Yamaha VL1-m Owner'S Manual Download Page 64

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Getting Started

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Effects

Getting Started

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Index

Receive channel . . . . . . . . . . . . . . . . . . . . . . . . .

154

Resonator . . . . . . . . . . . . . . . . . . . . . . . .

57.

126

Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Reverberation . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Selecting & editing parameters . . . . . . . . . . . . . .

Sound Function . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sound system . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . .

184

Store button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Throat formant . . . . . . . . . . . . . . . . . . . . . . . .

75, 91

Throat formant key scaling . . . . . . . . . . . . . .

93-97

Time calculation, musical . . . . . . . . . . . . . . . . . . .

Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Touch EG time . . . . . . . . . . . . . . . . . . . . . . . . . . .

Transmit channel . . . . . . . . . . . . . . . . . . . . . . . . .

154

Trigger mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .

179

Vibrato envelope . . . . . . . . . . . . . . . . . . . . . . . . .

135

Vibrato envelope key scaling . . . . . . . . . . .

137-140

Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

VL1 & VLI-m Compatibility . . . . . . . . . . . . . . .

178

Voice directory . . . . . . . . . . . . . . . . . . . . . . . . . . .

Voice list, abbreviated . . . . . . . . . . . . . . . . . . . . .

Voice mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Voice name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Voice selection . . . . . . . . . . . . . . . . . . . .

34.

Volume control . . . . . . . . . . . . . . . . . . . . . . . . . . .

WX Lip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

153

Summary of Contents for VL1-m

Page 1: ...Owner s Manual 1 Getting Started Virtual Acoustic Tone Generator...

Page 2: ...10 The Instrument 10 The Controllers 12 The Modifiers 13 There s More 15 The Controls Connectors 16 A Brief Introduction To the VL1 m Interface Front Panel 17 Rear Panel 20 Setting Up 22 System Connec...

Page 3: ...arameters 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 Mixin...

Page 4: ...th the product if it will not fit the outlet have a proper outlet installed by a qualified electrician Do not use an adaptor which defeats the function of the equip ment grounding conductor If you are...

Page 5: ...high temperatures e g direct sunlight a car interior etc 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 ej...

Page 6: ...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 m s 128 voices 5 The Controllers Page 38...

Page 7: ...eference manual is divided into 5 main sections each describing the various functions within a particular VL1 m edit or utility mode 1 General Operation Page 7 2 Play Mode Page 13 3 Edit Mode Page 21...

Page 8: ...e way that computer models are used to simulate weather systems or the flight characteristics of aircraft in the design stage the VL1 m simulates the very complex vibrations resonances reflections and...

Page 9: ...to play than conventional tone gen erators but when mastered this is the very characteristic that is its greatest strength Yamaha Virtual Acoustic Synthesis is the most musical tone generation system...

Page 10: ...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 m are provided in the form of pr...

Page 11: ...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...

Page 12: ...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...

Page 13: ...ncer 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 Thi...

Page 14: ...s 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 attac...

Page 15: ...IDI disk and other utility functions that give the VL1 m maximum versatility and con venience Now that you understand the basics dive in and find out what the VL1 m can really do There s More I n this...

Page 16: ...ould help you to understand the overall logic of the interface The Controls Connectors F4 GENERATO F1 F2 F3 COMPARE PLAY EDIT UTILITY COPY STORE MIDI VIRTUAL ACOUSTIC TONE G POWER ON OFF BREATH PHONES...

Page 17: ...parameters and the UTILITY mode includes MIDI disk system and other functions that are essential for general operation e MIDI Indicator The MIDI indicator functions as a simple MIDI monitor flashing...

Page 18: ...ta dial provides a fast efficient way to select voices or make large value changes in any of the edit modes Getting Started page 35 Feature Reference page 15 0 Cursor Buttons These 4 buttons move the...

Page 19: ...ptional Yamaha BC2 or BC1 Breath Controller can be plugged in here Getting Started page 23 5 Floppy Disk Drive The VL1 m s built in floppy disk drive allows easy economical high volume storage of voic...

Page 20: ...ts Getting Started page 24 8 MIDI IN OUT and THRU Connectors The MIDI IN connector receives the data from an external sequencer or other MIDI device which is to control or transmit data to the VL1 m T...

Page 21: ...21 Getting Started The Controls Connectors The Controls Connectors...

Page 22: ...which it will be used Always make sure that the POWER switch is in the OFF position before plugging the power cord in an AC outlet CAUTION Make sure your VL1 m is rated for the AC voltage supplied in...

Page 23: ...breath controller will be necessary For more information on Breath Controller setup and operation see the instructions packed with the supplied BC2 Breath Controller MIDI Connections The VL1 m can be...

Page 24: ...4 stereo phone plug and an impedance of between about 8 and 150 ohms can be used Stereo Sound System The VL1 m voices and effects are designed to sound their best in stereo so you should always use a...

Page 25: ...m 3 Turn on your MIDI controller 4 Turn on the sound system 5 Raise the sound system volume to a reasonable level 6 Gradually raise the VL1 m VOLUME control while playing the MIDI controller to set th...

Page 26: ...tion and editing procedures 1 Select the Utility Mode System Page Press the U button to select the utility mode 2 Select the Demo Page Press the button to select the Demo page 3 Press and Confirm Pres...

Page 27: ...o start with 5 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 Stop the D...

Page 28: ...t is not already se lected when the utility mode display appears press the button to select the Sys tem function page 3 Go To the Utility Mode BC Curve Page Use the cursor buttons to move the cursor t...

Page 29: ...he breath controller GAIN trimmer counter clockwise as far as it will go don t force it then while blowing into the mouthpiece using the maximum pressure you intend to use while playing rotate the tri...

Page 30: ...d to disk before loading the data Feature Reference manual page 164 1 Insert the Voice Disk Insert the VL1 m voice disk into the disk drive The sliding disk shutter should go in first and the label si...

Page 31: ...NOTES The 001 NOBREATH ALL file contains voices that are programmed to be played without a breath controller If you will be using a breath controller or MIDI Wind Controller you might want to load on...

Page 32: ...and via a modulation wheel MIDI control change number 001 002 FULLCTRL ALL A complete set of 128 voices and system data in which the voices are programmed to allow maximum controller variation A brea...

Page 33: ...33 Getting Started Setting Up Setting Up...

Page 34: ...e covered later in the manual For now here are the basics Voice B02 no 18 of 128 Element E1 name Alto Sax Mono voice using a single element Voice name Alto Sax Play mode Reverb is ON Stereo output mod...

Page 35: ...the next chapter that let you check the current controller assignments via the VL1 m display NOTES If you don t get any sound at this point Make sure your sound system is turned ON and the volume is...

Page 36: ...tons as described above the cursor will move to the selected voice You can also use the cursor keys to move the cursor to the next voice to be selected the voice is not actually selected in this case...

Page 37: ...6 096 QuiScivit C01 033 Gonzilla C02 034 Soprano 1 C03 035 MouthKeys C04 036 Thump Bass C05 037 Cornet C06 038 Igneous C07 039 Alto Flute C08 040 Khaen C09 041 Cruncher C10 042 Marsaloboe C11 043 Elea...

Page 38: ...er or modulation wheel assigned to the required controller parameter Even if you never go as far as editing the actual sound of the voices you ll no doubt want to be able to change these controller as...

Page 39: ...wheel a foot controller connected to your keyboard or other MIDI device can be assigned to any VL1 m controller param eter In addition to its obvious sustain function a sustain foot switch can be ass...

Page 40: ...itself can be varied over a wide range using the EDIT mode Breath Noise parameters Feature Reference manual page 86 A periodic pressure modulation which produces the growl effect often heard in wind i...

Page 41: ...ne element so the controllers are listed in the central Element1 column In a voice that uses two elements the Element2 controllers are independently assignable and are listed in the right column In th...

Page 42: ...raight to the last edit page that was selected for maximum programming speed and efficiency You may have to tthrough one or two layers of the EDIT mode display hierarchy to return to the initial displ...

Page 43: ...er 002 etc When you select a pre assigned controller the corresponding controller name is shown on the display non assigned controllers are displayed as MIDI control change numbers 5 Try Out the Edite...

Page 44: ...ata dial to vary to depth setting As you decrease the setting notice that the graph to the right of the display changes accordingly The horizontal axis corresponds to touch value or the control value...

Page 45: ...ticed in the previous step that the relationship between touch pressure and output is not linear the line in the graph is slightly curved That is a change in touch pressure does not necessarily produc...

Page 46: ...nual respectively This must be done before you select a different voice or the same voice again or your edits will be lost To confirm this try selecting a different voice and then return to the AltoSa...

Page 47: ...evel This line indicates which effect parameter is assigned for control by which controller Feature Reference manual page 45 Other Controller Views If you press the function button from the play mode...

Page 48: ...ace without the resonance of the instrument s body In acoustic instruments there is always a certain amount of driver sound particu larly when the instrument is heard at close range Judicious adjustme...

Page 49: ...to call the Miscellaneous page 3 Select Edit the Mixing Parameters Move the cursor to 4 Mixing and press Here you have all the parameters you need to mix the physical model output sig nals Driver Outp...

Page 50: ...AY Mode When Done Press the P button to return to the PLAY mode when you ve finished experi menting with the mixing parameters After experimenting with the Mixing parameters for a while you ll discove...

Page 51: ...considerable range the fundamental timbre of each voice is determined by its physical instrument model If you start with a trumpet voice for example the modifiers will let you create an broad range of...

Page 52: ...in these pages allow independent selection of the six different signal sources listed below This is the total output of the instrument model a mix of the driver pipe string and tap signals This signal...

Page 53: ...ic sound of the instrument in contrast with the first approach in which the basic sound of the instrument is modulated directly Please note that these are only guidelines and are by no means the only...

Page 54: ...ws delicate variations in the degree of filtration applied The Cutoff Tracking parameter selects either the Fixed mode in which the cutoff frequency of the filter is fixed at the specified cutoff freq...

Page 55: ...pendent key scaling parameters that can be used to vary the gain of the filters across the range of the keyboard The Input Gain parameter adjusts the level of the signal applied to the input of the Eq...

Page 56: ...hus invaluable for refining the sound of brass and metal bodied woodwinds Other important effects are the ability to diffuse sharp attack sounds and to give depth and realism to vibrato In fact the Im...

Page 57: ...L5 variable from 0 25 to 41 45 milliseconds Other parameters include variable Decay Time LPF Cutoff Freq low pass filtercutoff frequency Diffusion and Phase Like the Impulse Expander the Resonator is...

Page 58: ...cts 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 Creating the Right Ambience L R L R Feedback De...

Page 59: ...swishing flanger sound A dual pitch change effect which can be used in the Mono mode in which both pitch shifted notes appear on both channels or the Stereo mode in which one pitch shifted note appea...

Page 60: ...ntirely losing the live sound of the room The Studio program simulates this type of environment The plate reverb unit is a classic tool of the recording trade it was the first mechanical method of cre...

Page 61: ...61 Getting Started Effects Effects...

Page 62: ...mbouchure 66 Index This index covers both the VL1 m Getting Started and Feature Reference manuals for easy cross referencing Page numbers in the Getting Started manual are preceded by and page numbers...

Page 63: ...Initial edit page 30 Interpolate speed 85 K Key mode 31 L L C R delay 57 L R delay 55 LCD display 18 Local on off 154 M Manuals about the 6 4 Master tuning 153 Memory protect 157 Micro tuning 42 MIDI...

Page 64: ...tton 18 Store function 27 Sustain 35 T Throat formant 75 91 Throat formant key scaling 93 97 Time calculation musical 59 Tonguing 70 Touch EG time 36 Transmit channel 154 Trigger mode 85 Troubleshooti...

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