Yamaha VL1 Instrukcja obsługi

Owner's Manual 1

Getting Started

Owner’s Manual 1

Getting Started

2

Getting Started

Contents

Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

VL1 Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Essential Concepts for the VL1 User

■ What Are the Advantages? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

■ The VL1 Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

■ There’s More … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Controls & Connectors . . . . . . . . . . . . . . . 16

A Brief Introduction To the VL1 Interface

■ Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

■ Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

System Connections & Preparation

■ Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

■ Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Breath Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Foot Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

■ Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Stereo Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ Power-on Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

■ Play the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

■ Breath Controller Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

■ Load the Pre-programmed Voice Data . . . . . . . . . . . . . . . . . . . . . . . . . . 31

3

Getting Started

Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34

Selecting & Playing the VL1’s 128 Voices

■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■ The Pre-programmed VL1 Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . 38

Natural Musical Nuance and Expressive Control

■ Physical Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

■ VL1 Controller Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

■ Some Exercises With the AltoSax Controllers . . . . . . . . . . . . . . . . . . . . 42

■ Controller Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

■ Other Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Mixing & The Modifiers . . . . . . . . . . . . . . . . . . 48

Creating New Timbres and Original Voices

Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

■ An Exercise: Remix the Pan Pipes Voice . . . . . . . . . . . . . . . . . . . . . . . . 49

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Harmonic Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

■ Frequency Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

■ Impulse Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

■ Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Creating the Right Ambience

■ Modulation Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Feedback Delay Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Reverb Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

4

Getting Started

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

■ Location

Do not expose the instrument to the following

conditions to avoid deformation, discoloration, or more

serious damage.

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

• High temperatures (e.g. near a heat source,

outside, or in a car during the daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■ Power Supply

• Turn the power switch OFF when the instrument

is not in use.

• The power supply cord should be unplugged from

the AC outlet if the instrument is not to be used

for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC

outlet as appliances with high power consumption,

such as electric heaters or ovens. Also avoid using

multi-plug adaptors since these can result in

reduced sound quality and possibly damage.

■ Turn Power OFF When Making Connections

• To avoid damage to the instrument and other

devices to which it is connected (a sound system,

for example), turn the power switches of all

related devices OFF prior to connecting or discon-

necting audio and MIDI cables.

■ MIDI Connections

• When connecting the VL1 to MIDI equipment, be

sure to use high-quality cables made especially for

MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters.

Longer cables can pick up electrical noise that can

causes data errors.

■ Handling and Transport

• Never apply excessive force to the controls,

connectors or other parts of the instrument.

• Always unplug cables by gripping the plug firmly,

not by pulling on the cable.

• Disconnect all cables before moving the instru-

ment.

• Physical shocks caused by dropping, bumping, or

placing heavy objects on the instrument can result

in scratches and more serious damage.

■ Cleaning

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

• A slightly damp cloth may be used to remove

stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

• Avoid placing vinyl objects on top of the instru-

ment (vinyl can stick to and discolor the surface).

■ 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 equip-

ment.

■ Data Backup

• The VL1 contains a special long-life battery that

retains the contents of its internal memory even

when the power is turned OFF. The backup

battery should last for several years. When the

backup battery needs to be replaced “Change

battery!” will appear on the display when the

power is turned on. When this happens, have the

backup battery replaced by qualified Yamaha

service personnel. DO NOT ATTEMPT TO

REPLACE THE BACKUP BATTERY YOUR-

SELF!

5

Getting Started

• Internal memory data can be corrupted due to

incorrect operation. Be sure to save important data

to floppy disk frequently so you have a backup to

revert to if something happens to damage the data

in memory. Also note that magnetic fields can

damage data on the disk, so it is advisable to

make a second back-up copy of disks that contain

very important data, and keep backup disks in a

safe place away from stray magnetic fields (i.e.

away from speakers, appliances containing mo-

tors, etc.).

■ Handle Floppy Disks and the Disk Drive With

Care

• Use only 3.5” 2HD or 2DD type floppy disks.

• Do not bend or apply pressure to the floppy disk.

Do not open the shutter and touch the surface of

the floppy disk inside.

• Do not expose the disk to high temperatures. (e.g.

direct sunlight)

• Do not expose the disk to magnetic fields. Mag-

netic fields can partially or totally erase data on

the disk, rendering the disk unreadable.

• 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 be-

come 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. Using force in

this situation can damage the disk-drive mecha-

nism or the floppy disk. To remove a partially

ejected disk, try pressing the eject button once

again, or push the disk back into the slot and then

repeat the eject procedure carefully.

• Do not insert anything but floppy disks into the

disk drive. Other objects may cause damage to the

disk drive or the floppy disk.

■ Service and Modification

• The VL1 contains no user serviceable parts.

Opening it or tampering with it in any way can

lead to irreparable damage and possibly electric

shock. Refer all servicing to qualified YAMAHA

personnel.

■ Third-party Software

• Yamaha can not take any responsibility for

software produced for this product by third-party

manufacturers. Please direct any questions or

comments about such software to the manufac-

turer or their agents.

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

6

Getting Started

About the Manuals

The VL1 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 VL1:

1. VL1 Basics [≥ Page 8]

Basic concepts you’ll need to understand in order to get the

most out of the VL1.

2. The Controls & Connectors [≥ Page 16]

Brief descriptions of the VL1 controls and connectors, and their

functions.

3. Setting Up [≥ Page 22]

System connections, powering up, playing the demo, calibrating

the Breath Controller, and loading the pre-programmed voices.

4. Voice Selection [≥ Page 34]

Several ways to select and play the VL1’s 128 voices.

5. The Controllers [≥ Page 38]

The VL1 controllers and how they can be assigned and edited

for optimum control.

6. Mixing & The Modifiers [≥ Page 48]

Customizing the sound to suit your own personal needs.

7. Effects [≥ Page 58]

An overview of the built-in digital effects that you can use to

add depth and ambience to the VL1 sound.

We recommend that you go through the chapters in sequence and actually

try out the various operations described. Once you’ve gone through the entire

Getting Started manual in this way, you should be familiar enough with the VL1

to need only the VL1 Feature Reference manual in future.

7

Getting Started

The Feature Reference Manual

The Feature Reference manual is the “nuts and bolts” reference for

the VL1, individually describing its many functions in detail. The Feature

Reference manual is divided into five main sections, each describing the

various functions within a particular VL1 edit or utility mode.

1. General Operation [

≥ Page 7]

2. Play Mode [

≥ Page 13]

3. Edit Mode [≥ Page 21]

4. Utility Mode [≥ Page 151]

5. Appendix [≥ Page 177]

Once you have become familiar with the way the VL1 works by

going through the Getting Started manual, you should only need to refer to

the Feature Reference manual from time to time to get details on functions

you’ve never used before, or refresh your memory about functions that

you don’t use very often.

Each section of the Feature Reference manual has its own table of

contents, so you should be able to locate any particular function quickly

and easily. Functions and references can also be located by referring to the

index at the back of the manual.

Conventions

The following conventions are used through the VL1 manuals to

avoid confusion and make the text easier to read.

Buttons & Controls

Button and control names used on the VL1 panel appear in the text

in capital letters within a border: “the [ button”, for example.

Parameter Names

Parameter names and other labels which appear on the VL1 display

are printed in the courier typeface for easier identification: for

example, “adjust the “Balance” parameter as required”.

Parameter Ranges

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

127”. This minimizes the confusion sometimes caused by the use of

a hyphen or dash for this purpose.

8

Getting Started

T

he Yamaha VL1 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 VL1

represents the world’s first practical application of computer-based “physi-

cal modeling” in musical sound synthesis.

In the same way that computer models are used to simulate weather

systems or the flight characteristics of aircraft in the design stage, the VL1

simulates the very complex vibrations, resonances, reflections and other

acoustic phenomena that occur in a real wind or string instrument. This

requires a tremendous amount of computer processing power (weather and

aerodynamic modeling require room-filling super computers), and radical

advances in microprocessor speed and capability plus some very sophisti-

cated Yamaha technology were necessary to achieve the real-time sound

generation capabilities exhibited by the ground-breaking VL1 Virtual

Acoustic Synthesizer.

VL1 Basics

Essential Concepts for the VL1 User

9

Getting Started

T

he VL1 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. The physical model can be programmed to have certain attributes

— the length of a pipe or the stiffness of a reed, for example — but the

actual sound produced by any configuration can only be accurately deter-

mined by playing it. Of course, the same applies to the design of acoustic

instruments. Because of its natural acoustic behavior the VL1 is undoubt-

edly a little harder to play than conventional synthesizers, but when mas-

tered this is the very characteristic that is its greatest strength. The Yamaha

VL1 is the most musical synthesizer ever made. A soloist’s dream!

• The VL1 sounds better, has more depth, and is more realistic in

the musical sense than any other synthesizer system.

• Simply pressing a key in the same way does not always produce

precisely the same sound. The instrument is responsive and

“alive”.

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

acoustic instruments. What goes on in between the notes is just as

important musically as the notes themselves.

• It has extraordinary expressive capability. Rather than simply

controlling parameters like volume or pitch, you can control

characteristics such as breath and reed pressure with appropriate

complex effects on the timbre of the sound.

What Are the Advantages?

10

Getting Started

The VL1 Model

T

he overall VL1 model or “algorithm” consists of three main blocks:

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

blocks are arranged as follows:

●

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 extreme complexity

of this portion of the model makes it unsuitable for user programming, so vari-

ous instruments for the VL1 are provided in the form of pre-programmed voices.

These are primarily woodwind, brass, and string voices, since the VL1’s physi-

cal model is capable of most accurately simulating the sound-generating mecha-

nism of all three instrument categories.

The instrument model consists primarily of a driver — the reed/

mouthpiece, lip/mouthpiece, or bow/string system — and a resonant sys-

tem corresponding to the tube and air column or string.

Controllers (also envelopes)

Instrument

Modifiers

Sound

out.

One VL "Element"

(the VL has 2 of these)

11

Getting Started

Reed vibration.

Lip vibration.

Air vibration.

String vibration.

In all these

instruments

pressure

applied here

(the driving

point) causes

vibration which

results in

sound.

The pitch of the sound is determined

by the length of the air column or

string, and the timbre is a complex

product of the driving source (reed,

lip, air, string), the shape of the

resonant cavity, the materials from

which the instrument is made, etc.

The sound thus

produced is amplified

and sustained

by the body of

the instrument.

One of the remarkable features of the VL1’s Virtual Acoustic Synthesis

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

Drivers Pipes/String

12

Getting Started

●

The Controllers

The input to an acoustic instrument comes from the player’s lungs, trachea, oral

cavity, and lips. In a string instrument it comes from the players arm movement, trans-

mitted to the string via a bow. These elements actually form an important part of the

sound generating system and, in the VL1 model, are included in the controllers block.

The player also influences the sound of the instrument by playing the keys, tone holes, or

frets, and this aspect of control constitutes another part of the controllers block. These

and other control parameters provided by the VL1 are listed in the illustration below.

In essence, the controller parameters determine how the instrument “plays”. All of

these parameters can be assigned to any of the external controllers that can be used with

the VL1: breath controller, foot controller, modulation wheels, etc. The pressure param-

eter, for example, will normally be assigned to a breath controller so the player can

control the dynamics of the instrument by varying the breath pressure applied to the

controller — a natural, instinctive way to play wind-instrument voices. At the same time

the growl and throat parameters might also be assigned to the breath controller in order

to achieve life-like response and effects.

Pressure

The amount of breath pressure

applied to the reed or mouthpiece,

or bow velocity applied to the string".

Embouchure

The tightness of the lips against

the reed or against each other, or

the force of the bow against the

string.

Pitch

Changes the length of the

air column or string, and thereby

the pitch of the sound.

Tonguing

Simulates the half-tonguing

technique used by saxophone

players by changing the "slit"

of the reed.

Scream

Drives the entire system into

chaotic oscillation, creating

effects that can only be

achieved with physical

modelling technology.

Growl

A periodic pressure (bow

velocity) modulation which

produces the "growl" effect

often heard in wind instruments.

Throat

Controls the characteristics

of the "player's" throat or bowing arm.

Damping & Absorption

Simulate the effects of air friction

in the pipe or on the string,

and of high-frequency losses

at the end of the pipe or string.

13

Getting Started

●

The Modifiers

Although you don’t have direct programming access to the VL1 instru-

ment 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. Although these may appear to be simple effects, they are actually

intimately related to the VL1’s sound-producing model and have a significant

effect on the sound (the VL1 has a separate effects stage with reverb, delay, and

modulations effects — see page 58).

Harmonic Enhancer

The Harmonic Enhancer allows you to

manipulate the harmonic structure of the

sound to the extent that you can create

radical timbral variations within the current

instrument “family” (e.g. saxes). [Page 51]

Dynamic Filter

This section is similar to the dynamic filters

found in many conventional synthesizers. It

has selectable high-pass, bandpass, band

elimination, and low-pass modes, and a

“wet/dry” balance parameter which allows

delicate variations in the degree of filtration

applied. Another important feature is key-

board cutoff tracking which varies the

cutoff frequency according to the key

played. [Page 54]

Frequency Equalizer

This is a 5-band parametric equalizer with

frequency, Q (bandwidth), and level con-

trol. The equalizer also has pre-EQ high-

and low-pass filters as well as key scaling

capability for precise response control

throughout the instrument’s range. [Page

55]

In

Out

Impulse

Expander

Frequency

Equalizer

Dynamic

Filter

Harmonic

Enhancer

Resonator

14

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. Other impor-

tant effects are the ability to diffuse sharp attack sounds and to give depth

and realism to vibrato. [Page 56]

Resonator

While the Impulse Expander and even the Harmonic Enhancer tend to give

the sound a metallic quality, the Resonator produces a more woody reso-

nance effect. Careful adjustment of the resonator’s parameters can often

bring a not-quite-right voice to life. [Page 57]

15

Getting Started

There’s More …

I

n this brief introduction to VL1 basics we’ve only looked at the

central physical model which is the key the VL1’s unprecedented

sound and musical performance. There’s actually much more to it. To

begin with the VL1 actually has two elements which function as independ-

ent physical models. Although it is basically a monophonic solo instru-

ment, this means that the VL1 can produce two notes at once. More com-

monly the two elements are used as layers of a single voice.

There’s also an extensive range of other functions and features that

are similar to those you may be familiar with from conventional synthesiz-

ers. There are, for example, a range of programmable envelopes that can

be applied to most of the controllers in addition to real-time player con-

trol. And, of course, there’s a comprehensive selection of MIDI, disk, and

other utility functions that give the VL1 maximum versatility and conven-

ience.

Now that you understand the basics, dive in and find out what the

VL1 can really do.

Sound

out.

Effects

Controllers

Instrument Modifiers

Element 1

Element 2

Controllers

Instrument Modifiers

The Controls & Connectors

The following brief descriptions of the VL1 controls and connectors

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

A Brief Introduction To the VL1 Interface

F1 F2 F3 F4 F5 F6 F7 F8 CONT

MODE

COMPARE

PLAY

EDIT UTILITY COPY STORE

PITCH MODULATION 1 MODULATION 2

OC TAVE

DOWN UP

VOLUME CS1 CS2

LR

OUTPUT

12

FOOT CONTROLLER

FOOT SWITCH

1

2

IN THRU

MIDI

OUT

!9

Breath Controller Jack

!8

PHONES Jack

PHONES

BREATH

q MODE Buttons

w

C Button

e

S Button

t

– and ≠

Control Sliders

r

VOLUME Control

u

¡ through •

Function Buttons

!7

“ and

!6

π Wheel

!5

OCTAVE _

and + Buttons

@0

Floppy Disk Drive

‘ Wheels

16

Getting Started

●

The Controls & Connectors

ENTEREXIT

INCDEC

POWER

ON / OFF

A

1

E1

9

ALL

B

2

E2

10

HE

C

3

E1

11

DF

D

4

E2

12

EQ

E

5

ALL

13

IE

F

6

MOD

14

RSN

G

7

FBD

15

H

8

REV

16

EFFECT ON / OFF

ELEMENT ON / OFFELEMENT SELECT

MODIFIER ON / OFF

!1 ] and [ Buttons

i Data Dial

!2 Bank a through

h Buttons

!3 Voice Number 1

through ^ Buttons

o Cursor Buttons

!4 Keyboard

!0 = and - Buttons

y LCD Display & ÷ Control

Front Panel

q MODE Buttons

The P, E, and U buttons select the corresponding VL1 modes. The

PLAY mode lets you select and play voices, the EDIT mode gives you programming

access to the VL1’s voice and controller parameters, and the UTILITY mode includes

MIDI, disk, system and other functions that are essential for general operation.

w C Button

This button is used to copy voice parameters for fast, efficient editing.

☛ Feature Reference page 25.

e S Button

Used to store edited data to an internal memory location.

☛ Feature Reference page 28.

17

Getting Started

●

The Controls & Connectors

18

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 ≠ Control 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.

y LCD Display & ÷ Control

This large multi-function liquid crystal display panel shows all parameters and

prompts you need to operate the VL1 with optimum ease and efficiency.

Use the ÷ (contrast) control located near the lower right-hand corner of the

display to achieve the best display visibility (LCD visibility varies greatly with viewing

angle and lighting).

☛ Getting Started page 34. Feature Reference page 14.

u ¡ through • Function Buttons

The functions of these buttons depend on the selected mode. They are used to

engage a function indicated on the display immediately above the button, select a page of

parameters, scroll through a list of parameters, and more.

☛ Getting Started page 26. Feature Reference page 9.

i Data Dial

The data entry dial provides a fast, efficient way to cover a broad range of voice

numbers when, for example, you’re looking for a voice but don’t know the voice number.

It’s also handy for making large value changes in any of the edit modes.

The data dial is “speed sensitive”, allowing accurate single step selection when

rotated slowly as well as large value “jumps” when rotated quickly.

☛ Getting Started page 35. Feature Reference page 16.

o Cursor Buttons

These 4 buttons move the “cursor” around the display screen, highlighting the

various items that are available for selection or parameters that are available for editing

(the VL1 cursor appears as a dark block with inverse characters).

☛ Getting Started page 32. Feature Reference page 10.

!0 = and - Buttons

Used to select voices and edit parameter values in any of the VL1 edit modes.

Either button can be pressed briefly for single stepping in the specified direction, or held

for continuous scrolling. These buttons are also used to respond “Yes” or “No” to the

“Are you sure?” confirmation prompt when saving, loading data.

☛ Getting Started page 35. Feature Reference page 16.

!1 ] and [ Buttons

The ] button can generally be used to exit from any sub-mode or function,

while the [ button is used to engage a variety of modes and functions.

☛ Getting Started page 27. Feature Reference page 10.

19

Getting Started

●

The Controls & Connectors

!2 Bank a through h Buttons

The VL1 has 128 internal voice memory locations arranged in 8 banks of 16 voices

each. These buttons select the voice bank from which an individual voice will be se-

lected.

☛ Getting Started page 35. Feature Reference page 15.

!3 Voice Number 1 through ^ Buttons

The voice number buttons are used in conjunction with the bank buttons to select

any of the VL1’s 128 internal voice memory locations. When editing voice parameters

they are also used to select and mute elements, an to turn effects and modifiers on or off.

☛ Getting Started page 35. Feature Reference page 15.

!4 Keyboard

The VL1 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 (page 153 of the Feature Reference manual) 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.

!6 π Wheel

This self-centering pitch wheel allows realistic upward and downward pitch bends.

!7 “ and ‘ Wheels

Can be assigned to any of the VL1’s extensive range of controller parameters for

extraordinary expressive control.

☛ Getting Started page 41.

!8 PHONES Jack

Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for

headphone monitoring of the VL1 sound without the need for external amplification

equipment.

☛ Getting Started page 23.

!9 Breath Controller Jack

Plug the Yamaha BC2 Breath Controller supplied with the VL1 in here (an optional

BC1 Breath Controller may also be used).

☛ Getting Started page 23.

@0 Floppy Disk Drive

The VL1’s built-in floppy disk drive allows easy, economical, high-volume storage

of voice data. The disk-in-use indicator below the drive slot lights while any disk opera-

tion is in progress (

NEVER attempt to remove a disk or turn the power off while a disk

operation is in progress). The eject button, also below the disk slot, is used to remove

disks from the drive.

☛ Feature Reference page 162.

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