Getting Started Owner’s Manual 1
Getting Started Contents Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6 ■ ■ ■ The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6 The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Getting Started Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34 Selecting & Playing the VL7’s 64 Voices ■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . 38 Natural Musical Nuance and Expressive Control ■ ■ ■ ■ ■ ■ Physical Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 VL7 Controller Parameters . . . . . . . . . . .
Getting Started Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! ■ Location ■ MIDI Connections Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • When connecting the VL7 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission. • Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors. • Direct sunlight (e.g. near a window).
Getting Started ■ Data Backup • To eject a floppy disk, press the eject button slowly as far as it will go then, when the disk is fully ejected, remove it by hand. The disk may not be ejected properly if the eject button is pressed too quickly, or it is not pressed in as far as it will go (the eject button may become stuck in a half-pressed position and the disk extends from the drive slot by only a few millimeters). If this happens, do not attempt to pull out the partially ejected disk.
Getting Started About the Manuals The VL7 comes with two manuals — Getting Started and Feature Reference. The Getting Started Manual (this manual) The Getting Started manual contains seven chapters that take you through essential information and procedures you will need to know to become familiar with your VL7: 1. VL7 Basics [≥ Page 8] Basic concepts you’ll need to understand in order to get the most out of the VL7. 2.
Getting Started The Feature Reference Manual The Feature Reference manual is the “nuts and bolts” reference for the VL7, individually describing its many functions in detail. The Feature Reference manual is divided into 5 main sections, each describing the various functions within a particular VL7 edit or utility mode. 1. 2. 3. 4. 5.
Getting Started VL7 Basics Essential Concepts for the VL7 User L ike its predecessor, the VL1, the Yamaha VL7 Virtual Acoustic Synthesizer produces sound in an entirely new way. It has no oscillators or function generators, no preset waveforms or samples. In fact, it uses none of the sound generation concepts employed in conventional synthesizers. The VL7 represents an advanced application of computer-based “physical modeling” in musical sound synthesis.
Getting Started What Are the Advantages? T he VL7 offers many advantages in terms of musical performance. Not just in terms of sound, but also in terms of the “behavior” that makes acoustic instruments so … well, musical! But this is not because someone has programmed a certain sound or pattern of behavior into it.
Getting Started The VL7 Model T he overall VL7 model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as follows: The VL7 Voice "Element" Controllers (also envelopes) Instrument Modifiers Sound out. ● The Instrument The key block in this algorithm is the instrument, since it is here that the fundamental tone or “timbre” of the sound is defined.
Getting Started In all these instruments pressure applied here (the driving point) causes vibration which results in sound. Reed vibration. Lip vibration. Air vibration. String vibration. The sound thus produced is amplified and sustained by the body of the instrument.
Getting Started ● The Controllers The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the players arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL7 model, are included in the controllers block.
Getting Started ● The Modifiers Although you don’t have direct programming access to the VL7 instrument block, the modifiers allow a significant degree of control over the final timbre of the voice. The modifiers block consists of 5 sections as shown in the diagram.
Getting Started Impulse Expander The Impulse Expander works in conjunction with the Resonator, described below, to simulate the effect of an instrument’s resonant cavity or sound box. It can also be used to simulate the acoustic environment in which the instrument is played. In contrast to the Resonator, the Impulse Expander is more suited to the simulation of metallic resonances and is thus invaluable for refining the sound of brass and metal-bodied woodwinds.
Getting Started There’s More … I n this brief introduction to VL7 basics we’ve only looked at the central physical model which is the key the VL7’s unprecedented sound and musical performance. There’s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesizers. There are, for example, a range of programmable envelopes that can be applied to most of the controllers in addition to real-time player control.
Getting Started ● The Controls & Connectors The Controls & Connectors A Brief Introduction To the VL7 Interface The following brief descriptions of the VL7 controls and connectors should help you to understand the overall logic of the interface.
Getting Started ● The Controls & Connectors q MODE Buttons The P, E, and U buttons select the corresponding VL7 modes. The PLAY mode lets you select and play voices, the EDIT mode gives you programming access to the VL7’s voice and controller parameters, and the UTILITY mode includes MIDI, disk, system and other functions that are essential for general operation. ☛ Feature Reference page 8. w C Button This button is used to copy voice parameters for fast, efficient editing. ☛ Feature Reference page 24.
Getting Started ● The Controls & Connectors r VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R jacks as well as the PHONES jack. ☛ Getting Started page 25. t – and ≠ Continuous Sliders These controls can be assigned to a range of controller parameters for real-time expressive control. ☛ Getting Started page 47. Feature Reference page 19.
Getting Started ● The Controls & Connectors ☛ Getting Started page 35. Feature Reference page 15. !4 Keyboard The VL7 has a 49-key keyboard that is both velocity and after-touch sensitive for broad, intimate expressive control. !5 OCTAVE _ and + Buttons Shift the pitch of the keyboard up or down one octave. A utility “Octave Hold” function provides two modes: shift only while the button is held, or press once to shift and again to release. MIDI note output data is also shifted.
Getting Started YAMAHAMODELVL7 ACINLET ● The Controls & Connectors FOOT SWITCH MIDI THRU OUT IN 2 1 OUTPUT FOOT CONTROLLER 2 1 R L POWER ON / OFF @2 POWER Switch @1 AC Power Cord Socket @6 MIDI IN, OUT and THRU Connectors @3 OUTPUT L and R Jacks @4 FOOT CONTROLLER 1 and 2 Jacks @5 FOOT SWITCH 1 and 2 Jacks Rear Panel @1 AC Power Cord Socket Be sure the plug the VL7’s AC power cord into this socket before plugging the power cord into an AC outlet. ☛ Getting Started page 22.
Getting Started ● The Controls & Connectors The Controls & Connectors 21
Getting Started Setting Up ● Setting Up System Connections & Preparation Foot Controller Foot Switch MIDI Audio L R 1 2 FOOT CONTROLLER OUTPUT 2 1 FOOT SWITCH OUT MIDI IN POWER ON / OFF THRU MODE PLAY EDIT UTILITY COPY A STORE B C D COMPARE DEC INC 1 9 10 11 12 13 14 EXIT ENTER ALL HE 2 DF 3 EQ 4 5 6 ALL IE MOD RSN EFFECT F1 VOLUME DOWN PITCH OCTAVE MODULATION 1 CS1 F2 F3 F4 F5 F6 F7 F8 CONT MODIFIER CS2 7 8 FBD REV ON / OFF 15 16 ON
Getting Started ● Setting Up Controllers The Breath Controller is an essential expressive tool — both for realistic expression with wind-instrument voices and unprecedented expressive control with string voices. Plug the BC2 Breath Controller supplied with the VL7 (or an optional BC1 breath controller) into the front-panel breath controller jack. The Breath Controller is ideal for controlling parameters that would normally be affected by a wind player's breath: dynamics, timbre, pitch, and others.
Getting Started ● Setting Up ● Stereo Sound System The VL7 voices and effects are designed to sound their best in stereo, so you should always use a stereo sound system to appreciate the full impact of the VL7 voices and expressive features. The VL7 OUTPUT L and R jacks can be connected directly to musical instrument amplifiers designed for keyboard use, or to the line inputs of a mixing console.
Getting Started ● Setting Up NOTES ■ For detailed MIDI specifications refer to the “MIDI Data Format”. Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!). 1. Make sure your sound system’s main level/volume control(s) and the VL7 volume control are turned all the way down prior to turning power on. 2. Turn on the VL7. 3. Turn on the sound system. 4.
Getting Started ● Setting Up Play the Demo Once you’ve set up your VL7 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 VL7’s selection and editing procedures. 1. Select the Utility Mode System Page Press the U button to select the utility mode. 2. 3. Select the Demo Page Press the ∞ button to select the “Demo” page.
Getting Started 4. ● Setting Up Select a Song • 5. 16 demo pieces are provided. The last of these can be used with full accompaniment if the VL7 is connected to a GM (General MIDI) tone generator such as the Yamaha TG300. Connect the VL7 MIDI OUT connector to the MIDI IN connector of the GM tone generator. Run the Demo Press the • button to run the demo. Playback will start with the selected song, then all other songs will be played in sequence. The cycle will repeat until stopped. 6.
Getting Started ● Setting Up Breath Controller Calibration Proper operation of the breath controller is vital to achieving the best possible sound from the VL7. Although the controller is factory-calibrated to match most requirements, we recommend that you carefully calibrate the breath controller for optimum performance with your own playing style. 1.
Getting Started 5. ● Setting Up Adjust the Breath Controller Gain NOTES ■ In addition to calibrating the breath controller, the UTILITY mode “Curve” page described here also allows you to select a range of 4 different response curves — these are discussed in more detail on page 155 of the Feature Reference manual. 6. Return to the Play Mode Press the P button to return to the PLAY mode.
Getting Started ● Setting Up Load the Pre-programmed Voice Data When initially shipped, the VL7 internal memory contains a set of voices programmed to be used without the breath controller (the “NOBREATH:All” file, described below). Since the breath controller is such an important expressive tool, and since some of the examples given in this manual use the breath controller, we recommend that you load the “FULLCNT1:All or FULLCNT2:All” file provided on the VL7 data disk.
Getting Started ● Setting Up ● Loading the “FULLCNT1:All” Voice File Insert the Voice Disk Insert the VL7 voice disk into the disk drive. The sliding disk shutter should go in first, and the label side of the disk should face upward. 2. Select the Utility Mode System Page Press the U button to select the utility mode. Then, if it is not already selected when the utility mode display appears, press the ¡ button to select the “System” function page.
Getting Started 5. ● Setting Up Select “All” and Select the “002:FULLCNT1:All” File Make sure the cursor is positioned at “1:All” and press [. When the list of files appears use the cursor > and < buttons to select the “002:FULLCNT1:All” file, then press [ again. 6. Load the File Loading will begin when you press the - button in response to the “Are You Sure?” prompt.
Getting Started ● Setting Up Setting Up 33
Getting Started ● Voice Selection Voice Selection Selecting & Playing the VL7’s 64 Voices One of the first things you’ll want to do with your VL7 is select and play some of its voices … this section will show you how to do just that. 1. Select the Play Mode Press the P button so that its indicator lights and the word “PLAY” appears in the upper left corner of the LCD panel. A considerable amount of information appears on the play-mode display in addition to the name of the currently selected voice.
Getting Started 2. ● Voice Selection Select a Voice To select a different voice within the same bank it is only necessary to press the appropriate voice number button. To select a different bank, however, you’ll always have to press both a bank button and a voice number button (or the [ button). This prevents unwanted voices from being selected until you’ve actually specified both the bank and number of the voice you want to use.
Getting Started 3. ● Voice Selection Play Try playing the selected voice on the keyboard. Select a number of different voices and try them out. Assuming that you have loaded either of the “FULLCNT1:All” or “FULLCNT2:All” files as directed in the preceding section, you will have to apply breath pressure to the breath controller and/or press the foot controller forward to produce sound with many of the voices.
Getting Started ● Voice Selection Voice Selection 37
Getting Started ● The Controllers The Controllers Natural Musical Nuance and Expressive Control If you’ve read the “VL7 Basics” section (if you haven’t, please do so — page 8) you should understand the concept of “controllers” as applied to the VL7. The “controller parameters” correspond to simulated characteristics of the instrument model — e.g. breath pressure, embouchure or tonguing. Any of these can be controlled by you via “physical controllers” — e.g.
Getting Started ● The Controllers Physical Controllers First, here’s a list of the physical controllers available for use with the VL7: A natural candidate for controlling pressure, tonguing, throat, growl, and other parameters. Breath Attack This unique "controller" can be applied only through the Breath Controller. When it is selected control is applied by changes in breath pressure, rather than the absolute breath pressure itself. A constant pressure — whether zero or maximum — produces no change.
Getting Started ● The Controllers VL7 Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VL7’s controller parameters: Pressure The amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre. Embouchure The tightness of the lips against the reed or against each other.
Getting Started ● The Controllers Controller Views In the PLAY mode, function buttons ¡ through § are used to select “controller view” displays that list all controller assignments for the currently selected voice. In particular, ¡ through ¢ display the assignments for the controller parameters listed in the preceding chart (you can press the ] button at any time to return to the normal play-mode display).
Getting Started ● The Controllers Some Exercises With the Alto Sax 1 Controllers Now that you know which physical controllers are assigned to which controller parameters in the Alto Sax 1 voice (A14), play the voice using the assigned controllers to get a feel for their effect before changing the assignments. 1. Engage the EDIT Mode The controller assignments are accessed via the EDIT mode Controller page. To get to this page first press the E button to engage the edit mode.
Getting Started The Controllers Edit the Scream Controller Parameter The cursor should be located at the “Controller” parameter, as shown in the example display. In the Alto Sax 1 voice the scream control parameter is not used so it is currently turned “off”. Press the - button or rotate the data entry dial to the right slightly to select “Modulation Wheel”, the first controller on the list.
Getting Started 6. ● The Controllers Go to the Pressure Controller Page From the Vibrato page use the § button to step back to the Pressure controller page. Quite logically, the Breath Controller is assigned to control the “Pressure” parameter, and we will leave it set that way while we experiment with the “Depth” and “Curve” parameters. 7.
Getting Started ● The Controllers Once you pass zero, you enter a range of “negative” Depth values that produce reverse controller operation: i.e. the output level decreases as you blow harder into the Breath Controller. Like the normal positive range, the negative Depth range is from “0” to “-127”. The Controllers 8. Vary the Curve Parameter You may have noticed in the previous step that the relationship between breath pressure and output is not linear (the line in the graph is slightly curved).
Getting Started 9. ● The Controllers Experiment! Now that you’ve got the idea, flip through the all the available controller pages and experiment with alternative assignments and settings until you feel comfortable with the system. You should also try this with different voices later, since the controllers can have different effects with different voices. NOTES ■ There are several variations on the basic controller display and parameters.
Getting Started ● The Controllers Other Controller Views If you press the ∞ controller view: function button from the play mode you’ll see the following Sustain Indicates whether sustain control is on or off. (≥ Feature Reference manual, page 33) Portamento This line indicates the current portamento status: “Full Time” or “Fingered”. (≥ Feature Reference manual, page 38) Time MIDI Ctrl A MIDI controller can be assigned to control portamento time.
Getting Started ● Mixing & The Modifiers Mixing & The Modifiers Creating New Timbres and Original Voices The VL7 provides two ways to change the timber of a voice to create original variations: 1) by mixing the output signals from various parts of the physical model, and 2) by using the VL7’s “Modifiers” to shape the overall harmonic structure. You should always start with the mixing parameters when attempting to create a new voice, so we’ll describe mixing first.
Getting Started ● Mixing & The Modifiers An Exercise: Remix the Pan Pipes Voice Before going to the EDIT mode, select and play the Pan Pipes (B03) voice for a few minutes to get a feel for how it sounds. 1. Engage the EDIT Mode The mixing parameters are accessed via the EDIT mode “Mixing” page. To get to this page first press the E button to engage the edit mode. You may have to press the ] button one or more times to get the initial edit display.
Getting Started ● Mixing & The Modifiers Tap Location 0% 50% 99% The remaining tap parameter — “Tap Sign” — inverts the phase of the tap signal. It has two settings: “+” and “-”. Try it. 4. Return To the PLAY Mode When Done Press the P button to return to the PLAY mode when you’ve finished experimenting with the mixing parameters. After experimenting with the Mixing parameters for a while you’ll discover that they define the basic sound of the instrument.
Getting Started ● Mixing & The Modifiers The Modifiers In (from physical model) Harmonic Enhancer Dynamic Filter Frequency Equalizer Impulse Expander Resonator Out (to effects stage) Harmonic Enhancer Of the five modifier stages, the Harmonic Enhancer has the most pronounced effect on the actual harmonic structure of the sound. It allows you to create radical timbral variations within the current instrument “family”. Modulator Source. Modulator Carrier Source.
Getting Started ● Mixing & The Modifiers Referring to the block diagram of the harmonic enhancer, above, we can see that it employs a modulation approach to building new harmonic structures. The carrier and modulator blocks have independent display pages and some independent parameters.
Getting Started ● Mixing & The Modifiers While the “Balance” and “Index” parameters apply to the overall harmonic enhancer sound, the following independent parameters are provided for the modulator and carrier blocks. HPF Cutoff Both the modulator and carrier blocks have high-pass filters that can be used to roll off the low frequencies of the corresponding signal. The cutoff frequency can be varied from 17.7 Hz to 11.2 kHz. The filter can also be bypassed.
Getting Started ● Mixing & The Modifiers Dynamic Filter The Dynamic Filter stage is similar to the dynamic filters found in many conventional synthesizers. It allows both fixed and dynamic filtering in high-pass, low-pass, bandpass, and band elimination modes, and is effective for broad tonal control.
Getting Started ● Mixing & The Modifiers Frequency Equalizer The Frequency Equalizer stage consists of two blocks — Auxiliary and Band — each with its own display page. Equalizer (Auxiliary) Equalizer (Bands) Out (to Impulse Expander) ■ The Equalizer Auxiliary Parameter Page ■ The Equalizer Band Parameter Page The Auxiliary block includes programmable low-pass and high-pass filters that can be used independently or together to create a bandpass response.
Getting Started ● Mixing & The Modifiers Impulse Expander The Impulse Expander works in conjunction with the Resonator, described below, to simulate the effect of an instrument’s resonant cavity or sound box. It can also be used to simulate the acoustic environment in which the instrument is played.
Getting Started ● Mixing & The Modifiers Resonator While the Impulse Expander tends to give the sound a metallic quality, the Resonator produces a more woody resonance effect. Careful adjustment of the resonator’s parameters can often bring a not-quite-right voice to life.
Getting Started ● Effects Effects Creating the Right Ambience Effects are the essential finishing touches for any voice. Once you’ve created a sound you like, use one or more of the VL7’s three highperformance digital effect stages to polish and refine it as required. Each stage includes a number of effects. The Modulation, Feedback Delay, and Reverb stages can be used simultaneously, but only one of the effects available in each stage can be used at a time.
Getting Started ● Effects Modulation Effects Although “modulation” usually implies some sort of cyclical variation, the VL7 Modulation stage allows selection of Flanger, Pitch Change, and Distortion effects (only Flanger fits the traditional definition of a modulation effect). Since most of these effects produce a marked change in the sound, you’ll probably only want to use them on certain voices, and maybe not all the time.
Getting Started ● Effects ■ The Time Calculation Pop-up Page NOTES ■ Refer to page 51 of the Feature Reference manual for full details on the Feedback Delay effects and parameters. Reverb Effects You’ll probably want to apply the effects in this stage to some degree to all your voices. These are the effects that will give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound.
Getting Started ● Effects Effects 61
Getting Started ● Index Index This index covers both the VL7 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”. Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©12, 38 Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©7 Copy button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Getting Started Index I Impulse expander & resonator setting . . . . . . . . ƒ121 Impulse expander . . . . . . . . . . . . . . . . . ©56. ƒ123 Initial edit page . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ30 Interpolate speed . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83 K Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19 Keyboard transpose . . . . . . . . . . . . . . . . . . . . . . . ƒ151 L L,C,R delay . . . . . . . . . . . . . . . . . . . . . . . . . .
Getting Getting Started Started ●● Effects Index P V Phones jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19 Pitch change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ47 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ65 Pitch wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19 Play-mode display . . . . . . . . . . . . . . . . . . ©34. ƒ14 Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
