FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind.
Thank you for choosing a Yamaha VL70-m Virtual Acoustic Tone Generator. The VL70-m is a monophonic tone generator incorporating Yamaha’s revolutionary “Virtual Acoustic Synthesis” tone generation system — based on the most advanced computer physical modeling technology. Virtual Acoustic Synthesis produces sound that is more realistic, more expressive, and more musical than any other system available at this time.
About the Manual The VL70-m is a very unique tone generator that operates on totally new principles that were simply unheard of until Yamaha released the worlds first “Virtual Acoustic” synthesizer based on computer physical modelling. If you’ve had some experience with the Yamaha VL1, VL1-m, VL-7, or their “Version 2” upgrades, you will have very little trouble understanding the VL70-m. If you are new to VA synthesis, however, you will need a little background before attempting to edit and modify voices.
Contents Precautions 4 Virtual Acoustic Synthesis 6 VA Advantages . . . . . . . . . . . . . . . . . . . . . . . 6 The VL70-m Model . . . . . . . . . . . . . . . . . . . . 7 ■ The Instrument . . . . . . . . . . . . . . . . . . . 8 ■ The Controllers . . . . . . . . . . . . . . . . . . . 9 ■ The Modifiers . . . . . . . . . . . . . . . . . . . 10 There’s More … . . . . . . . . . . . . . . . . . . . . . . 11 The Controls & Connectors ■ ■ Front Panel . . . . . . . . . . . . . . . . . . . . . 12 Rear Panel .
Filter & Envelope Generator Editing 66 Amplitude & Filter EG . . . . . . . . . . Pitch & Embouchre EG . . . . . . . . . Accessing & Editing the Filter & EG Parameters . . . . . . . . . . . . . . . . . . . . . . . The Filter & EG Edit Parameters . . . . . . . . ■ VOICE Sound Module Mode Filter & EG Edit Parameters . . . . . . . . . . . . . . . ■ VL-XG Sound Module Mode Filter & EG Edit Parameters . . . . . . . . . . . . . . . ■ Filter & EG Edit Parameter Descriptions . . . . . . . . . . . . . . . . . . . .
Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! ■ Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • Direct sunlight (e.g. near a window). • High temperatures (e.g. near a heat source, outside, or in a car during the daytime). • Excessive humidity. • Excessive dust. • Strong vibration. ■ Power Supply • Turn the power switch OFF when the instrument is not in use.
■ • • • Cleaning Clean the cabinet and panel with a dry soft cloth. A slightly damp cloth may be used to remove stubborn grime and dirt. Never use cleaners such as alcohol or thinner. ■ Electrical Interference • This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment.
Virtual Acoustic Synthesis Unlike previous tone generation systems which use oscillators, function generators, preset waveforms or samples to produce sound, Yamaha Virtual Acoustic (“VA”) Synthesis applies sophisticated computer-based “physical modeling” technology to musical sound synthesis.
The VL70-m Model The overall VL70-m model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers.
The Instrument The key block in this algorithm is the instrument, since it is here that the fundamental tone or “timbre” of the sound is defined. The instrument model consists primarily of a driver — the reed/mouthpiece, lip/mouthpiece, or bow/ string system — and a resonant system corresponding to the tube and air column or string. In all these instruments pressure applied here (the driving point) causes vibration which results in sound.
The Controllers The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player’s arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL70-m model, are included in the controllers block.
The Modifiers The modifiers block consists of 4 sections as shown in the diagram. Although these may appear to be simple effects, they are actually intimately related to the VL70-m’s sound-producing model and have a significant effect on the sound (the VL70-m has a separate effects stage with reverb, chorus, variation, and distortion effects — see page 86).
There’s More … In this brief introduction to VL70-m basics we’ve only looked at the central physical model which is the key the VL70-m’s unprecedented sound and musical performance. There’s actually much more to it. There’s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesizers. There are, for example, programmable envelopes that can be applied to most of the controllers in addition to real-time player control.
The Controls & Connectors The following brief descriptions of the VL70-m controls and connectors should help you to understand the overall logic of the interface. Front Panel q [POWER/VOL] Control Press to turn power ON or OFF. Rotate to adjust overall output volume (clockwise to increase the volume). pressing the [PLAY] button causes the currently selected voice to sound — a convenient test feature.
!2 [MIDI/WX] Button Pressing this button alternately selects the VL70m MIDI and WX control modes (when the rearpanel HOST SELECT switch is set to Mac, PC1, PC-2). ➲ page 18 !3 [ENTER] Button The [ENTER] button is used to engage submodes, confirm input, and execute certain operations. Double-clicking this button (i.e. press the button twice in rapid succession) provides access to the SHOW CONTROL and SHOW EXCLUSIVE (page 103) modes.
Rear Panel !8 DC IN Connector The DC output cable from the Yamaha PA-3B AC Power Adaptor supplied with the VL70-m is plugged in here. ➲ page 15 !9 OUTPUT L/MONO and R Jacks These are the main stereo outputs from the VL70-m. Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the VL70m sound and effects. The L/MONO jack can be used alone when connecting to a mono sound system (e.g. a musical instrument amplifier).
Setting Up Power Supply Your VL70-m comes supplied with a Yamaha PA-3B AC adaptor. Plug the DC output cable from the AC adaptor into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. It is also a good idea to clip the adaptor’s DC cable into the cable clip on the VL70-m rear panel to minimize the possibility of accidentally unplugging the cable during operation.
MIDI Connections The VL70-m can be used with virtually any type of MIDI controller: keyboard, wind controller, sequencer, etc. To ensure reliable error-free transfer of MIDI data always use high-quality MIDI cables obtained from your Yamaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 meters, since cables longer than this can pick up noise which can cause data errors.
Breath Controller If you will be using the VL70-m with a keyboard, a breath controller is an essential expressive tool — both for realistic expression with wind-instrument voices and unprecedented expressive control with string voices. Plug an optional Yamaha BC3, BC2 or BC1 Breath Controller into the front-panel breath controller jack. If the controlling MIDI keyboard has a breath controller jack, it might be more convenient to plug the breath contoller in there rather than directly into the VL70-m.
WX-series Wind MIDI Controller The VL70-m is an ideal tone generator for use with a Yamaha WX-series Wind MIDI Controller such as the WX11 or WX7. In either case the controller can be plugged directly into the WX IN connector on the VL70-m front panel, without the need for a WT11 or BT7 wind controller interface.
G50 Guitar MIDI Converter The Yamaha G50 is a high-performance Guitar MIDI Converter designed to work in conjunction with the Yamaha G1D Divided Pickup Unit installed on an electric or steel-string acoustic guitar. The G50 offers unprecedented MIDI guitar synthesizer performance with exceptionally fast response and a range of advanced features that bring the true creative potential of MIDI control to guitar players for the first time.
Connecting to a Personal Computer Although the VL70-m can be connected to a personal computer via the MIDI IN/OUT connectors and a MIDI interface, the TO HOST connector and selector switch allow direct connection to Apple Macintosh, IBM PC/AT, or NEC PC-9801/9821 series personal computers for sequencing and other music applications without the need for a separate MIDI interface.
Connecting to an IBM PC/AT Series Computer Connect the TO HOST connector of the VL70-m to the RS-232C port on your IBM computer, using a standard 8-pin MINI DIN → 9-pin D-SUB cross cable. Set the TO HOST selector to the “PC-2” position. Refer to your software owner’s manual for information on any settings you might have to make on the computer side. ● “PC-2” Cable Connections mini Din 8-pin D-SUB 9-pin • 8-pin mini DIN → 9-pin D-SUB cable.
Audio Connections ■ Headphones For private listening and practice headphones are ideal. You don’t have to hook up and complete sound system, and you won’t disturb the neighbors no matter how loud or late you play. Any standard pair of stereo headphones with a stereo mini phone plug and an impedance of between about 8 and 150 ohms can be used.
Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!). 1. Make sure your sound system’s main level/volume control(s) and the VL70-m volume control are turned all the way down prior to turning power on. 2. Turn on the VL70-m. 3. Turn on your MIDI controller (and computer/sequencer, if used). 4. Turn on the sound system. 5. Raise the sound system volume to a reasonable level. 6.
Play the Demo Once you’ve set up your VL70-m system, you might like to play the preprogrammed demo sequence to hear how some of the voices sound. This process will also help to familiarize you with some of the VL70-m’s selection and editing procedures. ■ NOTES • When the demo is played all system setup parameters and current voice are initialized.
The Supplied Demo Disk The VL70-m is supplied with a demonstration data disk which contains several songs which demonstrate some of the VL70-m’s advanced musical capabilities. The songs on this disk can be reproduced using any sequencer or computer-based sequence software which can handle SMF (Standard MIDI File — format 0) song files. All of the demo songs use the VL70-m for the main melody line, while a second XG tone generator (Yamaha MU50 or MU80 for example) supplies the backing.
Voice Organization and Sound Module Modes Voice Organization The VL70-m voices are organized into four main banks. Additional banks are used when the VL70-m is set to operate in the VL-XG sound module mode (page 29). The four main banks are as follows: PRESET 1 The PRESET 1 bank contains 128 preset voices which have been created primarily to be played via a keyboard.
The VL70-m Sound Module Modes The VL70-m has two main Sound Module Modes: VOICE and VL-XG. It is important to understand the difference between these modes because they determine how the VL70-m responds to MIDI program change and bank numbers received from a MIDI keyboard or other controller, and how the internal effects relate to the individual voices. The VOICE Mode In this mode the VL70-m functions as a “standard” tone generator module.
The VL-XG Mode In this mode the VL70-m functions as an “XG expansion” tone generator module. The VL-XG mode should be selected when the VL70-m is being used with other XG tone generators/synthesizers to play music data created for tone generators complying with the Yamaha XG format (see “VL Extension for XG”, page 30).
Selecting the VOICE or VL-XG Sound Module Mode The current sound module mode is indicated by the triangular pointer in the lower right- corner of the display in the PLAY mode. VOICE VL-XG The VOICE or VL-XG sound module mode is selected as follows: 1. Press the [MODE] Button Press the [MODE] button access the VL70-m sound module modes selection function. 2. Select the VOICE or VL-XG Mode Use the VALUE [-] and [+] buttons to select the “VOICE” or “VL-XG” sound module mode, as required. 3.
■ VL Extension for XG The VL Extension for XG (“VL Extension for XG” is abbreviated to VL-XG) included in the VL70-m Virtual Acoustic Tone Generator significantly enhances and expands the musical capabilities of the XG format with the superior sound and expressive potential of Yamaha Virtual Acoustic Synthesis.
The VOICE PLAY Mode When the VOICE sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLAY] button engages the VL70-m VOICE PLAY mode. This mode allows voices to be selected and played, and thus is the mode you’ll normally use when playing the VL70-m. The VOICE PLAY mode also provides access to several important performance parameters including volume, panning, etc.
DevNo. (Device Number) Volume Settings: 001 … 016, all Settings: 000 … 127 The Device Number parameter must be set properly when you want to transmit or receive MIDI system exclusive data to or from another VL70-m or other MIDI device (system exclusive data includes voice parameters, system setup parameters, etc). The VL70-m Device number must be set to the same number as the Device Number of the external device. Select a device number from “001” to “016”, or “all”.
ChoRtn (Chorus Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus signal. VarRtn (Variation Return) Settings: 000 … 127 Adjusts the level of the signal returned from the VL70-m variation effect stage. The higher the value, the higher the level of the variation signal.
The VOICE PLAY Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the PART [-] and [+] buttons. The VOICE PLAY sub-control mode display looks like this: PART MIDI BANK/PGM VOL EXP PAN REV • Receive Channel • Bank Pointer • Program Pointer CHO VAR KEY • • • • Note Shift Variation Send Chorus Send Reverb Send The various parameters in this mode are selected via the SELECT [<] and [>] buttons.
(Bank Pointer) ChoSend (Chorus Send) Settings: Pr1, Pr2, Cst Settings: 000 … 127 This parameter refers to the bank containing the selected voice in the VOICE PLAY main control mode. It selects the VL70-m PRESET 1 (Pr1), PRESET 2 (Pr2) or CUSTOM (Cst) voice bank (see “Voice Organization” on page 26). Adjusts the level of the signal sent to the VL70-m chorus effect stage. The higher the value, the higher the level of the chorus send signal.
The VL-XG PLAY Mode When the VL-XG sound module mode is selected (see “The VL70-m Sound Module Modes, page 27), pressing the [PLAY] button engages the VL70-m VLXG PLAY mode. In this mode the VL70-m can be used as an “XG expansion” tone generator module with other XG tone generators/synthesizers to play music data created for tone generators complying with the Yamaha XG format (see “VL Extension for XG”, page 30).
The VL-XG PLAY Main Control Mode This mode is initially engaged when the VL-XG sound module mode is selected. If the sub-control mode is active (see page 40), the main control mode can be selected by simultaneously pressing the PART [-] and [+] buttons.
Rcv CH (Receive Channel) Volume Settings: 01 … 16, OFF Settings: 000 … 127 Sets the MIDI receive channel on which the VL70m will receive data from your keyboard or other controller. The receive channel must be set to the same channel that the controlling device is transmitting on (“01” through “16”). When “OFF” is selected, the VL70-m will not receive any data from external MIDI devices. Sets the volume of the current voice. The higher the value the louder the volume.
RevSend (Reverb Send) NoteSft (Note Shift) Settings: 000 … 127 Settings: -24 … 0 … +24 Adjusts the level of the signal sent to the VL70-m reverb effect stage. The higher the value, the higher the level of the reverb send signal. Transposes the pitch of the current voice down or up in semitone steps over a ±2 octave range. “+00” corresponds to standard pitch. Each increment corresponds to a semitone. A setting of “-12”, for example, transposes the pitch down one octave.
The VL-XG PLAY Sub-control Mode The sub control mode can be selected from the main control mode by simultaneously pressing the PART [-] and [+] buttons.
DevNo. (Device Number) ChoRtn (Chorus Return) Settings: 001 … 016, all Settings: 000 … 127 The Device Number parameter must be set properly when you want to transmit or receive MIDI system exclusive data to or from another VL70-m or other MIDI device (system exclusive data includes voice parameters, system setup parameters, etc). The VL70-m Device number must be set to the same number as the Device Number of the external device. Select a device number from “001” to “016”, or “all” .
Controllers & Control Editing If you’ve read the “Virtual Acoustic Synthesis” section (if you haven’t, please do so — page 6) you should understand the concept of “controllers” as applied to the VL70-m. The “controller parameters” correspond to simulated characteristics of the instrument model — e.g. breath pressure, embouchure or tonguing. Any of these can be controlled by you via “physical controllers” — e.g. a breath controller or modulation wheel — assigned to the required controller parameter.
● Physical Controllers First, here’s a list of some of the physical controllers you might want to use with the VL70-m: Breath Controller A natural candidate for controlling pressure, tonguing, throat (MIDI control formant, growl, and other parameters. change no. 02) Pitch Bend Wheel The pitch bend wheel on your keyboard or other MIDI device can be assigned to a range of parameters, but it’s “standard” function is pitch control.
44 Controllers & Control Editing Control No.
● VL70-m Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VL70-m’s controller parameters: Pressure The amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre. Embouchure The tightness of the lips against the reed or against each other. In a string instrument voice Embouchure corresponds to how strongly the bow is pressed against the string.
Accessing & Editing the Control Parameters The CONTROL EDIT mode can be accessed from the VOICE PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the VOICE EDIT sub-mode menu. 2. Select the CONTROL Sub-mode Use the SELECT [<] and [>] buttons to select the CONTROL sub-mode, if necessary. The icon to the left of “CONTROL” on the display will flash when the CONTROL sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the CONTROL EDIT mode.
6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the VOICE EDIT sub-mode menu, or the [PLAY] button to return to the VOICE PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice.
The Control Edit Parameters Please note that a number of CONTROL EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. Some of the value ranges are also different — the differences will be listed with the actual parameter descriptions. ● VOICE Sound Module Mode Control Edit Parameters Refer to the page numbers listed for full details on each parameter. Pitch Bend ............
Embouchure ..................................................................................... 57 22: Emb CC No. (Embouchure Control Change Number) 23: EmbUpprDpt (Embouchure Upper Control Depth) 24: EmbLowrDpt (Embouchure Lower Control Depth) 25: Emb Mode (Embouchure Mode) Tonguing .......................................................................................... 58 26: Tng CC No. (Tonguing Control Change Number) 27: TngCtrlDpt (Tonguing Control Depth) 28: Tng Curve (Tonguing Curve) Scream ....
● VL-XG Sound Module Mode Control Edit Parameters Refer to the page numbers listed for full details on each parameter. Pitch Bend ........................................................................................ 52 01: PB Ctrl (Pitch Bend Control) 02: PB LowCtrl (Pitch Bend Low Control) 03: PBLFO PMod (Pitch Bend LFO Pitch Modulation) Modulation Wheel ..........................................................................
Throat Formant ............................................................................... 62 24: Thr CC No. (Throat Formant Control Change Number) 25: ThrCtrlDpt (Throat Formant Control Depth) Harmonic Enhancer ......................................................................... 62 26: Hrm CC No. (Harmonic Enhancer Control Change Number) 27: HrmCtrlDpt (Harmonic Enhancer Control Depth) Damping ..........................................................................................
● Control Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Pitch Bend 01(01): PB Ctrl 02(02): PB LowCtrl • Pitch Bend Low Control • Settings: -24 … +24 • Pitch Bend Control • Settings: -24 … +24 This parameter sets the maximum amount of pitch bend which will occur when the pitch controller is set to its maximum position (e.g. when the pitch bend wheel on a keyboard is rolled all the way up). Minus setting produce a downward pitch bend.
Modulation Wheel 04(04): MWLFO PMod • Modulation Wheel LFO Pitch Modulation • Settings: 000 … 127 Sets the amount of LFO pitch modulation applied by the modulation controller (e.g. the modulation wheel on a keyboard — MIDI control change number 01). The higher the value the greater the amount of pitch modulation produced by modulation controller operation. A setting of “000” produces no pitch modulation.
Assignable Controller 08(08): AC1 CC No. • Assignable Controller 1 Control Change Number • Settings: off … 95 amplitude to increase in response to increasing controller values, while minus values cause the amplitude to decrease in response to increasing controller values. 11(11): AC1LFOPMod • Assignable Controller 1 LFO Pitch Modulation • Settings: 000 … 127 Assigns the specified control change number as “Assignable Controller 1”.
Pressure 13(12): Prs CC No. 15: Prs Curve (VOICE mode only) • Pressure Curve • Settings: -16 … +16 • Pressure Control Change Number • Settings: off… 95, AT, VEL, PB “Pressure” corresponds to the amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string. Pressure variations affect both volume and timbre. The “Prs CC No.” parameter specifies the controller to be used for pressure control. When set to “off” maximum pressure is applied at all times.
eliminate types. Some voices use very little filter processing at all. Changing the filter settings may not produce a particularly noticeable effect. For detailed filter parameter programming use the VL70-m Expert Editor software (page 25). 17: FilCtrlDpt (VOICE mode only) • Filter Control Depth • Settings: -127 … +127 relatively little effect on the sound while higher controller values produce more dramatic changes.
pressure or higher modulation wheel position), while minus values cause a decrease in amplitude in response to higher controller values. The “Depth” setting is reflected in the graph at the bottom of the display — the horizontal axis represents the controller value and the vertical axis represents amplitude. 21: Amp Curve (VOICE mode only) • Amplitude Curve • Settings: -16 … +16 Determines the relationship between the controller value and amplitude. When set to “+00” the relationship is linear.
24: EmbLowrDpt (VOICE mode only) 25: Emb Mode (VOICE mode only) • Embouchure Lower Control Depth • Settings: -127 … +127 • Embouchure Mode • Settings: Cntr, Min Sets the amount of variation produced by the controller assigned to embouchure when the controller is set to it minimum position (e.g. a modulation wheel rolled all the way down). The higher the value the greater the variation.
27(17): TngCtrlDpt • Tonguing Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Scream 29(18): Scr CC No. • Scream Control Change Number • Settings: off … 95, AT, VEL, PB Sets the amount of variation produced by the controller assigned to tonguing. The higher the value the greater the variation. Positive values cause an decrease in tonguing in response to higher controller values (e.g.
31: Scr Curve (VOICE mode only) • Scream Curve • Settings: -16 … +16 • The “BnzCtrlDpt” parameter, below, must be set to an appropriate value (higher than “+01” ro lower than “-01”) for breath noise control to have any effect. 33(21): BnzCtrlDpt • Breath Noise Control Depth • Settings: -127 … +127 (VL-XG Mode: -64 … +63) Determines the relationship between the controller value and scream. When set to “+00” the relationship is linear.
represents the controller value and the vertical axis represents breath noise. • The amount of breath noise produced also depends on pressure, so the breath noise curve indicated by the graph at the bottom of the display may not always accurately reflect the perceived curve. Sets the amount of variation produced by the controller assigned to growl. The higher the value the greater the variation. Positive values cause an increase in growl effect in response to higher controller values (e.g.
Throat Formant 38(24): Thr CC No. 40: Thr Curve (VOICE mode only) • Throat Formant Curve • Settings: -16 … +16 • Throat Formant Control Change Number • Settings: off… 95, AT, VEL, PB “Throat Formant” controls the characteristics of the simulated player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound. The “Thr CC No.” parameter specifies the controller to be used for throat formant control.
• or lower than “-01”) for harmonic enhancer control to have any effect. Since most VL70-m voices have sufficient natural harmonic content, the Harmonic Enhancer is actually only used on a few voices. Therefore changing the controller destination with many voices will produce either no change in the sound or a simple change in amplitude. For detailed harmonic enhancer programming use the VL70-m Expert Editor software (page 25). change in harmonic enhancer depth.
Sets the amount of variation produced by the controller assigned to damping. The higher the value the greater the variation. Positive values cause a decrease in damping in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause an increase in damping in response to higher controller values.
49: Abs Curve (VOICE mode only) • Absorption Curve • Settings: -16 … +16 Determines the relationship between the controller value and absoprtion. When set to “+00” the relationship is linear. That is, a change in the controller value produces a corresponding change in absorption. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes.
Filter & Envelope Generator Editing The VL70-m has two envelope generators which can be independently programmed to produce time-based variations in the sound. ● Amplitude & Filter EG The Amplitude & Filter Envelope Generator controls both the amplitude of the sound and the cutoff frequency of the VL70-m filter from note attack to release. This envelope generator has three parameters which can be edited via the VL70m panel: attack time, decay time, and release time.
Accessing & Editing the Filter & EG Parameters The FILTER & EG EDIT mode can be accessed from the PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu. 2. Select the FIL&EG Sub-mode Use the SELECT [<] and [>] buttons to select the FIL&EG sub-mode, if necessary. The icon to the left of “FIL&EG” on the display will flash when the FIL&EG sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the FILTER & EG EDIT mode.
5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press the [EXIT] button to return to the EDIT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing.
The Filter & EG Edit Parameters Please note that a number of FIL&EG EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. ● VOICE Sound Module Mode Filter & EG Edit Parameters Refer to the page numbers listed for full details on each parameter. Filter ..............................................................................................
● VL-XG Sound Module Mode Filter & EG Edit Parameters Refer to the page numbers listed for full details on each parameter. Filter .............................................................................................. 71 01: CutoffFreq (Cutoff Frequency) 02: Resonance (Resonance) 03: FilEG Dept (Filter Envelope Generator Depth) 04: Bass (Bass Tone Control) 05: Treble (Treble Tone Control) Amplitude & Filter Envelope .........................................................
● Filter & EG Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode.
the breakpoint note specified by the “CutoffScBP” parameter, above. A setting of “+00” produces no key scaling. Positive values apply scaling to notes below the breakpoint (i.e. on a keyboard, notes to the left of the breakpoint), producing a gradual lowering of the cutoff frequency down the scale. Negative values apply scaling to notes above the breakpoint (i.e. on a keyboard, notes to the right of the breakpoint), producing a gradual lowering of the cutoff frequency up the scale.
10(08): ReleaseTime • Amplitude & Filter Envelope Release Time • Settings: -64 … +63 lowering of amplitude level down the scale. Negative values apply scaling to notes above the breakpoint (i.e. on a keyboard, notes to the right of the breakpoint), producing a gradual lowering of amplitude level up the scale. Higher positive or negative values produce a greater variation in the amplitude level. Sets the release time of the amplitude & filter envelope generator.
14(10): PEGAtakTime • Pitch & Embouchure Envelope Attack Time • Settings: -64 … +63 Sets the attack time of the pitch & embouchure envelope generator. In this case “attack time” refers to the length of time it takes for the pitch envelope to reach normal pitch (“+00” level) from the instant a note is played. Positive values produce a slower attack while negative values produce a faster attack.
Other Edit Parameters The OTHERS EDIT mode provides access to a range of editable voice parameters that do fall into the CONTROLLER or FILTER & EG categories. Accessing & Editing the “Others” Parameters The OTHERS EDIT mode can be accessed from the PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu. 2. Select the OTHERS Sub-mode Use the SELECT [<] and [>] buttons to select the OTHERS sub-mode, if necessary.
5. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the EDIT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing.
The “Others” Edit Parameters Please note that a number of OTHERS EDIT parameters which are available in the VOICE sound module mode are not available in the VL-XG sound module mode (page 28). The parameter numbers are therefore different in each mode. ● VOICE Sound Module Mode “Others” Edit Parameters Refer to the page numbers listed for full details on each parameter. Vibrato .............................................................................................
● VL-XG Sound Module Mode “Others” Edit Parameters Refer to the page numbers listed for full details on each parameter. Vibrato ............................................................................................. 79 01: Vib Rate (Vibrato Rate) 02: Vib Depth (Vibrato Depth) 03: Vib Delay (Vibrato Delay) Detune ............................................................................................. 79 04: Detune (Detune) Assignment ..............................................................
● “Others” Edit Parameter Descriptions The small parameter numbers in parentheses apply in the VL-XG sound module mode. Vibrato 01(01): Vib Rate • Vibrato Rate • Settings: -64 … +63 Sets the delay time between the beginning of a note and the beginning of the vibrato effect. Positive values produce longer delays while negative values result in shorter delays. Detune & Voice Level The vibrato effect produces a cyclic variation in pitch and embouchure.
Assignment & Expansion 06(05): Mono/Poly • Monophonic/Polyphonic Mode • Settings: mono, poly Selects the VL70-m monophonic or polyphonic note mode. When the “mono” mode is selected note output will always be generated as long as a MIDI note-on message is being received. For example, if you play key “A” on your keyboard and then, while still holding “A”, play key “B”, note “B” will sound but will switch back to note “A” the instant key “B” is released.
• • Polyphonic Expansion will not function when the “06(05): Mono/Poly” parameter is set to “mono”. When using Polyphonic Expansion be sure to set the “07: AssignMode” parameter to “Last”. The horizontal axis represents keyboard velocity and the vertical axis represents output level.
Portamento 13: Porta Mode (VOICE mode only) 15(11): Porta Time • Portamento Time • Settings: 000 … 127 • Portamento Mode • Settings: Full, Fngr Portamento produces a “slide” effect between subsequently played notes. The “Portamento Mode” parameter determines how the portamento slide is produced. When “Full” is selected the portamento slide will occur between any two subsequent notes when the “14(10): Porta Sw” parameter, below, is “on” even if the first note is released before the second is played.
17: Voice Name (VOICE mode only) • Voice Name • Settings: A voice name of up to 8 characters. To enter a voice name first select the “Voice Name” parameter and press the [ENTER] button. The current voice name will appear between square brackets on the display with the first character flashing (the flashing character is selected for editing).
The Store Function Once you’ve created a new voice in the edit mode, it’s necessary to store the voice to one of the VL70-m INTERNAL memory locations otherwise the edited data will be lost when a new voice is selected. ■ NOTES • Any previous data in the memory location to which the new voice is stored will be erased. If you want to keep the previous data, save it to an external MIDI data storage device via the UTILITY mode DUMP OUT function (page 100).
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.
Effects & Effect Editing The VL70-m features a versatile internal effects system which consists of four independent effect stages: REVERB, CHORUS, VARIATION, and DISTORTION. Of these the REVERB and CHORUS stages function as “system effects”, the VARIATION stage can be used either as a system or “insertion” effect, and the DISTORTION stage always functions as an insertion effect. See the signal-flow diagrams below for the different between “system” and “Insertion” effects.
parameters available in the PLAY mode (pages 32 and 41). The “SendCho→Rev” parameter (page 91) can be used to send some or all of the output from the chorus stage to the reverb stage. If the the “SendCho→Rev” parameter is set to maximum and the “ChoRtn” parameter is set to “000”, the chorus stage and reverb stage are effectively connected in series.
Accessing & Editing the Effect Parameters The EFFECT sub-modes — REV, CHO, VAR, and DIST — and the parameters they contain can be accessed from the PLAY mode as follows: 1. Press [EFFECT] Press the [EFFECT] button to go to the EFFECT sub-mode menu. 2. Select the Desired Sub-mode Use the SELECT [<] and [>] buttons to select the REV (reverb), CHO (chorus), VAR (variation), or DIST (distortion) sub-mode.
6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the EFFECT sub-mode menu, or the [PLAY] button to return to the PLAY mode when you’re finished editing. ■ IMPORTANT! • If you want to keep the changes you made in the VOICE EDIT mode, be sure to store the edited voice to an appropriate INTERNAL voice number before selecting a new voice.
The Reverb Parameters The reverb effects are essential to give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound. Type Rev Pan • Reverb Type • Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, WHITE ROOM, TUNNEL, CANYON, BASEMENT • Reverb Pan • Settings: L63 … C … R63 Selects the reverb type, or “NO EFFECT” if no reverb effect is required.
The Chorus Parameters The VL70-m chorus stage actually includes a number of modulation-type effects that can be used to give your sound extra animation and life. Type • Chorus Type • Settings: NO EFFECT, CHORUS 1, CHORUS 2, CHORUS 3, CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1, FLANGER 2, SYMPHONIC, PHASER right, and “C” places the sound in the center. Intermediate settings pan the chorus sound to corresponding positions in the stereo sound field.
The Variation Parameters The variation stage includes reverb, delay, echo, modulation, distortion, wah, and a range of other effects.
control allows one of the selected variation effect parameters to be controlled in real time via assignable controller 1 (page 54). The parameter which can be controlled is individually preset for each variation effect type (see the separate “List Book”). The “AC1VarCtrl” parameter determines to what degree the effect parameter is affected by the controller. For example, if the TREMOLO effect is selected the controller affects the “LFO Frequency” parameter.
The Distortion Parameters Distortion is an excellent way to drastically change a sound — although subtle distortion settings can produce surprisingly delicate variations. Type • Distortion Type • Settings: THRU, DISTORTION, OVERDRIVE, 3-BAND EQ Selects the distortion type, or “THRU” if no distortion effect is required. Refer to the separate “List Book” for brief descriptions of each of the distortion types. example, if the OVERDRIVE effect is selected aftertouch controls the “Drive” parameter.
Breath Settings The Breath Setting includes a number of setting that determine how the VL70m responds to breath control from a breath controller, a Yamaha WX-series Wind MIDI controller, or MIDI. Accessing & Editing the Breath Parameters The BREATH parameters can be accessed and edited from the PLAY mode as follows: 1. Press [BREATH] Press the [BREATH] button to go to the Breath Setting. 2.
The Breath Parameters Breath Mode Breath Curve • Settings: BC/WX, Velocity, Touch EG • Settings: -16 … +16 Sets the control source to be used for “breath” control. This parameter should be set to “BC/WX” when a breath controller or Yamaha WX-series Wind MIDI Controller is being used (page 18). When set to “Velocity”, breath variation is controlled by keyboard initial touch response.
The Utility Mode The UTILITY mode provides access to a range of parameters that affect basic operation of the VL70-m, and some functions that contribute to system flexibility. Select the UTILITY sub-mode menu from the PLAY mode by pressing the [UTILITY] button. Four sub-modes are available: SYSTEM The SYSTEM sub-mode includes parameters that affect overall operation of the VL70-m. Page 98.
The System Parameters The UTILITY SYSTEM sub-mode includes parameters that affect overall operation of the VL70m. M.Tune WX Lip • Master Tuning • Settings: -102.4c … +102.3c • WX Lip Mode • Settings: Norm, Expd Fine tunes the overall pitch of the VL70-m in 0.1cent steps (a “cent” is 1/100th of a semitone). The maximum minus and plus settings produce a downward or upward pitch shift of just over a semitone. A setting of “+000.0” produces no pitch change.
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.
The Dump Out Function The Dump Out function allows VL70-m setup and system exclusive data to be transmitted to a second VL70-m or an external MIDI storage device such as the Yamaha MDF2 MIDI Data Filer via the MID OUT or TO HOST connector. ■ NOTES • The MIDI Device Number of the receiving device must the same as that set via the VL70m PLAY mode “DevNo.” parameter (pages 32 and 41).
2. Press [ENTER] Press the [ENTER] button to go to the confirmation/select display for the selected data type. 3.
The Initialize Function The VL70-m Initialize function includes two sub-modes — “Factory Set” and “System Initialize”. “Factory Set” initialization restores all VL70-m data to the initial factory settings … including all Custom and Internal voices. “System Initialize” restores all system setup parameters (page 98) to their default settings. 1. Select an Initialize Sub-mode Use the SELECT [<] and [>] buttons to select Factory Set or System Initialize. 2.
Appendix Show Control Change This function displays the MIDI control change data string required to control the parameter currently displayed in the PLAY mode from an external MIDI device. The MIDI data is displayed in hexadecimal format. To engage the Show Control Change function first select the desired parameter in the PLAY mode, then “double click” the [ENTER] button (i.e. press the [ENTER] button twice in rapid succession). The Show Control Change display will appear.
The Message Window The VL70-m Message Window function makes it possible to display text messages up to 32 characters in length on the VL70-m display in the PLAY mode. The messages can be transmitted in the form of a data string from an external MIDI device, and will appear on the VL70-m display for about 3 seconds. A message could be placed at the beginning of a song data file, for example, so that the title of the song and other information appears on the display at the beginning of the song.
Bitmap Window The VL70-m Bitmap Window function makes it possible to display 16 x 16 dot icons and simple animation sequences on the VL70-m display in the PLAY mode. The bitmap data can be transmitted in the form of a data string from an external MIDI device, and will appear on the VL70-m display for about 3 seconds.
After converting all 48 rows in the example we have the following hexadecimal bytes: 01 0E 30 40 00 01 07 09 13 22 43 23 13 09 07 01 70 0C 03 00 00 70 7C 72 79 48 48 48 79 72 7C 70 00 00 00 40 20 00 00 00 00 40 20 40 00 00 00 00 5. Plug the data derived from the bitmap design into the “xx xx .... xx xx” portion of the bitmap window data format, and you have the data stream required to display the design on the VL70-m display.
Troubleshooting 2. Add all the converted numbers. 3. Divide the total by 128 and note the remainder. 4. Subtract the remainder from 128. The result is the checksum. 5. Convert the decimal checksum back to hexadecimal format using the above chart. The VL70-m is a very versatile tone generator with many features and functions that affect operation. In many cases, what appears to be a fault with the VL70-m can actually be traced to an improperly set parameter or something as simple as a bad connection.
Symptom • No sound.
Symptom • No effects. Possible Causes • Are the effect send levels set properly (pages 35 and 39)? • Are the effect return levels set properly (pages 32, 33 and 41)? • Is “NO EFFECT” or “THRU” selected as the effect type (pages 90 – 92 and 94)? • If distortion is being used, is the distortion part turned “off” (page 94)? Symptom • A connected breath controller has no effect.
Answers to Some Common Questions 1. The VL70-m is a monophonic tone generator. Why is the “poly” mode initialy selected when the VL-XG sound module mode is engaged? This is to provide compatibility between the currrent XG format and future polyphonic VLseries tone generators. It also provides a certain degree of compatibility to allow playback of VL-XG song data on existing tone generators which do not feature the VL-XG extension.
6. Why do some bowed string instrument voices tend to “squeek”? 8. Why do some voices not respond as expected to EG edits? As anyone who has played (or tried to play) a real violin knows, these instruments naturally tend to squeek if not properly controlled. The same occurs with S/VA synthesis. As with a real bowed string instrument, bow speed and pressure must be properly controlled in the VL70-m to produce the desired sound.
Error Messages When an operational error or other problem occurs, the VL70-m will display one of the following error messages to inform you of the problem. Battery Low! The internal backup battery needs to be replaced. Have the battery replaced by qualified Yamaha service personnel. Illegal Data! A data error has occurred durinng MIDI data reception. Try receiving the data again. MIDI Buffer Full! The MIDI receive buffer is full. Reduce the amount of data being transmitted to the VL70-m.
Specifications ■ Tone Generator Type S/VA (Self-oscillating Virtual Acoustic Synthesis: VLR Algorithm) Modifiers Harmonic Enhancer Dynamic Filter Equalizer Resonator Effects Reverb: 12 types Chorus: 10 types Variation: 44 types Distortion: 3 types Polyphony 1 note (monophonic) Sound Module Modes Voice Mode VL-XG Mode (VL extension for XG) ■ Memory Preset Custom Internal 256 voices (including 137 VL-XG voices) 6 voices 64 voices ■ Panel Switches PLAY EDIT UTIL EFFECT MODE BREATH MIDI/WX ENTER EXIT PART [-]
Index A Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Absorption Control Change Number . . . . . . . . . . . . Absorption Control Depth . . . . . . . . . . . . . . . . . . . . . Absorption Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aftertouch Filter Control . . . . . . . . . . . . . . . . . . . . . . Aftertouch LFO Pitch Modulation . . . . . . . . . . . . . . .
H Harmonic Enhancer Control Change Number . . . . . Harmonic Enhancer Control Depth . . . . . . . . . . . . . . Harmonic Enhancer Curve . . . . . . . . . . . . . . . . . . . . . Harmonic enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . High Note Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HOST SELECT switch . . . . . . . . . . . . . . . . . . . . . . . . . .
U UTIL button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Utility mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 V VALUE buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variation connection mode . . . . . . . . . . . . . . . . . . . . Variation pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variation parameters, type specific . . . . . . . . . . . . . . Variation return . . . . . . . . . . . . . . . . . . . . . . .
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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.
M.D.G., EMI Division © Yamaha Corporation 1996 VV11820 606POCP3.
