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Virtual Acoustic Tone Generator Feature Reference Owner’s Manual 2
Feature Reference Contents About the Manuals . . . . . . . . . . . . . . . . . . . . . . ■ The Getting Started Manual . . . . . . . . . . . . . . . ■ The Feature Reference Manual (this manual) . ■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 4 5 5 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . 53 • Mono Delay . . . . . . . . . . . . . . . . . . . . . . . 53 • L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . 55 • L,C,R Delay . . . . . . . . . . . . . . . .
Feature Reference • 4-3: Mixing Tap Output Key Scaling . 102 • 4-4: Mixing Tap Location Key Scaling 103 ■ 5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . 104 • 5-1: Total Amplitude Level Key Scaling104 Element Modifier . . . . . . . . . . . . . . . . . . . . . 106 ■ 1: Harmonic Enhancer . . . . . . . . . . . . . . . . . 107 •1-1: Harmonic Enhancer HPF Key Scaling . . . . . . . . . . . . . . . . . . . . . . 110 •1-2: Harmonic Enhancer Overdrive Key Scaling . . . . . . . . . . . . . . . . . .
Feature Reference About the Manuals The VL1-m comes with two manuals — Getting Started and Feature Reference. If you’re just starting out with the VL1-m we urge you to begin with the Getting Started manual since it describes basic concepts and procedures that are essential to proper operation of the VL1-m. The Getting Started Manual The Getting Started manual contains seven chapters that take you through essential information and procedures you will need to know to become familiar with your VL1-m: 1.
Feature Reference The Feature Reference Manual (this manual) The Feature Reference manual is the “nuts and bolts” reference for the VL1-m, individually describing its many functions in detail. The Feature Reference manual is divided into five main sections, each describing the various functions within a particular VL1-m edit or utility mode. 1. 2. 3. 4. 5.
Feature Reference 6
General Operation The VL1-m makes operation as easy as possible by providing a consistent, logical control interface via which its many functions and parameters can be accessed and edited. Once you become familiar with the system, operation should be smooth, efficient, and easy. ● ● ● ● The Three Main Modes . . . . . . . . . . . . . 8 Finding Functions & Parameters . . . . . 9 Other Navigation Aids . . . . . . . . . . . . . 11 Selecting & Editing Parameters . . . . .
Feature Reference ● General Operation The Three Main Modes The VL1-m has three main modes: PLAY, EDIT, and UTILITY. Each of these modes can be directly accessed by pressing the P, E, or U button, respectively. PLAY The PLAY mode is the one you use to select and play the VL1-m voices. The PLAY mode also includes several “Controller Views” that allow you to check controller assignments, the status of several important performance parameters, and the quick edit assignments. ≥ Pages 13 through 20.
Feature Reference ● General Operation Finding Functions & Parameters To facilitate access to the many functions provided, the EDIT and UTILITY mode functions are organized into logical groups arranged in a hierarchical structure (the PLAY mode is simple enough that it doesn’t require this type of structure).
Feature Reference ● General Operation 3. If Necessary, Press ™ (“Efct”) If the miscellaneous directory is showing (in this case “Misc” above the ¡ button will be highlighted), press the ™ button below “Efct” on the display to select the effect directory. 4. Move the Cursor To “4:Reverberation” and Press [ Use the cursor buttons (or the - and = buttons, or the data dial) to move the cursor to “4:Reverberation” and press the [ button. This will take you to the first page of reverb parameters.
Feature Reference ● General Operation Other Navigation Aids In addition to the standard procedures described in the previous section, the VL1-m sometimes provides additional help in moving between related functions via the function buttons. In this example display page from the ELEMENT CONTROLLER group, “Bpag” (back page) and “Fpag” (forward page) appear above the § and ¶ function buttons.
Feature Reference ● General Operation Selecting & Editing Parameters Once you’ve locate the display page that contains the parameter(s) you want to edit, simply use the cursor buttons to move the cursor to the parameter, and then use the data dial or the = and - buttons to set the parameter as required. The data dial is ideal for quickly covering a large range of settings, while the = and - buttons are best for small stepwise changes.
Play Mode The primary function of the PLAY mode is to allow you to select and play voices. The VL1-m play mode additionally offers a range of controller views that let you check controller assignments, and simple “quick edit” capability. Select the PLAY mode from either the EDIT or UTILITY mode by pressing the P button. ● ● ● ● ● The Main Play Mode Display . . . . . . . 14 Voice Selection . . . . . . . . . . . . . . . . . . 15 Controller Views . . . . . . . . . . . . . . . . .
Feature Reference ● Play Mode The Main Play Mode Display When you select the PLAY mode by pressing the P button, the main PLAY mode display will appear. This display includes a considerable amount of information in addition to the name of the currently selected voice. ■ The Normal Voice Display Voice name. Voice number. Play mode. Pressure, Amplitude, or D.Filter Controller * Reverb on or off. Stereo output mode. Element E1 and E2 names. Effects in use. Voice mode.
Feature Reference ● Play Mode Voice Selection The VL1-m’s 128 voices are organized into 8 banks — “A” through “H” — of 16 voices each (8 x 16 = 128). These can be selected in sequence by using either the data dial or the = and - buttons. Note that the voice number which appears on the play mode display includes both the voice bank/number (“A01” through “A16”, “B01” through “B16”, etc.) and the absolute voice number in parentheses following the bank/ number (“001” through “128”).
Feature Reference ● Play Mode ● Using the Voice Directory The VL1-m also features a voice directory display that can be more convenient than the normal voice display in some situations. To switch to the voice directory display, press the • button — located directly below “Dir” on the display. The directory display shows all 16 voices in the current bank. Voices can be selected using either the data dial or = and - buttons as described above — the cursor will move to the selected voice.
Feature Reference ● Play Mode Controller Views In the PLAY mode, function buttons ¡ (“Cnt1”) through § (“QED”) are used to select “controller view” displays that list all controller assignments for the currently selected voice. You can press the ] or P button from any controller view to return to the normal play-mode display. ● ¡ (“Cnt1”) through ¢ (“Cnt4”): Main Controllers ¡ through ¢ display the assignments for the controller parameters. ¡ (“Cnt1”) Pressure ≥ Page 65. Embouchure ≥ Page 66.
Feature Reference ● Play Mode ¢ (“Cnt4”) Damping ≥ Page 80. Absorption ≥ Page 81. The controller parameters are listed in the left column of the controller view display, and the controllers assigned to them are listed in the center and right columns, corresponding to elements 1 and 2, respectively. ●∞ (“Cnt5”): Other Controller Settings If you press the ∞ controller view: function button from the play mode you’ll see the following Polyphony ≥ Page 36. Sustain ≥ Page 35.
Feature Reference ● Play Mode ● § (“QED”): Quick Edit The § function button calls the Quick Edit (“QED”) controller view, which will look something like this: Two MIDI controllers (control change numbers 16 and 17) can be independently assigned to several parameters that you can control in real time while playing (also see “Quick Editing In the Play Mode”, below). The parameters available for editing via the controllers are individually preset for each voice.
Feature Reference ● Play Mode The Monitor Mode In the PLAY mode the ¶ function button (“Moni”) selects a “Monitor” display which shows the most recently received MIDI values for a range of parameters, plus that from a breath controller connected to the BREATH jack. Press the ] or P key to return to the normal play mode display. Control Change The most recently received MIDI control change value for the specified control change number.
Edit Mode All voice editing functions are accessed via the EDIT mode: controller assignments, mixing, modifiers, effects, and more. Element Selection In the Edit Mode . . . . . . . . . . . . . . 22 ● The Edit Compare Function . . . . . 23 ● The Copy Function . . . . . . . . . . . . 24 ● Storing Edited Data . . . . . . . . . . . 27 Initial Edit Page . . . . . . . . . . . . . . . . . . . 30 Common Miscellanous . . . . . . . . . . . . . . 34 Common Effect . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Edit Mode Element Selection In the Edit Mode In the EDIT mode you’ll need to be able to select the element to be edited, and independently turn the elements on and off to monitor the sound. ● Element Select The ∞ function button and , and < cursor buttons are used to select the element to be edited in a 2-element voice when an ELEMENT parameter is selected. Press , while holding ∞ to select element 1, or press < while holding ∞ to select element 2.
Feature Reference ● Edit Mode The Edit Compare Function When editing a voice in the EDIT mode, a copy of the original voice is retained in the VL1-m “edit buffer”, allowing the edited voice to be compared with the edited version by using the “Edit Compare” function. The Edit Compare function is engaged by pressing the E button while in the EDIT mode (after making at least one change to the voice data).
Feature Reference ● Edit Mode The Copy Function The copy function makes it possible to copy common or element data from any specified voice to the current voice. You can copy all common or element data, or only the data from a specified group of functions or a single function. It is also possible to copy the original (pre-edit) data from the voice being edited to restore the specified data to its original values. ● Procedure 1.
Feature Reference • ● Edit Mode To copy all element data, go to the initial EDIT mode display and move the cursor to the “E1 Name” or “E2 Name” parameter. ■ • Example: Copy all element data. To copy the E1 or E2 controller, miscellaneous, modifier, or envelope data, select the corresponding directory display page. ■ • Example: Copy all E1 element modifier data. To copy the data from a single element function select the display page for that function. ■ Example: Copy the E2 harmonic enhancer data.
Feature Reference ● Edit Mode • The voice/element preceded by an asterisk (*) in the copy window is the current voice/element. If you select this voice/element as the copy source the pre-edit data will be copied, thus restoring the specified data to its original values. • Press § under “123…” to display the voices in numerical order, or ¶ under “ABC…” to display the voices in alphabetical order.
Feature Reference ● Edit Mode Storing Edited Data Once you’ve created a new voice in the edit mode, it’s necessary to store the voice to one of the VL1-m’s 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 floppy Page 166).
Feature Reference ● Edit Mode 4. Press [ and Confirm To Store Press the [ button once you’ve selected the store destination (at this point you can also press the ] button to cancel the store function). If you press [ the confirmation display will appear. Press the - button to actually store the data (or = to cancel). “Completed” will appear on the display when the data has been successfully stored. 5. Press ] Press the ] button to clear the STORE display and return to the previous mode.
Feature Reference 29 ● Edit Mode
Feature Reference ● Edit Mode Initial Edit Page EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE Select the EDIT mode from either the PLAY or UTILITY mode by pressing the E button. The initial EDIT display will appear. NOTES ■ If you are re-entering the EDIT mode while editing a voice (i.e. you have edited but not yet stored the current voice), the last selected EDIT display page will appear.
Feature Reference ● Edit Mode ≤ A name of up to 10 characters. To enter a new voice name position the cursor at the “Voice Name” parameter and press [ or • (“Name” — “Name” only appears above the • button when the cursor is positioned at the “Voice Name” parameter). The VOICE NAME display will appear. • • • • • Use the cursor , and . buttons to move the cursor to the character in the voice name at the top of the display that you want to change.
Feature Reference ● Edit Mode ● Voice Mode ≤ Single, Dual. In conjunction with the Key Mode parameter, above, the Voice Mode parameter determines how the VL1-m’s two elements are used to produce sound. Single Only the sound of one element will be produced at a time. Dual The sound of two elements may be produced simultaneously.
Feature Reference Edit Mode When the cursor is positioned at the “E1 Name” or “E2 Name” parameter in the initial EDIT mode display, “Swap” appears above the ¶ button. Pressing this button exchanges the E1 and E2 data, including the element names. This function can be used to swap the elements used for the high and low notes when Key Mode is set to “Unison” and Voice Mode is set to “Dual”.
Feature Reference ● Edit Mode Common Miscellaneous EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE The COMMON MISCELLANEOUS group includes a miscellaneous range of functions which affect the entire voice. ■ ■ ■ ■ ■ ■ ■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . . . 4: Element Level & Pan . . . . . .
Feature Reference ● Edit Mode 1: Setting Common Miscellaneous ● Assign Mode ≤ Bottom Note, Top Note, Last Note. Determines which note(s) will be played when more than one note is played at a time. Operation is different in the mono, poly, and unison key modes (≥ Page 31), as noted below. This parameter also affects how the VL1-m responds to external MIDI control. Bottom Note The lowest note(s) played sounds. Top Note The highest note(s) played sounds. Last Note The last note(s) played sounds.
Feature Reference ● Edit Mode 2: Controller ● Breath Attack Time ≤ 5.00msec … 1.24 sec. Determines how quickly the VL1-m responds to changes in breath pressure applied to the breath controller. A setting of “5.00msec” produces the fastest response; “1.24 sec” produces the slowest response. This parameter should be used with the “Breath Attack Gain” parameter, below, to determine overall breath controller response. ● Breath Attack Gain ≤ 0 … 127.
Feature Reference ● Edit Mode 3: Element Pitch Common Miscellaneous ● Element 1 Detune ● Element 2 Detune ≤ -7 … 7. Produces a slight upward or downward shift in the pitch of Element 1 or Element 2, and therefore a detuning effect in relation to the other element. Minus values lower the pitch while positive values raise the pitch. The change in pitch produced by each increment is very slight (on the order of a few cents per increment).
Feature Reference ● Edit Mode 4: Element Level & Pan ● Element 1 Level ● Element 2 Level ≤ 0 … 127. Sets the level (volume) of the output from Element 1 or Element 2. A setting of “0” produces no output; “127” produces maximum output. Indepedent level parameters are provided for Element 1 and Element 2, making it easy to create the desired “balance”.
Feature Reference • ● Edit Mode -64 0 Left 63 Right Sound • If both the “L” and “R” parameters are set to the same value, the sound of the corresponding element will appear as a mono source at the appropriate position in the stereo sound field. If both parameters are set to “0”, for example, the sound of the element will be heard only in the center of the sound field.
Feature Reference ● Edit Mode 5: Portamento ● Portamento Mode ≤ Full Time, Fingered. Portamento produces a “slide” effect between subsequently played notes. The “Portamento Mode” parameter determines how the portamento slide is produced. Full Time The portamento slide will occur between any two subsequent notes when the portamento switch is on, even if the first note is released before the second is played.
Feature Reference ● Edit Mode ● Element 2 ≤ off, on. • The “Element 2” parameter will not appear if the “Voice Mode” parameter (≥ Page 32) is set to “Single”. 41 Common Miscellaneous Turns portamento off or on for element 2 only.
Feature Reference ● Edit Mode 6: Micro Tuning ● Element 1 ● Element 2 ≤ off, I-1 … I-2, P-1 … P-54. Selects the micro-tuning for Element 1 or Element 2. off Equal Temperament: The standard modern keyboard tuning with perfectly even intervals between all 12 notes of the scale. This tuning allows transposition to any key without modification. I-1, I-2 Internal Microtuning: These tunings are included in the system data on the VL1-m voice disk.
Feature Reference • ● Edit Mode The “Element 2” parameter will not appear if the “Voice Mode” parameter (≥ Page 32) is set to “Single”. ● QED1 (cc16) ● QED2 (cc17) ≤ off, Com, E1, E2, Both — plus the parameters available for the current voice. Assigns the available common or element edit parameters to the corresponding MIDI controller (QED1 = control change number 16; QED2 = control change number 17).
Feature Reference ● Edit Mode Common Effect EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE The COMMON EFFECT parameters provide access to the VL1-m’s sophisticated three-stage digital signal processing system. ■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ■ 2: Modulation Effect . . . . . . . . . . . . . . . . . . . . . . ● Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ● Pitch Change . . . . . . . . . . . . .
Feature Reference ● Edit Mode 1: Setting Common Effect ● Feedback Delay/Reverb Mode ≤ Serial, Parallel. Determines whether the Feedback Delay and Reverb effect stages are connected in series (Serial) or in parallel, as shown in the illustration. Serial Mode From Element Modulation Feedback Delay Reverb To Output Parallel Mode From Element Modulation Feedback Delay To Output Reverb ● Effect Control — Destination Effect ≤ off, Flanger Freq.
Feature Reference ● Edit Mode 2: Modulation Effect ● Modulation Effect Type ≤ off, Flanger, Pitch Change, Distortion. Selects the type of effect to be produced by the modulation effect stage. The effect types and their parameters are individually described on the following pages. No effect parameters appear when the modulation effect stage is turned “off”. Flanger This type of effect is created by slightly delaying the sound and periodically varying the delay time.
Feature Reference ● Edit Mode Flanger Common Effect • Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. ● Element on/off — E1: & E2: ≤ off, on. In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the flanger effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed.
Feature Reference Flanger ● Edit Mode ● Delay ≤ 0.33 … 32.87 ms. Sets the flanger delay time (the flanger effect is basically produced by modulating the delay time of one signal in relation to another). Shorter delay times produce the greatest effect in the high-frequency range, while longer delay times extend the effect to the middle and lower frequencies. Delays longer than about 5 milliseconds produce a more chorus-like effect. ● Phase ≤ -180.0 … 180.0 deg.
Feature Reference ● Edit Mode Pitch Change Common Effect Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. • ● Element on/off — E1: & E2: ≤ off, on. In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the pitch change effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed.
Feature Reference Pitch Change ● Edit Mode ● 1 Pitch (L Pitch) ● 2 Pitch (R Pitch) ≤ -12 … 12. These two parameters individually set the pitch of the first and second pitchchanged note between one octave below (“-12”) and one octave above (“+12”) the input note. When the “Stereo” mode is selected, the “1 Pitch” parameter applies to the left channel and the “2 Pitch” parameter to the right. ● 1 Fine (L Fine) ● 2 Fine (R Fine) ≤ -100 … 100.
Feature Reference ● Edit Mode Distortion Common Effect • Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. ● Element on/off — E1: & E2: ≤ off, on. In this parameter the cursor can be positioned at “E1:” or “E2:” to individually turn the distortion effect on or off for elements 1 and 2, respectively. When “on” the output of the corresponding element is fed to the input of the modulation stage, and when “off” the modulation stage is bypassed.
Feature Reference Distortion ● Edit Mode ● Output Level ≤ 0 … 100 %. Sets the output level of the distortion sound. Higher values produce higher level. ● Speaker ≤ Flat, Stack, Combo, Twin, Radio, Megaphone. Simulates a variety of speaker types and configurations via which the distortion sound might be reproduced. Flat No speaker — the sound of a “direct feed” to a recording or sound reinforcement console. Stack The powerful, expansive sound of stacked speaker cabinets.
Feature Reference ● Edit Mode 3: Feedback Delay Common Effect ● Delay Type ≤ off, Mono, L,R, L,C,R. Selects the type of effect to be produced by the Feedback Delay effect stage. The effect types and their parameters are individually described on the following pages. No effect parameters appear when the Feedback Delay effect stage is turned “off”. Mono The Mono delay effect produces a single delay sound which appears in the center of the stereo sound field.
Feature Reference Edit Mode ● FB Delay Time ≤ 0 … 1024 ms. Sets the delay time between repeats. The higher the value the longer the delay. • Use the VL1-m “Time Calculation” function (≥ times based on musical tempo and note lengths. Page 59) to enter delay ● FB Gain ≤ 0 … 100 %. Determines the amount of effect-sound feedback returned to the input of the delay stage. Higher values produce a greater number of repeats. ● High ≤ 0.1 … 1.0.
Feature Reference ● Edit Mode L,R Delay Common Effect • Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. ● Return ≤ 0 … 100 %. Determines how much of the delayed sound is mixed with the direct sound. Higher values produce higher delay sound levels. ● Lch Delay Time ● Rch Delay Time ≤ 0 … 512 ms. Set the delay time between repeats. Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.
Feature Reference L,R Delay ● Edit Mode ● Lch High ● Rch High ≤ 0.1 … 1.0. Produces a natural decay in the in the high-frequency components of subsequent repeats. The lower the value the faster and more pronounced the drop-off in high-frequencies. Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.
Feature Reference ● Edit Mode L,C,R Delay Common Effect • Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. ● Return ≤ 0 … 100 %. Determines how much of the delayed sound is mixed with the direct sound. Higher values produce higher delay sound levels. ● FB Delay Time ≤ 0 … 1024 ms. Sets the delay time between repeats. The higher the value the longer the delay. • Use the VL1-m “Time Calculation” function (≥ times based on musical tempo and note lengths.
Feature Reference L,C,R Delay ● Edit Mode ● Lch Delay Time ● Cch Delay Time ● Rch Delay Time ≤ 0 … 1024 ms. Set the delay time between the direct sound and the first repeat. Independent parameters are provided for the left (“Lch”), center (“Cch”), and right (“Rch”) channels. • Use the VL1-m “Time Calculation” function (≥ times based on musical tempo and note lengths. Page 59) to enter delay ● Lch Level ● Cch Level ● Rch Level ≤ 0 … 100 %. Set the overall level of the delay sound.
Feature Reference ● Edit Mode Musical Time Calculation 1. Select a Delay Time Parameter Position the cursor at the delay time parameter you want to edit — “Calc” will appear above the • button. 2. Press • Press the • function button (“calc”). The “TIME CALCULATION” window will appear. 3. Set the Required Tempo Use the data dial or = and - buttons to specify the tempo you will be playing at (quarter-note beats per minute).
Feature Reference ● Edit Mode 4: Reverberation ● Reverb Type ≤ off, Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse. Selects the type of effect to be produced by the Reverb effect stage. Unlike the preceding effect stages, the parameters are the same for all Reverb effect types. No effect parameters appear when the Reverb effect stage is turned “off”. Hall 1 A simulation of the reverbation characteristics of a fairly standard concert hall.
Feature Reference ● Edit Mode Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse Common Effect • Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages of effect parameters. ● Return ≤ 0 … 100 %. Determines how much of the reverb sound is mixed with the direct sound. Higher values produce higher reverb sound levels. ● Reverb Time ≤ 0.05 … 100.0 sec. Sets the amount of time it takes for the reverb sound to decay by 60 dB (virtually to silence). ● Reverb Time Boost ≤ 0 … 10.
Feature Reference ● Edit Mode ● High Control ≤ 0.1 … 1.0. Sets the reverb time of the high frequencies in relation to the overall reverb time. Higher values produce longer high-frequency reverb times, gradually approaching the overall reverb time. ● Diffusion ≤ 0 … 10. Adjusts the left-right “spread” of the reverb sound. The higher the value the greater the spread. ● Initial Delay ≤ 0 … 405 ms. Sets the delay time before the reverb sound begins.
Feature Reference ■ ● Edit Mode Reverb Effect Block Diagram L In L Out R In R Out 63 Common Effect Reverb
Feature Reference ● Edit Mode Element Controller EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE ■ ■ ■ ■ ■ ■ ■ ■ 1: 2: 3: 4: 5: 6: 7: 8: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tonguing . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Edit Mode 1: Pressure The ¶ button (“Fpag”) can be used to go directly the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The “Pressure” parameter 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.
Feature Reference ● Edit Mode 2: Embouchure • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The “Embouchure” parameter 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.
Feature Reference ● Edit Mode “Lower Depth” parameter is not available when the “Mode” parameter, below, is set to “Minimum Base”. ● Mode ≤ Center Base, Minimum Base. 3: Pitch • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings).
Feature Reference ● Edit Mode ● Upper Depth ≤ -12 … 12. Sets the amount of variation produced by the controller assigned to pitch when the controller is set to its maximum position (e.g. a pitch wheel rolled all the way up). The higher the value the greater the variation. Positive values cause an increase in pitch in response to higher controller values, while minus values cause a decrease in pitch in response to higher controller values.
Feature Reference ● Edit Mode 4: Vibrato The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. • The • button (“Para”) can be used to go directly to the Vibrato parameter page (≥ Page 135), also available from the ELEMENT ENVELOPE directory. You can then return to the controller vibrato page by pressing • (“Ctrl”) again. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings).
Feature Reference ● Edit Mode 5: Tonguing • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The “Tonguing” parameter 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.
Feature Reference ● Edit Mode 6: Amplitude The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). Unlike pressure, the “Amplitude” parameter controls the volume of the sound without varying timbre. The “Controller” parameter specifies the controller to be used for amplitude control.
Feature Reference ● Edit Mode 7: Scream • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The “Scream” parameter drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modeling technology.
Feature Reference ● Edit Mode 8: Breath Noise The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. • The • button (“Para”) can be used to go directly to the Breath Noise parameter page (≥ Page 86), also available from the ELEMENT MISCELLANEOUS directory. You can then return to the controller Breath Noise page by pressing • (“Ctrl”) again.
Feature Reference ● Edit Mode tively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents breath noise. ● Value ≤ 0 … 127. Determines the amount of breath noise produced when the “Controller” parameter is set to “off”. The higher the value the greater the effect.
Feature Reference ● Edit Mode 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 to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents growl. ● Curve -16 … 16. Determines the relationship between the controller value and growl.
Feature Reference ● Edit Mode ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The “Throat Formant” parameter controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound. The “Controller” parameter specifies the controller to be used for throat formant control. When set to “off” no throat formant variation can be produced, but an absolute throat formant value can be set via the “Value” parameter, below.
Feature Reference ● Edit Mode 11: Dynamic Filter The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. • The • button (“Para”) can be used to go directly to the Dynamic Filter parameter page (≥ Page 115), also available from the ELEMENT MODIFIER directory. You can then return to the controller Dynamic Filter page by pressing • (“Ctrl”) again.
Feature Reference ● Edit Mode site effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The “Curve” setting is reflected in the graph to the right of the parameters — the horizontal axis represents the controller value and the vertical axis represents filter cutoff frequency.
Feature Reference ● Edit Mode ● Curve ≤ -16 … 16. • No harmonic enhancer variation can be applied via any controller if the ELEMENT MODIFIER Harmonic Enhancer page “Balance” parameter is set to “-64” (≥ Page 108). 79 Element Controller Determines the relationship between the controller value and harmonic enhancer depth. When set to “0” the relationship is linear. That is, a change in the controller value produces a corresponding change in harmonic enhancer depth.
Feature Reference ● Edit Mode 13: Damping • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). 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.
Feature Reference ● Edit Mode 14: Absorption The § button (“Bpag”) can be used to go directly back to the next Element Controller page without having to return to the directory. ● Controller ≤ off, Modulation Wheel … Touch EG (124 settings). The absorption parameter simulates the effect of high-frequency loss at the end of the air column or string. The “Controller” parameter specifies the controller to be used for absorption control.
Feature Reference ● Edit Mode Controller Search & Replace This function is accessed by pressing the • button (“S&R”) from the element controller directory page. It provides a fast, convenient way to see which controllers are assigned to which parameters, and to modify the assignments as required. 1. Select the Controller Search & Replace Window From the element controller directory page, press •. 2.
Feature Reference ● Edit Mode When you’re satisfied with the new assignment press the [ button. The controller name will stop flashing and all assigned parameters will appear in highlighted text (or you can press the ] button to cancel the operation and return to the element controller directory). 5. Exit When Done Press the ] button when you’re ready to return to the element controller directory. 83 Element Controller 4.
Feature Reference ● Edit Mode Element Miscellaneous EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE ■ 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ■ 2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . ● 2-1: Breath Noise Level Key Scaling . . . . . . . . ● 2-2: Breath Noise HPF Key Scaling . . . . . . . . . ● 2-3: Breath Noise LPF Key Scaling . . . . . . . . . . ■ 3: Throat Formant . . . . . . . . . . . . . . . . . . .
Feature Reference ● Edit Mode 1: Setting ≤ Single, Multi. Determines how the attack portion of the sound will be triggered. Single If a note is played on the keyboard, then a subsequent note or notes are played while the first is still held, no attack is produced. Multi The attack is always reproduced regardless of whether a previous note is held or not. • The “Single” setting makes it easy to produce the “hammering on” and “pulling off” type effects used by guitar players, for example.
Feature Reference ● Edit Mode 2: Breath Noise • The • button (“Ctrl”) can be used to go directly to the breath noise controller page (≥ Page 73), also available from the ELEMENT CONTROLLER directory. You can then return to the miscellaneous breath noise page by pressing • (“Para”) again. • An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter.
Feature Reference ● Edit Mode ● HPF Cutoff Frq ≤ 31.1 Hz … 21.6 kHz. Sets the cutoff frequency of the breath noise high-pass filter. Noise components below the specified frequency are cut off. ● LPF Cutoff Frq ≤ 31.1 Hz … 24.0 kHz. • Virtually no breath noise sound will be produced if the high-pass filter is set to a higher cutoff frequency than the low-pass filter. ● Key On Reset ≤ off, on. Determines the feel of the breath noise attack.
Feature Reference ● Edit Mode 2-1: Breath Noise Level Key Scalling Breath noise level key scaling produces natural breath noise level variations across the range of the keyboard by allowing different level offset values to be applied to each of six breakpoints set at appropriate keys. • The ¶ button (“Fpag”) can be used to go directly the next breath noise key scaling page without having to return to the main parameter page. ● Level ≤ 0 … 127.
Feature Reference ● Edit Mode 2-2: Breath Noise HPF Key Scalling Breath noise HPF key scaling produces natural breath noise tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of two breakpoints set at appropriate keys. The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next breath noise key scaling page without having to return to the main parameter page. ● HPF ≤ 31.1 Hz … 21.6 kHz.
Feature Reference ● Edit Mode 2-3: Breath Noise LPF Key Scalling Breath noise LPF key scaling produces natural breath noise tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of two breakpoints set at appropriate keys. • The § button (“Bpag”) can be used to go directly back to the next breath noise key scaling page without having to return to the main parameter page. ● LPF ≤ 31.1 Hz … 24.0 kHz.
Feature Reference ● Edit Mode 3: Throat Formant The • button (“Ctrl”) can be used to go directly to the throat formant controller page (≥ Page 75), also available from the ELEMENT CONTROLLER directory. You can then return to the miscellaneous throat formant page by pressing • (“Para”) again. • An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter.
Feature Reference • ● Edit Mode If this parameter is set to “0”, no throat formant effect can be applied via a controller. ● Intens ≤ -127 … 127. Sets the intensity of the throat formant effect. Higher values in both the positive and negative ranges increase the intensity of the throat formant effect. • If this parameter is set to “0”, no throat formant effect can be applied via a controller. ● HPF Cutoff Frq ≤ 31.1 Hz … 21.6 kHz. Sets the cutoff frequency of the throat formant high-pass filter.
Feature Reference ● Edit Mode 3-1: Throat Formant Pitch Key Scalling Throat formant pitch key scaling produces natural throat formant pitch variations across the range of the keyboard by allowing different pitch offset values to be applied to each of four breakpoints set at appropriate keys. The ¶ button (“Fpag”) can be used to go directly the next throat formant key scaling page without having to return to the main parameter page. ● Pitch ≤ 23.1 Hz … 48.0 kHz (when “Fixed” and “Intens” ≥ 0). ≤ 11.
Feature Reference ● Edit Mode 3-2: Throat Formant Amount Key Scalling Throat formant amount key scaling produces natural throat formant variations across the range of the keyboard by allowing different amount offset values to be applied to each of four breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page. ● Amount ≤ -64 … 63.
Feature Reference ● Edit Mode 3-3: Throat Formant Intensity Key Scalling Throat formant intensity key scaling produces natural throat formant intensity variations across the range of the keyboard by allowing different intensity offset values to be applied to each of four breakpoints set at appropriate keys. The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page.
Feature Reference ● Edit Mode 3-4: Throat Formant HPF Key Scalling Throat formant HPF key scaling produces natural throat formant tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next throat formant key scaling page without having to return to the main parameter page. ● HPF ≤ 31.
Feature Reference ● Edit Mode 3-5: Throat Formant LPF Key Scalling Throat formant LPF key scaling produces natural throat formant tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys. The § button (“Bpag”) can be used to go directly back to the next throat formant key scaling page without having to return to the main parameter page. ● LPF ≤ 31.1 Hz … 24.0 kHz.
Feature Reference ● Edit Mode 4: Mixing • An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ button (“KSC”) to go directly to the key scaling page for that parameter. You can return to the mixing parameter page by pressing the ] button. ● Driver Output ≤ 0 … 127. Adjusts the level of the instrument’s “driver” output.
Feature Reference ● Edit Mode ● Tap Location ≤ 0 … 99.2 %. This parameter only appears when the “Tap Setting” parameter is set to “Variable”, and is used to set the location of the tap at an appropriate point along the instrument’s pipe or string.
Feature Reference ● Edit Mode 4-1: Mixing Driver Output Key Scalling Mixing driver output key scaling produces natural timbre variations across the range of the keyboard by allowing different driver output offset values to be applied to each of six breakpoints set at appropriate keys. • The ¶ button (“Fpag”) can be used to go directly the next throat formant key scaling page without having to return to the main parameter page. ● DrivOut ≤ 0 … 127.
Feature Reference ● Edit Mode 4-2: Mixing Pipe/String Output Key Scalling Mixing pipe/string output key scaling produces natural timbre variations across the range of the keyboard by allowing different pipe/string output offset values to be applied to each of six breakpoints set at appropriate keys. The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next mixing key scaling page without having to return to the main parameter page. ● P/S Out ≤ 0 … 127.
Feature Reference ● Edit Mode 4-3: Mixing Tap Output Key Scalling Mixing tap output key scaling produces natural timbre variations across the range of the keyboard by allowing different tap output offset values to be applied to each of six breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next mixing key scaling page without having to return to the main parameter page.
Feature Reference ● Edit Mode 4-4: Mixing Tap Location Key Scalling Mixing tap location key scaling produces natural timbre variations across the range of the keyboard by allowing different tap location offset values to be applied to each of six breakpoints set at appropriate keys. The § button (“Bpag”) can be used to go directly back to the next mixing key scaling page without having to return to the main parameter page.
Feature Reference ● Edit Mode 5: Amplitude • Key scaling can be applied to the Amplitude Level parameter. Press the ¶ button (“KSC”) to go directly to the key scaling page. You can return to the amplitude parameter page by pressing the ] button. ● Amplitude Level ≤ 0 … 127. Sets the final output level of the selected Element, after mixing. The higher the value the higher the level.
Feature Reference ● Edit Mode ● Breakpoint 1 … 8 Key ≤ C-2 … G8. Allows eight separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard.
Feature Reference ● Edit Mode Element Modifier EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE ■ 1: Harmonic Enhancer . . . . . . . . . . . . . . . . . . . ● 1-1: Harmonic Enhancer HPF Key Scaling . . . ● 1-2: Harmonic Enhancer Overdrive Key Scaling ● 1-3: Harmonic Enhancer Carrier Level Key Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . ● 1-4: Harmonic Enhancer Modulator Index Key Scaling . . . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Edit Mode 1: Harmonic Enhancer ■ Carrier Parameters ■ Modulator Parameters Element Modifier • The Harmonic Enhancer has both a “Carrier” and “Modulator” block, as shown in the block diagram below. Each has its own parameters and therefore two separate parameter pages are provided. Press the ¡ button (“Crr”) to select the carrier parameter page or ™ (“Mod”) to select the modulator parameter page. Modulator Source. Modulator Carrier Source.
Feature Reference ● Edit Mode ● Signal Select ≤ Normal, Breath Noise Amp., Flow Rate Saturation, Beat, Slit/Friction, Reed. Selects the signal to be used by the carrier or modulator. Normal This is the total output of the instrument model: a mix of the driver, pipe/string, and tap signals. Breath Noise Amplitude This signal represents the instantaneous amplitude of the breath noise produced at the driver. It is basically a highly distorted version of the Slit/Friction signal described below.
Feature Reference ● Edit Mode ● Phase (Modulator only) ≤ 0deg … 360deg. This parameter is provided for the modulator block only. It allows a degree of timbral variation by varying the phase of the modulator signal through 360 degrees in 2or 3-degree increments. ● Index (Modulator only) ≤ 0 … 127.
Feature Reference ● Edit Mode 1-1: Harmonic Enhancer HPF Key Scaling Harmonic Enhancer HPF key scaling produces natural timbral variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of two breakpoints set at appropriate keys. Key scaling can be applied independently to the carrier and modulator high-pass filters.
Feature Reference Further, the higher breakpoint applies to the specified note while the lower one actually applies to the next note to its left. If more than two breakpoints are set to the same note, only the lowest and highest of these will function as ends of the corresponding key scaling segments while the rest are ignored. ● Edit Mode ● Breakpoint 1 & 2 Offset ≤ -64 … 63. Set the amount of cutoff frequency offset for each of the breakpoints defined by the breakpoint key parameters, above.
Feature Reference ● Edit Mode ● Breakpoint 1 & 2 Key ≤ C-2 … G8. Allows two separate key scaling breakpoints to be set at any notes between C-2 and G8. You can position the cursor at the appropriate breakpoint key parameter and use any of the normal data entry procedures, or use a keyboard.
Feature Reference ● Edit Mode of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press the • button (“Kbd”), and then press the key at which you want to set the breakpoint while “Kbd” appears in inverse characters. No breakpoint can be set to a key lower than the breakpoint to its left. ● Breakpoint 1 … 4 Offset ≤ -64 … 63.
Feature Reference ● Edit Mode ● Breakpoint 1 … 4 Offset ≤ -64 … 63. Set the amount of modulator index offset for each of the breakpoints defined by the breakpoint key parameters, above. Negative values reduce the modulator index, and positive values increase the modulator index at the corresponding breakpoint. No matter what offset value is chosen, the actual modulator index will never exceed its minimum or maximum absolute value.
Feature Reference ● Edit Mode and positive values increase the balance value (toward “wet”) at the corresponding breakpoint. No matter what offset value is chosen, the actual balance setting will never exceed its minimum or maximum absolute value. When different offset values are applied to adjacent breakpoints, the balance varies smoothly between the breakpoints.
Feature Reference ● Edit Mode ● Input Gain ≤ 0 … 127. Adjusts the level of the input signal to the dynamic filter stage. The higher the value the higher the input level. ● Balance ≤ -64 … 63. Sets the balance between the “wet” (the output of the dynamic filter) and “dry” (direct) signals. The higher the value the more “wet” the signal, and therefore the more pronounced the dynamic filter effect. ● Cutoff Tracking ≤ Fixed, KeyTrack.
Feature Reference ● Edit Mode 2-1: Dynamic Filter Cutoff Key Scaling Dynamic filter cutoff frequency key scaling produces natural timbral variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys. ● Cutoff ≤ 26.9 Hz … 11.9 kHz (when “Fixed”). ≤ -4.0oct … 3.94oct (when “KeyTrack”). The “Cutoff” parameter is linked to the main dynamic filter “Cutoff Freq.” parameter, and has the same effect.
Feature Reference ● Edit Mode 2-2: Dynamic Filter Resonance Key Scaling Dynamic filter resonance key scaling produces natural timbral variations across the range of the keyboard by allowing different resonance offset values to be applied to each of three breakpoints set at appropriate keys. • The § button (“Bpag”) can be used to go directly backward to the next dynaic filter key scaling page without having to return to the main parameter page. ● Rez ≤ 1.00 … 15.67.
Feature Reference ● Edit Mode 3: Equalizer Auxiliary • ● Input Gain ≤ 0 … 127. Adjusts the level of the input signal to the equalizer stage. The higher the value the higher the input level. ● HPF Cutoff Freq. ≤ 17.0 Hz … 11.2 kHz. Sets the cutoff frequency of the high-pass filter. Frequency components below the specified frequency are cut off. ● LPF Cutoff Freq. ≤ 31.1 Hz … 24.0 kHz. Sets the cutoff frequency of the low-pass filter.
Feature Reference ● Edit Mode 3-1: Equalizer Auxiliary HPF Key Scaling Equalizer HPF key scaling produces natural tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys. • The ¶ button (“Fpag”) can be used to go directly forward to the next equalizer auxiliary key scaling page without having to return to the main parameter page. ● HPF ≤ 17.0 Hz … 11.2 kHz.
Feature Reference ● Edit Mode 3-2: Equalizer Auxiliary LPF Key Scaling Equalizer LPF key scaling produces natural tone variations across the range of the keyboard by allowing different cutoff frequency offset values to be applied to each of three breakpoints set at appropriate keys. The § button (“Bpag”) can be used to go directly backward to the next equalizer auxiliary key scaling page without having to return to the main parameter page. ● LPF ≤ 31.1 Hz … 24.0 kHz.
Feature Reference ● Edit Mode 4: Equalizer Band • The Equalizer Band block is a 5-band parametric equalizer with frequency, Q (bandwidth), and level control. The Band block functions in the same way as any standard parametric equalizer, allowing flexible response control over a wide range. ● Bnd1 Freq ≤ 40.0 Hz … 321.0 Hz. ● Bnd2 Freq ≤ 104.0 Hz … 838.0 Hz. ● Bnd3 Freq ≤ 284.0 Hz … 2.00 kHz. ● Bnd4 Freq ≤ 646.0 Hz … 5.21 kHz. ● Bnd5 Freq ≤ 1.54 kHz … 10.0 kHz.
Feature Reference ● Edit Mode 5: Impulse Expander & Resonator Setting • Ipulse Impulse Expander On/Off Dry Level • Resonator Input Gain Impulse Expander Wet Level Resonator On/Off Resonator Wet Level Resonator Level Balance Impulse Expander Level Balance When the cursor is positioned at the “IE on/off” or “RSN on/off” block, “Para” will appear above the • button. Press this button to go directly to the main Impulse Expander (≥ Page 125) or Resonator (≥ Page 126) parameter page, respectively.
Feature Reference ● Edit Mode ● RSN ≤ off, on. Turns the Resonator stage off or on. When off (and the Impulse Expander, above, is on) the display will appear as shown below. Only parameters which appear in the diagram are available for editing. ● Dry Level ≤ 0 … 127. Sets the level of the dry signal (i.e. the direct signal which does not pass through either the Impulse Expander or the Resonator. ● IE Wet Level ≤ 0 … 127. Sets the “wet” output level from the Impulse Expander.
Feature Reference ● Edit Mode 6: Impulse Expander This display will not appear — “Impulse Expander is not used” will appear — if the “IE on/off” block in the “Impulse Expander & Resonator Setting” page is turned “off” (≥ Page 123). All level and balance settings relating to the Impulse Expander are also available in that display page. • Press the • button (“Set”) to go directly to the “Impulse Expander & Resonator Setting” page.
Feature Reference ● Edit Mode 7: Resonator • This display will not appear — “Resonator is not used” will appear — if the “RES on/off” block in the “Impulse Expander & Resonator Setting” page is turned “off” (≥ Page 124). All level and balance settings relating to the Resonator are also available in that display page. • Press the • button (“Set”) to go directly to the “Impulse Expander & Resonator Setting” page.
Feature Reference ● Edit Mode ● Decay Time ≤ 4,028 msec … 4.000 sec. Determines the length of decay of the sound. The higher the value the longer the decay. ● LPF Cutoff Freq. ≤ 31.1 Hz … 24.0 kHz. Sets the cutoff frequency of the low-pass filter. Produces a natural decay in the high-frequency components of the delay sound. ≤ 0 … 16. Determines how the resonance sound “spreads” in the stereo sound field. The higher the value the wider the sound. ● Phase ≤ -16 … 16.
Feature Reference ● Edit Mode Element Envelope EDIT MODE COMMON MISCELLANEOUS EFFECT ELEMENT CONTROLLER MISCELLANEOUS MODIFIER ENVELOPE ■ 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 ■ 2: Embouchure & Pitch . . . . . . . . . . . . . . . . . . 130 ● 2-1: Embouchure & Pitch Hold Time Key Scaling 132 ● 2-2: Embouchure & Pitch Initial Level Key Scaling 133 ● 2-3: Embouchure & Pitch Decay Rate Key Scaling 134 ■ 3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Edit Mode 1: Pressure • Each VL1-m voice has its own pressure envelope which determines how it responds to pressure changes. The parameters in this display page determine how the pressure envelope is used and how it will respond to keyboard velocity. ≤ Disable, ADSR, AR. This parameter determines whether or how the pressure envelope will be used.
Feature Reference ● Edit Mode ● Velocity Sens To Rate ≤ 0 … 16. Determines the relationship between the voice’s pressure envelope rates (attack, decay, and release) and keyboard velocity. When set to “0”, keyboard velocity (i.e. how fast or hard the keyboard is played) has no effect on the envelope rates. At values higher than “1”, however, high keyboard velocities will increase the rates and low keyboard velocities will decrease the rates.
Feature Reference ● Edit Mode however, high keyboard velocities will increase the decay rate and low keyboard velocities will decrease the decay rate. Negative values have the opposite effect. The higher the value the greater the effect of keyboard velocity on the embouchure & pitch envelope decay rate. ● Dpth To Emb ≤ 0 … 64. This parameter determines how deeply the settings in this display page affect embouchure. The higher the value the greater the effect. ● Dpth To Ptch ≤ 0 … 64.
Feature Reference ● Edit Mode 2-1: Embouchure & Pitch Hold Time Key Scaling Embouchure & pitch hold time key scaling produces natural hold time variations across the range of the keyboard by allowing different hold time offset values to be applied to each of two breakpoints set at appropriate keys. • The ¶ button (“Fpag”) can be used to go directly forward to the next Embouchure & Pitch key scaling page without having to return to the main parameter page. ● HdTime ≤ 0 … 127.
Feature Reference ● Edit Mode 2-2: Embouchure & Pitch Initial Level Key Scaling Embouchure & pitch initial level key scaling produces natural initial level variations across the range of the keyboard by allowing different level offset values to be applied to each of two breakpoints set at appropriate keys. • ● IntLvl ≤ -64 … 63. The “IntLvl” parameter is linked to the main Embouchure & Pitch “Initial Level” parameter, and has the same effect.
Feature Reference ● Edit Mode 2-3: Embouchure & Pitch Decay Rate Key Scaling Embouchure & pitch decay rate key scaling produces natural decay rate variations across the range of the keyboard by allowing different rate offset values to be applied to each of two breakpoints set at appropriate keys. • The § button (“Bpag”) can be used to go directly backward to the next Embouchure & Pitch key scaling page without having to return to the main parameter page. ● DcRate ≤ 0 … 127.
Feature Reference ● Edit Mode 3: Vibrato An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ button (“KSC”) to go directly to the key scaling page for that parameter. You can return to the vibrato parameter page by pressing the ] button. • The • button (“Ctrl”) can be used to go directly to the vibrato controller page (≥ Page 69), also available from the ELEMENT CONTROLLER directory.
Feature Reference ● Edit Mode ● Dpth to Emb ≤ 0 … 127. Determines how deeply the settings in this display page affect embouchure. The higher the value the greater the effect. When set to “0” no embouchure vibrato can be applied. ● Dpth to Ptch ≤ 0 … 127. Determines how deeply the settings in this display page affect pitch. The higher the value the greater the effect. When set to “0” no pitch vibrato can be applied. ● Offset ≤ -127 … 127.
Feature Reference ● Edit Mode 3-1: Vibrato Delay Time Key Scaling Vibrato delay time key scaling produces natural delay time variations across the range of the keyboard by allowing different delay time offset values to be applied to each of two breakpoints set at appropriate keys. • The ¶ button (“Fpag”) can be used to go directly forward to the next Vibrato key scaling page without having to return to the main parameter page. ≤ 0 … 127.
Feature Reference ● Edit Mode 3-2: Vibrato Attack Rate Key Scaling Vibrato attack rate key scaling produces natural attack rate variations across the range of the keyboard by allowing different rate offset values to be applied to each of two breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Vibrato key scaling page without having to return to the main parameter page. ● AtRate ≤ 0 … 127.
Feature Reference ● Edit Mode 3-3: Vibrato Depth Key Scaling Vibrato depth key scaling produces natural vibrato depth variations across the range of the keyboard by allowing different depth offset values to be applied to each of two breakpoints set at appropriate keys. • ● Depth ≤ 0 … 127. The “Depth” parameter is linked to the main Vibrato “Vibrato Dpth” parameter, and has the same effect.
Feature Reference ● Edit Mode 3-4: Vibrato Speed Key Scaling Vibrato speed key scaling produces natural vibrato speed variations across the range of the keyboard by allowing different speed offset values to be applied to each of two breakpoints set at appropriate keys. • The § button (“Bpag” ) can be used to go directly backward to the next Vibrato key scaling page without having to return to the main parameter page. ● Speed ≤ 0 … 127.
Feature Reference ● Edit Mode 4: Growl An inverse “K”(˚) next to a value means that key scaling can be applied to that parameter. Position the cursor at the appropriate parameter and then press the ¶ button (“KSC”) to go directly to the key scaling page for that parameter. You can return to the growl parameter page by pressing the ] button. • The • button (“Ctrl”) can be used to go directly to the growl controller page (≥ Page 74), also available from the ELEMENT CONTROLLER directory.
Feature Reference ● Edit Mode ● Speed ≤ 0 … 127. Sets the speed of the growl effect. The higher the value the faster the growl. ● Randomness ≤ 0 … 10. The “Randomness” parameter can be used to introduce random variations in the speed of the growl effect. The higher the value the greater the random variation.
Feature Reference ● Edit Mode 5: Amplitude & Filter Two display pages are provided for Amplitude & Filter control. One contains parameters pertaining to keyboard velocity sensitivity (“Sens”), while the other contains the envelope generator parameters (“EG”). The ¡ and ™ buttons select these two display pages, respectively. • An inverse “K”(˚) next to a value in the “EG” page means that key scaling can be applied to that parameter.
Feature Reference ● Edit Mode decrease the rates. The higher the value the greater the effect of keyboard velocity on the envelope rates. ● Depth To Amplitude ≤ 0 … 127. Determines how deeply the Amplitude & Filter envelope will affect amplitude. The higher the value the greater the effect. ● Depth To Filter ≤ -127 … 127. Determines how deeply the Amplitude & Filter envelope will affect the cutoff frequency of the Dynamic Filter. The higher the value the greater the effect.
Feature Reference ● Edit Mode ● Rate: Decay ≤ 0 … 127. Determines the rate at which the envelope level goes from maximum level to the sustain level set by the “Level: Sustain” parameter. The higher the value the faster the decay. ● Rate: Release ≤ 0 … 127. Determines the rate at which the envelope level goes from the sustain level to “0” when the key is released. The higher the value the faster the release. ● Level: Attack1 0 … 127.
Feature Reference ● Edit Mode 5-1: Amplitude & Filter Attack Rate Key Scaling Amplitude & Filter attack rate key scaling produces natural attack rate variations across the range of the keyboard by allowing different rate offset values to be applied to each of two breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Amplitude & Filter key scaling page without having to return to the main parameter page.
Feature Reference ● Edit Mode 5-2: Amplitude & Filter Attack 1 Level Key Scaling Amplitude & Filter attack level key scaling produces natural attack level variations across the range of the keyboard by allowing different level offset values to be applied to each of two breakpoints set at appropriate keys. • ● A1Lvl ≤ 0 … 127. The “A1Lvl” parameter is linked to the main Amplitude & Filter “Level: Attack1” parameter, and has the same effect.
Feature Reference ● Edit Mode 5-3: Amplitude & Filter Decay Rate Key Scaling Amplitude & Filter decay rate key scaling produces natural decay rate variations across the range of the keyboard by allowing different rate offset values to be applied to each of two breakpoints set at appropriate keys. • The § and ¶ buttons (“Bpag” and “Fpag”) can be used to go directly backward or forward to the next Amplitude & Filter key scaling page without having to return to the main parameter page.
Feature Reference ● Edit Mode 5-4: Amplitude & Filter Sustain Level Key Scaling Amplitude & Filter sustain level key scaling produces natural sustain level variations across the range of the keyboard by allowing different level offset values to be applied to each of two breakpoints set at appropriate keys. • ● SusLvl ≤ 0 … 127. The “SusLvl” parameter is linked to the main Amplitude & Filter “Level: Sustain” parameter, and has the same effect.
Feature Reference ● Edit Mode 5-5: Amplitude & Filter Release Rate Key Scaling Amplitude & Filter release rate key scaling produces natural release rate variations across the range of the keyboard by allowing different rate offset values to be applied to each of two breakpoints set at appropriate keys. • The § button (“Bpag” and “Fpag”) can be used to go directly backward to the next Amplitude & Filter key scaling page without having to return to the main parameter page. ● RlRate ≤ 0 … 127.
Utility Mode The UTILITY mode provides access to a range of functions that do not necessarity affect the instrument’s sound or how it plays. Select the UTILITY mode from either the EDIT or PLAY mode by pressing the U button. System . . . . . . . . . . . . . . . . . . . . . . . . . . 152 MIDI Bulk Dump . . . . . . . . . . . . . . . . . . 160 Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Edit Recall . . . . . . . . . . . . . . . . . . . . . . . 172 Demo . . . . . . . . . . . . . . . . . . .
Feature Reference ● Utility Mode System SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO ■ ■ ■ ■ ■ 1: 2: 3: 4: 5: TG Setting . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Setting . . . . . . . . . . . . . . . . . . . . . . . . . PGM Change Table . . . . . . . . . . . . . . . . . . . BC Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . Miscellaneous . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Utility Mode System 1: TG Setting ● Master Tuning ≤ -64 … 63. Fine tunes the overall pitch of the VL1-m in approximately 1.17-cent steps (a “cent” is 1/100th of a semitone). The maximum minus setting of “-64” produces a downward pitch shift of almost three-quarters of a semitone, and the maximum plus setting of “63” produces an upward pitch shift of the same amount. A setting of “0” produces no pitch change. ● Reverb ≤ off, on.
Feature Reference ● Utility Mode 2: MIDI Setting ● Transmit Channel ≤ 1 … 16. Selects the MIDI channel via which all VL1-m data will be transmitted. ● Receive Channel ≤ 1 … 16, Omni. Sets the MIDI receive channel to any channel between 1 and 16, or the “Omni” mode for reception on all channels. Make sure that the VL1-m MIDI receive channel is either set to the channel that your external controller is transmitting on, or the omni mode. ● Local on/off ≤ off, on.
Feature Reference ● Utility Mode Normally, MIDI program change numbers 001 through 128 select the correspondingly-numbered VL1-m voices. The program change table can be used to alter these assignments as required. To change a program change assignment, move the cursor to the voice number to be changed — use the § (“>”) and ¶ (“<”) buttons to scroll up and down through the table — then use the data dial or = and - buttons to change it as required.
Feature Reference ● Utility Mode 4: BC Curve ● Curve ≤ Normal, Soft, Wide, Hard. Determines the relationship between breath controller input and output. Try out the various settings while using the breath controller in order to find the curve that works best for you. Normal The relationship between input and output is linear. Soft This curve makes it easy to cover a wide dynamic range with light pressure. Wide Subjectively, this curve produces the widest dynamic range.
Feature Reference ● Utility Mode System 5: Miscellaneous ● Display ≤ Reverse, Normal. Determines whether the VL1-m display appears in the normal way (black characters on a white background) or reverse (white characters on a black background). ● Confirm ≤ off, on. Determines whether the “Are You Sure” confirmation message will appear during the following operations: • • • • • • • Voice store. Disk save, load, rename, delete, format. Bulk data transmit. Edit recall. Demo data load.
Feature Reference ● Utility Mode ● Greeting Message ≤ Up to 20 characters. Allows you to enter an original greeting message which will be displayed by the VL1-m when the power is initially turned on. Position the cursor at the “Greeting Message” parameter and press the • button (“Name”). Then use the name entry procedure described on page 31.
Feature Reference ● Utility Mode System 159
Feature Reference ● Utility Mode MIDI Bulk Dump SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO 160
Feature Reference ● Utility Mode MIDI “bulk dump” transmission makes it possible to transfer system and voice data between the VL1-m and other MIDI equipment. The VL1-m is capable transmitting three types of data: All VL1-m system Data: the settings in the Utility System page, the 2 internal Micro Tuning, and Program change table data. 2: All Voice All 128 voices in the VL1-m memory. 3: Current Voice The currently selected voice only. ● Bulk Data Transmission Procedure 1.
Feature Reference ● Utility Mode Disk SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO ■ ■ ■ ■ ■ ■ 1: Disk Status . . . . . . . . . . . . . . . . . . . . . . . . . . 2: Load From Disk . . . . . . . . . . . . . . . . . . . . . . 3: Save To Disk . . . . . . . . . . . . . . . . . . . . . . . . 4: Rename File . . . . . . . . . . . . . . . . . . . . . . . . 5: Delete File . . . . . . . . . . . . . . . . . . . . . . . . . . 6: Format Disk . . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Utility Mode 1: Disk Status Disk This function displays a range of information about the currently loaded floppy disk. Total The total number of files on the disk. Used The amount of disk space currently used, in kilobytes. Free The amount of disk space currently free, in kilobytes. System The number of “System” files on the disk. All Voice The number of “All Voice” files on the disk. 1 Bank The number of “1 Bank” files on the disk.
Feature Reference ● Utility Mode 2: Load From Disk This function loads a specified data file from a floppy disk inserted in the VL1-m floppy disk drive. Five types of data files can be selected. All All system and voice data. System All Utility System page settings and internal Microtuning data. All Voice All 128 voices in the VL1-m memory. 1 Bank 16 voices from 1 VL1-m memory bank (A … H). 1 Voice 1 voice. ● Disk Load Procedure 1.
Feature Reference ● Utility Mode 4. Press - to Load When the “Are You Sure?” confirmation prompt appears, press the button to load the selected data (or = to cancel the operation). The progress of the load operation will be indicated in bar-graph form on the display, and “Completed” will appear when all the data has been loaded. A load operation in progress cannot be cancelled. 5. Press ] Press the ] button to clear the “Completed” display.
Feature Reference ● Utility Mode 3: Save To Disk This function saves a specified data file from the VL1-m memory to a floppy disk inserted in the VL1-m floppy disk drive. Five types of data files can be selected. All All system and voice data. System All Utility System page settings and internal Microtuning data. All Voice All 128 voices in the VL1-m memory. 1 Bank 16 voices from 1 VL1-m memory bank (A … H). 1 Voice 1 voice. ● Disk Save Procedure 1.
Feature Reference ● Utility Mode 5. Enter a File Name Press ∞ (“Name”) and enter a name (maximum 8 characters) for the file to be saved (≥ Page 31). • File names which begin with or contain a space are not allowed. Press the ] or [ button to close the name window. 7. Press [ and Confirm Press the [ button. When the “Are You Sure?” confirmation prompt appears, press the - button to save the selected data (or = to cancel the operation).
Feature Reference ● Utility Mode 4: Rename File This function can be used to rename a specified data file on a floppy disk inserted in the VL1-m floppy disk drive. Five types of data files can be selected. All All system and voice data. System All Utility System page settings and internal Microtuning data. All Voice All 128 voices in the VL1-m memory. 1 Bank 16 voices from 1 VL1-m memory bank (A … H). 1 Voice 1 voice. ● File Rename Procedure 1.
Feature Reference ● Utility Mode 6. Press [ and Confirm Press the [ button. When the “Are You Sure?” confirmation prompt appears, press the - button to rename the file (or = to cancel the operation). “Now Executing” will appear while the file name is being rewritten, and “Completed” will appear when the rename operation is finished. Disk 7. Press ] Press the ] button to clear the “Completed” display.
Feature Reference ● Utility Mode 5: Delete File This function can be used to delete a specified data file on a floppy disk inserted in the VL1-m floppy disk drive. Six types of data files can be selected. All All system and voice data. System All Utility System page settings and internal Microtuning data. All Voice All 128 voices in the VL1-m memory. 1 Bank 16 voices from 1 VL1-m memory bank (A … H). 1 Voice 1 voice. Others Any files not included in the above categories.
Feature Reference ● Utility Mode 6: Format Disk Disk This function formats new 2DD or 2HD type floppy disks for use with the VL1-m. • 2DD type disks provide 720 kilobytes of storage capacity when formatted (MS-DOS 9-sector format), and 2HD disks have 1.44 megabytes of storage capacity when formatted (MS-DOS 18-sector format). ● Disk Format Procedure 1. Insert the Floppy Disk Make sure the floppy disk you want to format is properly inserted in the VL1-m floppy disk drive.
Feature Reference ● Utility Mode Edit Recall SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO 172
Feature Reference ● Utility Mode If you’ve accidentally “lost” an edited voice by selecting a different voice in the PLAY mode before storing your edited data, the Edit Recall function can be used to recall the edited data. • ● Edit Recall Procedure 1. Press [ and Confirm Press the [ button. When the “Are You Sure?” confirmation prompt appears, press the - button to recall the edit data (or = to cancel the operation). “Completed” will appear when the recall operation is finished. 2.
Feature Reference ● Utility Mode Demo SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO 174
Feature Reference ● Utility Mode The VL1-m includes a built-in demonstration which can be played as follows. ● Demo Playback Procedure 1. Press [ Press the [ button. The demo selection, start, and stop control display should appear. Select the demo you want to play (“Top Song” parameter). 3. Press • To Run Press the • button to run the demo. The various demo songs will play in sequence until stopped. 4. Press ¶ To Stop Press the ¶ button to stop demo playback.
Feature Reference 176 ● Utility Mode
Appendix VL1 & VL1-m Compatibility . . . . . . . 178 Troubleshooting . . . . . . . . . . . . . . . . . . . 179 Error Messages . . . . . . . . . . . . . . . . . . . 182 Specifications . . . . . . . . . . . . . . . . . . . . 184 Index . . . . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Appendix VL1 & VL1-m Compatibility Although the VL1 Virtual Acoustic Synthesizer and VL1-m Virtual Acoustic Tone generator are basically data-compatible, there are a few small differences which should be noted by the user who will be dealing with both instruments. Differences Between the VL1 and VL1-m ● VL1-m Features Not Available On the VL1 • • • • Program Change Table (page 155). Sound Function (Getting Started manual, page 36). WX Lip Parameter (page 153).
Feature Reference ● Appendix The VL1-m is a very versatile instrument with many features and functions that affect operation. In many cases, what appears to be a fault with the VL1-m can actually be traced to an improperly set parameter or, at the most fundamental level, to 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.
Feature Reference ● Appendix ● Amplifier, Mixer, Connection Problems Possible Cause Symptom No sound. • Is the amplifier/mixer power turned on? • Is the amplifier/mixer volume set to an appropriate level? • Are the VL1-m outputs properly connected to the amplifier/mixer inputs? • Are the connection cables shorted, open, or otherwise faulty? Distorted sound.
Feature Reference ● Appendix Possible Cause Symptom No sound. • Is the appropriate element selected (page 25)?. • Make sure that the element level is not set to “0” (page 38)?. • Make sure that the amplitude level is not set to “0” (page 104)?. • Make sure that the driver, pipe/strings, and tap output mixing parameters are not all set to “0” (page 98)?. • Make sure that the amplitude & filter sustain level is not set to “0” (page 145). • Check the pressure controller (page 65)?.
Feature Reference ● Appendix Error Messages When an operational error or other problem occurs, the VL1-m will display one of the following error messages to inform you of the problem. Comments Display Bad disk! The loaded floppy disk is damaged. Try a different disk. Change battery! The voice backup battery needs to be replaced. Have the battery replaced by qualified Yamaha service personnel. Data not found! The specified data cannot be found on the currently selected file.
Feature Reference ● Appendix Comments Display The currently loaded disk has a non-VL1-m format. Either use a different disk or, if the data on the disk is not needed, re-format the disk. Illegal file! The specified file is not a VL1-m file. Check the disk and files. Memory protected! You have attempted to perform a function which will change the contents of the internal memory, but the memory protect function is “on”. Turn memory protect “off” and try again.
Feature Reference ● Appendix Specifications ● Tone Generator Type S/VA (Self-oscillating Virtual Acoustic Synthesis). Modifiers Harmonic Enhancer. Dynamic Filter (LPF, HPF, BPF, BEF, with resonance). Equalizer (5 bands with frequency, resonace, and boost/cut control). Impulse Expander. Resonator. Effects 32-bit digital signal processor, stereo in/stereo out. Modulation effects (flanger, pitch change, distorion). Feed back delay. Reverberation. Play Mode Voice mode only.
Feature Reference ● Appendix ● Panel Switches Edit (with LED). Store. Cursor x 4. Enter/Sound. ● Display 240 x 64 dot backlit liquid crystal display. ● Connectors Front Panel Stereo headphones. Breath controller. Rear Panel Output x 2 (L and R). MIDI OUT. MIDI IN. MIDI THRU. ● Output Level Line 2.5 ±2 dBm into 10 kΩ. Headphones 2.0 ±2 dBm into 33 Ω. ● Power Requirements UL/CSA: 120V, 16W Europe: 220-240V, 16W ● General Dimensions 480 (W) x 361 (D) x 132 (H) mm. Weight 7.
Feature Reference ● Appendix Index This index covers both the VL1-m Getting Started and Feature Reference manuals for easy cross-referencing. Page numbers in the Getting Started manual are preceded by “©”, and page numbers in the Feature Reference manual are preceded by “ƒ”. A D Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ81 Amplitude & filter envelope . . . . . . . . . . . . . . . ƒ143 Amplitude & filter key scaling . . . . . . . . . ƒ146-150 Amplitude . . . . . . . . .
Feature Reference Enter/Sound button . . . . . . . . . . . . . . . . . . . . . . . . ©18 Equalizer auxiliary . . . . . . . . . . . . . . . . . . . . . . . ƒ119 Equalizer band . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ122 Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©55 Equalizer key scaling . . . . . . . . . . . . . . . . . ƒ120-121 Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ182 Exit button . . . . . . . . . . . . . . . . . . . . . . . . . .
Feature Reference R Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . ƒ154 Resonator . . . . . . . . . . . . . . . . . . . . . . . . ©57. ƒ126 Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©60 Reverberation . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ60 S Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ72 Selecting & editing parameters . . . . . . . . . . . . . . ƒ12 Sound Function . . . . . . . . . . . . . . . . . . . . . .
Feature Reference ● Appendix Index 189
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.
