Yamaha VL70-M manual

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FCC INFORMA TION (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 access[...]

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 con[...]

Thank you for choosing a Y amaha VL70-m V irtual Acoustic T one Generator . The VL70-m is a monophonic tone generator incor - porating Y amaha’ s r evolutionary “V irtual Acoustic Synthesis” tone generation system — based on the most advanced computer physical modeling technology . V irtual Acoustic Synthesis pr oduces sound that is mor e r[...]

1 About the Manual The VL70-m is a very unique tone generator that operates on totally new principles that were simply unheard of until Y amaha released the worlds first “V irtual Acoustic” synthesizer based on computer physical modelling. If you’ve had some experience with the Y amaha VL1, VL1-m, VL-7, or their “V ersion 2” upgrades, you[...]

2 Contents Contents Precautions 4 Virtual Acoustic Synthesis 6 V A Advantages . . . . . . . . . . . . . . . . . . . . . . . 6 The VL70-m Model . . . . . . . . . . . . . . . . . . . . 7 ■ The Instrument . . . . . . . . . . . . . . . . . . . 8 ■ The Controllers . . . . . . . . . . . . . . . . . . . 9 ■ The Modifiers . . . . . . . . . . . . . . [...]

3 Contents Filter & Envelope Gener ator 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 Filte[...]

4 Precautions Pr ecautions !! 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 humid[...]

5 ■ 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.[...]

6 V irtual Acoustic Synthesis Virtual Acoustic Synthesis Unlike previous tone generation systems which use oscillators, function genera- tors, preset waveforms or samples to produce sound, Y amaha V irtual Acoustic (“V A”) Synthesis applies sophisticated computer-based “physical modeling” technology to musical sound synthesis. In the same w[...]

7 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:[...]

8 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 wh[...]

9 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 th[...]

10 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 ef fect on the sound (the VL70-m has a separate ef fects stage with reverb, chorus, varia[...]

11 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 th[...]

12 The Controls & Connectors The Contr ols & Connector s The following brief descriptions of the VL70-m controls and connectors should help you to understand the overall logic of the interface. Front P anel q [POWER/V OL] Control Press to turn power ON or OFF . Rotate to adjust overall output volume (clockwise to increase the volume). w Bre[...]

13 !2 [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 !3 [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 [...]

14 !8 DC IN Connector The DC output cable from the Y amaha P A-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 th[...]

15 Setting Up Setting Up P ower Supply Y our VL70-m comes supplied with a Y amaha P A-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[...]

16 Setting Up MIDI Connections The VL70-m can be used with virtually any type of MIDI controller: key- board, wind controller , sequencer , etc. T o ensure reliable error-free transfer of MIDI data always use high-quality MIDI cables obtained from your Y amaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 met[...]

17 Setting Up Breath Contr oller 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 Y amaha BC3, BC2 or BC1 Breath Controller into the front-panel breath controll[...]

18 Setting Up WX-series W ind MIDI Controller The VL70-m is an ideal tone generator for use with a Y amaha WX-series W ind MIDI Controller such as the WX1 1 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 WT1 1 or BT7 wind controller interface. The Breath Mod[...]

19 Setting Up G50 Guitar MIDI Converter The Y amaha G50 is a high-performance Guitar MIDI Converter designed to work in conjunction with the Y amaha 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 advan[...]

20 Setting Up Connecting to a P ersonal 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/A T , or NEC PC-9801/9821 series personal computers for sequencing and other music applications[...]

21 Setting Up Connecting to an NEC PC-9801/9821 Series Computer The NEC PC-9801/9821 computers are widely used in Japan. Connect the T O 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 T O HOST selector to the “PC-1” position. Refer to your software ow[...]

22 Setting Up Audio Connections ■ Headphones For private listening and practice headphones are ideal. Y ou 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 [...]

23 P ower -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 contr ol(s) and the VL70-m volume control are turned all the way down prior to turning power on. 2. T urn on the VL70-m. 3. T urn on you[...]

24 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[...]

25 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 [...]

26 V oice Organization and Sound Module Modes V oice Or ganization The VL70-m voices are or ganized 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 playe[...]

27 V oice 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[...]

28 V oice 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 Y amaha XG format (see “VL Exten[...]

29 V oice 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 PLA Y 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[...]

30 V oice 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 V irtual Acoustic T one Generator significantly enhances and expands the musical capabilities of the XG format with the superior sound and expressive potential of Y amaha V irtual A[...]

31 When the VOICE sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLA Y] button engages the VL70-m VOICE PLA Y 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 PLA Y mode also provides access to several important perfor[...]

32 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 nu[...]

33 The VOICE PLA Y 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. V arRtn (V ariation Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m variation effect stage. The hig[...]

34 The V OICE PLA Y Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the P AR T [-] and [+] buttons. The VOICE PLA Y 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 pa[...]

35 The VOICE PLA Y Mode (Bank P ointer) Settings: Pr1, Pr2, Cst This parameter refers to the bank containing the selected voice in the VOICE PLA Y main control mode. It selects the VL70-m PRESET 1 (Pr1), PRESET 2 (Pr2) or CUST OM (Cst) voice bank (see “V oice Organization” on page 26). (Program P ointer) Settings: 001 … 128 This parameter ref[...]

36 The VL-XG PLA Y Mode The VL-XG PLA Y Mode When the VL-XG sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLA Y] button engages the VL70-m VL- XG PLA Y 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 [...]

37 The VL-XG PLA Y Mode The VL-XG PLA Y 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 P AR T [-] and [+] buttons. The VL-XG PLA Y main control mode display looks like this: P ART MIDI[...]

38 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 a[...]

39 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[...]

40 The VL-XG PLA Y Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the P AR T [-] and [+] buttons. The VL-XG PLA Y sub-control mode display looks like this: P ART MIDI BANK/PGM VOL EXP P AN REV CHO V AR KEY • T ranspose • V ariation Return • Chorus Return • Reverb Return • Device[...]

41 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 nu[...]

42 Contr ollers & Contr ol Editing If you’ve read the “V irtual 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,[...]

43 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[...]

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 T ime 73 Attack T ime 74 Brightness 75~90 Unassigned 91 Effect Send Level (Reverb Effect) 92 U[...]

45 ● VL70-m Controller P arameters 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 th[...]

46 Controllers & Control Editing Accessing & Editing the Control P aram- eters The CONTROL EDIT mode can be accessed from the VOICE PLA Y 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, [...]

47 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 [PLA Y] button to return to the VOICE PLA Y mode when you’re finished editing. ■ IMPORT ANT! • If you want to keep the changes you made in the VOICE EDIT mode, be s[...]

48 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 [...]

49 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) T onguing ..........................[...]

50 Controllers & Control Editing ● VL-XG Sound Module Mode Control Edit P arameters 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[...]

51 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 Numbe[...]

52 ● Control Edit P arameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Pitch Bend 01 (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[...]

53 Controllers & Control Editing 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 [...]

54 Assignable Controller 08 (08) : A C1 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[...]

55 Pressure 13 (12) : Prs CC No . • Pressure Control Change Number • Settings: off … 95, A T , 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 control[...]

56 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 [...]

57 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)[...]

58 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 a[...]

59 27 (17) : TngCtrlDpt • T onguing 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 [...]

60 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 controll[...]

61 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 g[...]

62 Throat F ormant 38 (24) : Thr CC No . • Throat Formant Control Change Number • Settings: off … 95, A T , 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 us[...]

63 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.[...]

64 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 highe[...]

65 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 in[...]

66 Filter & Envelope Gener ator 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 cutof f frequency of the VL70-m filter from note attack[...]

67 Filter & Envelope Generator Editing Accessing & Editing the Filter & EG P aram- eters The FIL TER & EG EDIT mode can be accessed from the PLA Y 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&[...]

68 5. Edit the Selected P arameter Use the V ALUE [-] 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 W hen Done Press the [EXIT] button to return to the EDIT sub-mode menu, or the [PLA Y] button to return to the PLA Y mode when you?[...]

69 The Filter & EG Edit P ar ameters 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 dif ferent in each mode. ● V OICE Sound Module Mode Filter & EG Edit P arameters Refer to the page n[...]

70 Filter .............................................................................................. 71 01: CutoffFreq (Cutof f Frequency) 02: Resonance (Resonance) 03: FilEG Dept (Filter Envelope Generator Depth) 04: Bass (Bass T one Control) 05: T r eble (T r eble T one Control) Amplitude & Filter Envelope ................................[...]

71 ● Filter & EG Edit P arameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Filter 03 (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): De[...]

72 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[...]

73 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 [...]

74 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 val[...]

75 Other Edit Parameters The OTHERS EDIT mode provides access to a range of editable voice param- eters that do fall into the CONTROLLER or FIL TER & EG categories. Other Edit P ar ameters Accessing & Editing the “Others” P aram- eters The OTHERS EDIT mode can be accessed from the PLA Y mode as follows: 1. Press [EDIT] Press the [EDIT] [...]

76 5. Edit the Selected P arameter Use the V ALUE [-] 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 [PLA Y] button to return to the PLA Y mode when you?[...]

77 The “Others” Edit P arameter s 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 dif ferent in each mode. ● VOICE Sound Module Mode “Other s” Edit P ar ameters Refer to the page numbers li[...]

78 ● VL-XG Sound Module Mode “Others” Edit P arameters Refer to the page numbers listed for full details on each parameter . Vibrato ............................................................................................. 79 01: Vib Rate (V ibrato Rate) 02: Vib Depth (V ibrato Depth) 03: Vib Delay (V ibrato Delay) Detune ................[...]

79 ● “Others” Edit P arameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Detune & V oice Level 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 down- ward to produce detune effects in re[...]

80 Assignment & Expansion 06 (05) : Mono/P oly • 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 the[...]

81 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[...]

82 P ortamento 13: P orta 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 wh[...]

83 17: V oice Name (VOICE mode only) • V oice Name • Settings: A voice name of up to 8 characters. T o enter a voice name first select the “V oice 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 e[...]

84 The Stor e 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 kee[...]

85 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[...]

86 Effects & Effect Editing The VL70-m features a versatile internal ef fects system which consists of four independent effect stages: REVERB, CHORUS, V ARIA TION, and DISTOR- TION. Of these the REVERB and CHORUS stages function as “system ef- fects”, the V ARIA TION stage can be used either as a system or “insertion” effect, and the DI[...]

87 parameters available in the PLA Y 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 eff[...]

88 Accessing & Editing the Effect P ar ameters The EFFECT sub-modes — REV , CHO, V AR, and DIST — and the param- eters they contain can be accessed from the PLA Y 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 sele[...]

89 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 [PLA Y] button to return to the PLA Y mode when you’re finished editing. ■ IMPORT ANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to sto[...]

90 The Reverb P ar ameters The reverb effects are essential to give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound. T ype • Reverb T ype • Settings: NO EFFECT , HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, ST AGE 1, ST AGE 2, PLA TE, WHITE ROOM, TUNNEL, CANYON, BASEMENT Selects the reverb type, or “[...]

91 The Chorus P ar ameters The VL70-m chorus stage actually includes a number of modulation-type ef fects that can be used to give your sound extra animation and life. T ype • Chorus T ype • 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 ?[...]

92 The V ariation P arameters The variation stage includes reverb, delay , echo, modulation, distortion, wah, and a range of other effects. T ype • V ariation T ype • Settings: NO EFFECT , HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, ST AGE 1, ST AGE 2, PLA TE, DELA Y LCR, DELA Y L,R, ECHO, CROSSDELA Y , ER1, ER2, GA TE REV , REVRS GA TE, KARAOKE 1,[...]

93 higher the value, the more variation signal is sent to the chorus stage. If this parameter and the PLA Y mode “V arRtn” 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 th[...]

94 The Distortion P ar ameters Distortion is an excellent way to drastically change a sound — although subtle distortion settings can produce surprisingly delicate variations. T ype • Distortion T ype • Settings: THRU, DISTORTION, OVERDRIVE, 3-BAND EQ Selects the distortion type, or “THRU” if no distortion effect is required. Refer to the[...]

95 Breath Settings Br eath Settings The Breath Setting includes a number of setting that determine how the VL70- m responds to breath control from a breath controller , a Y amaha WX-series W ind MIDI controller , or MIDI. Accessing & Editing the Br eath P arameter s The BREA TH parameters can be accessed and edited from the PLA Y mode as follow[...]

96 The Breath P arameter s Breath Mode • Settings: BC/WX, Velocity , T ouch EG Sets the control source to be used for “breath” control. This parameter should be set to “BC/WX” when a breath controller or Y amaha WX-series W ind MIDI Controller is being used (page 18). When set to “V elocity”, breath variation is con- trolled by keyboa[...]

97 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 PLA Y mode by pressing the [UTILITY] button. Four sub-modes are available: The SYSTEM sub-mode includes parameters that affect[...]

98 The System P ar ameters The UTILITY SYSTEM sub-mode includes parameters that affect overall operation of the VL70- m. M.T une • Master T uning • 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 [...]

99 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 Bul[...]

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 Y amaha 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[...]

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 V oice for CUST OM or INTERNL If you have selected the CUST OM or INTERNL data type, you can use the V ALUE [-] and [+] buttons at this point to specify whether you want to transmit “ALL” voices fr[...]

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 d[...]

103 Appendix Appendix Show Control Change This function displays the MIDI control change data string required to control the parameter currently displayed in the PLA Y mode from an external MIDI device. The MIDI data is displayed in hexadecimal format. T o engage the Show Control Change function first select the desired parameter in the PLA Y mode,[...]

104 The Message Window The VL70-m Message W indow function makes it possible to display text messages up to 32 characters in length on the VL70-m display in the PLA Y 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 a[...]

105 Bitmap W indow The VL70-m Bitmap W indow function makes it possible to display 16 x 16 dot icons and simple animation sequences on the VL70-m display in the PLA Y 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 F[...]

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 ca[...]

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. T roubleshooting The VL70-m is a very versatile tone generator with many features and functions that affect oper[...]

108 Symptom • No sound. P ossible 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[...]

109 Symptom • No effects. P ossible 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)[...]

110 Answer s to Some Com- mon Questions 1. The VL70-m is a monophonic tone gener ator . 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 allo[...]

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/V A synthesis. As with a real bowed string instrument, bow speed and pressure must be properly controlled in the VL70-m[...]

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 Y amaha service personnel. Illegal Data! A data error has occurred durinng MIDI data rec[...]

113 Specifications ■ T one Generator T ype S/V A (Self-oscillating V irtual Acoustic Synthesis: VLR Algo- rithm) Modifiers Harmonic Enhancer Dynamic Filter Equalizer Resonator Effects Reverb: 12 types Chorus: 10 types V ariation: 44 types Distortion: 3 types Polyphony 1 note (monophonic) Sound Module Modes V oice Mode VL-XG Mode (VL extension for[...]

114 A Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Absorption Control Change Number . . . . . . . . . . . . 64 Absorp tion Cont rol Dept h . . . . . . . . . . . . . . . . . . . . . 64 Absorp tion Cur ve . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 5 Aftertouch . . . . . . . . . . . . . . . . . . . .[...]

115 H Harmonic Enhancer Control Change Number . . . . . 62 Harmonic Enhancer Control Depth . . . . . . . . . . . . . . 63 Harmonic Enhancer Curve . . . . . . . . . . . . . . . . . . . . . 63 Harmonic enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 High[...]

116 U UTIL button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Utility mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 V VALUE butto ns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 V ariation connection mode . . . . . . . . . . . . . . . . . . . . 93 V ari ation pa n . . . . . . . [...]

117[...]

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M.D.G., EMI Division © Yamaha Corporation 1996 VV11820 606POCP3.2-01A0 Printed in Japan[...]