY SP, TREMOLO, AUTO PAN, PHASER, DISTORTION, OVERDRIVE, AMP SIM, 3-BAND EQ, 2-BAND EQ, AUTO WAH, PITCH CHNG, AURAL EXCT*, TOUCH WAH, WAH+DIST, COMPRESSOR, NOISE GATE, THRU • Aftertouch Variation Control • Settings: -64 … +63 Selects the variation type, or “NO EFFECT” if no variation effect is required. Refer to the separate “List Book” for brief descriptions of each of the variation types. * Aural Exciter®is a registered trademark of and is manufacutured under license from Aphex Systems Ltd. Type-Specific Variation Parameters • See separate “List Book” This parameter only becomes available when the “VarConnect” parameter (page 93) is set to “INS” (i.e. when the variation stage is connected as an insertion effect). Aftertouch variation control allows one of the selected variation effect parameters to be controlled in real time via keyboard aftertouch pressure. The parameter which can be controlled is individually preset for each variation effect type (see the separate “List Book”). The “AT VarCtrl” parameter determines to what degree the effect parameter is affected by aftertouch pressure. For example, if the TREMOLO effect is selected aftertouch controls the “LFO Frequency” parameter. In this case higher positive “AT VarCtrl” values cause increased aftertouch pressure to increase the LFO speed, while higher negative values cause increased aftertouch pressure to decrease the LFO speed. If this parameter is set to “+00” aftertouch control has no effect. AC1VarCtrl • Assignable Controller 1 Variation Control • Settings: -64 … +63 Each of the variation types, selected via the “Type” parameter, above, has a different set of parameters that specify the actual variation effect sound. Refer to the separate “List Book” for information on the individual parameters for each variation type. 92 Effects & Effect Editing This parameter only becomes available when the “VarConnect” parameter (page 93) is set to “INS” (i.e. when the variation stage is connected as an insertion effect). Assignable Controller variation control allows one of the selected variation effect parameters to be controlled in real time via assignable controller 1 (page 54). The parameter which can be controlled is individually preset for each variation effect type (see the separate “List Book”). The “AC1VarCtrl” parameter determines to what degree the effect parameter is affected by the controller. For example, if the TREMOLO effect is selected the controller affects the “LFO Frequency” parameter. In this case higher positive “AC1VarCtrl” values cause increased controller settings to increase the LFO speed, while higher negative values cause increased controller settings to decrease the LFO speed. If this parameter is set to “+00” assignable controller 1 has no effect. higher the value, the more variation signal is sent to the chorus stage. If this parameter and the PLAY mode “VarRtn” parameter are both set to values higher than “001”, the output of the variation stage will be sent in corresponding amounts to the input of the chorus stage and the main outputs. This parameter becomes available when the “VarConnect” parameter is set to “SYS” (i.e. when the variation stage is connected as a system effect.) SendVar➔Rev • Variation-to-Reverb Send Level • Settings: 000 … 127 Var Pan • Variation Pan • Settings: L63 … C … R63 Sets the pan position of the variation effect sound — i.e. the perceived position of the variation effect sound within the stereo sound field. A setting of “L63” sets the variation sound full left, “R63” sets the sound full right, and “C” places the sound in the center. Intermediate settings pan the variation effect sound to corresponding positions in the stereo sound field. This parameter becomes available when the “VarConnect” parameter is set to “SYS” (i.e. when the variation stage is connected as a system effect.) Sets the amount of signal sent from the output of the variation effect stage back to the input of the reverb effect stage (see diagram on page 87). The higher the value, the more variation signal is sent to the reverb stage. If this parameter and the PLAY mode “VarRtn” parameter are both set to values higher than “001”, the output of the variation stage will be sent in corresponding amounts to the input of the reverb stage and the main outputs. This parameter becomes available when the “VarConnect” parameter is set to “SYS” (i.e. when the variation stage is connected as a system effect.) VarConnect • Variation Connection Mode • Settings: INS, SYS SendVar➔Cho • Variation-to-Chorus Send Level • Settings: 000 … 127 Determines whether the variation effects stage functions as an insertion effect (“INS”) or as a system effect (“SYS”). See the diagrams and explanations on pages 86 and 87 for the difference between these connection modes. Sets the amount of signal sent from the output of the variation effect stage back to the input of the chorus effect stage (see diagram on page 87). The Effects & Effect Editing 93 The Distortion Parameters Distortion is an excellent way to drastically change a sound — although subtle distortion settings can produce surprisingly delicate variations. Type • Distortion Type • Settings: THRU, DISTORTION, OVERDRIVE, 3-BAND EQ Selects the distortion type, or “THRU” if no distortion effect is required. Refer to the separate “List Book” for brief descriptions of each of the distortion types. example, if the OVERDRIVE effect is selected aftertouch controls the “Drive” parameter. In this case higher positive “AT DstCtrl” values cause increased aftertouch pressure to increase the amount of drive, while higher negative values cause increased aftertouch pressure to decrease the amount of drive. If this parameter is set to “+00” aftertouch control has no effect. AC1DstCtrl • Assignable Controller 1 Distortion Control • Settings: -64 … +63 Type-Specific Distortion Parameters • See separate “List Book” Each of the distortion types, selected via the “Type” parameter, above, has a different set of parameters that specify the actual distortion sound. Refer to the separate “List Book” for information on the individual parameters for each distortion type. AT DstCtrl • Aftertouch Distortion Control • Settings: -64 … +63 Assignable Controller variation control allows one of the selected distortion effect parameters to be controlled in real time via assignable controller 1 (page 54). The parameter which can be controlled is individually preset for each distortion effect type (see the separate “List Book”). The “AC1DstCtrl” parameter determines to what degree the effect parameter is affected by the controller. For example, if the OVERDRIVE effect is selected the controller affects the “Drive” parameter. In this case higher positive “AC1DstCtrl” values cause increased controller settings to increase the amount of drive, while higher negative values cause increased controller settings to decrease the amount of drive. If this parameter is set to “+00” assignable controller 1 has no effect. Dist Part Aftertouch distortion control allows one of the selected distortion effect parameters to be controlled in real time via keyboard aftertouch pressure. The parameter which can be controlled is individually preset for each distortion effect type (see the separate “List Book”). The “AT DstCtrl” parameter determines to what degree the effect parameter is affected by aftertouch pressure. For 94 Effects & Effect Editing • Distortion Part • Settings: off, on Turns the distortion effect stage “on” or “off”. Breath Settings The Breath Setting includes a number of setting that determine how the VL70m responds to breath control from a breath controller, a Yamaha WX-series Wind MIDI controller, or MIDI. Accessing & Editing the Breath Parameters The BREATH parameters can be accessed and edited from the PLAY mode as follows: 1. Press [BREATH] Press the [BREATH] button to go to the Breath Setting. 2. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see “The Breath Parameters”, below). The name of the currently selected parameter and its current setting will appear on the top line of the display while the parameter’s current setting appears on the second line. An arrow to the left and/or right of the parameter name indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction. 3. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 4. Repeat As Necessary Repeat steps 2 and 3 to edit as many parameters as required. 5. Exit When Done Press ther [EXIT] or [PLAY] button to return to the PLAY mode when you’re finished editing. Breath Settings 95 The Breath Parameters Breath Mode Breath Curve • Settings: BC/WX, Velocity, Touch EG • Settings: -16 … +16 Sets the control source to be used for “breath” control. This parameter should be set to “BC/WX” when a breath controller or Yamaha WX-series Wind MIDI Controller is being used (page 18). When set to “Velocity”, breath variation is controlled by keyboard initial touch response. When “Touch EG” is selected breath variation is controlled by a combination if initial keyboard touch response and aftertouch pressure. Initial key velocity sets the initial breath level, then aftertouch pressure determines the shape of the subsequent breath envelope. • The icon of the “Breath Mode”, “Breath Control” and “Breath Setting Lock” parameters indicates which “Breath Mode” parameter setting is selected. Determines the relationship between breath control data received from a breath controller, WX-series Wind MIDI Controller, or via the MIDI IN connector, and the actual amount of breath variation applied. Minus settings result in a large breath variation with a relatively small amount of breath pressure applied to the controller, while plus settings required a greater range of input breath control values to produce the same degree of breath variation. The graph at the bottom of the display represents this relationship: the horizontal axis is input breath pressure and the vertical axis is actual breath variation. Breath Setting Lock • off, on Breath Control • Settings: BC, Exp Specifies the MIDI control change number to be used for breath control when breath control is applied from a breath controller, WX-series Wind MIDI Controller, or via the VL70-m MIDI IN connector. When “BC” is selected control change number “02” (breath control) is used for breath copntrol. When “Exp” is selected control change number “11” (expression) is used for breath control. This setting also affects both MIDI and HOST output from the VL70-m. 96 Breath Settings When this parameters is “off” the VL70-m “Breath Mode” parameter (above) will be automatically set to “BC/WX” whenever a MIDI “XG SYSTEM ON” or “VOICE MODE ON” message is received. At the same the “Breath Control” parameter (above) is set to “BC” and the “Breath Curve” parameter (also above) is set to +00". Turn this parameter “on” if you do not want received MIDI messages to affect the breath setting parameters. The Utility Mode The UTILITY mode provides access to a range of parameters that affect basic operation of the VL70-m, and some functions that contribute to system flexibility. Select the UTILITY sub-mode menu from the PLAY mode by pressing the [UTILITY] button. Four sub-modes are available: SYSTEM The SYSTEM sub-mode includes parameters that affect overall operation of the VL70-m. Page 98. DUMPOUT The Dump Out function allows VL70-m setup and system exclusive data to be transmitted to a second VL70-m or an external MIDI storage device such as the Yamaha MDF2 MIDI Data Filer via the MIDI OUT or TO HOST connector. Page 100. INITIAL The VL70-m Initialize function includes two sub-modes — “Factory Set” and “System Initialize”. “Factory Set” initialization restores all VL70-m data to the initial factory settings … including all Custom and Internal voices. “System Initialize” restores all system setup parameters (page 98) to their default settings. Page 102. DEMO A “demonstration” function demonstrates some of the VL70-m voices and capabilities. The DEMO function is described in detail on page 24. The Utility Mode 97 The System Parameters The UTILITY SYSTEM sub-mode includes parameters that affect overall operation of the VL70m. M.Tune WX Lip • Master Tuning • Settings: -102.4c … +102.3c • WX Lip Mode • Settings: Norm, Expd Fine tunes the overall pitch of the VL70-m in 0.1cent steps (a “cent” is 1/100th of a semitone). The maximum minus and plus settings produce a downward or upward pitch shift of just over a semitone. A setting of “+000.0” produces no pitch change. WX-series Wind MIDI Controllers produce pitch bend data ranging from “-16” to “+32” in response to lip (reed) pressure. The “WX Lip” parameter determines whether these values are used as is (“Norm”), or expanded to a full “-64” through “+63” range (“Expd”). When the “Expd” mode is selected, the expanded pitch bend data is also transmitted via the MIDI OUT and TO HOST connector. The “Expd” setting is recommended when using a WX controller in the “tight lip” mode. The “Norm” setting is recommended when using the WX controller “loose lip” mode. RcvSysExcl • System Exclusive Receive • Settings: off, on WX LipLock This parameter determines whether or not the VL70-m will receive MIDI system exclusive messages. System exclusive data is received when this parameter is “on”, and ignored when this parameter is “off”. TransmitCH • MIDI Transmit Channel • Settings: 1 … 16 Selects the MIDI channel via which data corresponding to operation of a breath controller connected to the VL70-m will be transmitted. 98 The Utility Mode • WX Lip Lock • Settings: off, on When this parameters is “off” the VL70-m “WX Lip” parameter (above) will be automatically set to “Norm” whenever a MIDI “XG SYSTEM ON” or “VOICE MODE ON” message is received. Turn this parameter “on” if you do not want received MIDI messages to affect the “WX Lip” setting. Contrast • Display Contrast • Settings: 1 … 8 Sets the contrast of the VL70-m display for optimum visibility. The best setting will depend on your viewing angle and the ambient lighting conditions. A setting of “1” produces the strongest contrast, while a setting of “8” produces the “softest” contrast. • When the VL-XG sound module mode is selected and a program change number corresponding to a VL70-m voice is received, the “NoteFilter” parameter is automatically set to the channel on which the program change number was received. This does not occur in the VOICE sound module mode. • When the VL70-m MIDI receive channel is changed via the panel controls (pages 34 and 38), the “NoteFilter” parameter is automatically set to the same channel if it is initially set to 01 … 16, but not when it is set to “Thru”. This does not occur when the MIDI receive channel is changed via a MIDI system exclusive message. DumpIntrval • MIDI Bulk Dump Interval • Settings: 50, 100, 150, 200, 300 Sets the length of time intervals to be inserted between data blocks during a “Dump Out” operation (page 100). The required interval will depend on the receiving MIDI device. The settings are in milliseconds: i.e. 50 milliseconds, 100 milliseconds, etc. Try adjusting this parameter if the receiving MIDI device generates an error message while receiving a bulk dump from the VL70-m. NoteFilter • MIDI Note Filter • Settings: ch01 … ch16, Thru This parameter can be used to prevent MIDI note on/off messages received on the specified channel from being re-transmitted via the MIDI OUT connector. Select the channel to be filtered out, or “Thru” to allow all data to pass. The Utility Mode 99 The Dump Out Function The Dump Out function allows VL70-m setup and system exclusive data to be transmitted to a second VL70-m or an external MIDI storage device such as the Yamaha MDF2 MIDI Data Filer via the MID OUT or TO HOST connector. ■ NOTES • The MIDI Device Number of the receiving device must the same as that set via the VL70m PLAY mode “DevNo.” parameter (pages 32 and 41). • You might have to try a few different DumpIntrval parameter (page 99) settings before the receiving device will receive the data from the VL70-m without errors. ● DUMPOUT Operation When the DUMPOUT sub-mode is selected from the UTILITY mode menu, a second menu appears which allows you to choose the type of data to be transmitted: SYSTEM, CURRENT, CUSTOM, or INTERNL. From this menu: 1. Select a Data Type Use the SELECT [<] and [>] buttons to select SYSTEM, CURRENT, CUSTOM, or INTERNL. The icon to the left of the name of the selected data type will flash when selected. 100 The Utility Mode SYSTEM All “system” data, including system setup and breath setting data. CURRENT Transmits the currently selected voice (i.e. the voice that was selected immediately prior to engaging the UTILITY mode). CUSTOM Transmits all 6 CUSTOM bank voices, or a single specified CUSTOM bank voice. When “ALL” is selected all 6 CUSTOM voices are transmitted, and when “C1” through “C6” is selected the corresponding single CUSTOM voice is transmitted. INTERNL Transmits all 64 INTERNAL bank voices, or a single specified INTERNAL bank voice. When “ALL” is selected all 64 INTERNAL voices are transmitted, and when “I01” through “I64” is selected the corresponding single INTERNAL voice is transmitted. 2. Press [ENTER] Press the [ENTER] button to go to the confirmation/select display for the selected data type. 3. Select “ALL” or a Single Voice for CUSTOM or INTERNL If you have selected the CUSTOM or INTERNL data type, you can use the VALUE [-] and [+] buttons at this point to specify whether you want to transmit “ALL” voices from the CUSTOM or INTERNAL bank, or a single voice: when the CUSTOM data type is specified select “C1” through C6, or when the INTRNL data type is specified select “I01” through “I64”. 4. Press [ENTER] to Dump Press the [ENTER] button to begin actual data transmission (or [EXIT] to abort). “Transmitting” will appear on the display while the data is being transmitted, then the display will return to the data type menu. 5. Exit When Done Press the [EXIT] button to return to the UTILITY mode menu, or [PLAY] to return directly to the PLAY mode when done. The Utility Mode 101 The Initialize Function The VL70-m Initialize function includes two sub-modes — “Factory Set” and “System Initialize”. “Factory Set” initialization restores all VL70-m data to the initial factory settings … including all Custom and Internal voices. “System Initialize” restores all system setup parameters (page 98) to their default settings. 1. Select an Initialize Sub-mode Use the SELECT [<] and [>] buttons to select Factory Set or System Initialize. 2. Press [ENTER] Press the [ENTER] button to go to the confirmation display for the selected sub-mode. 3. Press [ENTER] to Initialize Press the [ENTER] button to begin actual initialization (or [EXIT] to abort). “Executing” will appear on the display while the data is being initialized, then the display will return to the Initialize sub-mode menu. 4. Exit When Done Press the [EXIT] button to return to the UTILITY mode menu, or [PLAY] to return directly to the PLAY mode when done. 102 The Utility Mode Appendix Show Control Change This function displays the MIDI control change data string required to control the parameter currently displayed in the PLAY mode from an external MIDI device. The MIDI data is displayed in hexadecimal format. To engage the Show Control Change function first select the desired parameter in the PLAY mode, then “double click” the [ENTER] button (i.e. press the [ENTER] button twice in rapid succession). The Show Control Change display will appear. Show Exclusive This function displays the MIDI system exclusive data string required to control the currently-displayed parameter from an external MIDI device. The MIDI data is displayed in hexadecimal format. To engage the Show Exclusive function first select the desired parameter, then “double click” the [ENTER] button (i.e. press the [ENTER] button twice in rapid succession). The Show Exclusive display will appear. MIDI exclusive message. MIDI channel message (control change). Current parameter name & value. MIDI channel. Part number. Depending on the selected parameter, system exlusive data may be displayed in place of control change data. This variation is described in the next section: “The Show Exclusive Function”. While the Show Control Change function is engaged the VALUE [-] and [+] buttons can be used to change values, and the SELECT [<] and [>] buttons can be used to select different parameters. Press the [EXIT] button to return to the previous display. Depending on the selected parameter, control change data may be displayed in place of system exclusive data. This variation is described in the preceding section: “The Show Control Change Function”. While the Show Exclusive function is engaged the VALUE [-] and [+] buttons can be used to change values, and the SELECT [<] and [>] buttons can be used to select different parameters. Press the [EXIT] button to return to the previous display. With the VL70-m it is possible to control just about any parameter via MIDI system exclusive messages from an external MIDI device. This makes it possibe, for example, to change filter or EG settings while playing, to change the sound as required. You could also change effect settings, the pitch of individual drum instruments, or just about any ohter parameter to add life and variety to your music. Until now, however, the process of using this capability has been rather tedious: find the required parameter in the MIDI documentation, figure out what data string is required to perform the desired operation, and so on. The VL70-m Show Exlusive function shows the required data string for the selected parameter immediately. Appendix 103 The Message Window The VL70-m Message Window function makes it possible to display text messages up to 32 characters in length on the VL70-m display in the PLAY mode. The messages can be transmitted in the form of a data string from an external MIDI device, and will appear on the VL70-m display for about 3 seconds. A message could be placed at the beginning of a song data file, for example, so that the title of the song and other information appears on the display at the beginning of the song. Message ■ Message Window Data Format The format for message window data is as follows (hexadecimal format): F0 43 1n 4C 06 00 00 xx xx .... xx xx F7 “n” is the device number minus one. If the VL70m device number is set to “1”, for example, “n” should be “0”. “xx xx .... xx xx” is the text data. Each character is represented by a single ASCII -code byte (2 hexadecimal digits). Refer to the chart below for the ASCII code for each displayable character. The numbers in the top row are the first digit and the numbers in the leftmost column are the second digit in the byte representing each character. The capital letter “A”, for example, is represented by hexadecimal byte “41”. 0 0 1 2 3 4 5 6 7 8 9 A B C D E F 1 2 3 4 5 6 7 (space) ! " # $ % & ' ( ) * + , . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ ¥ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { } – The message “HELLO VL70-m” would be displayed by transmitting the following data string to the VL70-m: F0 43 1n 4C 06 00 00 48 45 4C 4C 4F 20 56 4C 37 30 2D 6D F7 H E L L O V L 7 0 - m 104 Appendix Bitmap Window The VL70-m Bitmap Window function makes it possible to display 16 x 16 dot icons and simple animation sequences on the VL70-m display in the PLAY mode. The bitmap data can be transmitted in the form of a data string from an external MIDI device, and will appear on the VL70-m display for about 3 seconds. Icon ■ Bitmap Window Data Format The format for message window data is as follows (hexadecimal format): 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 1 0 1 1 1 1 1 0 1 0 1 0 0 0 0 1 1 1 1 0 1 1 1 1 1 1 1 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 1 1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 1 1 1 1 0 1 0 0 0 0 1 0 1 1 1 1 1 0 1 0 ■ Creating Bitmap Data 1. Block out the desired design on a 16 x 16 grid, as shown in the example below. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 2. Filled squares will be represented by ones, and empty squares by zeroes. 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 3. Divide the design horizontally into three sections: two seven-columns and one twocolumns in width. Add one column of squares the left of each section, and 5 columns to the right of the 2-column section, as shown in the example below. You now have 48 rows, each 8 columns in width. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0 1 2 3 4 5 6 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 1 0 1 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 1 0 1 1 1 1 1 0 1 0 1 0 0 0 0 1 1 1 1 0 1 1 1 1 1 1 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 0 1 2 3 4 5 6 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 1 1 1 1 1 0 0 0 0 1 1 1 1 0 0 0 1 1 1 1 0 1 0 0 0 0 1 0 1 1 1 1 1 0 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 1 0 0 0 1 0 0 0 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 0 1 2 3 4 5 6 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Added columns F0 43 1n 4C 07 00 00 xx xx .... xx xx F7 “n” is the device number minus one. If the VL70m device number is set to “1”, for example, “n” should be “0”. “xx xx .... xx xx” is the bitmap data consisting of a string of 48 2-digit hexadecimal bytes. 0 1 0 0 0 0 1 0 0 0 0 0 0 0 1 0 4. Use the chart below to convert the ones and zeroes in each row from binary format to hexadecimal format. The “bits” in columns 0 through 3 become the first digit, and the bits in columns 4 through 7 become the second digit of each hexadecimal byte. For example, the 11th row in the example forms the binary byte:” “01000011”. Columns 0 through 3 form “0100”, which, using the chart, becomes hexadecimal digit “4”. Columns 4 through 7 form “0011”, which, using the chart, becomes hexadecimal digit “3”. The 11th row in the design can therefore be represented by hexadecimal byte “43”. binary format hexadecimal format binary format hexadecimal format 0000 0001 0010 0011 0100 0101 0110 0111 0 1 2 3 4 5 6 7 1000 1001 1010 1011 1100 1101 1110 1111 8 9 A B C D E F Appendix 105 After converting all 48 rows in the example we have the following hexadecimal bytes: 01 0E 30 40 00 01 07 09 13 22 43 23 13 09 07 01 70 0C 03 00 00 70 7C 72 79 48 48 48 79 72 7C 70 00 00 00 40 20 00 00 00 00 40 20 40 00 00 00 00 5. Plug the data derived from the bitmap design into the “xx xx .... xx xx” portion of the bitmap window data format, and you have the data stream required to display the design on the VL70-m display. Checksum Some VL70-m system exclusive message require a “checksum” — a data byte which is used to check for errors during MIDI data transfer. The checksum is calculated using the system exclusive message start address and data (data size). A method of calculating the checksum is given below, using a simple data format as an example. 1. Convert the hexadecimal start address and data bytes (underlined in the example) to decimal format using the chart below. Each two-digit hexadecimal byte becomes a decimal number. • “mm”, the Model ID, is “57” when the VOICE sound module mode is selected, and “4C” when the VL-XG sound module mode is selected. Device number. Checksum FO 43 0n mm ss ss ss xx xx •• xx xx CS F7 Model ID Data (size) Start address 106 Appendix HEX DEC HEX DEC HEX DEC HEX DEC 00 01 02 03 04 05 06 07 08 09 0A 0B 0C 0D 0E 0F 10 11 12 13 14 15 16 17 18 19 1A 1B 1C 1D 1E 1F 20 21 22 23 24 25 26 27 28 29 2A 2B 2C 2D 2E 2F 30 31 32 33 34 35 36 37 38 39 3A 3B 3C 3D 3E 3F 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 Troubleshooting 2. Add all the converted numbers. 3. Divide the total by 128 and note the remainder. 4. Subtract the remainder from 128. The result is the checksum. 5. Convert the decimal checksum back to hexadecimal format using the above chart. The VL70-m is a very versatile tone generator with many features and functions that affect operation. In many cases, what appears to be a fault with the VL70-m can actually be traced to an improperly set parameter or something as simple as a bad connection. Here’s how to determine if the problem is internal (e.g. parameter settings) or external (e.g. connections, amplifier, etc.): ● Listen via headphones. Plug a pair of headphones into the VL70-m and play. If the headphone sound is OK, then the problem is most likely in the amplifier or mixer you are using, or the audio connection cables. ● Try adjusting all operational controllers — modulation wheels, foot controllers, etc. In some cases extreme controller settings can cause unexpected sound or pitch … or even no sound at all. ● Try selecting different voices. If the problem occurs only on one voice then the voice parameters are most likely at fault. If the problem occurs on all voices then a utility parameter should be suspected. The following are some common problems and probable causes: HEX DEC HEX DEC HEX DEC HEX DEC 40 41 42 43 44 45 46 47 48 49 4A 4B 4C 4D 4E 4F 50 51 52 53 54 55 56 57 58 59 5A 5B 5C 5D 5E 5F 60 61 62 63 64 65 66 67 68 69 6A 6B 6C 6D 6E 6F 70 71 72 73 74 75 76 77 78 79 7A 7B 7C 7D 7E 7F 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Symptom • No power. Possible Causes • Is the AC adaptor properly connected to both the VL70-m and an AC wall outlet (page 15)? • If the AC apaptor is connected to a switched AC outlet on another piece of equipment (an amplifier, for example) is that devide switched on? Appendix 107 Symptom • No sound. Possible Causes • Is the amplifier/mixer power turned on? • Is the amplifier/mixer volume set to an appropriate level? • Is the VL70-m volume control set to an appropriate level? • Are the VL70-m outputs properly connected to the amplifier/mixer inputs? • Are the connection cables shorted, open, or otherwise faulty? • Is the HOST SELECT switch set appropriately for your system (page 20)? • Is the echo back (or MIDI THRU) function on your computer or sequencer set properly? • Is the VL70-m MIDI receive channel set properly (pages 34 and 38)? • Is the PLAY mode Volume parameter set properly (pages 32 and 38)? • Is the PLAY mode Master Volume parameter set properly (page 41)? • Is the PLAY mode Expression parameter set properly (page 38)? • Are the filter and EG attack times set to unusually long values (page 72)? • Are the high and low note limit parameters in the “Others” edit mode set to appropriate values (page 81)? • Is the Voice Level parameter in the “Others” edit mode set to an appropriate value (page 79)? • Is the Breath Mode parameter set properly (page 96)? • If a WX-series Wind MIDI Controller is unplugged from the VL70-m while no breath is applied to the controller, the breath value can get “stuck” at “0”, resulting in no sound output. Symptom • Volume too low. Possible Causes • Is the PLAY mode Volume parameter set properly (pages 32 and 38)? • Is the PLAY mode Expression parameter set properly (page 38)? 108 Appendix • • • Is the PLAY mode Master Volume parameter set properly (page 41)? Is the Voice Level parameter in the “Others” edit mode set to an appropriate value (page 79)? Are the “Others” edit mode Velocity Depth and Velocity Offset parameters set to appropriate values (page 81)? Symptom • Distorted sound. Possible Causes • Is the VL70-m connected to a high-sensitivity microphone or instrument input on your amplifier or mixer? Try turning the VL70-m DOWN controls down to avoid overloading the amplifier/mixer inputs. • Is a distortion-type effect being used (page 94)? Symptom • Wrong pitch. Possible Causes • Is the master tune parameter set properly (page 98)? • Is the transpose or system transpose parameter set properly (pages 33 and 41)? • Is the note shift parameter set properly (page 35)? • Is the “Others” edit mode Detune parameter set properly (page 79)? • Are inappropriate RPN Fine Tune or RPN Coarse Tune MIDI message being received from an external MIDI device? Symptom • Can only play one note at a time (i.e. no polyphony). Possible Causes • The VL70-m is a monophonic tone generator which is capable of producing only one note at a time. Symptom • No effects. Possible Causes • Are the effect send levels set properly (pages 35 and 39)? • Are the effect return levels set properly (pages 32, 33 and 41)? • Is “NO EFFECT” or “THRU” selected as the effect type (pages 90 – 92 and 94)? • If distortion is being used, is the distortion part turned “off” (page 94)? Symptom • A connected breath controller has no effect. Possible Causes • Is the Breath Mode parameter set properly (page 96)? • Is the breath control number set properly (page 96)? • Are the parameters to be controlled by the breath controller set properly (page 48)? • If the VL70-m is connected to a computer via the TO HOST connector, is the computer “echo back” function set properly (page 20)? • Is the receive channel parameter set properly (pages 34 and 38)? Symptom • Cannot receive MIDI bulk data. Possible Causes • Is the Receive System Exclusive parameter turned “on” (page 98)? • Is the Device Number parameter set properly (pages 32 and 41)? Symptom • Song data is not played properly. Possible Causes • Is the WX Lip Lock parameter set properly (page 98)? • Is the Breath Setting Lock parameter set properly (page 96)? • In some cases song data which has not been specifically created for playback via the VL70m, or song data which does not bear the “VL Extension for XG” logo, will not play back properly on the VL70-m. Symptom • A connected WX-series controller has no effect. Possible Causes • If the VL70-m is connected to a computer via the TO HOST connector, make sure that the “WX” is selected via the [MIDI/WX] button (page 18). • If the VL70-m is connected to a computer via the TO HOST connector, is the computer “echo back” function set properly (page 20)? • Is the Breath Mode parameter set properly (page 96)? • Is the breath control number set properly (page 96)? • Are the parameters to be controlled by breath data from the WX-series controller set properly (page 48)? • Is the receive channel parameter set properly (pages 34 and 38)? Appendix 109 Answers to Some Common Questions 1. The VL70-m is a monophonic tone generator. Why is the “poly” mode initialy selected when the VL-XG sound module mode is engaged? This is to provide compatibility between the currrent XG format and future polyphonic VLseries tone generators. It also provides a certain degree of compatibility to allow playback of VL-XG song data on existing tone generators which do not feature the VL-XG extension. Specifically, to switch the VL70-m to the mono mode a “mono mode” command (control change no.126, value 0-16) is embedded in the song data which, when received by a 32-note or 64-note polyphonic XG tone generator, switches the appropriate parts to the mono mode. The same will apply to future polyphonic VL-series tone generators, so no changes will be required. The VL70-m therefore has a “poly” which is automatically selected when a MIDI “XG on” system exclusive message is received. 2. Can the Treble and Bass parameters be edit during performance or playback? In fact, they are a valuable expressive tool. Although the Treble and Bass parameters are basically similar in effect to the corresponding controls on an amplifier, for example, their actual effect varies slightly from voice to voice. In many cases they also affect the critical midfrequency range, making it possible to give a voice extra “presence”, as required. The Bass parameter, in particular, can be used to bring a voice “forward” in an ensemble. 3. Why do some voices sound as if they are in the original octave even when shifted down an octave? This is because Virtual Acoustic synthesis accurately simulates the acoustic behaviour of a 110 Appendix pipe or string. Simply stated, the harmonic balance of the voice when played in the normal octave is retained even when the voice is shifted down an octave. The change in timbre can be greater or less, depending on the selected voice. 4. Why does portamento produce more of a glissando effect on some voices? Trumpets and some other brass instruments tend to exhibit this phenomenon more than others. In a S/VA tone generator portamento is produced by lengthening or shortening the instrument’s pipe or string and changing the Embouchure. A trumpet is designed to emphasize the “modes” of the pipe(s) to produce notes over a wide range using only three valves. When portameto is applied to a trumpet voice, the pitch tends to jump from mode to mode, thus producing the observed glissando effect. The same effect occurs with some flute voices. Saxophone modes are not nearly as strong as trumpet modes, but some sax voices do have two definite modes which, when spanned by a portamento slide, can produce irregularities. 5. Why do the filter, EG, and other parameters have more effect on some voices than others? Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band eliminate types. Some voices use very little filter processing at all. Changing the filter settings may not produce a particularly noticeable effect. Also the internal Breath Noise, Throat Formant, Growl, Harmonic Enhancer and Pitch EG parameter settings can have a significant effect on how much the parameters accessible via the VL70-m controls actually affect the sound. For detailed programming of all S/VA parameters, use the VL70-m Expert Editor software(page 25). 6. Why do some bowed string instrument voices tend to “squeek”? 8. Why do some voices not respond as expected to EG edits? As anyone who has played (or tried to play) a real violin knows, these instruments naturally tend to squeek if not properly controlled. The same occurs with S/VA synthesis. As with a real bowed string instrument, bow speed and pressure must be properly controlled in the VL70-m to produce the desired sound. Bow speed is usually controlled either via breath control or an expression pedal. Bow pressure is controlled via control number 13: “64” is medium pressure, lower values produced reduced bow pressure, and higher values produce increased bow pressure. The effect of editing envelope generator parameters may not always be as expected — particularly with plucked string instrument voices such as guitar or bass. This is because the VL70-m actually simulates the plucking, free oscillation, and muting of the strings rather than simply using an EG to approximate these events. If the sound of a string voice decays naturally, for example, setting a long release time will have little or no effect on the actual sound of the voice. Since the attack and decay portions of the voice also have natural timbre variations, these can be unnaturally altered by inappropriate EG settings — which is OK if you’re trying to produce an unnatural effect. Trial and experimentation and the only sure ways to determine how the EG parameters are going to affect a particular voice. 7. Why are pitch bends produced by a pitch bend wheel not always accurate? Natural acoustic musical instruments have no “pitch parameter”. Pitch is determined by the properties of the instrument’s resonant body as well as the condition of the instrument’s driver. The same applies to Virtual Acoustic Synthesis: in the VL70-m pitch bend is simulated by manipulating the appropriate pipe/string length and driver characteristics. As a result, the pitch bend range may not always be “mathematically” accurate. With reed instruments such as saxophone or clarinet, highly realistic pitch bends are produced by controlling both pitch and embouchure at the same time. Since the embouchure component of the pitch bend behaves with characteristics acoustic unpredictability, precise pitch bends are not always produced. If you want the kind of pitch-bend precision produced by conventional synthesizers, select the VOICE sound module mode, go to the CONTROL EDIT mode, and set the Embouchure Depth and Embouchure Depth parameters to “+00”. Then set the pitch bend range to the desired value. Other controller parameers assigned to “pitch bend” can affect pitch bend accuracy, so check to make sure that none are assigned. Appendix 111 Error Messages When an operational error or other problem occurs, the VL70-m will display one of the following error messages to inform you of the problem. Battery Low! The internal backup battery needs to be replaced. Have the battery replaced by qualified Yamaha service personnel. Illegal Data! A data error has occurred durinng MIDI data reception. Try receiving the data again. MIDI Buffer Full! The MIDI receive buffer is full. Reduce the amount of data being transmitted to the VL70-m. HOST is Offline! The cable connection to the host computer has been broken, or the computer power is off. Also check for proper operation of the computer driver and MIDI application software. SysEx Adrs ERROR! The received system exclusive message address is wrong. SysEx Data ERROR! The received system exclusive message data is wrong. SysEx Size ERROR! The received system exclusive message size is wrong. Check Sum ERROR! An error has been detected in the received MIDI data. Check the transmitting device, MIDI cables, MIDI data and Check Sum, and try again. 112 Appendix This Parameter isn’t Excl Data The parameter selected for viewing using the Show Exclusive function can not be controlled via system exclusive data. No Parameter The parameter selected for viewing using the Show Exclusive or Show Control Change function is not available. Rcv CH is OFF! Since the part receive channel for the parameter selected via the Show Control Change function is turned off, the corresponding MIDI data could not be received. Set an appropriate receive channel. Specifications ■ Tone Generator Type S/VA (Self-oscillating Virtual Acoustic Synthesis: VLR Algorithm) Modifiers Harmonic Enhancer Dynamic Filter Equalizer Resonator Effects Reverb: 12 types Chorus: 10 types Variation: 44 types Distortion: 3 types Polyphony 1 note (monophonic) Sound Module Modes Voice Mode VL-XG Mode (VL extension for XG) ■ Memory Preset Custom Internal 256 voices (including 137 VL-XG voices) 6 voices 64 voices ■ Panel Switches PLAY EDIT UTIL EFFECT MODE BREATH MIDI/WX ENTER EXIT PART [-], [+] SELECT [<], [>] VALUE [-], [+] HOST SELECT (rear panel) ■ Display Custom backlit liquid crystal display 6 LED indicators ■ Connectors Front Panel Rear Panel PHONES (stereo mini-jack) WX IN (WX11, WX7) BREATH (BC3, BC2, BC1) OUTPUT X 2 (L/MONO, R) MIDI IN MIDI OUT MIDI THRU TO HOST DC IN ■ Output Level Line +5.5 dBm into 10 kΩ. Headphones -2.0 dBm into 33 Ω. ■ Power Requirements PA-3B AC Power Adaptor (supplied). ■ General Dimensions (W x D x H) 220 x 212 x 46 mm. (8-11/16" x 8-3/8" x 1-13/16") Weight 1.3 kg (2 lbs., 14 oz.) ■ Accessories Owner’s Manual List Book PA-3B AC Power Adaptor Demonstration Disk Demonstration Disk Song List * Specifications subject to change without notice. Appendix 113 Index A Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Absorption Control Change Number . . . . . . . . . . . . Absorption Control Depth . . . . . . . . . . . . . . . . . . . . . Absorption Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aftertouch Filter Control . . . . . . . . . . . . . . . . . . . . . . Aftertouch LFO Pitch Modulation . . . . . . . . . . . . . . . Amplitude & Filter Envelope Attack Time . . . . . . . . Amplitude & Filter Envelope Decay Time . . . . . . . . . Amplitude & Filter Envelope Release Time . . . . . . . Amplitude & filter EG . . . . . . . . . . . . . . . . . . . . . . . . . Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amplitude Control Change Number . . . . . . . . . . . . . Amplitude Control Depth . . . . . . . . . . . . . . . . . . . . . Amplitude Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amplitude Level Scaling Breakpoint . . . . . . . . . . . . . Amplitude Level Scaling Depth . . . . . . . . . . . . . . . . . Answers to some common questions . . . . . . . . . . . Assign Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assignable Controller 1 Amplitude Control . . . . . . . Assignable Controller 1 Control Change Number . . Assignable Controller 1 Filter Control . . . . . . . . . . . Assignable Controller 1 LFO Pitch Modulation . . . . Assignable Controller 1 Variation control . . . . . . . . Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 64 64 65 43 53 53 72 72 73 66 45 56 56 57 73 73 110 80 54 54 54 54 92 22 B Bank number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 38 Bank pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Bass Tone Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Bitmap window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 BREATH button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Breath control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Breath controller . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 43 Breath controller jack . . . . . . . . . . . . . . . . . . . . . . . . . 12 Breath curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Breath mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 96 Breath Noise Control Change Number . . . . . . . . . . . 60 Breath Noise Control Depth . . . . . . . . . . . . . . . . . . . . 60 Breath Noise Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Breath noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Breath setting lock . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Breath settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 C Checksum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Chorus pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Chorus parameters, type specific . . . . . . . . . . . . . . . . 91 Chorus return . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 41 Chorus send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39 Chorus type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Chorus-to-reverb send level . . . . . . . . . . . . . . . . . . . . 91 Control change number assignments . . . . . . . . . . . . 43 Control editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Control parameters, accessing and editing . . . . . . . 46 Controller parameters . . . . . . . . . . . . . . . . . . . . . . . . 45 Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 42 114 Index Custom voice bank . . . . . . . . . . . . . . . . . . . . . . . . . . . Cutoff Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cutoff Scaling Breakpoint . . . . . . . . . . . . . . . . . . . . . Cutoff Scaling Depth . . . . . . . . . . . . . . . . . . . . . . . . . 26 71 71 71 D Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Damping Control Change Number . . . . . . . . . . . . . . 63 Damping Control Depth . . . . . . . . . . . . . . . . . . . . . . . 63 Damping Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 DC IN connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Demo disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Demo playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Device number . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 41 Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Display contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Distortion control, aftertouch . . . . . . . . . . . . . . . . . . 94 Distortion control, assignable controller 1 . . . . . . . . 94 Distortion parameters, type specific . . . . . . . . . . . . . 94 Distortion part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Distortion type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Dry Output Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Dump out function . . . . . . . . . . . . . . . . . . . . . . . . . . 100 E EDIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EFFECT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Effect editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Effect signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Embouchure Control Change Number . . . . . . . . . . . Embouchure Lower Control Depth . . . . . . . . . . . . . . Embouchure Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . Embouchure Upper Control Depth . . . . . . . . . . . . . . ENTER button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXIT button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Expression Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 25 12 86 86 45 57 58 58 57 13 112 13 38 54 F Filter Filter Filter Filter Filter Filter ....................................... and envelope generator editing . . . . . . . . . . . Control Change Number . . . . . . . . . . . . . . . . . Control Depth . . . . . . . . . . . . . . . . . . . . . . . . . . Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Envelope Generator Depth . . . . . . . . . . . . . . . 45 66 55 56 56 71 G50 MIDI Guitar Converter . . . . . . . . . . . . . . . . . . . . Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Growl Control Change Number . . . . . . . . . . . . . . . . . Growl Control Depth . . . . . . . . . . . . . . . . . . . . . . . . . Growl Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 45 61 61 61 G H Harmonic Enhancer Control Change Number . . . . . Harmonic Enhancer Control Depth . . . . . . . . . . . . . . Harmonic Enhancer Curve . . . . . . . . . . . . . . . . . . . . . Harmonic enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . High Note Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HOST SELECT switch . . . . . . . . . . . . . . . . . . . . . . . . . . 62 63 63 45 22 81 14 I IBM PC, connecting to . . . . . . . . . . . . . . . . . . . . . . . . 21 Initialize function . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Internal voice bank . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 L Lip mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Low Note Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 M Macintosh, connecting to . . . . . . . . . . . . . . . . . . . . . . 20 Manual, about the . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Master Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Message window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 MIDI bulk dump interval . . . . . . . . . . . . . . . . . . . . . . 99 MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 MIDI connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 MIDI note filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 MIDI transmit channel . . . . . . . . . . . . . . . . . . . . . . . . 98 MIDI/WX button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 MIDI/WX setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 MODE button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Modulation Wheel LFO Filter Modulation . . . . . . . . 53 Modulation Wheel LFO Pitch Modulation . . . . . . . . 53 Modulation wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Monophonic/Polyphonic Mode . . . . . . . . . . . . . . . . . 80 Pitch Bend LFO Pitch Modulation . . . . . . . . . . . . . . . Pitch Bend Low Control . . . . . . . . . . . . . . . . . . . . . . . Pitch bend wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . PLAY button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Polyphonic Expansion . . . . . . . . . . . . . . . . . . . . . . . . . Portamento Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . Portamento Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . Portamento Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Power-on procedure . . . . . . . . . . . . . . . . . . . . . . . . . . POWER/VOL control . . . . . . . . . . . . . . . . . . . . . . . . . . Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preset voice banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pressure Control Change Number . . . . . . . . . . . . . . . Pressure Control Depth . . . . . . . . . . . . . . . . . . . . . . . Pressure Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program number . . . . . . . . . . . . . . . . . . . . . . . . . . 32, Program pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 52 43 12 80 82 82 82 15 23 12 4 26 45 55 55 55 38 35 R Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reverb pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reverb parameters, type specific . . . . . . . . . . . . . . . . Reverb return . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, Reverb send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, Reverb type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 71 90 90 41 39 90 S O Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Scream Control Change Number . . . . . . . . . . . . . . . . 59 Scream Control Depth . . . . . . . . . . . . . . . . . . . . . . . . 59 Scream Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 SELECT buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Show control change . . . . . . . . . . . . . . . . . . . . . . . . 103 Show exclusive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Sound module mode . . . . . . . . . . . . . . . . . . . . . . . . . 18 Sound module modes . . . . . . . . . . . . . . . . . . . . . . 27, 29 Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Stereo sound system . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 System exclusive receive . . . . . . . . . . . . . . . . . . . . . . . 98 System transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Other Edit Parameters . . . . . . . . . . . . . . . . . . . . . . . . 75 OUTPUT L/MONO and R jacks . . . . . . . . . . . . . . . . . . 14 T N NEC PC-9801/9821, connecting to . . . . . . . . . . . . . . . 21 Note shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, 39 P Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, PART buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Personal computer, connecting to . . . . . . . . . . . . . . . PHONES jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pitch & Embouchure Envelope Attack Time . . . . . . . Pitch & Embouchure Envelope Initial Level . . . . . . . Pitch & Embouchure Envelope Release Level . . . . . . Pitch & Embouchure Envelope Release Time . . . . . . Pitch & embouchure EG . . . . . . . . . . . . . . . . . . . . . . . Pitch Bend Control . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 13 20 12 74 73 74 74 66 52 Throat Formant Control Change Number . . . . . . . . Throat Formant Control Depth . . . . . . . . . . . . . . . . . Throat Formant Curve . . . . . . . . . . . . . . . . . . . . . . . . Throat formant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TO HOST connectors . . . . . . . . . . . . . . . . . . . . . . . . . . Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tonguing Control Change Number . . . . . . . . . . . . . . Tonguing Control Depth . . . . . . . . . . . . . . . . . . . . . . Tonguing Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Treble Tone Control . . . . . . . . . . . . . . . . . . . . . . . . . . Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 62 62 45 14 45 58 59 59 41 72 107 Index 115 U UTIL button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Utility mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 V VALUE buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variation connection mode . . . . . . . . . . . . . . . . . . . . Variation pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variation parameters, type specific . . . . . . . . . . . . . . Variation return . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, Variation send . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35, Variation stage as insertion effect . . . . . . . . . . . . . . Variation stage as system effect . . . . . . . . . . . . . . . . Variation type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variation-to-chorus send level . . . . . . . . . . . . . . . . . . Variation-to-reverb send level . . . . . . . . . . . . . . . . . . Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Velocity Sensitivity Depth . . . . . . . . . . . . . . . . . . . . . . Velocity Sensitivity Offset . . . . . . . . . . . . . . . . . . . . . . Vibrato Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vibrato Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vibrato Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Virtual Acoustic Synthesis . . . . . . . . . . . . . . . . . . . . . . . VL Extension for XG . . . . . . . . . . . . . . . . . . . . . . . . . . VL-XG play main control mode . . . . . . . . . . . . . . . . . VL-XG play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . VL-XG play sub-control mode . . . . . . . . . . . . . . . . . . VL-XG sound module mode . . . . . . . . . . . . . . . . . . . . VL70-m model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice organization . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice play main control mode . . . . . . . . . . . . . . . . . . Voice play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Voice play sub-control mode . . . . . . . . . . . . . . . . . . . Voice sound module mode . . . . . . . . . . . . . . . . . . . . Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32, 13 93 93 92 41 39 86 87 92 93 93 43 81 81 79 79 79 6 30 37 36 40 28 7 79 83 26 31 31 34 27 38 W WX WX WX WX IN jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lip lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lip mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . wind MIDI controller . . . . . . . . . . . . . . . . . . . . . . 116 Index 12 98 98 18 117 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 MIDDLE & SOUTH AMERICA Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ASIA ITALY Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras, Portugal Tel: 01-443-3398/4030/1823 GREECE MEXICO Yamaha De Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRASIL Yamaha Musical Do Brasil LTDA. Ave. Reboucas 2636, São Paulo, Brasil Tel: 011-853-1377 Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN Yamaha De Panama S.A. Edificio Interseco, Calle Elvira Mendez no.10, Piso 3, Oficina #105, Ciudad de Panama, Panama Tel: 507-69-5311 OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp. 6101 Blue Lagoon Drive, Miami, Florida 33126, U.S.A. Tel: 305-261-4111 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 0222-60203900 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61-4000 PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Cosmos Corporation #131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5 MALAYSIA Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 SINGAPORE FINLAND Warner Music Finland OY/Fazer Music Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011 Yamaha Music Asia Pte., Ltd. Blk 17A Toa Payoh #01-190 Lorong 7 Singapore 1231 Tel: 354-0133 TAIWAN Kung Hsue She Trading Co., Ltd. No. 322, Section 1, Fu Hsing S. Road, Taipei 106, Taiwan. R.O.C. Tel: 02-709-1266 NORWAY Narud Yamaha AS Grini Næringspark 17 N-1345 Østerås, Norway Tel: 67 14 47 90 THAILAND Siam Music Yamaha Co., Ltd. 865 Phornprapha Building, Rama I Road, Patumwan, Bangkok 10330, Thailand Tel: 2-215-3443 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 OCEANIA AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 AUSTRALIA Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN OTHER COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 HEAD OFFICE SY11 INDONESIA PHILIPPINES THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 730-1098 Yamaha Music Malaysia, Sdn., Bhd. 16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Malaysia Tel: 3-717-8977 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK PANAMA HONG KONG Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2445 M.D.G., EMI Division © Yamaha Corporation 1996 VV11820 606POCP3.2-01A0 Printed in Japan