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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. Failure to follow instructions could void your FCC authorization to use this product in the
USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class ”B” digital devices.
Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not
result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according
to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC
regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can
be determined by turning the unit ”OFF” and ”ON”, please try to eliminate the problem by using one of the following measures:
Relocate either this product or the device that is being affected by the interference.
Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type
cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you
can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena
Park, CA 90620
The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
Dette apparat overholder det gaeldende EF-direktiv
vedrørende radiostøj.
Cet appareil est conforme aux prescriptions de la
directive communautaire 87/308/CEE.
Diese Geräte entsprechen der EG-Richtlinie 82/
499/EWG und/oder 87/308/EWG.
This product complies with the radio frequency
interference requirements of the Council Direc-
tive 82/499/EEC and/or 87/308/EEC.
Questo apparecchio è conforme al D.M.13 aprile
1989 (Direttiva CEE/87/308) sulla soppressione
dei radiodisturbi.
Este producto está de acuerdo con los requisitos
sobre interferencias de radio frequencia fijados
por el Consejo Directivo 87/308/CEE.
YAMAHA CORPORATION
Litiumbatteri!
Bör endast bytas av servicepersonal.
Explosionsfara vid felaktig hantering.
VAROITUS!
Lithiumparisto, Räjähdysvaara.
Pariston saa vaihtaa ainoastaan alan
ammattimies.
ADVARSEL!
Lithiumbatteri!
Eksplosionsfare. Udskiftning må kun foretages
af en sagkyndig, – og som beskrevet i
servicemanualen.
Connecting the Plug and Cord
IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW : EARTH
BLUE : NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured
markings identifying the terminals in your plug, proceed as follows:
The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug
which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter
N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the
letter L or coloured RED.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.
Bescheinigung des Importeurs
Hiermit wird bescheinigt, daß der/die/das
Virtual Acoustic Synthesizer Typ : VL7
(Gerät, Typ, Bezeichnung)
in Übereinstimmung mit den Bestimmungen der
VERFÜGUNG 1046/84
(Amtsblattverfügung)
funk-entstört ist.
Der Deutschen Bundespost wurde das Inverkehrbringen dieses
Gerätes angezeigt und die Berechtigung zur Überprüfung der Serie
auf Einhaltung der Bestimmungen eingeräumt.
Yamaha Europa GmbH
Name des Importeurs
* Dies bezieht sich nur auf die von der Yamaha Europa GmbH vertriebenen Produkte.
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic prod-
ucts may have either labels similar to the graphics shown
below or molded/stamped facsimiles of these graphics on the
enclosure. The explanation of these graphics appears on this
page. Please observe all cautions indicated on this page and
those indicated in the safety instruction section.
methods used to produce them, meet these goals. In keeping
with both the letter and the spirit of the law, we want you to
be aware of the following:
Battery Notice: This product MAY contain a small non-
rechargeable battery which (if applicable) is soldered in place.
The average life span of this type of battery is approximately
five years. When replacement becomes neccessary, contact a
qualified service representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incin-
erate this type of battery. Keep all batteries away from
children. Dispose of used batteries promptly and as regulated
by applicable laws. Note: In some areas, the servicer is
required by law to return the defective parts. However, you
do have the option of having the servicer dispose of these
parts for you.
Disposal Notice: Should this product become damaged be-
yond repair, or for some reason its useful life is considered
to be at an end, please observe all local, state, and federal
regulations that relate to the disposal of products that contain
lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge
relating to how a function or effect works (when the unit is
operating as designed) are not covered by the manufacturer’s
warranty, and are therefore the owners responsibility. Please
study this manual carefully and consult your dealer before
requesting service.
NAME PLATE LOCATION: The graphic below indicates
the location of the name plate. The model number, serial
number, power requirements, etc., are located on this plate.
You should record the model number, serial nunber, and the
date of purchase in the spaces provided below and retain this
manual as a permanent record of your purchase.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
The exclamation point within the equilateral
triangle is intended to alert the user to the
presence of important operating and mainte-
nance (servicing) instructions in the litera-
ture accompanying the product.
The lightning flash with arrowhead symbol
within the equilateral triangle is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magni-
tude to constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are
tested and approvend by an independent safety testing labo-
ratory in order that you may be sure that when it is properly
installed and used in its normal and customary manner, all
foreseeable risks have been eliminated. DO NOT modify this
unit or commission others to do so unless specifically author-
ized by Yamaha. Product performance and/or safety standards
may be diminished. Claims filed under the expressed warranty
may be denied if the unit is/has been modified. Implied
warranties may also be affected.
SPECFICATIONS SUBJECT TO CHANGE: The informa-
tion contained in this manual is believed to be correct at the
time of printing. However, Yamaha reserves the right to
change or modify any of the specifications without notice or
obligation to update existing units.
ENVIRONMENTAL ISSUES: Yamaha strives to produce
products that are both user safe and environmentally friendly.
We sincerely believe that our products and the production
Explanation of Graphical Symbols
92-469 q
Model
Serial No.
Purchase Date
POWER
ON / OFF
YAMAHA
MODEL VL7
AC INLET
R
L
OUTPUT
21
FOOT CONTROLLER
21
FOOT SWITCH
CAUTION
ATTENTION
WARNING
THRU OUT
MIDI
IN
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIER HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
PLEASE KEEP THIS MANUAL
8. This product was NOT designed for use in wet/damp
locations and should not be used near water or exposed to
rain. Examples of wet/damp locations are; near a swim-
ming pool, spa, tub, sink, or wet basement.
9. This product should be used only with the components
supplied or; a cart, rack, or stand that is recommended by
the manufacturer. If a cart, rack, or stand is used, please
observe all safety markings and instructions that accom-
pany the accessory product.
10.The power supply cord (plug) should be disconnected
from the outlet when electronic products are to be left
unused for extended periods of time. Cords should also be
disconnected when there is a high probability of lightening
and/or electrical storm activity.
11.Care should be taken that objects do not fall and liquids
are not spilled into the enclosure through any openings
that may exist.
12.Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have been
spilled into the enclosure through openings; or
c. The product has been exposed to rain; or
d. The product does not operate, exhibits a marked change
in performance; or
e. The product has been dropped, or the enclosure of the
product has been damaged.
13.Do not attempt to service this product beyond that de-
scribed in the user-maintenance instructions. All other
servicing should be referred to qualified service personnel.
14.This product, either alone or in combination with an
amplifier and headphones or speaker/s, may be capable of
producing sound levels that could cause permanent hear-
ing loss. DO NOT operate for a long period of time at a
high volume level or at a level that is uncomfortable. If
you experience any hearing loss or ringing in the cars, you
should cousult an audiologist. IMPORTANT: The louder
the sound, the shorter the time period before damage
occurs.
15.Some Yamaha products may have benches and/or acces-
sory mounting fixtures that are either supplied as a part of
the product or as optional accessories. Some of these items
are designed to be dealer assembled or installed. Please
make sure that benches are stable and any optional fixtures
(where applicable) are well secured BEFORE using. Benches
supplied by Yamaha are designed for seating only. No
other uses are recommended.
WARNING — When using any electrical or electronic prod-
uct, basic precautions should always be followed. These
precautions include, but are not limited to, the following:
1. Read all Safety Instructions, Installation Instructions, Spe-
cial Message Section items, and any Assembly Instruc-
tions found in this manual BEFORE making any connec-
tions, including connection to the main supply.
2. Main Power Suplly Verifications: Yamaha products are
manufactured specifically for the supply voltage in the
area where they are to be sold. If you should move, or if
any doubt exists about the supply voltage in your area,
please contact your dealer for supply voltage verification
and (if applicable) instructions. The required supply volt-
age is printed on the name plate. For name plate location,
please refer to the graphic found in the Special Message
Section of this manual.
3. This product may be equipped with a polarized plug (one
blade wider than the other). If you are unable to insert the
plug into the outlet, turn the plug over and try again. If the
problem persists, contact electrician to have the obsolete
outlet replaced. Do NOT defeat the safety purpose of the
plug.
4. Some electronic products utilize external power supplies
or adapters. DO NOT connect this type of product to any
power supply or adapter other than one described in the
owners manual, on the name plate, or specifically recom-
mended by Yamaha.
5. WARNING: Do not place this product or any other objects
on the power cord or place it in a position where anyone
could walk on, trip over, or roll anything over power or
connecting cords of any kind. The use of an extension cord
is not recommended! If you must use an extension cord,
the minimume wire size for a 25' cord (or less) is 18 AWG.
NOTE: The smaller the AWG number, the larger the
current handling capacity. For longer extension cords,
consult a local electrician.
6. Ventilation: Electronic products, unless specifically de-
signed for enclosed installations, should be placed in
locations that do not interfere with proper ventilation. If
instructions for enclosed installations are not provided, it
must be assumed that unobstructed ventilation is required.
7. Temperature considerations: Electronic products should be
installed in locations that do not significantly contribute to
their operating temperature. Placement of this product
close to heat sources such as; radiators, heat registers and
other devices that produce heat should be avoided.
92-469-3
Owner’s Manual 2
Feature Reference
2
Feature Reference
Contents
3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . 51
Mono Delay . . . . . . . . . . . . . . . . . . . . . . . 51
L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . 53
L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . 55
4:Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 58
• Hall1, Hall2, Room1, Room2, Studio,
Plate, Space, Reverse . . . . . . . . . . . . . . . 59
Element Controller . . . . . . . . . . . . . . . . . . . . . 62
1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . 64
3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . 69
7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 71
9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
10: Throat Formant . . . . . . . . . . . . . . . . . . . . . 73
11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 75
12; Harmonic Enhancer . . . . . . . . . . . . . . . . . 76
13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . 78
14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . 79
Controller Search & Replace . . . . . . . . . . . . . 80
Element Miscellaneous . . . . . . . . . . . . . . . . . 82
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 84
• 2-1: Breath Noise Level Key Scaling . . 86
• 2-2: Breath Noise HPF Key Scaling . . . 87
• 2-3: Breath Noise LPF Key Scaling . . . . 88
3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 89
• 3-1: Throat Formant Pitch Key Scaling . 91
• 3-2: Throat Formant Amount Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . 92
• 3-3: Throat Formant Intensity Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . 93
• 3-4: Throat Formant HPF Key Scaling . 94
• 3-5: Throat Formant LPF Key Scaling . 95
About the Manuals . . . . . . . . . . . . . . . . . . . . . . 4
The Getting Started Manual . . . . . . . . . . . . . . 4
The Feature Reference Manual (this manual) . 5
Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
General Operation
The Three Main Modes . . . . . . . . . . . . . . . . . . . 8
Finding Functions & Parameters . . . . . . . . . . . 9
Other Navigation Aids . . . . . . . . . . . . . . . . . . 11
Selecting & Editing Parameters . . . . . . . . . . . 12
Play Mode
The Main Play Mode Display . . . . . . . . . . . . . 14
Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . 15
Controller Views . . . . . . . . . . . . . . . . . . . . . . . 17
Quick Editing In the Play Mode . . . . . . . . . . . 19
Edit Mode
The Voice Number Buttons In the Edit Mode 22
The Edit Compare Function . . . . . . . . . . . . . . 23
The Copy Function . . . . . . . . . . . . . . . . . . . . . 24
Storing Edited Data . . . . . . . . . . . . . . . . . . . . . 27
Initial Edit Page . . . . . . . . . . . . . . . . . . . . . . . . 30
Common Miscellanous . . . . . . . . . . . . . . . . . 32
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . 34
3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . 35
4: Element Level & Pan . . . . . . . . . . . . . . . . . 36
5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . 38
6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . 39
7: Continuous Slider . . . . . . . . . . . . . . . . . . . . 40
Common Effect . . . . . . . . . . . . . . . . . . . . . . . . 42
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2: Modulation Effect . . . . . . . . . . . . . . . . . . . . 44
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Pitch Change . . . . . . . . . . . . . . . . . . . . . . 47
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 49
3
Feature Reference
4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
• 4-1: Mixing Driver Output Key Scaling 98
• 4-2: Mixing Pipe/String Output Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . 99
• 4-3: Mixing Tap Output Key Scaling . 100
• 4-4: Mixing Tap Location Key Scaling 101
5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . 102
5-1: Amplitude Level Key Scaling . . . . 102
Element Modifier . . . . . . . . . . . . . . . . . . . . . 104
1: Harmonic Enhancer . . . . . . . . . . . . . . . . . 105
•1-1: Harmonic Enhancer HPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 108
•1-2: Harmonic Enhancer Overdrive Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 109
• 1-3: Harmonic Enhancer Carrier Level
Key Scaling . . . . . . . . . . . . . . . . . . 110
• 1-4: Harmonic Enhancer Modulator
Index Key Scaling . . . . . . . . . . . . . 111
• 1-5: Harmonic Enhancer Balance Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 112
2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 113
• 2-1: Dynamic Filter Cutoff Key Scaling 115
• 2-2: Dynamic Filter Resonance Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 116
3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . 117
• 3-1: Equalizer Auxiliary HPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 118
• 3-2: Equalizer Auxiliary LPF Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 119
4: Equlizer Band . . . . . . . . . . . . . . . . . . . . . . 120
5: Impulse Expander & Resonator Setting . . 121
6: Impulse Expander . . . . . . . . . . . . . . . . . . . 123
7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Element Envelope . . . . . . . . . . . . . . . . . . . . . 126
1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
2: Embouchure & Pitch . . . . . . . . . . . . . . . . . 128
• 2-1: Embouchure & Pitch Hold Time
Key Scaling . . . . . . . . . . . . . . . . . . 130
• 2-2: Embouchure & Pitch Initial Level
Key Scaling . . . . . . . . . . . . . . . . . . 131
• 2-3: Embouchure & Pitch Decay Rate
Key Scaling . . . . . . . . . . . . . . . . . . 132
3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
• 3-1: Vibrato Delay Time Key Scaling . 135
• 3-2: Vibrato Attack Rate Key Scaling . 136
3-3: Vibrato Depth Key Scaling . . . . . . 137
3-4: Vibrato Speed Key Scaling . . . . . . 138
4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
4-1: Growl Speed Key Scaling . . . . . . . 140
5: Amplitude & Filter . . . . . . . . . . . . . . . . . . 141
• 5-1: Amplitude & Filter Attack Rate
Key Scaling . . . . . . . . . . . . . . . . . . 144
• 5-2: Amplitude & Filter Attack 1 Level
Key Scaling . . . . . . . . . . . . . . . . . . 145
• 5-3: Amplitude & Filter Decay Rate
Key Scaling . . . . . . . . . . . . . . . . . . 146
• 5-4: Amplitude & Filter Sustain Level
Key Scaling . . . . . . . . . . . . . . . . . . 147
• 5-5: Amplitude & Filter Release Rate
Key Scaling . . . . . . . . . . . . . . . . . . 148
Utility Mode
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
1: KBD Setting . . . . . . . . . . . . . . . . . . . . . . . 151
2: TG Setting . . . . . . . . . . . . . . . . . . . . . . . . . 152
3: MIDI Setting . . . . . . . . . . . . . . . . . . . . . . . 153
4: Assignable Controllers . . . . . . . . . . . . . . . 154
5: Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
6: Miscellaneous . . . . . . . . . . . . . . . . . . . . . . 156
MIDI Bulk Dump . . . . . . . . . . . . . . . . . . . . . . 158
Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
1: Disk Status . . . . . . . . . . . . . . . . . . . . . . . . 163
2: Load From Disk . . . . . . . . . . . . . . . . . . . . 164
3: Save To Disk . . . . . . . . . . . . . . . . . . . . . . . 166
4: Rename File . . . . . . . . . . . . . . . . . . . . . . . 168
5: Delete File . . . . . . . . . . . . . . . . . . . . . . . . . 170
6: Format Disk . . . . . . . . . . . . . . . . . . . . . . . . 171
Edit Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Appendix
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . 178
Error Messages . . . . . . . . . . . . . . . . . . . . . . . 182
Specifications . . . . . . . . . . . . . . . . . . . . . . . . 184
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4
Feature Reference
About the Manuals
The VL7 comes with two manuals — Getting Started and Feature
Reference. If you’re just starting out with the VL7 we urge you to begin
with the Getting Started manual since it describes basic concepts and
procedures that are essential to proper operation of the VL7.
The Getting Started Manual
The Getting Started manual contains seven chapters that take you through
essential information and procedures you will need to know to become familiar
with your VL7:
1. VL7 Basics [ Page 8]
Basic concepts you’ll need to understand in order to get the
most out of the VL7.
2. The Controls & Connectors [ Page 16]
Brief descriptions of the VL7 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 VL7’s 64 voices.
5. The Controllers [ Page 38]
The VL7 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 VL7 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 VL7
to need only the VL7 Feature Reference manual in future.
5
Feature Reference
The Feature Reference Manual (this manual)
The Feature Reference manual is the “nuts and bolts” reference for
the VL7, individually describing its many functions in detail. The Feature
Reference manual is divided into five main sections, each describing the
various functions within a particular VL7 edit or utility mode.
1. General Operation [ Page 7]
2. Play Mode [ Page 13]
3. Edit Mode [ Page 21]
4. Utility Mode [ Page 149]
5. Appendix [ Page 177]
Once you have become familiar with the way the VL7 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 func-
tions 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 VL7 manuals to
avoid confusion and make the text easier to read.
Buttons & Controls
Button and control names used on the VL7 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 VL7 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.
6
Feature Reference
General Operation
The VL7 makes operation as easy as possible
by providing a consistent, logical control interface via
which its many functions and parameters can be
accessed and edited. Once you become familiar with
the system, operation should be smooth, efficient, and
easy.
The Three Main Modes . . . . . . . . . . . . . 8
Finding Functions & Parameters . . . . . 9
Other Navigation Aids . . . . . . . . . . . . . 11
Selecting & Editing Parameters . . . . . 12
8
Feature Reference
General Operation
The Three Main Modes
The VL7 has three main modes: PLAY, EDIT, and UTILITY. Each of these modes
can be directly accessed by pressing the P, E, or U button, respectively.
The PLAY mode is the one you use to select and play the VL7 voices.
The PLAY mode also includes several “Controller Views” that allow you
to check controller assignments, the status of several important
performance parameters, and the continuous slider assignments.
Pages 13 through 19.
All voice editing functions are accessed via the EDIT mode: controller
assignments, mixing, modifiers, effects, and more.
Pages 21 through 148.
The UTILITY mode includes a range of functions that affect overall
operation of the VL7 rather than individual voices. For example: master
tuning, MIDI settings, disk operations, etc.
Pages 149 through 176.
PLAY
EDIT
UTILITY
9
Feature Reference
General Operation
Finding Functions & Parameters
To facilitate access to the many functions provided, the EDIT and UTILITY mode
functions are organized into logical groups arranged in a hierarchical structure (the PLAY
mode is simple enough that it doesn’t require this type of structure). The basic structure
of the EDIT mode, for example, looks like this:
EDIT MODE
ELEMENT
EFFECT
CONTROLLER
MODIFIER
ENVELOPE
COMMON
MISCELLANEOUS
MISCELLANEOUS
Here you can see that the EDIT mode functions are divided into two main groups:
COMMON and ELEMENT, and that these are further sub-divided into related groups of
functions. The COMMON EFFECT group, for example, includes all the effect parameters
(flange, reverb, etc.) that apply to the entire voice. Here’s how you would access the
reverb parameters, starting from the PLAY mode:
Example: Locate the Effect Reverb Parameters
1. Press E
Pressing the E button from the PLAY or UTILITY mode will normally take
you to the initial EDIT display page (if the current voice has already been edited but not
stored, you will automatically return to the last EDIT mode page that was selected).
2. Press ¡ (“COM”)
Since you want the effect functions, which are in the common group, press the ¡
function button (immediately below “COM” on the display).
10
Feature Reference
General Operation
3. If Necessary, Press (“Efct”)
If the miscellaneous directory is showing (in this case “Misc” above the ¡ button
will be highlighted), press the button below “Efct” on the display to select the
effect directory.
4. Move the Cursor To “4:Reverberation” and Press [
Use the cursor buttons (or the - and = buttons, or the data dial)
to move the cursor to “4:Reverberation” and press the [ button. This will
take you to the first page of reverb parameters.
NOTES Notice that the top line of the display shows the “path” to the current
level or function: “
EDIT/COM/EFFECT/REVERBERATION
”.
This example illustrates the two methods used to move downward through the EDIT
mode levels: 1) press the appropriate function button and 2) move the cursor to the
desired selection and press [.
From any point within the structure you can move upward toward the topmost level
(in this case the initial EDIT mode display) by pressing the ] button. You move up
one level each time the ] button is pressed, until the topmost level is reached.
To exit from the EDIT mode itself you must press either the P or U
button, depending on the mode you want to switch to. You can exit from the EDIT mode
at any level by doing this, and you will be returned automatically to the same display
page the next time you press the E button as long as the voice being edited is not
stored or a new voices is not selected.
11
Feature Reference
General Operation
Other Navigation Aids
In addition to the standard procedures described in the previous section, the VL7
sometimes provides additional help in moving between related functions via the function
buttons.
In this example display page from the ELEMENT CONTROLLER group, “Bpag
(back page) and “Fpag” (forward page) appear above the § and function buttons.
In this case these buttons can be used to move forward and backward through the entire
list of controller functions so you don’t have to move up to the function directory and
then down to the next function every time you want to select a different element control-
ler page.
Also note the “Para” (Parameter) abbreviation above the button. This enables
you to go directly to the parameters related to the current page: in this case the vibrato
parameters.
From here you can go back to the vibrato controller page by pressing the
function button again (note that it is now labelled “Ctrl”), or to the vibrato key scaling
parameters by pressing , below “KSC” on the display.
Another variation appears in the COMMON EFFECT parameter displays. In most
cases the number of parameters available for each effect exceeds the capacity of the
display, so the ¡ and function buttons are used to scroll up and down the parameter
list — note the “>” and “<” arrows above the buttons in the display.
12
Feature Reference
General Operation
Selecting & Editing Parameters
Once you’ve locate the display page that contains the parameter(s) you want to edit,
simply use the cursor buttons to move the cursor to the parameter, and then use the data
dial or the = and - buttons to set the parameter as required. The data dial is ideal
for quickly covering a large range of settings, while the = and - buttons are best
for small stepwise changes.
Play Mode
The primary function of the PLAY mode is to
allow you to select and play voices. The VL7 play
mode additionally offers a range of controller views
that let you check controller assignments, and simple
“quick edit” capability. Select the PLAY mode from
either the EDIT or UTILITY mode by pressing the
P button.
The Main Play Mode Display . . . . . . . 14
Voice Selection . . . . . . . . . . . . . . . . . . 15
Controller Views . . . . . . . . . . . . . . . . . 17
Quick Editing In the Play Mode . . . . . 19
14
Feature Reference
Play Mode
The Main Play Mode Display
When you select the PLAY mode by pressing the P button, the main PLAY
mode display will appear. This display includes a considerable amount of information in
addition to the name of the currently selected voice.
The abbreviations in the section separated by a line at the bottom of the display
(“Cnt1”, “Cnt2”, etc) indicate the functions of the corresponding function buttons
below the display (described below).
The Normal Voice Display
Voice number.
Element name.
Assign mode.
Voice name.
Play mode.
Reverb on or off.
Stereo output mode.
Effects in use.
15
Feature Reference
Play Mode
Voice Selection
The VL7’s 64 voices are organized into 4 banks of 16 voices each (4 x 16 = 64).
Any voice can be selected by specifying its bank using the bank buttons (a through
d), and its number using the voice number buttons (1 through ^).
To select voice “A7”, for example, first press the bank a button and then the
voice number 7 button. The bank a button indicator will flash until the voice number
7 button is pressed and the A7 voice is actually engaged.
A
1
9
ALL
B
2
10
HE
C
3
11
DF
D
4
12
EQ
5
ALL
13
IE
6
MOD
14
RSN
7
FBD
15
8
REV
16
EFFECT ON / OFF
MODIFIER ON / OFF
Note that when you select a different bank (or press the same bank button)
the voice directory for the selected bank will appear on the display, showing the names
of all voices in that bank with the cursor located at the currently selected voice number.
The VL7 returns to the normal voice display as soon as you specify the voice number.
You can also press the [ button if you want to stay with the same voice number.
To select a different voice within the same bank it is only necessary to press the
appropriate voice number button. To select a different bank, however, you’ll always have
to press both a bank button and a voice number button (or the [ button). This
prevents unwanted voices from being selected until you’ve actually specified both the
bank and number of the voice you want to use.
16
Feature Reference
Play Mode
DEC INC
Alternate Voice Selection Methods
= and - Buttons
These are best for small, step-wise changes —
e.g. selecting adjacent voice numbers, or
numbers that are only a few steps away. Press
the = or - button briefly to decrement
or increment the voice number by one, or hold
either button for continuous decrementing or
incrementing in the corresponding direction.
Extra-fast increment or decrement operation
can be achieved by pressing the opposite
button while holding either the - or =
button. The bank will switch automatically if
you cross a bank voice-number boundary.
Data Dial
The data 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. Simply rotate
the data dial clockwise for higher voice
numbers or counter-clockwise for lower voice
numbers while watching the display. The
banks are automatically switched when neces-
sary as the voice numbers are changed.
Using the Voice Directory
Although the voice directory appears automatically any time you select a bank, you
can have the directory displayed continuously if you find it more convenient than the
normal voice display. To switch to the voice directory display, press the button —
located directly below “Dir” on the display. Voices are selected using the same methods
described above, and the cursor will move to the selected voice.
To return to the normal voice display press the ] or P button.
17
Feature Reference
Play Mode
Controller Views
In the PLAY mode, function buttons ¡ (“Cnt1”) through § (“CS”) are used to
select “controller view” displays that list all controller assignments for the currently
selected voice. You can press the ] or P button from any controller view to
return to the normal play-mode display.
¡
(“Cnt1”) through
¢
(“Cnt4”): Main Controllers
¡ through ¢ display the assignments for the controller parameters.
¡
(Cnt1)
£
(Cnt3)
(Cnt2)
Pressure
Page 63.
Embouchure
Page 64.
Pitch
Page 65.
Vibrato
Page 67.
Tounguing
Page 68.
Amplitude
Page 69.
Scream
Page 70.
Breath Noise
Page 71.
Growl
Page 72.
Throat Formant
Page 73.
Dynamic Filter
Page 75.
Harmonic Enhancer
Page 76.
18
Feature Reference
Play Mode
The controller parameters are listed in the left column of the controller view dis-
play, and the controllers assigned to them are listed in the right column.
(“Cnt5”): Other Controller Settings
If you press the function button from the play mode you’ll see the following
controller view:
¢
(Cnt4)
Damping
Page 78.
Absorption
Page 79.
The controller parameters listed in this screen are not in the same category as those
discussed in the preceding section, and therefore need to be introduced separately. All of
the related parameters will be discussed in detail in the Feature Reference manual (pages
listed below displays, above).
Sustain
Page 33.
Portamento
Page 38.
Effect Control
Page 42.
19
Feature Reference
Play Mode
§
(“CS”): Continuous Sliders
The § function button calls the Continuous Slider (“CS”) controller view, which
will look something like this:
The continuous sliders — and — can be independently assigned to
several parameters that you can control in real time while playing (also see “Quick
Editing In the Play Mode”, below). The parameters available for editing via the continu-
ous sliders are individually preset for each voice. You can select from the available range
by using the “Continuous Slider” assignment function ( Page 40).
The continuous slider view shows you which parameters are assigned to which
controller as well as the current positions of the controllers and parameter values.
Quick Editing In the Play Mode
Although detailed voice editing is carried out in the EDIT mode, the and
sliders on the VL7 panel can be used to change the assigned parameters in real time
while playing in the PLAY mode. This can be used simply an expressive tool, or as a
way to actually change the sound of the voice to suit your individual musical require-
ments. Since the and sliders actually edit the parameters to which they are
assigned, the “new” voice created by using the sliders can be stored to one of the VL7’s
voice memory locations and used just as if it had been edited in the EDIT mode ( the
STORE operation is described on page 27). The parameters available for editing via the
and sliders are individually preset for each voice. You can select from the
available range by using the “Continuous Slider” assignment function ( Page 40).
20
Feature Reference
Play Mode
Edit Mode
All voice editing functions are accessed via the
EDIT mode: controller assignments, mixing, modifi-
ers, effects, and more.
The Voice Number Buttons
In the Edit Mode . . . . . . . . . . . . . . 22
The Edit Compare Function . . . . . 23
The Copy Function . . . . . . . . . . . . 24
Storing Edited Data . . . . . . . . . . . 27
Initial Edit Page . . . . . . . . . . . . . . . . . . . 30
Common Miscellanous . . . . . . . . . . . . . . 32
Common Effect . . . . . . . . . . . . . . . . . . . . 42
Element Controller . . . . . . . . . . . . . . . . . 62
Element Miscellaneous . . . . . . . . . . . . . 82
Element Modifier . . . . . . . . . . . . . . . . . 104
Element Envelope . . . . . . . . . . . . . . . . . 126
22
Feature Reference
Edit Mode
The Voice Number Buttons In the Edit Mode
In the EDIT mode, the voice number buttons assume the functions listed in purple
below the buttons.
Modifier On/Off
9
ALL
10
HE
11
DF
12
EQ
13
IE
14
RSN
MODIFIER ON / OFF
These buttons independently or simultaneously turn the VL7’s modifier stages on or
off. This allows fast on/off comparisons that make it easy to hear even subtle changes
produced by editing the modifier parameters.
Alternately turns all five modifier stages on or off.
Alternately turns the Harmonic Enhancer stage on or off.
Page 105.
Alternately turns the Dynamic Filter stage on or off.
Page 113.
Alternately turns the Frequency Equalizer stage on or off.
Page 117.
Alternately turns the Impulse Expander stage on or off.
Page 121.
Alternately turns the Resonator stage on or off.
Page 124.
ALL
HE
DF
EQ
IE
RSN
Effect On/Off
5
ALL
6
MOD
7
FBD
8
REV
EFFECT ON / OFF
The VL7’s internal digital signal processor provides three effect stages: Modulation,
Feedback Delay, and Reverb. Each stage includes a number of effects. The Modulation,
Feedback Delay, and Reverb stages can be used simultaneously, but only one of the
effects available in each stage can be used at a time.The EXTERNAL EFFECT ON/OFF
buttons can be used to individually or simultaneously turn these effects on of off. The
current status of the effect stages is shown by the indicators above the MOD, FBD, and
REV buttons.
Alternately turns all three effect stages on or off.
Alternately turns the Modulation effect stage on or off.
Page 44.
Alternately turns the Feedback Delay effect stage on or off.
Page 51.
Alternately turns the Reverb effect stage on or off.
Page 58.
ALL
MOD
FBD
REV
23
Feature Reference
Edit Mode
The Edit Compare Function
When editing a voice in the EDIT mode, a copy of the original voice is retained in
the VL7 “edit buffer”, allowing the edited voice to be compared with the edited version
by using the “Edit Compare” function.
The Edit Compare function is engaged by pressing the E button while in the
EDIT mode (after making at least one change to the voice data). When the Edit Compare
mode is engaged the E indicator will flash, the inverse “E”(´) before the voice
number will disappear, and the sound of the original (pre-edit) voice can be monitored.
Press the E button again to return to the EDIT mode and the edited version of the
voice. You can toggle back and forth between the edited and original voices while editing
to monitor the effect of changes you make to the voices parameters.
NOTES Editing can not be carried out while the Edit Compare function is
engaged.
24
Feature Reference
Edit Mode
The Copy Function
The copy function makes it possible to copy common or element data from any
specified voice to the current voice. You can copy all common or element data, or only
the data from a specified group of functions or a single function. It is also possible to
copy the original (pre-edit) data from the voice being edited to restore the specified data
to its original values.
Procedure
1. Specify the Data You Want To Copy
In the EDIT mode select the display page and function corresponding to the data
you want to copy:
To copy all common data, go to the initial EDIT mode display and move the
cursor to the “Voice Name” parameter.
Example: Copy all common data.
To copy all common miscellaneous data select the miscellaneous directory, or
to copy all common effect data select the Effect directory.
Example: Copy all common miscellaneous data.
To copy the data from a single common miscellaneous or common effect
function select the display page for that function.
Example: Copy the common miscellaneous element pitch data.
25
Feature Reference
Edit Mode
To copy all element data, go to the initial EDIT mode display and move the
cursor to the “Element Name” parameter.
Example: Copy all element data.
To copy the element controller, miscellaneous, modifier, or envelope data,
select the corresponding directory display page.
Example: Copy all element modifier data.
To copy the data from a single element function select the display page for
that function.
Example: Copy the harmonic enhancer data.
2. Press C
Press the C button to call the COPY display.
3. Select the Voice You Want To Copy From
Use the cursor buttons, data dial, or = and - buttons to select the voice you
want to copy the data from.
At this point you can play the keyboard to hear how the voice will sound after
the specified data is copied before actually copying the data.
26
Feature Reference
Edit Mode
The voice/element preceded by an asterisk (*) in the copy window is the
current voice/element. If you select this voice/element as the copy source the
pre-edit data will be copied, thus restoring the specified data to its original
values.
Press § under “123…” to display the voices in numerical order, or
under “ABC…” to display the voices in alphabetical order. Sometimes it may
take a few seconds to sort the data as specified — the “Now sorting!
message will appear during the sort operation.
Pressing a voice bank button — a through d — instantly moves the cursor
to the first voice in that bank.
4. Press [ and Confirm To Copy
Press the [ button once you’ve selected the copy source (at this point you can
also press the ] button to cancel the copy function).
27
Feature Reference
Edit Mode
Storing Edited Data
Once you’ve created a new voice in the edit mode, it’s necessary to store the voice
to one of the VL7’s 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 floppy
disk (
Page 166).
Edited voice data can only be saved to floppy disk after it has been stored to
an internal memory location.
The STORE function can be accessed from the EDIT or PLAY mode.
If you have accidentally lost an edited voice by selecting a different voice after
returning to the PLAY mode, the RECALL function can be used to restore the
edited data as long as no other data has been edited in the meantime (
Page
172).
Procedure
1. Make Sure Memory Protection Is Off
Make sure that the UTILITY mode Memory Protect function is turned off: press
U to select the UTILITY mode; make sure the “Sys” page is selected; select
6:Miscellaneous” and press [; move the cursor to “Memory Protect
and press = to turn it “off”.
2. Press S In the EDIT or PLAY Mode
If you had to go to the UTILITY mode to turn memory protection off, return to
either the EDIT or PLAY mode and press S. At this point you will get a “Memory
Protected” error message if memory protection is turned on — go back and turn
Memory Protect “off”.
3. Select the Destination Memory Location
Use the cursor buttons, data dial, or = and - buttons to select the memory
location you want to store the edited voice to.
NOTES Press
§
under “
123
” to display the voices in numerical order, or
under “
ABC
” to display the voices in alphabetical order. Sometimes it may
take a few seconds to sort the data as specified — the “
Now sorting!
message will appear during the sort operation.
Pressing a voice bank button —
a
through
d
— instantly moves the cursor
to the first voice in that bank.
28
Feature Reference
Edit Mode
4. Press [ and Confirm To Store
Press the [ button once you’ve selected the store destination (at this point you
can also press the ] button to cancel the store function). If you press [ the
confirmation display will appear.
Press the - button to actually store the data (or = to cancel).
Completed!” will appear on the display when the data has been successfully stored.
5. Press ]
Press the ] button to clear the STORE display and return to the previous mode.
29
Feature Reference
Edit Mode
30
Feature Reference
Edit Mode
Initial Edit Page
Select the EDIT mode from either the PLAY or UTILITY mode by
pressing the E button. The initial EDIT display will appear.
NOTES If you are re-entering the EDIT mode while editing a voice (i.e. you
have edited but not yet stored the current voice), the last selected EDIT display
page will appear.
ELEMENT
EFFECT
CONTROLLER
MODIFIER
ENVELOPE
MISCELLANEOUS
MISCELLANEOUS
EDIT MODE
COMMON
31
Feature Reference
Edit Mode
Voice Name
A name of up to 10 characters.
To enter a new voice name position the cursor at the “Voice Name” parameter
and press [ or (“Name”). The VOICE NAME display will appear.
Use the cursor , and . buttons to move the cursor to the character in the
voice name at the top of the display that you want to change.
Use the = and - buttons or data dial to select a new character by
moving through the character list row by row.
Press the button (“Spc”) to enter a space at the current cursor position.
Press the £ button (“Clr”) to clear the entire voice name.
Press ] or [ when the voice name is complete.
Element Name
A name of up to 10 characters.
This parameter allows a name to be entered for the element of the current voice. To
enter a new element name position the cursor at the “Element Name” parameter and
press [ or (“Name”). The ELEMENT NAME display will appear. Procedure is
the same as for the Voice Name parameter, above, except for the function of the ¢
button, below.
Press the ¢ button (“Auto”) to copy the voice name to the element name.
Initial Edit Page
32
Feature Reference
Edit Mode
Common Miscellaneous
ELEMENT
EFFECT
CONTROLLER
MODIFIER
ENVELOPE
MISCELLANEOUS
EDIT MODE
COMMON
MISCELLANEOUS
The COMMON MISCELLANEOUS group includes a miscellaneous
range of functions which affect the entire voice.
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
4: Element Level & Pan . . . . . . . . . . . . . . . . . . . . . . 36
5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
7: Continuous Slider . . . . . . . . . . . . . . . . . . . . . . . . . . 40
33
Feature Reference
Edit Mode
Common Miscellaneous
1: Setting
Assign Mode
Bottom Note, Top Note, Last Note.
Determines which note will be played when more than one note is played at a time.
This parameter also affects how the VL7 responds to external MIDI control.
Bottom Note The lowest note played sounds.
Top Note The highest note played sounds.
Last Note The last note played sounds.
Sustain
off, on.
Turns the VL7 sustain function on or off. When “off” the sustain function will not
work even if sustain is assigned to a footswitch ( Page 154) and a footswitch is
plugged into the appropriate FOOT SWITCH jack or a MIDI sustain message is received.
On Sustain can be applied via footswitch or MIDI.
Off Sustain can not be applied via footswitch or MIDI.
34
Feature Reference
Edit Mode
2: Controller
Breath Attack Time
5.00msec 1.24 sec.
Determines how quickly the VL7 responds to changes in breath pressure applied to
the breath controller. A setting of “5.00msec” produces the fastest response; “1.24
sec” produces the slowest response. This parameter should be used with the “Breath
Attack Gain” parameter, below, to determine overall breath controller response.
Breath Attack Gain
0 127.
Determines the amount of audible change produced by a changes in breath pressure
applied to the breath controller. A setting of “0” results in no change; “127” produces
maximum change. “127” is the normal setting for this parameter.
Touch EG Time
5.00msec 1.24 sec.
Sets the response time of the VL7 Touch Envelope Generator. The Touch Envelope
Generator controls the transition from the initial key velocity to aftertouch pressure when
a key is played. A setting of “5.00msec” produces the fastest response; “1.24 sec
produces the slowest response.
35
Feature Reference
Edit Mode
3: Element Pitch
Element Tune
-7 … 7.
Produces a slight upward or downward shift in the pitch of the voice element.
Minus values lower the pitch while positive values raise the pitch. The change in pitch
produced by each increment is very slight (on the order of a few cents per increment).
Element Note Shift
-64 63.
Shifts the pitch of the voice element up or down in semitone increments. Minus
values lower the pitch while positive values raise the pitch.
Element Random Pitch
0 7.
Produces a slight random variation in the pitch of the voice element, simulating the
effect of acoustic instruments in which perfectly stable effect is rarely achieved. A setting
of “0” produces no random pitch variation; “7” produces maximum random pitch varia-
tion.
Common Miscellaneous
36
Feature Reference
Edit Mode
4: Element Level & Pan
Element Level
0 127.
Sets the level (volume) of the output from the voice element. A setting of “0
produces no output; “127” produces maximum output. The graphic bar to the right of the
numeric parameter provides a visual indication of the level setting: higher settings move
the graphic “slider” to the right.
Element Pan L
Element Pan R
-64 63.
Determines the position of the voice element in the stereo sound field. Normally
there would be only one pan parameter, placing the sound of the element anywhere from
full left to right in the stereo sound field. The output from the VL7 element and modifier
stages is already in stereo, so two pan parameters (L and R) and provided, offering
maximum panning versatility. The “Pan L” parameter determines the position of the
left-channel output signal from the element, while the “Pan R” parameter determines the
position of the right-channel output from the element. The graphic bar to the right of the
numeric parameters provides a visual indication of the pan settings: the “L” slider extends
above the bar and the “R” slider extends below the bar. Higher settings move the corre-
sponding slider to the right.
To reproduce the original stereo
sound of the element, set the
Pan L” parameter to “-64
and the “Pan R” parameter to
63”.
063-64
Sound
Left Right
37
Feature Reference
Edit Mode
063-64
Left Right
Sound
063-64
Left Right
Sound
To limit the sound of the element
to the left half of the sound field,
for example, set “Pan L” to
-64” and “Pan R” to “0”.
If both the “L” and “R” param-
eters are set to the same value,
the sound of the element will
appear as a mono source at the
appropriate position in the stereo
sound field. If both parameters
are set to “0”, for example, the
sound of the element will be
heard only in the center of the
sound field.
The pan parameters have no effect if the UTILITY mode “Output” param-
eter is set to “Monaural”.
Common Miscellaneous
38
Feature Reference
Edit Mode
5: Portamento
Portamento Mode
Full Time, Fingered.
Portamento produces a “slide” effect between subsequently played notes. The
“Portamento Mode” parameter determines how the portamento slide is produced.
The portamento slide will occur between any two subsequent notes
when the portamento switch is on, even if the first note is released
before the second is played.
The portamento slide will only occur if the first note is still held when
the second note is played.
Full Time
Fingered
If a footswitch is assigned to portamento on/off switching but no footswitch is
connected, portamento will be on.
Time MIDI Control
off, on.
The portamento time (the length of the slide between notes) can be controlled in
realtime via a foot controller connected to the FOOT CONTROLLER 2 jack, the MODU-
LATION 2 wheel, or MIDI portamento time messages from an external device. This
parameter turns realtime portamento time control off or on.
In order to use the foot controller or modulation wheel for portamento time
control, use the UTILITY mode “Assignable Controller” page (
Page 154) to assign the foot controller or modulation wheel to “Porta
Time” (MIDI control number 005).
Time
0 127.
This parameter becomes active only when the “Time MIDI Control” param-
eter, above, is turned “off”. The “Time” parameter sets the portamento time. A setting
of “0” produces the fastest portamento time; “127” produces the longest portamento
slide effect.
Element On/Off
off, on.
Turns portamento off or on.
39
Feature Reference
Edit Mode
Common Miscellaneous
6: Micro Tuning
Table
off, I-1 I-2, P-1 P-54.
Selects the micro-tuning table.
The I-1 and I-2 tunings (Internal Microtuning) cannot be edited or modified
using the VL7. Microtuning data from the Yamaha SY99 or SY77 synthesizer,
however, can be loaded into the VL7 via a MIDI bulk dump or parameter
change operation.
Microtuning can cause slight pitch instabilities.
Equal Temperament: The standard modern keyboard tuning with
perfectly even intervals between all 12 notes of the scale. This tuning
allows transposition to any key without modification.
Internal Microtuning: These tuning are included in the system data on
the VL7 voice disk.
Pure Major C … Pure Major B: A brass-instrument tuning based on
their natural harmonic series. Produces a beautiful beat-free sound in
ensemble, but the tuning must be changed to match the key of the
music.
Pure Minor A … Pure Minor Ab: Same as the Pure Major scales
above, but for minor keys.
Mean Tone C … Mean Tone B: This tuning was originally devised to
eliminate the conflict caused by the third degree of the Pythagorean
tuning (below). The tuning must be matched to the key of the music.
Pythagorean C … B: A classic tuning from ancient Greece — with a
few rough spots that were fixed in later improvements. The tuning must
be matched to the key of the music.
Werckmeister: This and the following two tunings were created to
allow transposition to any key without the need for re-tuning. They have
the curious characteristic, however, that the “tension” of the sound
increases in proportion to the number of sharps or flats in the key
being played. Many of the classics were created using these tunings.
Kirnberger: See “Werckmeister”.
Vallotti & Young: See “Werckmeister”.
1/4 Shifted Equal: This is an equal temperament tuning with the
overall pitch raised 1/4 tone. It can be used with other instruments in
standard equal temperament tuning for some unusual and very “tense”
effects.
1/4 Tone: All semitones on the keyboard become 1/4-tone intervals.
1/8 Tone: All semitones on the keyboard become 1/8-tone intervals.
Off
I-1, I-2
P-1 … P-12
P-13 … P-24
P-25 … P-36
P-37 … P-48
P-49
P-50
P-51
P-52
P-53
P-54
40
Feature Reference
Edit Mode
7: Continuous Slider
CS1
CS2
off, COM, EL plus the parameters available for the current voice.
Assigns the available common or element edit parameters to the or
continuous slider. The continuous sliders can then be used in the PLAY mode to edit the
assigned parameters in real time while playing (the same applies to the EDIT and UTIL-
ITY modes). The parameter consists of two parts which can be selected independently by
moving the cursor horizontally. The first (leftmost) part determines what type of param-
eter will be controlled.
Continuous slider not assigned. Choose this setting if you don’t want
the continuous slider to affect any edit parameters.
Selects the common edit parameters.
Selects the element edit parameters.
off
COM
EL
The second (rightmost) is the actual parameter which will be controlled. The param-
eters available for editing via the continuous sliders are individually preset for each voice.
Since the continuous sliders actually edit the parameters to which they are
assigned, the “new” voice created by using the sliders can be stored to one of
the VL7’s voice memory locations and used just as if it had been edited in the
EDIT mode ( the STORE operation is described on page 27).
The continuous slider view function, available in the PLAY mode ( Page
13), shows you which parameters are assigned to which controller as well as
the current positions of the controllers and their corresponding values.
41
Feature Reference
Edit Mode
Common Miscellaneous
42
Feature Reference
Edit Mode
Common Effect
ELEMENT
CONTROLLER
MODIFIER
ENVELOPE
MISCELLANEOUS
MISCELLANEOUS
EDIT MODE
COMMON
EFFECT
The COMMON EFFECT parameters provide access to the VL7’s
sophisticated three-stage digital signal processing system.
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
2: Modulation Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Pitch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Mono Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
4: Reverberation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Hall1, Hall2, Room1, Room2, Studio, Plate,
Space, Reverse . . . . . . . . . . . . . . . . . . . . . . . . . 59
43
Feature Reference
Edit Mode
Common Effect
1: Setting
Feedback Delay/Reverb Mode
Serial, Parallel.
Determines whether the Feedback Delay and Reverb effect stages are connected in
series (Serial) or in parallel, as shown in the illustration.
Feedback
Delay
Modulation
Reverb
Serial Mode
From
Element
To
Output
Parallel Mode
Feedback
Delay
From
Element
To
Output
Reverb
Modulation
Effect Control — Destination Effect
off, Flanger Freq., Pitch Change Wet/Dry, Distortion Presence, FB Delay Send Level,
Reverb Send Level.
This and the following parameter make it possible to control certain effect param-
eters in real time via any physical controller. Use this parameter to select the effect
parameter you want to control (only settings corresponding to the currently selected
effects will be available). If the currently selected effect stage is turned off, “isn’t
used” will appear on the display and selection will not be possible.
Effect Control — Controller
off, Modulation Wheel Velocity.
Selects the controller which will be used to control the parameter selected via the
Destination Effect” parameter. All MIDI control numbers and keyboard veloc-
ity are available. Be sure to turn this parameter “off” if you don’t require realtime effect
control.
44
Feature Reference
Edit Mode
2: Modulation Effect
Modulation Effect Type
off, Flanger, Pitch Change, Distortion.
Selects the type of effect to be produced by the modulation effect stage. The effect
types and their parameters are individually described on the following pages. No effect
parameters appear when the modulation effect stage is turned “off”.
This type of effect is created by slightly delaying the sound and
periodically varying the delay time. The delayed signal is then added to
the direct signal causing a variable comb-filter effect which results in
the familiar “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 appears on the left channel and
the other on the right. The pitch of the two pitch-shifted notes can be
set over a two-octave range — from one octave below to one octave
above the input note.
An extremely versatile distortion effect which offers transistor, vintage
tube, fuzz and other distortion types, a variety of speaker types, and a
comprehensive range of other parameters that can be used to refine
the distortion sound.
Flanger
Pitch Change
Distortion
45
Feature Reference
Edit Mode
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Wave
Triangle, Sine, Random.
Selects the waveform which will be used to modulate the flanger effect.
Flanger
Common Effect
Triangle
Sine
Random
Freq.
0.057 40.0 Hz when Triangle or Sine Wave selected,
0.229 160.0 Hz when Random Wave selected.
Sets the speed of modulation and therefore the rate of flanger effect variation.
Depth
0 100 %.
Sets the depth of modulation. Higher values produce deeper modulation and there-
fore a more pronounced flanger effect.
46
Feature Reference
Edit Mode
R In
L In
R Out
L Out
Flanger
Flanger
Delay
0.33 32.87 ms.
Sets the flanger delay time (the flanger effect is basically produced by modulating
the delay time of one signal in relation to another). Shorter delay times produce the
greatest effect in the high-frequency range, while longer delay times extend the effect to
the middle and lower frequencies. Delays longer than about 5 milliseconds produce a
more chorus-like effect.
Phase
-180.0 180.0 deg.
Sets the phase different between the left and right channel flanger signals. The
larger the value, the greater the “spread” in the sound. A setting of “0” produces a
centered effect.
FB Gain
-100 100 %.
Determines the amount of effect-sound feedback returned to the input of the flanger
stage. Higher negative or positve values produce a more pronounced effect.
High
0.1 1.0.
Determines the amount of high-frequency effect-sound feedback returned to the
input of the flanger stage. Lower values produce more cut in the high-frequency range.
Analog Feel
0 10.
This parameters simulates the sound of traditional analog flanger devices. The
higher the value the stronger the “analog feel”.
Wet/Dry Balance
0 100 %.
Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values
produce a greater proportion of effect sound in relation to direct sound.
Flanger Effect Block Diagram
Flanger
47
Feature Reference
Edit Mode
Pitch Change
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Mode
Monaural, Stereo.
Selects the monaural or stereo pitch change effect mode. In the monaural mode both
pitch-shifted notes appear on both channels. In the stereo mode one pitch-shifted note
appears on the left channel and the other on the right.
Common Effect
R In
L In
R Out
L Out
Pitch Change 1
Pitch Change 2
Monaural Mode Block Diagram
Stereo Mode Block Diagram
R In
L In
R Out
L Out
Pitch Change R
Pitch Change L
48
Feature Reference
Edit Mode
1 Pitch (L Pitch)
2 Pitch (R Pitch)
-12 12.
These two parameters individually set the pitch of the first and second pitch-
changed note between one octave below (“-12”) and one octave above (“+12”) the input
note. When the “Stereo” mode is selected, the “1 Pitch” parameter applies to the
left channel and the “2 Pitch” parameter to the right.
1 Fine (L Fine)
2 Fine (R Fine)
-100 100.
Permit fine tuning of the first and second pitch-changed note in 1-cent steps (1 cent
is 1/100th of a semitone). When the “Stereo” mode is selected, the “L Fine” param-
eter applies to the left channel and the “R Fine” parameter to the right.
1 Output (L Output)
2 Output (R Output)
0 100 %.
Set the output level of the corresponding pitch-changed note. The higher the value
the higher the output level. When the “Stereo” mode is selected, the “1 Output
parameter applies to the left channel and the “2 Output” parameter to the right.
Wet/Dry Balance
0 100 %.
Sets the balance between the direct (“dry”) and effect (“wet”) sound. Higher values
produce a greater proportion of effect sound in relation to direct sound. When set to “0
no pitch change effect is produced.
Pitch Change
49
Feature Reference
Edit Mode
Distortion
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Overdrive
0 100 %.
Sets the intensity of the overdrive or distortion effect. Higher values produce more
distortion.
Device
Transistor, Vintage Tube, Distortion 1, Distortion 2, Fuzz.
Determines the basic sound of the distortion effect.
Common Effect
The crisp, tight distortion of an overdriven transistor amplifier.
Simulates the warm, relatively “soft” distortion produced by vacuum
tube amplifiers.
A traditional “stomp-box” type distortion unit, type 1.
A traditional “stomp-box” type distortion unit, type 2.
Early “fuzz boxes” produced this type of distortion — rough and
somewhat rude.
Transistor
Vintage Tube
Distortion 1
Distortion 2
Fuzz
50
Feature Reference
Edit Mode
R In
L In
R Out
L Out
Distortion
Output Level
0 100 %.
Sets the output level of the distortion sound. Higher values produce higher level.
Speaker
Flat, Stack, Combo, Twin, Radio, Megaphone.
Simulates a variety of speaker types and configurations via which the distortion
sound might be reproduced.
Distortion
No speaker — the sound of a “direct feed” to a recording or sound
reinforcement console.
The powerful, expansive sound of stacked speaker cabinets.
A single 12" speaker unit in an open-backed enclosure.
Two 12" speaker units in a relatively small open-backed enclosure.
The small, compressed, but pleasant tone of a radio receiver.
Constricted tone with emphasis on the middle frequencies.
Flat
Stack
Combo
Twin
Radio
Megaphone
Presence
-10 10.
Varies the “presence” or “brilliance” of the sound. Higher values produce more
presence and “punch”.
Distortion Effect Block Diagram
51
Feature Reference
Edit Mode
3: Feedback Delay
Delay Type
off, Mono, L,R, L,C,R.
Selects the type of effect to be produced by the Feedback Delay effect stage. The
effect types and their parameters are individually described on the following pages. No
effect parameters appear when the Feedback Delay effect stage is turned “off”.
Mono Delay
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Return
0 100 %.
Determines how much of the delayed sound is mixed with the direct sound. Higher
values produce higher delay sound levels.
The Mono delay effect produces a single delay sound which appears in
the center of the stereo sound field.
This variation provides independently programmable delays for the left
and right stereo channels.
Independent delays are provided for the left and right channels, plus a
center delay.
Mono
L,R
L, C, R
Common Effect
52
Feature Reference
Edit Mode
FB Delay Time
0 1024 ms.
Sets the delay time between repeats. The higher the value the longer the delay.
Use the VL7 “Time Calculation” function ( Page 57) to enter delay times
based on musical tempo and note lengths.
FB Gain
0 100 %.
Determines the amount of effect-sound feedback returned to the input of the delay
stage. Higher values produce a greater number of repeats.
High
0.1 1.0.
Produces a natural decay in the high-frequency components of subsequent repeats.
The lower the value the faster and more pronounced the drop-off in high-frequencies.
Delay Time
0 1024 ms.
Sets the delay time between the direct sound and the first repeat.
Use the VL7 “Time Calculation” function ( Page 57) to enter delay times
based on musical tempo and note lengths.
Level
0 100 %.
Sets the overall level of the delay sound. Higher values produce higher delay level.
Mono Delay
Time
Volume
Level
Direct Sound
FB Delay TimeDelay Time
FB Gain
Mono Delay Effect Block Diagram
R In
L In
R Out
L Out
Delay
53
Feature Reference
Edit Mode
L,R Delay
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Return
0 100 %.
Determines how much of the delayed sound is mixed with the direct sound. Higher
values produce higher delay sound levels.
Lch Delay Time
Rch Delay Time
0 512 ms.
Set the delay time between repeats. Independent parameters are provided for the left
(“Lch”) and right (“Rch”) channels.
Use the VL7 “Time Calculation” function ( Page 57) to enter delay times
based on musical tempo and note lengths.
Lch Level
Rch Level
0 100 %.
Set the overall level of the delay sound. Higher values produce higher delay level.
Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.
Lch FB Gain
Rch FB Gain
0 100 %.
Determine the amount of effect-sound feedback returned to the input of the delay
stage. Higher values produce a greater number of repeats. Independent parameters are
provided for the left (“Lch”) and right (“Rch”) channels.
Common Effect
54
Feature Reference
Edit Mode
R In
L In
R Out
L Out
Delay
Delay
Lch High
Rch High
0.1 1.0.
Produces a natural decay in the high-frequency components of subsequent repeats.
The lower the value the faster and more pronounced the drop-off in high-frequencies.
Independent parameters are provided for the left (“Lch”) and right (“Rch”) channels.
L,R Delay
L,R Delay Effect Block Diagram
55
Feature Reference
Edit Mode
L,C,R Delay
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Return
0 100 %.
Determines how much of the delayed sound is mixed with the direct sound. Higher
values produce higher delay sound levels.
FB Delay Time
0 1024 ms.
Sets the delay time between repeats. The higher the value the longer the delay.
Use the VL7 “Time Calculation” function ( Page 57) to enter delay times
based on musical tempo and note lengths.
FB Gain
0 100 %.
Determines the amount of effect-sound feedback returned to the input of the delay
stage. Higher values produce a greater number of repeats.
High
0.1 1.0.
Produces a natural decay in the high-frequency components of subsequent repeats.
The lower the value the faster and more pronounced the drop-off in high-frequencies.
Common Effect
56
Feature Reference
Edit Mode
R In
L In
R Out
L Out
Delay
L
C
R
Lch Delay Time
Cch Delay Time
Rch Delay Time
0 1024 ms.
Set the delay time between the direct sound and the first repeat. Independent param-
eters are provided for the left (“Lch”), center (“Cch”), and right (“Rch”) channels.
Use the VL7 “Time Calculation” function ( Page 57) to enter delay times
based on musical tempo and note lengths.
Lch Level
Cch Level
Rch Level
0 100 %.
Set the overall level of the delay sound. Higher values produce higher delay level.
Independent parameters are provided for the left (“Lch”), center (“Cch”), and right
(“Rch”) channels.
L,C,R Delay
L,C,R Delay Effect Block Diagram
57
Feature Reference
Edit Mode
Since the goal in producing a delay effect is often to match the delay time to a
musical time value, the VL7 includes a “time calculation” function that makes it easy to
convert standard note values to their corresponding delay times in milliseconds.
1. Select a Delay Time Parameter
Position the cursor at the delay time parameter you want to edit — “Calc” will
appear above the button.
2. Press
Press the function button (“Calc”). The “TIME CALCULATION” window
will appear.
3. Set the Required Tempo
Use the data dial or = and - buttons to specify the tempo you will be
playing at (quarter-note beats per minute). The delay time corresponding to one quarter
note at the specified tempo will appear, in milliseconds, below the selected tempo.
4. Select the Required Note Length
Use the £ through buttons to select the note length to which you want to
match the delay time. The corresponding delay time will appear, as in the preceding step.
5. Press [
Press the [ button. The “TIME CALCULATION” window will disappear and
the calculated delay time will automatically be entered for the delay time parameter (you
can also press ] to cancel this operation).
Musical Time Calculation
Common Effect
58
Feature Reference
Edit Mode
4: Reverberation
Reverb Type
off, Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse.
Selects the type of effect to be produced by the Reverb effect stage. Unlike the
preceding effect stages, the parameters are the same for all Reverb effect types. No effect
parameters appear when the Reverb effect stage is turned “off”.
A simulation of the reverbation characteristics of a fairly standard
concert hall.
This hall simulation produces a richer low-frequency reverb sound than
the Hall 1 program.
The ambience of a small room rather than a large hall. This effect is
ideal when you just want a subtle touch of ambience.
A larger room than the Room 1 simulation, with a correspondingly
“bigger” reverb sound.
In recording studios it is generally desirable to suppress low-frequency
reverberation without entirely 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 creating artificial reverberation that
capable of producing satisfactory results in the studio. This is a very
realistic simulation.
A diffuse reverberation of the type you might experience in an ex-
tremely large space.
In this effect the reverb sound plays in reverse, building up to
maximum level rather than decaying as normal.
Hall 1
Hall 2
Room 1
Room 2
Studio
Plate
Space
Reverse
59
Feature Reference
Edit Mode
Time
Level
Reverb
Boost
Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse
Use the ¡ (“>”) and (“<”) buttons to switch between the two pages
of effect parameters.
Return
0 100 %.
Determines how much of the reverb sound is mixed with the direct sound. Higher
values produce higher reverb sound levels.
Reverb Time
0.05 100.0 sec.
Sets the amount of time it takes for the reverb sound to decay by 60 dB (virtually to
silence).
Reverb Time Boost
0 10.
This parameter can be used to extend the tail end of the reverb sound. The higher
the value the greater the “boost”.
Common Effect
60
Feature Reference
Edit Mode
Time
Level
Reverb
Initial
Delay
Direct Sound
High Control
0.1 1.0.
Sets the reverb time of the high frequencies in relation to the overall reverb time.
Higher values produce longer high-frequency reverb times, gradually approaching the
overall reverb time.
Diffusion
0 10.
Adjusts the left-right “spread” of the reverb sound. The higher the value the greater
the spread.
Initial Delay
0 405 ms.
Sets the delay time before the reverb sound begins.
Feel
0 3.
Selects one of four variations in density or overall sound available for each of the
VL7’s reverb types.
Bass
-21 12.
Emphasizes the bass frequencies. The higher the value the greater the bass empha-
sis.
Treble
-21 12.
Emphasizes the treble frequencies. The higher the value the greater the treble
emphasis.
61
Feature Reference
Edit Mode
Reverb Effect Block Diagram
Common Effect
R In
L In
R Out
L Out
Reverb
62
Feature Reference
Edit Mode
Element Controller
ELEMENT
EFFECT
MODIFIER
ENVELOPE
MISCELLANEOUS
EDIT MODE
COMMON
CONTROLLER
MISCELLANEOUS
1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . 64
3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 71
9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
10: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 73
11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . 75
12; Harmonic Enhancer . . . . . . . . . . . . . . . . . . . 76
13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Pressing the button (“S&R”) from this page will take you to the
CONTROLLER SEARCH & REPLACE” window, allowing you to see
which controllers are assigned to which parameters, and to modify the
assignments as required ( Page 80).
63
Feature Reference
Edit Mode
1: Pressure
The button (“Fpag”) can be used to go directly the next Element Control-
ler page without having to return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Pressure” parameter 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 “Controller” parameter specifies the controller to be
used for pressure control. When set to “off” maximum pressure is applied at all times.
Please note that accurate keyboard pitch is produced only at maximum pres-
sure.
The actual pressure value applied to the VL7 tone generator is the product of
the pressure from the controller and that from the pressure envelope (
Page 127).
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to pressure. The
higher the value the greater the variation. Positive values cause an increase in pressure in
response to higher controller values (e.g. increased breath pressure or higher modulation
wheel position), while minus values cause a decrease in pressure in response to higher
controller values. The “Depth” setting is reflected in the graph to the right of the param-
eters — the horizontal axis represents the controller value and the vertical axis represents
pressure.
Curve
-16 16.
Determines the relationship between the controller value and pressure. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in pressure. 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. Negative curve values have the opposite effect: the sound changes
dramatically at low controller values while higher values produce relatively little effect.
The “Curve” setting is reflected in the graph to the right of the parameters — the
horizontal axis represents the controller value and the vertical axis represents pressure.
Element Controller
64
Feature Reference
Edit Mode
2: Embouchure
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Embouchure” parameter corresponds to 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. Affects both pitch and timbre. The “Con-
troller” parameter specifies the controller to be used for embouchure control. When
set to “off” medium embouchure is applied at all times.
Please note that accurate keyboard pitch is produced only at medium embou-
chure.
The actual embouchure value applied to the VL7 tone generator is a mix of
the embouchure from the controller and that from the embouchure and pitch
envelopes ( Page 128).
Upper Depth
-127 127.
Sets the amount of variation produced by the controller assigned to embouchure
when the controller is set to its maximum position (e.g. a modulation wheel rolled all the
way up). The higher the value the greater the variation. Positive values cause an increase
in embouchure in response to higher controller values, while minus values cause a
decrease in embouchure in response to higher controller values. The value of the “Lower
Depth” parameter, below, is automatically changed in response to changes in the “Up-
per Depth” value (the “Lower Depth” value is always negative when “Upper
Depth” is positive, and vice versa).
Lower Depth
-127 127.
Sets the amount of variation produced by the controller assigned to embouchure
when the controller is set to it minimum position (e.g. a modulation wheel rolled all the
way down). The higher the value the greater the variation. Positive values cause an
increase in embouchure in response to lower controller values, while minus values cause
a decrease in embouchure in response to lower controller values. Changing the value of
the “Lower Depth” parameter has no effect on the “Upper Depth” value. The
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Lower Depth” parameter is not available when the “Mode” parameter, below, is set
to “Minimum Base”.
Mode
Center Base, Minimum Base.
Selects the controller value (position) which will produce “normal” embouchure.
When set to “Center Base” a central controller position will produce normal embou-
chure, allowing both downward and upward variation. A setting of “Minimum Base
will produce normal embouchure when the controller is set to its minimum position,
allowing only upward variation.
Element Controller
3: Pitch
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Pitch” parameter changes the length of the air column or string, and thereby
the pitch of the sound. The “Controller” parameter specifies the controller to be used
for pitch control (normally this is “Pitch Bend — the VL7 PITCH wheel). When set
to “off” no pitch variation is produced.
The actual pitch value applied to the VL7 tone generator is a mix of the pitch
value from the controller and that from the embouchure and pitch envelopes
( Page 128).
For the same type of simple pitch control available in conventional synthesiz-
ers, assign only the Pitch parameter to controller you intend to use for pitch
control (normally the pitch bend wheel). For more natural, realistic pitch bend
effects, it is sometimes effective to assign both the Pitch and Embouchure
parameters to the same controller.
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Upper Depth
-12 12
Sets the amount of variation produced by the controller assigned to pitch when the
controller is set to its maximum position (e.g. a modulation wheel rolled all the way up).
The higher the value the greater the variation. Positive values cause an increase in pitch
in response to higher controller values, while minus values cause a decrease in pitch in
response to higher controller values. The value of the “Lower Depth” parameter,
below, is automatically changed in response to changes in the “Upper Depth” value
(the “Lower Depth” value is always negative when “Upper Depth” is positive, and
vice versa).
Lower Depth
-12 12
Sets the amount of variation produced by the controller assigned to pitch when the
controller is set to it minimum position (e.g. a modulation wheel rolled all the way
down). The higher the value the greater the variation. Positive values cause an increase in
pitch in response to lower controller values, while minus values cause a decrease in pitch
in response to lower controller values. Changing the value of the “Lower Depth
parameter has no effect on the “Upper Depth” value. The “Lower Depth” param-
eter is not available when the “Mode” parameter, below, is set to “Minimum Base”.
Mode
Center Base, Minimum Base.
Selects the controller value (position) which will produce normal pitch. When set to
Center Base” a central controller position will produce normal pitch, allowing both
downward and upward variation. A setting of “Minimum Base” will produce normal
pitch when the controller is set to its minimum position, allowing only upward variation.
Please note that accurate keyboard pitch is produced only when the “Mode
parameter is set to “Center Base”.
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4: Vibrato
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Vibrato parameter
page ( Page 133), also available from the ELEMENT ENVELOPE direc-
tory. You can then return to the controller vibrato page by pressing
(“Ctrl”) again.
Controller
off, Modulation Wheel Touch EG (124 settings).
This is essentially a standard vibrato (pitch modulation) effect. An extensive range
of parameters makes it possible to achieve extremely natural vibrato effects. The amounts
of vibrato applied via pitch and embouchure, for example, are independently programma-
ble. The “Controller” parameter specifies the controller to be used for vibrato depth
control. When set to “off” no vibrato can be applied.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to vibrato. The
higher the value the greater the variation. Positive values cause an increase in vibrato
depth in response to higher controller values (e.g. increased breath pressure or higher
modulation wheel position), while minus values cause a decrease in vibrato depth in
response to higher controller values.
No vibrato effect can be applied via any controller if the ELEMENT ENVE-
LOPE “Vibrato Depth”, “Depth to Embouchure”, or “Depth to
Pitch” parameters are set to “0” ( Page 133, 134).
Element Controller
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5: Tonguing
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Tonguing” parameter simulates the half-tonguing technique used by saxo-
phone players by changing the “slit” of the reed. The slit is the space between the tip of
the reed and the mouthpiece. The “Controller” parameter specifies the controller to
be used for tonguing control. When set to “off” no tonguing is applied.
Please note that accurate keyboard pitch is produced only when maximum
tonguing is applied or the tonguing controller is turned off.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to tonguing. The
higher the value the greater the variation. Positive values cause an decrease in tonguing in
response to higher controller values (e.g. increased breath pressure or higher modulation
wheel position), while minus values cause an increase in tonguing in response to higher
controller values. The “Depth” setting is reflected in the graph to the right of the param-
eters — the horizontal axis represents the controller value and the vertical axis represents
tonguing.
Curve
-16 16.
Determines the relationship between the controller value and tonguing. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in tonguing. 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. Negative curve values have the opposite effect: the sound changes
dramatically at low controller values while higher values produce relatively little effect.
The “Curve” setting is reflected in the graph to the right of the parameters — the
horizontal axis represents the controller value and the vertical axis represents tonguing.
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6: Amplitude
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
Unlike pressure, the “Amplitude” parameter controls the volume of the sound
without varying timbre. The “Controller” parameter specifies the controller to be
used for amplitude control. When set to “off” no amplitude control can be applied.
Amplitude control via this parameter actually occurs between the modifier
Dynamic Filter and Equalizer stages, the effect of the subsequent Impulse
Expander and Resonator stages is therefore not affected by the amplitude
setting. In contrast, amplitude control applied via MIDI volume control change
number (007) affects the sound level at the instrument’s output, and therefore
the total output from all modifier and effect stages.
The Amplitude parameter affects the level of the sound prior to the VL7 effect
stages, so it can be used to vary the amount of overdrive produced by the
distortion effect, for example ( Page 49).
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to amplitude. The
higher the value the greater the variation. Positive values cause an increase in amplitude
in response to higher controller values (e.g. increased breath pressure or higher modula-
tion wheel position), while minus values cause a decrease in amplitude in response to
higher controller values. The “Depth” setting is reflected in the graph to the right of the
parameters — the horizontal axis represents the controller value and the vertical axis
represents amplitude.
Curve
-16 16.
Determines the relationship between the controller value and amplitude. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in amplitude. As the curve value increases the lower end of the control-
ler range has relatively little effect on the sound while higher controller values produce
more dramatic changes. Negative curve values have the opposite effect: the sound
changes dramatically at low controller values while higher values produce relatively little
effect. The “Curve” setting is reflected in the graph to the right of the parameters — the
horizontal axis represents the controller value and the vertical axis represents amplitude.
Element Controller
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7: Scream
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Scream” parameter drives the entire system into chaotic oscillation, creating
effects that can only be achieved with physical modeling technology. The “Control-
ler” parameter specifies the controller to be used for scream control. When set to “off
no scream effect variation can be produced, but an absolute scream value can be set via
the “Value” parameter, below.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to scream. The
higher the value the greater the variation. Positive values cause an increase in scream
effect in response to higher controller values (e.g. increased breath pressure or higher
modulation wheel position), while minus values cause a decrease in scream effect in
response to higher controller values. The “Depth” setting is reflected in the graph to the
right of the parameters — the horizontal axis represents the controller value and the
vertical axis represents scream.
Curve
-16 16.
Determines the relationship between the controller value and scream. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in scream effect. 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. Negative curve values have the opposite effect: the
sound changes dramatically at low controller values while higher values produce rela-
tively little effect. The “Curve” setting is reflected in the graph to the right of the
parameters — the horizontal axis represents the controller value and the vertical axis
represents scream.
Value
0 127.
Determines the amount of scream effect produced when the “Controller
parameter is set to “off”. The higher the value the greater the effect.
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8: Breath Noise
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Breath Noise
parameter page ( Page 84), also available from the ELEMENT MISCEL-
LANEOUS directory. You can then return to the controller Breath Noise page
by pressing (“Ctrl”) again.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Breath Noise” parameter can be used to add the required amount of breath
noise to a voice. The sound of the breath noise itself can be varied over a wide range
using the Breath Noise parameters — accessible from this page by pressing the
button, or from the ELEMENT MISCELLANEOUS directory. The “Controller
parameter specifies the controller to be used for breath noise control. When set to “off
no breath noise variation can be produced, but an absolute breath noise value can be set
via the “Value” parameter, below.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to breath noise.
The higher the value the greater the variation. Positive values cause an increase in breath
noise in response to higher controller values (e.g. increased breath pressure or higher
modulation wheel position), while minus values cause a decrease in breath noise in
response to higher controller values. The “Depth” setting is reflected in the graph to the
right of the parameters — the horizontal axis represents the controller value and the
vertical axis represents breath noise.
Curve
-16 16.
Determines the relationship between the controller value and breath noise. When set
to “0” the relationship is linear. That is, a change in the controller value produces a
corresponding change in breath noise. 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. Negative curve values have the opposite effect: the
sound changes dramatically at low controller values while higher values produce rela-
Element Controller
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tively little effect. The “Curve” setting is reflected in the graph to the right of the
parameters — the horizontal axis represents the controller value and the vertical axis
represents breath noise.
Value
0 127.
Determines the amount of breath noise produced when the “Controller” param-
eter is set to “off”. The higher the value the greater the effect.
No breath noise can be applied via any controller if the ELEMENT MISCEL-
LANEOUS Breath Noise page “Level” parameter is set to “0” or the “Con-
trol Balance” parameter is set to “63” ( Page 84).
9: Growl
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Growl parameter
page ( Page 139), also available from the ELEMENT ENVELOPE direc-
tory. You can then return to the controller Growl page by pressing
(“Ctrl”) again.
Controller
off, Modulation Wheel Touch EG (124 settings).
The “Growl” parameter produces a periodic pressure modulation which produces
the “growl” effect often heard in wind instruments. An extensive range of parameters
allow remarkably realistic effects. The “Controller” parameter specifies the controller
to be used for growl control. When set to “off” no growl variation can be produced, but
an absolute growl value can be set via the “Value” parameter, below.
Depth
-127 127.
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
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effect in response to higher controller values (e.g. increased breath pressure or higher
modulation wheel position), while minus values cause a decrease in growl effect in
response to higher controller values. The “Depth” setting is reflected in the graph to the
right of the parameters — the horizontal axis represents the controller value and the
vertical axis represents growl.
Curve
-16 16.
Determines the relationship between the controller value and growl. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in growl. 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. Negative curve values have the opposite effect: the sound changes
dramatically at low controller values while higher values produce relatively little effect.
The “Curve” setting is reflected in the graph to the right of the parameters — the
horizontal axis represents the controller value and the vertical axis represents growl.
Value
0 127.
Determines the amount of growl effect produced when the “Controller” param-
eter is set to “off”. The higher the value the greater the effect.
No growl effect can be applied via any controller if the ELEMENT ENVE-
LOPE Growl page “Depth to Pres” and “Depth to BNois” param-
eters are set to “0”, or the ELEMENT MISCELLANEOUS Breath Noise page
Level” parameter is set to “0” or the “Control Balance” parameter is
set to “63”. ( Page 139, 84).
Element Controller
10: Throat Formant
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Throat Formant
parameter page ( Page 89), also available from the ELEMENT MISCEL-
LANEOUS directory. You can then return to the controller Throat Formant
page by pressing (“Ctrl”) again.
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Controller
off, Modulation Wheel Touch EG (124 settings).
The “Throat Formant” parameter controls the characteristics of the simulated
player’s lungs, trachea, and oral cavity. Can add a realistic “roughness” to the sound.
The “Controller” parameter specifies the controller to be used for throat formant
control. When set to “off” no throat formant variation can be produced, but an absolute
throat formant value can be set via the “Value” parameter, below.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to throat formant.
The higher the value the greater the variation. Positive values cause an increase in throat
formant effect in response to higher controller values (e.g. increased breath pressure or
higher modulation wheel position), while minus values cause a decrease in throat formant
effect in response to higher controller values. The “Depth” setting is reflected in the
graph to the right of the parameters — the horizontal axis represents the controller value
and the vertical axis represents throat formant depth.
Curve
-16 16.
Determines the relationship between the controller value and throat formant depth.
When set to “0” the relationship is linear. That is, a change in the controller value
produces a corresponding change in throat formant depth. 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. Negative curve values have the oppo-
site effect: the sound changes dramatically at low controller values while higher values
produce relatively little effect. The “Curve” setting is reflected in the graph to the right
of the parameters — the horizontal axis represents the controller value and the vertical
axis represents throat formant depth.
Value
0 127.
Determines the amount of throat formant effect produced when the “Control-
ler” parameter is set to “off”. The higher the value the greater the effect.
No throat formant effect can be applied via any controller if the ELEMENT
MISCELLANEOUS Throat Formant page “Amount” or “Intensity
parameters are set to “0” ( Page 89, 90).
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11: Dynamic Filter
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Dynamic Filter
parameter page ( Page 113), also available from the ELEMENT MODI-
FIER directory. You can then return to the controller Dynamic Filter page by
pressing (“Ctrl”) again.
Controller
off, Modulation Wheel Touch EG (124 settings).
The VL7 dynamic filter has selectable high-pass, bandpass, band elimnination, and
low-pass modes. The “Controller” parameter specifies the controller to be used for
filter cutoff frequency control. When set to “off” no filter frequency variation can be
applied via a controller.
The actual dynamic filter frequency value applied to the VL7 tone generator is
a mix of the value from the controller, the value from the Dynamic Filter
parameter page, and that from the amplitude & filter envelope ( Page 113,
141).
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to dynamic filter.
The higher the value the greater the variation. Positive values cause an increase in filter
cutoff frequency in response to higher controller values (e.g. increased breath pressure or
higher modulation wheel position), while minus values cause a decrease in filter cutoff
frequency in response to higher controller values. The “Depth” setting is reflected in the
graph to the right of the parameters — the horizontal axis represents the controller value
and the vertical axis represents filter cutoff frequency.
Curve
-16 16.
Determines the relationship between the controller value and dynamic filter cutoff
frequency. When set to “0” the relationship is linear. That is, a change in the controller
value produces a corresponding change in frequency. 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. Negative curve values have the oppo-
Element Controller
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site effect: the sound changes dramatically at low controller values while higher values
produce relatively little effect. The “Curve” setting is reflected in the graph to the right
of the parameters — the horizontal axis represents the controller value and the vertical
axis represents filter cutoff frequency.
No dynamic filter frequency variation can be applied via any controller if the
ELEMENT MODIFIER Dynamic Filter page “Balance” parameter is set to
-64” ( Page 114).
12: Harmonic Enhancer
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
The button (“Para”) can be used to go directly to the Harmonic En-
hancer parameter page ( Page 105), also available from the ELEMENT
MODIFIER directory. You can then return to the controller Harmonic En-
hancer page by pressing (“Ctrl”) again.
Controller
off, Modulation Wheel Touch EG (124 settings).
The Harmonic Enhancer can vary the harmonic structure of the sound over a wide
range. The “Controller” parameter specifies the controller to be used for harmonic
enhancer depth (wet/dry balance) control. When set to “off” no harmonic enhancer
depth variation can be applied via a controller.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to the harmonic
enhancer. The higher the value the greater the variation. Positive values cause an increase
in harmonic enhancer depth in response to higher controller values (e.g. increased breath
pressure or higher modulation wheel position), while minus values cause a decrease in
harmonic enhancer depth in response to higher controller values. The “Depth” setting is
reflected in the graph to the right of the parameters — the horizontal axis represents the
controller value and the vertical axis represents harmonic enhancer depth.
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Curve
-16 16.
Determines the relationship between the controller value and harmonic enhancer
depth. When set to “0” the relationship is linear. That is, a change in the controller value
produces a corresponding change in harmonic enhancer depth. As the curve value in-
creases the lower end of the controller range has relatively little effect on the sound while
higher controller values produce more dramatic changes. Negative curve values have the
opposite effect: the sound changes dramatically at low controller values while higher
values produce relatively little effect. The “Curve” setting is reflected in the graph to
the right of the parameters — the horizontal axis represents the controller value and the
vertical axis represents harmonic enhancer depth.
No harmonic enhancer variation can be applied via any controller if the
ELEMENT MODIFIER Harmonic Enhancer page “Balance” parameter is
set to “-64” ( Page 106).
Element Controller
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13: Damping
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Element Controller page without having to
return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
Simulates the effect of damping due to losses within the body of a wind instrument
or in a string due to air friction. Affects both pitch and timbre. The “Controller
parameter specifies the controller to be used for damping control. When set to “off” no
damping variation can be applied via a controller.
Please note that accurate keyboard pitch is produced only when damping is
maximum.
Depth
-127 127.
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. The “Depth” setting is reflected in the graph to the right of the param-
eters — the horizontal axis represents the controller value and the vertical axis represents
damping.
Curve
-16 16.
Determines the relationship between the controller value and damping. When set to
0” the relationship is linear. That is, a change in the controller value produces a corre-
sponding change in damping. 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. Negative curve values have the opposite effect: the sound changes
dramatically at low controller values while higher values produce relatively little effect.
The “Curve” setting is reflected in the graph to the right of the parameters — the
horizontal axis represents the controller value and the vertical axis represents damping.
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14: Absorption
The § button (“Bpag”) can be used to go directly back to the next Element
Controller page without having to return to the directory.
Controller
off, Modulation Wheel Touch EG (124 settings).
The absorption parameter simulates the effect of high-frequency loss at the end of
the air column or string. The “Controller” parameter specifies the controller to be
used for absorption control. When set to “off” no absorption variation can be applied
via a controller.
Please note that accurate keyboard pitch is produced only at when absorption
is maximum.
Depth
-127 127.
Sets the amount of variation produced by the controller assigned to absorption. The
higher the value the greater the variation. Positive values cause a decrease in absorption
in response to higher controller values (e.g. increased breath pressure or higher modula-
tion wheel position), while minus values cause an increase in absorption in response to
higher controller values. The “Depth” setting is reflected in the graph to the right of the
parameters — the horizontal axis represents the controller value and the vertical axis
represents absorption.
Curve
-16 16.
Determines the relationship between the controller value and absorption. When set
to “0” 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. Negative curve values have the opposite effect: the
sound changes dramatically at low controller values while higher values produce rela-
tively little effect. The “Curve” setting is reflected in the graph to the right of the
parameters — the horizontal axis represents the controller value and the vertical axis
represents absorption.
Element Controller
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Controller Search & Replace
This function is accessed by pressing the button (“S&R”) from the element
controller directory page. It provides a fast, convenient way to see which controllers are
assigned to which parameters, and to modify the assignments as required.
1. Select the Controller Search & Replace Window
From the element controller directory page, press .
2. Select a Controller
When the “CONTROLLER SEARCH & REPLACE” window appears, use the §
and buttons (“Prev” and “Next”) to search through the assigned controllers (unas-
signed controllers are not displayed). All parameters assigned to the selected controller
are displayed below the controller name (or number).
In this example, only the Harmonic Enhancer parameter is assigned to the
Foot Controller:
In the following example both Pitch and Scream are assigned to the Pitch bend
wheel.
3. Make a New Assignment As Required
You can assign a different controller to the parameters shown by using the data dial
or = and - buttons — without cancelling the original assignments. When a
different controller is selected the controller name will flash and any other parameters
assigned to that controller will appear in non-highlighted text.
Here, for example, the Pitch Bend controller shown in the previous example
has been replaced with the Breath Attack controller, which is currently as-
signed to the Breath Noise.
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Element Controller
4. Press [ to Confirm the new Assignment
When you’re satisfied with the new assignment press the [ button. The
controller name will stop flashing and all assigned parameters will appear in highlighted
text (or you can press the ] button to cancel the operation and return to the element
controller directory).
5. Exit When Done
Press the ] button when you’re ready to return to the element controller direc-
tory.
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ELEMENT
CONTROLLER
MODIFIER
ENVELOPE
EDIT MODE
COMMON
EFFECT
MISCELLANEOUS
MISCELLANEOUS
Element Miscellaneous
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 84
2-1: Breath Noise Level Key Scaling . . . . . . . . 86
2-2: Breath Noise HPF Key Scaling . . . . . . . . . 87
2-3: Breath Noise LPF Key Scaling . . . . . . . . . . 88
3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . . 89
3-1: Throat Formant Pitch Key Scaling . . . . . . 91
3-2: Throat Formant Amount Key Scaling . . . . 92
3-3: Throat Formant Intensity Key Scaling . . . . 93
3-4: Throat Formant HPF Key Scaling . . . . . . . 94
3-5: Throat Formant LPF Key Scaling . . . . . . . 95
4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
4-1: Mixing Driver Output Key Scaling . . . . . . . 98
4-2: Mixing Pipe/String Output Key Scaling . . . 99
4-3: Mixing Tap Output Key Scaling . . . . . . . . 100
4-4: Mixing Tap Location Key Scaling . . . . . . 101
5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
5-1: Amplitude Level Key Scaling . . . . . . . . . . 102
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Element Miscellaneous
1: Setting
Trigger Mode
Single, Multi.
Determines how the attack portion of the sound will be triggered.
The “Single” setting makes it easy to produce the “hammering on” and “pull-
ing off” type effects used by guitar players, for example.
Xfade Speed
Fastest, 0.09msec 390msec.
Simulates the naturally slow note-to-note transitions of acoustic instruments. The
slight “slur” that occurs between notes on wind instruments with tone holes is one exam-
ple. The “Fastest” setting produces the fastest, most synthesizer-like transition be-
tween subsequently-played notes. The higher the value, the longer the transition. Nor-
mally, as setting somewhere between 1 and 2 milliseconds produces the most natural
sound.
Interpolate Speed
Fastest, 0.09msec 6.35msec.
Determines the response time of the VL7 to control changes — Pressure, Ampli-
tude, etc. The higher the value the faster the response (e.g. the slower the attack when
pressure is applied). Normally, as setting somewhere between 1 and 2 milliseconds
produces the most natural sound. Decay-type voices sound best a somewhat shorter value.
If a note is played on the keyboard, then a subsequent note or notes
are played while the first key is still held, no attack is produced.
The attack is always reproduced regardless of whether a previous key
is held or not.
Single
Multi
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Feature Reference
Edit Mode
2: Breath Noise
The button (“Ctrl”) can be used to go directly to the breath noise
controller page ( Page 71), also available from the ELEMENT CON-
TROLLER directory. You can then return to the miscellaneous breath noise
page by pressing (“Para”) again.
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the breath noise parameter page by pressing the ]
button.
Level
0 127.
Sets the level (volume) of the breath noise sound. The higher the value the higher
the level.
If this parameter is set to “0”, no breath noise can be applied via a controller.
Slit Drive
0 32.
Breath noise is produced at the “slit” portion of the VL7’s physical model (in a reed
instrument, the space between the reed and the mouthpiece). This parameter determines
the intensity of the breath noise. The smaller the value the more intense and rough the
breath noise.
Ctrl Balance
-64 63.
Sets the balance between two factors that determine the overall level of the breath
noise: “Ctrl” is the amount of control applied via the controller assigned to breath noise,
and “Slit” is the amount of breath noise produced by the slit. The graphic slider to the
right of the parameter provides a visual indication of the current balance.
If this parameter is set to “63”, no breath noise can be applied via a controller.
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Feature Reference
Edit Mode
HPF Cutoff Frq
31.1 Hz 21.6 kHz.
Sets the cutoff frequency of the breath noise high-pass filter. Noise components
below the specified frequency are cut off.
LPF Cutoff Frq
31.1 Hz 24.0 kHz.
Sets the cutoff frequency of the breath noise low-pass filter. Noise components
above the specified frequency are cut off.
Virtually no breath noise sound will be produced if the high-pass filter is set
to a higher cutoff frequency than the low-pass filter.
Key On Reset
off, on.
Determines the feel of the breath noise attack.
Element Miscellaneous
The noise generator is reset for each note, resulting in the same breath
noise attack feel for each note played.
The noise generator is not reset for each note, result in a different, and
therefore natural, attack feel for each note played.
on
off
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Feature Reference
Edit Mode
2-1: Breath Noise Level Key Scalling
Breath noise level key scaling produces natural breath noise level variations across
the range of the keyboard by allowing different level offset values to be applied to each
of six breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly the next breath noise key
scaling page without having to return to the main parameter page.
Level
0 127.
The “Level” parameter is linked to the main breath noise “Level” parameter, and
sets the level (volume) of the breath noise sound. The higher the value the higher the
level. This value also determines the main level on which all key-scaled variations are
based (indicated by a dotted line on the graph).
Breakpoint 1 … 6 Key
C-2 G8.
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 6 Offset
-64 63.
Set the amount of level offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the level, and positive values increase the
level at the corresponding breakpoint. No matter what offset value is chosen, the actual
level will never exceed its minimum or maximum absolute value. When different offset
values are applied to adjacent breakpoints, the level varies smoothly between the break-
points.
If two breakpoints are
set to the same note, the
lower one functions as the
end of the key scaling
segment connecting to the
next lowest breakpoint
while the higher one
functions as the end of the
segment connecting to the
next highest breakpoint.
Further, the higher
breakpoint applies to the
specified note while the
lower one actually applies
to the next note to its left.
If more than two break-
points are set to the same
note, only the lowest and
highest of these will
function as ends of the
corresponding key scaling
segments while the rest
are ignored.
BP3
BP2
BP4
BP1
BP5
C2 C3 C4
NOTES
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Feature Reference
Edit Mode
2-2: Breath Noise HPF Key Scalling
Element Miscellaneous
Breath noise HPF key scaling produces natural breath noise tone variations across
the range of the keyboard by allowing different cutoff frequency offset values to be
applied to each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next breath noise key scaling page without having
to return to the main parameter page.
HPF
31.1 Hz 21.6 kHz.
The “HPF” parameter is linked to the main breath noise “HPF Cutoff Frq
parameter, and sets the cutoff frequency of the breath noise high-pass filter. Noise com-
ponents below the specified frequency are cut off. This value also determines the main
cutoff frequency on which all key-scaled variations are based (indicated by a dotted line
on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
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Feature Reference
Edit Mode
2-3: Breath Noise LPF Key Scalling
Breath noise LPF key scaling produces natural breath noise tone variations across
the range of the keyboard by allowing different cutoff frequency offset values to be
applied to each of two breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly back to the next breath
noise key scaling page without having to return to the main parameter page.
LPF
31.1 Hz 24.0 kHz.
The “LPF” parameter is linked to the main breath noise “LPF Cutoff Frq
parameter, and sets the cutoff frequency of the breath noise low-pass filter. Noise compo-
nents above the specified frequency are cut off. This value also determines the main
cutoff frequency on which all key-scaled variations are based (indicated by a dotted line
on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
89
Feature Reference
Edit Mode
3: Throat Formant
The button (“Ctrl”) can be used to go directly to the throat formant
controller page ( Page 73), also available from the ELEMENT CON-
TROLLER directory. You can then return to the miscellaneous throat formant
page by pressing (“Para”) again.
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the throat formant parameter page by pressing the
] button.
Pitch Tracking
Fixed, KeyTrack.
Determines whether the throat formant pitch is fixed or tracks the keyboard.
Element Miscellaneous
The throat formant is fixed at the pitch specified by the “Pitch
parameter, below.
The pitch of the throat formant tracks the note(s) played on the
keyboard, offset by the amount specified by the “Pitch” parameter,
below.
Fixed
KeyTrack
Pitch
23.1 Hz 48.0 kHz (when "Fixed" and "Intens"
0).
11.4 Hz 24.0 kHz (when "Fixed" and "Intens" < 0).
-2.00oct 1.98oct (when "KeyTrack").
When the “Pitch Tracking” parameter is set to “Fixed”, this parameter sets
the throat formant pitch to a specific frequency. When “Pitch Tracking” is set to
KeyTrack”, however, this parameter determines how much the throat formant pitch is
offset from the pitch of the key played in octave units. In the latter case negative values
offset the throat formant pitch below the pitch of the key played, while positive values
offset the throat formant pitch above that of the key played.
Amount
-64 63.
Determines the amount of effect the throat formant sound has on the air velocity
within the instrument. Positive values increase the air velocity, thereby increasing the
throat formant effect. Minus values decrease the air velocity, producing a more subtle
throat formant effect.
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Feature Reference
Edit Mode
If this parameter is set to “0”, no throat formant effect can be applied via a
controller.
Intens
-127 127.
Sets the intensity of the throat formant effect. Higher values in both the positive and
negative ranges increase the intensity of the throat formant effect.
If this parameter is set to “0”, no throat formant effect can be applied via a
controller.
HPF Cutoff Frq
31.1 Hz 21.6 kHz.
Sets the cutoff frequency of the throat formant high-pass filter. Noise components
below the specified frequency are cut off.
LPF Cutoff Frq
31.1 Hz 24.0 kHz.
Sets the cutoff frequency of the throat formant low-pass filter. Noise components
above the specified frequency are cut off.
Virtually no throat formant sound will be produced if the high-pass filter is set
to a higher cutoff frequency than the low-pass filter.
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Feature Reference
Edit Mode
Throat formant pitch key scaling produces natural throat formant pitch variations
across the range of the keyboard by allowing different pitch offset values to be applied to
each of four breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly the next throat formant
key scaling page without having to return to the main parameter page.
Pitch
23.1 Hz 48.0 kHz (when “Fixed” and “Intens”
0).
11.4 Hz 24.0 kHz (when “Fixed” and “Intens” < 0).
-2.00oct 1.98oct (when “KeyTrack”).
The “Pitch” parameter is linked to the main throat formant “Pitch” parameter,
and has the same effect. When the “Pitch Tracking” parameter is set to “Fixed”,
this parameter sets the throat formant pitch to a specific frequency. When “Pitch
Tracking” is set to “KeyTrack”, however, this parameter determines how much the
throat formant pitch is offset from the pitch of the key played in octave units. In the latter
case negative values offset the throat formant pitch below the pitch of the key played,
while positive values offset the throat formant pitch above that of the key played. This
value also determines the main pitch on which all key-scaled variations are based (indi-
cated by a dotted line on the graph).
Breakpoint 1 … 4 Key
C-2 G8.
Allows four separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 4 Offset
-127 127.
Set the amount of pitch offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values lower the pitch, and positive values raise the
pitch at the corresponding breakpoint. No matter what offset value is chosen, the actual
pitch will never exceed its minimum or maximum absolute value. When different offset
values are applied to adjacent breakpoints, the pitch varies smoothly between the break-
points.
3-1: Throat Formant Pitch Key Scalling
Element Miscellaneous
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Feature Reference
Edit Mode
3-2: Throat Formant Amount Key Scalling
Throat formant amount key scaling produces natural throat formant variations across
the range of the keyboard by allowing different amount offset values to be applied to
each of four breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next throat formant key scaling page without
having to return to the main parameter page.
Amount
-64 63.
The “Amount” parameter is linked to the main throat formant “Amount” param-
eter, and determines the amount of effect the throat formant sound has on the air velocity
within the instrument. Positive values increase the air velocity, thereby increasing the
throat formant effect. Minus values decrease the air velocity, producing a more subtle
throat formant effect.
This value also determines the main amount value on which all key-scaled variations are
based (indicated by a dotted line on the graph).
Breakpoint 1 … 4 Key
C-2 G8.
Allows four separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 4 Offset
-64 63.
Set the amount offset for each of the breakpoints defined by the breakpoint key
parameters, above. Negative values reduce the amount, and positive values increase the
amount at the corresponding breakpoint. No matter what offset value is chosen, the actual
amount will never exceed its minimum or maximum absolute value. When different
offset values are applied to adjacent breakpoints, the amount varies smoothly between the
breakpoints.
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Feature Reference
Edit Mode
Throat formant intensity key scaling produces natural throat formant intensity
variations across the range of the keyboard by allowing different intensity offset values to
be applied to each of four breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next throat formant key scaling page without
having to return to the main parameter page.
Intens
-127 127.
The “Intens” parameter is linked to the main throat formant “Intens” param-
eter, and sets the intensity of the throat formant effect. Higher values in both the positive
and negative ranges increase the intensity of the throat formant effect. This value also
determines the main intensity value on which all key-scaled variations are based (indi-
cated by a dotted line on the graph).
Breakpoint 1 … 4 Key
C-2 G8.
Allows four separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 4 Offset
-127 127.
Set the amount of intensity offset for each of the breakpoints defined by the break-
point key parameters, above. Negative values reduce the intensity, and positive values
increase the intensity at the corresponding breakpoint. No matter what offset value is
chosen, the actual intensity will never exceed its minimum or maximum absolute value.
When different offset values are applied to adjacent breakpoints, the intensity varies
smoothly between the breakpoints.
3-3: Throat Formant Intensity Key Scalling
Element Miscellaneous
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Feature Reference
Edit Mode
3-4: Throat Formant HPF Key Scalling
Throat formant HPF key scaling produces natural throat formant tone variations
across the range of the keyboard by allowing different cutoff frequency offset values to
be applied to each of three breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next throat formant key scaling page without
having to return to the main parameter page.
HPF
31.1 Hz 21.6 kHz.
The “HPF” parameter is linked to the main throat formant “HPF Cutoff Freq
parameter, and sets the cutoff frequency of the throat formant high-pass filter. Compo-
nents above the specified frequency are cut off. This value also determines the main
cutoff frequency on which all key-scaled variations are based (indicated by a dotted line
on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
95
Feature Reference
Edit Mode
3-5: Throat Formant LPF Key Scalling
Throat formant LPF key scaling produces natural throat formant tone variations
across the range of the keyboard by allowing different cutoff frequency offset values to
be applied to each of three breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly back to the next throat
formant key scaling page without having to return to the main parameter page.
LPF
31.1 Hz 24.0 kHz.
The “LPF” parameter is linked to the main throat formant “LPF Cutoff Freq
parameter, and sets the cutoff frequency of the throat formant low-pass filter. Compo-
nents above the specified frequency are cut off. This value also determines the main
cutoff frequency on which all key-scaled variations are based (indicated by a dotted line
on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
Element Miscellaneous
96
Feature Reference
Edit Mode
4: Mixing
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the mixing parameter page by pressing the ]
button.
Driver Output
0 127.
Adjusts the level of the instrument’s “driver” output. The “Driver” signal is the
direct output from the mouthpiece (or bow/string interface) without the resonance of the
instrument’s body. The higher the value the higher the output.
Pipe/String Output
0 127.
Adjusts the main output from the instrument’s pipe or string. The higher the value
the higher the output.
Tap Output
0 127.
By “tapping” the output from a specific point along the instrument’s pipe or string
and mixing that signal with the Driver and Pipe/String signals, a range of variations can
be produced. This parameter adjusts the tap output. The higher the value the higher the
output.
Tap Sign
-, +.
Sets the phase of the tap signal: “+” for positive or normal phase, “-” for negative
or inverse phase.
Tap Setting
Variable, Driving Point.
When set to “Driving Point” the tap location is fixed at the instrument’s
driving point (mouthpiece or bow/string interface). When set to “Variable” the tap
location is determined by the “Tap Location” parameter, below.
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Feature Reference
Edit Mode
Tap Location
0 99.2 %.
This parameter only appears when the “Tap Setting” parameter is set to
Variable”, and is used to set the location of the tap at an appropriate point along the
instrument’s pipe or string.
Element Miscellaneous
Modifiers
Mixing
Pipe/String
Driver
Driver Signal
Pipe/Strings Signal
Tap
Signal
Driver signal to
Harmonic Enhancer
Mixed
Output
Output
98
Feature Reference
Edit Mode
4-1: Mixing Driver Output Key Scalling
Mixing driver output key scaling produces natural timbre variations across the range
of the keyboard by allowing different driver output offset values to be applied to each of
six breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly the next throat formant
key scaling page without having to return to the main parameter page.
DrivOut
0 127.
The “DrivOut” parameter is linked to the main mixing “Driver Output
parameter, and has the same effect. This value also determines the main output level on
which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 … 6 Key
C-2 G8.
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 6 Offset
-64 63.
Set the amount of output offset for each of the breakpoints defined by the break-
point key parameters, above. Negative values reduce the output, and positive values
increase the output at the corresponding breakpoint. No matter what offset value is
chosen, the actual output level will never exceed its minimum or maximum absolute
value. When different offset values are applied to adjacent breakpoints, the output varies
smoothly between the breakpoints.
99
Feature Reference
Edit Mode
4-2: Mixing Pipe/String Output Key Scalling
Mixing pipe/string output key scaling produces natural timbre variations across the
range of the keyboard by allowing different pipe/string output offset values to be applied
to each of six breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next mixing key scaling page without having to
return to the main parameter page.
P/S Out
0 127.
The “P/S Out” parameter is linked to the main mixing “Pipe/String Out-
put” parameter, and has the same effect. This value also determines the main output
level on which all key-scaled variations are based (indicated by a dotted line on the
graph).
Breakpoint 1 … 6 Key
C-2 G8.
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 6 Offset
-64 63.
Set the amount of output offset for each of the breakpoints defined by the break-
point key parameters, above. Negative values reduce the output, and positive values
increase the output at the corresponding breakpoint. No matter what offset value is
chosen, the actual output level will never exceed its minimum or maximum absolute
value. When different offset values are applied to adjacent breakpoints, the output varies
smoothly between the breakpoints.
Element Miscellaneous
100
Feature Reference
Edit Mode
4-3: Mixing Tap Output Key Scalling
Mixing tap output key scaling produces natural timbre variations across the range of
the keyboard by allowing different tap output offset values to be applied to each of six
breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next mixing key scaling page without having to
return to the main parameter page.
Tap Output Key Scaling has no effect when the main Mixing page “Tap
Setting” parameter is set to “Driving Point”.
TapOut
0 127.
The “TapOut” parameter is linked to the main mixing “Tap Output” parameter,
and has the same effect. This value also determines the main output level on which all
key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 … 6 Key
C-2 G8.
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 6 Offset
-64 63.
Set the amount of output offset for each of the breakpoints defined by the break-
point key parameters, above. Negative values reduce the output, and positive values
increase the output at the corresponding breakpoint. No matter what offset value is
chosen, the actual output level will never exceed its minimum or maximum absolute
value. When different offset values are applied to adjacent breakpoints, the output varies
smoothly between the breakpoints.
101
Feature Reference
Edit Mode
4-4: Mixing Tap Location Key Scalling
Mixing tap location key scaling produces natural timbre variations across the range
of the keyboard by allowing different tap location offset values to be applied to each of
six breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly back to the next mixing
key scaling page without having to return to the main parameter page.
Tap Location Key Scaling has no effect when the main Mixing page “Tap
Setting” parameter is set to “Driving Point”.
TapLoc
0 99.2%.
The “TapLoc” parameter is linked to the main mixing “Tap Location” param-
eter, and has the same effect. This value also determines the main tap location on which
all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 … 6 Key
C-2 G8.
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 6 Offset
-64 63.
Set the amount of tap location offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the tap location value, and
positive values increase the tap location value at the corresponding breakpoint. No matter
what offset value is chosen, the actual tap location will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the tap location varies smoothly between the breakpoints.
Element Miscellaneous
102
Feature Reference
Edit Mode
5: Amplitude
Key scaling can be applied to the Amplitude Level parameter. Press the
button (“KSC”) to go directly to the key scaling page. You can return to the
amplitude parameter page by pressing the ] button.
Amplitude Level
0 127.
Sets the final output level after mixing. The higher the value the higher the level.
5-1: Amplitude Level Key Scaling
Amplitude level key scaling produces natural level variations across the range of the
keyboard by allowing different level offset values to be applied to each of eight break-
points set at appropriate keys.
Level
0 127.
The “Level” parameter is linked to the main amplitude “Amplitude Level
parameter, and sets the final output level after mixing. The higher the value the higher the
level. This value also determines the main level on which all key-scaled variations are
based (indicated by a dotted line on the graph).
103
Feature Reference
Edit Mode
Breakpoint 1 … 8 Key
C-2 G8.
Allows eight separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
(indicated by a dotted line on the graph).
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 8 Offset
-64 63.
Set the amount of level offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the level, and positive values increase the
level at the corresponding breakpoint. No matter what offset value is chosen, the actual
level will never exceed its minimum or maximum absolute value. When different offset
values are applied to adjacent breakpoints, the level varies smoothly between the break-
points.
Element Miscellaneous
104
Feature Reference
Edit Mode
Element Modifier
ELEMENT
EFFECT
ENVELOPE
MISCELLANEOUS
EDIT MODE
COMMON
MISCELLANEOUS
CONTROLLER
MODIFIER
1: Harmonic Enhancer . . . . . . . . . . . . . . . . . . . 105
1-1: Harmonic Enhancer HPF Key Scaling . . . 108
1-2: Harmonic Enhancer
Overdrive Key Scaling
109
1-3: Harmonic Enhancer Carrier Level Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . 110
1-4: Harmonic Enhancer Modulator Index Key
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . 111
1-5: Harmonic Enhancer Balance Key Scaling 112
2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . 113
2-1: Dynamic Filter Cutoff Key Scaling . . . . . . 115
2-2: Dynamic Filter Resonance Key Scaling . . 116
3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . . 117
3-1: Equalizer Auxiliary HPF Key Scaling . . . . 118
3-2: Equalizer Auxiliary LPF Key Scaling . . . . 119
4: Equlizer Band . . . . . . . . . . . . . . . . . . . . . . . . 120
5: Impulse Expander & Resonator Setting . . . 121
6: Impulse Expander . . . . . . . . . . . . . . . . . . . . 123
7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
105
Feature Reference
Edit Mode
Element Modifier
1: Harmonic Enhancer
The Harmonic Enhancer has both a “Carrier” and “Modulator” block, as
shown in the block diagram below. Each has its own parameters and therefore
two separate parameter pages are provided. Press the ¡ button (“Crr”) to
select the carrier parameter page or (“Mod”) to select the modulator
parameter page.
The button (“Ctrl”) can be used to go directly to the harmonic enhancer
controller page ( Page 76), also available from the ELEMENT CON-
TROLLER directory. You can then return to the modifier harmonic enhancer
page by pressing (“Para”) again.
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the harmonic enhancer parameter page by pressing the
] button.
Carrier Parameters
Modulator Parameters
Driver,
pipe/string,
and tap sound.
Modulator
Source.
Carrier
Source.
Out
(to Dynamic Filter.)
Wet/Dry
Balance
Modulator
Carrier
106
Feature Reference
Edit Mode
Signal Select
Normal, Breath Noise Amp., Flow Rate Saturation, Beat, Slit/Friction, Reed.
Selects the signal to be used by the carrier or modulator.
This is the total output of the instrument model: a mix of the driver,
pipe/string, and tap signals.
This signal represents the instantaneous amplitude of the breath noise
produced at the driver. It is basically a highly distorted version of the
Slit/Friction signal described below.
When the pressures on either side of an aperture (e.g. a mouthpiece/
reed assembly) differ, a corresponding flow of air is produced. There is,
however, a limit to the speed of the airflow which can be produced
(saturation). The relationship between the pressure difference and
resulting airflow is derived as the Flow Rate Saturation signal.
The beat signal represents contact between the vibrating reed and the
mouthpiece.
As the reed vibrates, the area of gap (slit) between it and the mouth-
piece varies accordingly. The Slit/Friction signal corresponds to the
varying are of the reed/mouthpiece slit.
This signal is derived directly from the flexing of the reed.
Normal
Breath Noise
Amplitude
Flow Rate Satura-
tion
Beat
Slit/Friction
Reed
HPF Cutoff
17.0 Hz 11.2 kHz.
Both the modulator and carrier blocks have high-pass filters that can be used to roll
off the low frequencies of the corresponding signal. This parameter sets the cutoff fre-
quency of the carrier or modulator high-pass filter.
Over Drive
0.063 15.31.
This parameter boosts the corresponding modulator or carrier signal, forcing it into
distortion and thereby drastically changing its harmonic structure. The higher the value
the greater the distortion. No distortion is produced below a setting of “1.0”.
Level (Carrier only)
0 127.
Sets the output level of the carrier. The higher the value the greater the output level.
Balance
-64 63.
Sets the balance between the “wet” (the output of the harmonic enhancer) and “dry”
(the direct signal) signals. The higher the value the more “wet” the signal, and therefore
the more pronounced the harmonic enhancer effect. The carrier and modulator page
Balance” parameters are linked.
107
Feature Reference
Edit Mode
Phase (Modulator only)
0deg 360deg.
This parameter is provided for the modulator block only. It allows a degree of
timbral variation by varying the phase of the modulator signal through 360 degrees in 2-
or 3-degree increments.
Index (Modulator only)
0 127.
Determines how much modulation is applied to the carrier signal (i.e. the level of
the modulator signal applied to the carrier). The higher the value the greater the modula-
tion.
Notes On Using the Harmonic Enhancer
Although any modulator source signal can be applied to any carrier
source signal, two approaches are recommended when attempting to create
an acoustic instrument simulation.
The first is to set the carrier signal to “Normal” and the modulator
signal to any setting other than normal, set the dry/wet “Balance” to 63
(all wet), and set a relatively high “Index” value. In this case the total
output of the instrument model (“Normal” signal) will by modulated by
one of the component signals, so the dry/wet “Balance” can be set to
fully wet (carrier output only) since the carrier source and dry signals are
essentially the same. The Index parameter determines how much modula-
tion is applied, so a higher value is generally required to create sufficient
variation.
The second approach is to set the carrier signal to any setting other
than normal and the modulator signal to any of the six possibilities, set the
dry/wet “Balance” to a more central value, and set a relatively low
Index” value. In this situation it is necessary to set the “Balance
more toward the “Dry” side since the carrier source signal is
not the
normal signal and at least some of the dry signal is necessary to provide the
basic sound of the instrument model. In other words, the sound produced by
the Harmonic Enhancer is simply added to the basic 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 way to work with the Harmonic Enhancer. Since the Harmonic En-
hancer tends to respond differently with different instrument models,
experimentation and experience are your most valuable tools.
Element Modifier
108
Feature Reference
Edit Mode
Harmonic Enhancer HPF key scaling produces natural timbral variations across the
range of the keyboard by allowing different cutoff frequency offset values to be applied
to each of two breakpoints set at appropriate keys. Key scaling can be applied independ-
ently to the carrier and modulator high-pass filters.
Separate key scaling parameter pages are provided for the carrier and modula-
tor high-pass filters. The appropriate key scaling page will be selected when
you press (“KSC”) from the main carrier or modulator parameter page.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next harmonic enhancer key scaling page without
having to return to the main parameter page.
CrrHPF, ModHPF
17.0 Hz 11.2 kHz.
The “CrrHPF” and “ModHPF” parameters are linked to the main harmonic en-
hancer “HPF Cutoff” parameters, and set the cutoff frequency of the carrier or modu-
lator high-pass filter. Frequency components below the specified frequency are cut off.
This value also determines the main cutoff frequency on which all key-scaled variations
are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
1-1: Harmonic Enhancer HPF Key Scaling
Carrier Parameters
Modulator Parameters
109
Feature Reference
Edit Mode
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
1-2: Harmonic Enhancer Overdrive Key Scaling
Harmonic Enhancer overdrive key scaling produces natural timbral variations across
the range of the keyboard by allowing different overdrive offset values to be applied to
each of two breakpoints set at appropriate keys. Key scaling can be applied independently
to the carrier and modulator overdrive parameters.
Separate key scaling parameter pages are provided for the carrier and modula-
tor overdrive parameters. The appropriate key scaling page will be selected
when you press (“KSC”) from the main carrier or modulator parameter
page.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next harmonic enhancer key scaling page without
having to return to the main parameter page.
CrrOvr, ModOvr
0.063 15.31 kHz.
The “CrrOvr” and “ModOvr” parameters are linked to the main harmonic en-
hancer “Over Drive” parameters, and set the amount of distortion produced by the
carrier or modulator. This value also determines the main overdrive level on which all
key-scaled variations are based (indicated by a dotted line on the graph).
Element Modifier
Carrier Parameters
Modulator Parameters
110
Feature Reference
Edit Mode
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of overdrive offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the overdrive level, and
positive values increase the overdrive level at the corresponding breakpoint. No matter
what offset value is chosen, the actual overdrive level will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the overdrive level varies smoothly between the breakpoints.
1-3: Harmonic Enhancer Carrier Level Key Scaling
Harmonic Enhancer carrier level key scaling produces natural timbral variations
across the range of the keyboard by allowing different carrier level offset values to be
applied to each of four breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next harmonic enhancer key scaling page without
having to return to the main parameter page.
CrrLvl
0 127.
The “CrrLvl” parameter is linked to the main harmonic enhancer carrier “Level
parameter, and sets the output level of the carrier block. This value also determines the
main carrier level on which all key-scaled variations are based (indicated by a dotted line
on the graph).
Breakpoint 1 … 4 Key
C-2 G8.
Allows four separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
111
Feature Reference
Edit Mode
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 4 Offset
-64 63.
Set the amount of level offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the carrier level, and positive values
increase the carrier level at the corresponding breakpoint. No matter what offset value is
chosen, the actual carrier level will never exceed its minimum or maximum absolute
value. When different offset values are applied to adjacent breakpoints, the carrier level
varies smoothly between the breakpoints.
Element Modifier
1-4: Harmonic Enhancer Modulator Index Key Scaling
Harmonic Enhancer modulator index key scaling produces natural timbral variations
across the range of the keyboard by allowing different modulator index offset values to
be applied to each of four breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next harmonic enhancer key scaling page without
having to return to the main parameter page.
ModIdx
0 127.
The “ModIdx” parameter is linked to the main harmonic enhancer modulator
Index” parameter, and sets the amount of modulation applied to the carrier. This value
also determines the main modulator index on which all key-scaled variations are based
(indicated by a dotted line on the graph).
Breakpoint 1 … 4 Key
C-2 G8.
Allows four separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
112
Feature Reference
Edit Mode
Breakpoint 1 … 4 Offset
-64 63.
Set the amount of modulator index offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the modulator index, and
positive values increase the modulator index at the corresponding breakpoint. No matter
what offset value is chosen, the actual modulator index will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the modulator index varies smoothly between the breakpoints.
1-5: Harmonic Enhancer Balance Key Scaling
Harmonic Enhancer balance key scaling produces natural timbral variations across
the range of the keyboard by allowing different balance offset values to be applied to
each of two breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly backward to the next
harmonic enhancer key scaling page without having to return to the main
parameter page.
Balance
-64 63.
The “Balance” parameter is linked to the main harmonic enhancer “Balance
parameter, and sets the balance between the wet and dry sound. This value also deter-
mines the main balance value on which all key-scaled variations are based (indicated by a
dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of balance offset for each of the breakpoints defined by the break-
point key parameters, above. Negative values reduce the balance value (toward “dry”),
113
Feature Reference
Edit Mode
and positive values increase the balance value (toward “wet”) at the corresponding
breakpoint. No matter what offset value is chosen, the actual balance setting will never
exceed its minimum or maximum absolute value. When different offset values are applied
to adjacent breakpoints, the balance varies smoothly between the breakpoints.
2: Dynamic Filter
The button (“Ctrl”) can be used to go directly to the dynamic filter
controller page ( Page 75), also available from the ELEMENT CON-
TROLLER directory. You can then return to the modifier dynamic filter page
by pressing (“Para”) again.
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the dynamic filter parameter page by pressing the
] button.
Element Modifier
Filter Mode
LPF, BPF, HPF, BEF.
Selects the filter mode.
Low-pass filter. Frequencies below the cutoff frequency are passed
while those above are cut off. The cutoff slope is -12 dB/octave.
Band-pass filter. In this case the “cutoff frequency” is actually the
center frequency of a narrow band of frequencies which will be passed.
The cutoff slope is -6 dB/octave.
High-pass filter. Frequencies above the cutoff frequency are passed
while those below are cut off. The cutoff slope is -12 dB/octave.
Band-eliminaton filter. The cutoff frequency is the center frequency of a
narrow band of frequencies which will be cut off. The cutoff slope is -6
dB/octave.
LPF
BPF
HPF
BEF
In
(from Harmonic
Enhancer)
Out
(to Frequency
Equalizer)
Dynamic
Filter
Wet/Dry
Balance
114
Feature Reference
Edit Mode
Input Gain
0 127.
Adjusts the level of the input signal to the dynamic filter stage. The higher the value
the higher the input level.
Balance
-64 63.
Sets the balance between the “wet” (the output of the dynamic filter) and “dry”
(direct) signals. The higher the value the more “wet” the signal, and therefore the more
pronounced the dynamic filter effect.
Cutoff Tracking
Fixed, KeyTrack.
Determines whether the dynamic filter cutoff frequency is fixed or tracks the
keyboard.
Cutoff Freq.
26.9 Hz 11.9 kHz (when “Fixed”).
-4.00oct 3.94oct (when “KeyTrack”).
When the “Cutoff Tracking” parameter is set to “Fixed”, this parameter sets
the dynamic filter cutoff frequency to a specific frequency between 26.9 hertz and 11.9
kilohertz. When “Cutoff Tracking” is set to “KeyTrack”, however, this parameter
determines how much the cutoff frequency is offset from the frequency of the key played
in octave units. In the latter case negative values offset the cutoff frequency below the
frequency of the key played, while positive values offset the cutoff frequency above that
of the key played.
Resonance
1.00 15.67.
This parameter produces a “peaking” effect at the filter’s cutoff frequency, further
emphasizing the frequencies at that point. This higher the value the higher the resonant
peak.
The dynamic filter is fixed at the frequency specified by the “Cutoff
Freq.” parameter, below.
The cutoff frequency of the dynamic filter tracks the note(s) played on
the keyboard, offset by the amount specified by the “Cutoff Freq.
parameter, below.
Fixed
KeyTrack
115
Feature Reference
Edit Mode
2-1: Dynamic Filter Cutoff Key Scaling
Dynamic filter cutoff frequency key scaling produces natural timbral variations
across the range of the keyboard by allowing different cutoff frequency offset values to
be applied to each of three breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly forward to the next dynamic
filter key scaling page without having to return to the main parameter page.
Cutoff
26.9 Hz 11.9 kHz (when “Fixed”).
-4.0oct 3.94oct (when “KeyTrack”).
The “Cutoff” parameter is linked to the main dynamic filter “Cutoff Freq.
parameter, and has the same effect. This value also determines the main cutoff frequency
on which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
Element Modifier
116
Feature Reference
Edit Mode
2-2: Dynamic Filter Resonance Key Scaling
Dynamic filter resonance key scaling produces natural timbral variations across the
range of the keyboard by allowing different resonance offset values to be applied to each
of three breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly backward to the next
dynamic filter key scaling page without having to return to the main parameter
page.
Rez
1.00 15.67.
The “Rez” parameter is linked to the main dynamic filter “Resonance” param-
eter, and has the same effect. This value also determines the main resonance value on
which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of resonance offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the resonance, and positive
values increase the resonance at the corresponding breakpoint. No matter what offset
value is chosen, the actual resonance setting will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
resonance varies smoothly between the breakpoints.
117
Feature Reference
Edit Mode
3: Equalizer Auxiliary
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the equalizer auxiliary parameter page by pressing the
] button.
Input Gain
0 127.
Adjusts the level of the input signal to the equalizer stage. The higher the value the
higher the input level.
HPF Cutoff Freq.
17.0 Hz 11.2 kHz.
Sets the cutoff frequency of the high-pass filter. Frequency components below the
specified frequency are cut off.
LPF Cutoff Freq.
31.1 Hz 24.0 kHz.
Sets the cutoff frequency of the low-pass filter. Frequency components above the
specified frequency are cut off. The low-pass filter is completely bypassed when set to
“off”.
Element Modifier
118
Feature Reference
Edit Mode
3-1: Equalizer Auxiliary HPF Key Scaling
Equalizer HPF key scaling produces natural tone variations across the range of the
keyboard by allowing different cutoff frequency offset values to be applied to each of
three breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly forward to the next
equalizer auxiliary key scaling page without having to return to the main
parameter page.
HPF
17.0 Hz 11.2 kHz.
The “HPF” parameter is linked to the main equalizer auxiliary “HPF Cutoff
Freq.” parameter, and sets the cutoff frequency of the high-pass filter. Frequency
components below the specified frequency are cut off. This value also determines the
main cutoff frequency on which all key-scaled variations are based (indicated by a dotted
line on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
119
Feature Reference
Edit Mode
3-2: Equalizer Auxiliary LPF Key Scaling
Equalizer LPF key scaling produces natural tone variations across the range of the
keyboard by allowing different cutoff frequency offset values to be applied to each of
three breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly backward to the next
equalizer auxiliary key scaling page without having to return to the main
parameter page.
LPF
31.1 Hz 24.0 kHz.
The “LPF” parameter is linked to the main equalizer auxiliary “LPF Cutoff
Freq.” parameter, and sets the cutoff frequency of the low-pass filter. Frequency
components above the specified frequency are cut off. This value also determines the
main cutoff frequency on which all key-scaled variations are based (indicated by a dotted
line on the graph).
Breakpoint 1 … 3 Key
C-2 G8.
Allows three separate key scaling breakpoints to be set at any notes between C-2
and G8. You can position the cursor at the appropriate breakpoint key parameter and use
any of the normal data entry procedures, or use the keyboard. To use the keyboard for
breakpoint entry, position the cursor at the appropriate breakpoint key parameter, press
the button (“Kbd”), and then press the key at which you want to set the breakpoint
while “Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 … 3 Offset
-64 63.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values lower the cutoff frequency, and
positive values raise the cutoff frequency at the corresponding breakpoint. No matter
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
maximum absolute value. When different offset values are applied to adjacent break-
points, the cutoff frequency varies smoothly between the breakpoints.
Element Modifier
120
Feature Reference
Edit Mode
4: Equalizer Band
The Equalizer Band block is a 5-band parametric equalizer with frequency, Q
(bandwidth), and level control. The Band block functions in the same way as
any standard parametric equalizer, allowing flexible response control over a
wide range.
Bnd1 Freq
40.0 Hz 321.0 Hz.
Bnd2 Freq
104.0 Hz 838.0 Hz.
Bnd3 Freq
248.0 Hz 2.00 kHz.
Bnd4 Freq
646.0 Hz 5.21 kHz.
Bnd5 Freq
1.54 kHz 10.0 kHz.
These parameters individually set the center frequencies of the equalizer stage’s five
bands. Note that the bands overlap somewhat for smooth, seamless control.
Bnd1 … Bnd5 Q
0.5 20.0.
Individually set the Q (bandwidth) for each of the equalizer’s five bands. The higher
the value the narrower the bandwidth.
Bnd1 … Bnd5 Level
-24.0 23.6.
Individually set the level of the equalizer’s five bands. Negative values produce a
cut at the frequency of the corresponding band while positive values produce a boost.
121
Feature Reference
Edit Mode
Element Modifier
Ipulse
Expander
On/Off
Resonator
Input Gain
Resonator
On/Off
Resonator
Wet Level
Resonator
Level
Balance
Dry
Level
Impulse
Expander
Wet Level
Impulse
Expander
Level
Balance
When the cursor is positioned at the “IE on/off” or “RSN on/off
block, “Para” will appear above the button. Press this button to go
directly to the main Impulse Expander ( Page 123) or Resonator (
Page 124) parameter page, respectively.
IE
off, on.
Turns the Impulse Expander stage off or on. When off (and the Resonator, below, is
on) the display will appear as shown below. Only parameters which appear in the dia-
gram are available for editing.
5: Impulse Expander & Resonator Setting
This page provide access to a range of parameters which affect operation of
the Impulse Expander and Resonator stages (described later) and how they
interact. It contains a number of parameters which are accessed by moving the
cursor to the appropriate block within the diagram. The corresponding param-
eter will appear in the upper right area of the display.
Impulse
Expander
On/Off
122
Feature Reference
Edit Mode
RSN
off, on.
Turns the Resonator stage off or on. When off (and the Impulse Expander, above, is
on) the display will appear as shown below. Only parameters which appear in the dia-
gram are available for editing.
Dry Level
0 127.
Sets the level of the dry signal (i.e. the direct signal which does not pass through
either the Impulse Expander or the Resonator.
IE Wet Level
0 127.
Sets the “wet” output level from the Impulse Expander. The higher the value the
higher the Impulse Expander level.
IE Level Bal
-64 63.
Adjusts the left-right balance of the wet Impulse Expander signal returned to the
stereo signal path. Positive values route more signal to the right channel while negative
values route more signal to the left channel.
RSN Inp Gain
0 127.
Sets the level of the Impulse Expander output signal received at the input of the
Resonator stage. The higher the value the higher the input level.
RSN Wet Level
0 127.
Sets the “wet” output level from the Resonator. The higher the value the higher the
Resonator level.
RSN Level Bal
-64 63.
Adjusts the left-right balance of the wet Resonator signal returned to the stereo
signal path. Positive values route more signal to the right channel while negative values
route more signal to the left channel.
123
Feature Reference
Edit Mode
6: Impulse Expander
This display will not appear — “Impulse Expander is not used
will appear — if the “IE on/off” block in the “Impulse Expander &
Resonator Setting” page is turned “off” ( Page 123). All level and
balance settings relating to the Impulse Expander are also available in that
display page.
Press the button (“Set”) to go directly to the “Impulse Expander & Reso-
nator Setting” page.
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.
Element Modifier
Mix
Frequency-dependent Delay
In
(from Frequency
Equalizer)
Out
(to Resonator)
If the IE & RSN SETTING page “Dry Level” parameter is set to a high
level, phase cancellation between the dry and wet signals can change the
sound of the Impulse Expander effect.
Density
0.146 msec 20.77 msec.
Adjusts the density of the sound, and therefore its texture. Higher values produce
greater density.
Dispersion
4.028 msec 4.000 sec.
Determines the resonance time. The higher the value the longer the resonance.
A high dispersion setting produces an early-reflections type reverberation effect.
Roughness
0 16.
This parameter imparts a “roughness” to the overall frequency response in the form
of steep peaks and dips in the response. The higher the value the greater the roughness.
124
Feature Reference
Edit Mode
7: Resonator
This display will not appear — “Resonator is not used” will appear
— if the “RES on/off” block in the “Impulse Expander & Resonator
Setting” page is turned “off” ( Page 121, 122). All level and balance
settings relating to the Resonator are also available in that display page.
Press the button (“Set”) to go directly to the “Impulse Expander & Reso-
nator Setting” page.
While the Impulse Expander tends to give the sound a metallic quality, the Resona-
tor produces a more woody resonance effect. Careful adjustment of the resonator’s
parameters can often bring a not-quite-right voice to life.
DL1 … DL5
0.29 msec 41.54 msec.
These parameters independently set the delay times for the Resonator’s five delay
lines.
Delay times for “natural” effects can be calculated by dividing the instrument’s
body dimensions by the speed of sound (34 centimeters per millisecond). For example, an
instrument with a body which measures 68 cm x 34 cm would naturally include delay
times of 2 msec (68/34 = 2 msec) and 1 msec (34/34 = 1 msec. These values can then be
fine-adjusted to achieve the desired results.
Right Channel
Left Channel
Out (to Effects)
In
(from Resonator)
Delay
Delay
Delay
Delay
Delay
125
Feature Reference
Edit Mode
Element Modifier
Decay Time
4,028 msec 4.000 sec.
Determines the length of decay of the sound. The higher the value the longer the
decay.
LPF Cutoff Freq.
31.1 Hz 24.0 kHz.
Sets the cutoff frequency of the low-pass filter. Produces a natural decay in the
high-frequency components of the delay sound.
Diffusion
0 16.
Determines how the resonance sound “spreads” in the stereo sound field. The higher
the value the wider the sound.
Phase
-16 16.
Sets the phase of the resonance signal, changing its position in the stereo sound
field. Positive values move the resonance sound to the left while negative values move it
to the right.
126
Feature Reference
Edit Mode
Element Envelope
ELEMENT
EFFECT
MISCELLANEOUS
EDIT MODE
COMMON
MISCELLANEOUS
CONTROLLER
MODIFIER
ENVELOPE
1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
2: Embouchure & Pitch . . . . . . . . . . . . . . . . . . . . . . 128
2-1:
Embouchure & Pitch Hold Time Key Scaling
130
2-2:
Embouchure & Pitch Initial Level Key Scaling
131
2-3:
Embouchure & Pitch Decay Rate Key Scaling
132
3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
3-1: Vibrato Delay Time Key Scaling . . . . . . . 135
3-2: Vibrato Attack Rate Key Scaling . . . . . . . 136
3-3: Vibrato Depth Key Scaling . . . . . . . . . . . 137
3-4: Vibrato Speed Key Scaling . . . . . . . . . . . 138
4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
4-1: Growl Speed Key Scaling . . . . . . . . . . . . . . . 140
5: Amplitude & Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
5-1:
Amplitude & Filter Attack Rate Key Scaling
. . 144
5-2:
Amplitude & Filter Attack 1 Level Key Scaling
145
5-3: Amplitude & Filter Decay Rate Key Scaling . 146
5-4: Amplitude & Filter Sustain Level Key Scaling 147
5-5: Amplitude & Filter Release Rate Key Scaling 148
127
Feature Reference
Edit Mode
Element Envelope
1: Pressure
Each VL7 voice has its own pressure envelope which determines how it
responds to pressure changes. The parameters in this display page determine
how the pressure envelope is used and how it will respond to keyboard veloc-
ity.
EG Mode
Disable, ADSR, AR.
This parameter determines whether or how the pressure envelope will be used.
Attack Rate Offset
-16 16.
Adjusts the attack rate of the voice’s pressure envelope. Positive values produce a
faster attack while negative values produce a slower attack.
Release Rate Offset
-16 16.
Adjusts the release rate of the voice’s pressure envelope. Positive values produce a
faster release while negative values produce a slower release.
Velocity Sens To Level
0 16.
Determines the relationship between pressure and keyboard velocity. When set to
“0”, keyboard velocity (i.e. how fast or hard the keyboard is played) has no effect on
pressure. At values higher than “1”, however, high keyboard velocities will increase the
pressure and low keyboard velocities will decrease the pressure. The higher the value the
greater the effect of keyboard velocity on pressure.
The voice’s pressure envelope is not used, and pressure always
corresponds exactly to the position or value of the controller assigned
to pressure. If no controller is assigned the pressure is always maxi-
mum. In this case the “Attack Rate Offset”, “Release Rate
Offset”, “Velocity Sens To Level”, and “Velocity Sens To
Rate” parameters have no effect.
Pressure responds according to the attack, decay, sustain, and release
settings of the voice’s pressure envelope.
Pressure responds according to the attack and release settings of the
voice’s pressure envelope. The decay and sustain settings are ignored.
Disable
ADSR
AR
128
Feature Reference
Edit Mode
Velocity Sens To Rate
0 16.
Determines the relationship between the voice’s pressure envelope rates (attack,
decay, and release) and keyboard velocity. When set to “0”, keyboard velocity (i.e. how
fast or hard the keyboard is played) has no effect on the envelope rates. At values higher
than “1”, however, high keyboard velocities will increase the rates and low keyboard
velocities will decrease the rates. The higher the value the greater the effect of keyboard
velocity on the pressure envelope rates.
2: Embouchure & Pitch
Each VL7 voice has its own embouchure & pitch envelope which determines
how it responds to embouchure and pitch changes. The parameters in this
display page determine how the embouchure & pitch envelope is used and
how it will respond to keyboard velocity.
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the embouchure & pitch envelope parameter page by
pressing the ] button.
VlSns To Lvl
0 16.
Determines the relationship between embouchure/pitch and keyboard velocity.
When set to “0”, keyboard velocity (i.e. how fast or hard the keyboard is played) has no
effect on embouchure or pitch. At values higher than “1”, however, high keyboard
velocities produce a higher embouchure and pitch variation while low keyboard velocities
produce a smaller variation. The higher the value the greater the effect of keyboard
velocity on embouchure & pitch.
VlSns To Rate
-16 16.
Determines the relationship between the voice’s embouchure & pitch envelope
decay rate and keyboard velocity. When set to “0”, keyboard velocity (i.e. how fast or
hard the keyboard is played) has no effect on the decay rate. At values higher than “1”,
129
Feature Reference
Edit Mode
however, high keyboard velocities will increase the decay rate and low keyboard veloci-
ties will decrease the decay rate. Negative values have the opposite effect. The higher the
value the greater the effect of keyboard velocity on the embouchure & pitch envelope
decay rate.
Dpth To Emb
0 64.
This parameter determines how deeply the settings in this display page affect
embouchure. The higher the value the greater the effect.
Dpth To Ptch
0 64.
This parameter determines how deeply the settings in this display page affect pitch.
The higher the value the greater the effect.
Hold Time
0 127.
Sets the hold time of the embouchure & pitch envelope. That is, the length of time
the initial envelope level is held before the decay portion of the envelope begins (see
“Initial Lvl”, below). The higher the value the longer the hold time.
Element Envelope
Initial Lvl
-64 63.
Sets the initial level of the embouchure & pitch envelope. That is, the level of the
envelope (pitch in the case of the pitch parameter) at the instant a key is played. The
higher the value the higher the initial level.
If the “Initial Lvl” parameter is set to “0” the embouchure & pitch
envelope has no effect.
Decay Rate
0 127.
Sets the decay rate of the embouchure & pitch envelope. That is, the rate at which
the envelope level (pitch in the case of the pitch parameter) changes from the initial level
to “0” after the hold time has elapsed. The higher the value the faster the decay rate.
Time
Hold Time
Initial Lvl
Decay Rate
Level
63
0
-64
130
Feature Reference
Edit Mode
2-1: Embouchure & Pitch Hold Time Key Scaling
Embouchure & pitch hold time key scaling produces natural hold time variations
across the range of the keyboard by allowing different hold time offset values to be
applied to each of two breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly forward to the next
Embouchure & Pitch key scaling page without having to return to the main
parameter page.
HdTime
0 127.
The “HdTime” parameter is linked to the main Embouchure & Pitch “Hold
Time” parameter, and has the same effect. This value also determines the hold time on
which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of hold time offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the hold time, and positive
values increase the hold time at the corresponding breakpoint. No matter what offset
value is chosen, the actual hold time will never exceed its minimum or maximum abso-
lute value. When different offset values are applied to adjacent breakpoints, the hold time
varies smoothly between the breakpoints.
131
Feature Reference
Edit Mode
2-2: Embouchure & Pitch Initial Level Key Scaling
Embouchure & pitch initial level key scaling produces natural initial level variations
across the range of the keyboard by allowing different level offset values to be applied to
each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Embouchure & Pitch key scaling page
without having to return to the main parameter page.
IntLvl
-64 63.
The “IntLvl” parameter is linked to the main Embouchure & Pitch “Initial
Level” parameter, and has the same effect. This value also determines the main initial
level on which all key-scaled variations are based (indicated by a dotted line on the
graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of initial level offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the initial level, and positive
values increase the initial level at the corresponding breakpoint. No matter what offset
value is chosen, the actual initial level will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
initial level varies smoothly between the breakpoints.
Element Envelope
132
Feature Reference
Edit Mode
Embouchure & pitch decay rate key scaling produces natural decay rate variations
across the range of the keyboard by allowing different rate offset values to be applied to
each of two breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly backward to the next
Embouchure & Pitch key scaling page without having to return to the main
parameter page.
DcRate
0 127.
The “DcRate” parameter is linked to the main Embouchure & Pitch “Decay
Rate” parameter, and has the same effect. This value also determines the main decay
rate on which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of decay rate offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the decay rate, and positive
values increase the decay rate at the corresponding breakpoint. No matter what offset
value is chosen, the actual decay rate will never exceed its minimum or maximum abso-
lute value. When different offset values are applied to adjacent breakpoints, the decay
rate varies smoothly between the breakpoints.
2-3: Embouchure & Pitch Decay Rate Key Scaling
133
Feature Reference
Edit Mode
3: Vibrato
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the vibrato parameter page by pressing the ]
button.
The button (“Ctrl”) can be used to go directly to the vibrato controller
page ( Page 67), also available from the ELEMENT CONTROLLER
directory. You can then return to the vibrato parameter page by pressing
(“Para”) again.
The “Delay Time”, “Attack Rate”, and “Sustain Lvl” parameters
define the vibrato effect at all times, and do not affect vibrato as controlled via
a controller.
Delay Time
0 127.
Sets the delay time between the instant a note is played and the beginning of the
vibrato effect. The higher the value the longer the delay.
Attack Rate
0 127.
This parameter produces a gradual increase in vibrato depth when the vibrato effect
begins. The higher the value the faster the attack rate and therefore the faster the vibrato
“fade in”.
Sustain Lvl
0 127.
Sets the final vibrato depth after the delay time and attack have passed. The higher
the value the greater the vibrato depth. This parameter sets the vibrato depth independ-
ently of the depth applied by the controller assigned to vibrato. If you want to apply
vibrato via a controller only, set this parameter to “0”.
Vibrato Dpth
0 127.
Sets the vibrato depth as applied by the controller assigned to vibrato ( Page
67) and the vibrato envelope generator controlled by the “Delay Time”, “Attack
Rate”, and “Sustain Lvl” parameters. The higher the value the greater the vibrato
depth. When set to “0” no vibrato can be applied via a controller or the vibrato envelope
generator.
Element Envelope
134
Feature Reference
Edit Mode
Dpth to Emb
0 127.
Determines how deeply the settings in this display page affect embouchure. The
higher the value the greater the effect. When set to “0” no embouchure vibrato can be
applied.
Dpth to Ptch
0 127.
Determines how deeply the settings in this display page affect pitch. The higher the
value the greater the effect. When set to “0” no pitch vibrato can be applied.
Offset
-127 127.
Sets the central value around which the vibrato variation occurs. For example, if the
Dpth to Ptch” parameter is set to a high value and “Offset” is set to “0”, then
the vibrato will swing equally above and below the actual pitch of the note played.
Higher offset values shift the central vibrato pitch upward while lower values shift the
pitch downward.
Randomness
0 10.
The “Randomness” parameter can be used to introduce random variations in the
depth and speed of the vibrato effect. The higher the value the greater the random varia-
tion.
Speed
0 127.
Sets the speed of the vibrato effect. The higher the value the faster the vibrato.
Speed Shift
0 8.
Determines the amount of speed variation which can be applied via the controller
assigned to vibrato. The higher the value the greater the increase in speed. At the maxi-
mum setting of “8” the speed can be increased to a maximum of 6 times its normal
setting via the controller.
135
Feature Reference
Edit Mode
3-1: Vibrato Delay Time Key Scaling
Vibrato delay time key scaling produces natural delay time variations across the
range of the keyboard by allowing different delay time offset values to be applied to each
of two breakpoints set at appropriate keys.
The button (“Fpag”) can be used to go directly forward to the next
Vibrato key scaling page without having to return to the main parameter page.
DlTime
0 127.
The “DlTime” parameter is linked to the main Vibrato “Delay Time” param-
eter, and has the same effect. This value also determines the main delay time on which all
key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of delay time offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the delay time, and positive
values increase the delay time at the corresponding breakpoint. No matter what offset
value is chosen, the actual delay time will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the delay
time varies smoothly between the breakpoints.
Element Envelope
136
Feature Reference
Edit Mode
3-2: Vibrato Attack Rate Key Scaling
Vibrato attack rate key scaling produces natural attack rate variations across the
range of the keyboard by allowing different rate offset values to be applied to each of two
breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Vibrato key scaling page without having to
return to the main parameter page.
AtRate
0 127.
The “AtRate” parameter is linked to the main Vibrato “Attack Rate” param-
eter, and has the same effect. This value also determines the main attack rate on which all
key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of attack rate offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the attack rate, and positive
values increase the attack rate at the corresponding breakpoint. No matter what offset
value is chosen, the actual attack rate will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
attack rate varies smoothly between the breakpoints.
137
Feature Reference
Edit Mode
3-3: Vibrato Depth Key Scaling
Vibrato depth key scaling produces natural vibrato depth variations across the range
of the keyboard by allowing different depth offset values to be applied to each of two
breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Vibrato key scaling page without having to
return to the main parameter page.
Depth
0 127.
The “Depth” parameter is linked to the main Vibrato “Vibrato Dpth” param-
eter, and has the same effect. This value also determines the main depth on which all
key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of depth offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the vibrato depth, and positive values
increase the vibrato depth at the corresponding breakpoint. No matter what offset value is
chosen, the actual depth will never exceed its minimum or maximum absolute value.
When different offset values are applied to adjacent breakpoints, the vibrato depth varies
smoothly between the breakpoints.
Element Envelope
138
Feature Reference
Edit Mode
3-4: Vibrato Speed Key Scaling
Vibrato speed key scaling produces natural vibrato speed variations across the range
of the keyboard by allowing different speed offset values to be applied to each of two
breakpoints set at appropriate keys.
The § button (“Bpag” ) can be used to go directly backward to the next
Vibrato key scaling page without having to return to the main parameter page.
Speed
0 127.
The “Speed” parameter is linked to the main Vibrato “Speed” parameter, and has
the same effect. This value also determines the main speed setting on which all key-
scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of speed offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the vibrato speed, and positive values
increase the vibrato speed at the corresponding breakpoint. No matter what offset value is
chosen, the actual speed will never exceed its minimum or maximum absolute value.
When different offset values are applied to adjacent breakpoints, the vibrato speed varies
smoothly between the breakpoints.
139
Feature Reference
Edit Mode
4: Growl
An inverse “K”(˚) next to a value means that key scaling can be applied to
that parameter. Position the cursor at the appropriate parameter and then press
the button (“KSC”) to go directly to the key scaling page for that param-
eter. You can return to the growl parameter page by pressing the ] button.
The button (“Ctrl”) can be used to go directly to the growl controller
page ( Page 72), also available from the ELEMENT CONTROLLER
directory. You can then return to the growl parameter page by pressing
(“Para”) again.
Dpth to Pres
0 127.
Determines how deeply the settings in this display page affect pressure. The higher
the value the greater the effect. No growl effect will be produced if this and the “Dpth
to BNois” parameter, below, are set to “0”.
Dpth to BNois
0 127.
Determines how deeply the settings in this display page affect breath noise. The
higher the value the greater the effect. No growl effect will be produced if this and the
Dpth to Pres” parameter, above, are set to “0”.
Offset
-127 127.
Sets the central value around which the growl variation occurs. For example, if the
Dpth to Pres” parameter is set to a high value and “Offset” is set to “0”, then
the growl variation will swing equally above and below the the actual pressure of the
note played. Higher offset values shift the central pressure value upward while lower
values shift the pressure downward. No growl effect will be produced when this param-
eter is set to “127”.
Vibrato Sync
off, on.
Allows the growl variation to be synchronized to vibrato.
Element Envelope
The growl variation is independent from the vibrato variation.
Growl speed and randomness are synchronized to the same vibrato
parameters. In this case the speed and randomness parameters, listed
below, will not appear.
off
on
140
Feature Reference
Edit Mode
Speed
0 127.
Sets the speed of the growl effect. The higher the value the faster the growl.
Randomness
0 10.
The “Randomness” parameter can be used to introduce random variations in the
speed of the growl effect. The higher the value the greater the random variation.
4-1: Growl Speed Key Scaling
Growl speed key scaling produces natural growl speed variations across the range of
the keyboard by allowing different speed offset values to be applied to each of two
breakpoints set at appropriate keys.
Speed
0 127.
The “Speed” parameter is linked to the main Growl “Speed” parameter, and has
the same effect. This value also determines the main speed setting on which all key-
scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of speed offset for each of the breakpoints defined by the breakpoint
key parameters, above. Negative values reduce the growl speed, and positive values
increase the growl speed at the corresponding breakpoint. No matter what offset value is
chosen, the actual speed will never exceed its minimum or maximum absolute value.
When different offset values are applied to adjacent breakpoints, the growl speed varies
smoothly between the breakpoints.
141
Feature Reference
Edit Mode
5: Amplitude & Filter
Two display pages are provided for Amplitude & Filter control. One contains
parameters pertaining to keyboard velocity sensitivity (“Sens”), while the
other contains the envelope generator parameters (“EG”). The ¡ and
buttons select these two display pages, respectively.
An inverse “K”(˚) next to a value in the “EG” page means that key scaling
can be applied to that parameter. Position the cursor at the appropriate param-
eter and then press the button (“KSC”) to go directly to the key scaling
page for that parameter. You can return to the growl parameter page by
pressing the ] button.
Element Envelope
The parameters in the “Sens” page determine how the envelope settings in the
Env” are affected by keyboard velocity.
Velocity Sens To Level
0 16.
Determines the relationship between the Amplitude & Filter envelope level and
keyboard velocity. When set to “0”, keyboard velocity (i.e. how fast or hard the keyboard
is played) has no effect on the envelope level. At values higher than “1”, however, high
keyboard velocities will increase the envelope level and low keyboard velocities will
decrease the envelope level. The higher the value the greater the effect of keyboard
velocity on the envelope level.
Velocity Sens To Rate
0 16.
Determines the relationship between the Amplitude & Filter envelope rates and
keyboard velocity. When set to “0”, keyboard velocity (i.e. how fast or hard the keyboard
is played) has no effect on the envelope rates. At values higher than “1”, however, high
keyboard velocities will increase the envelope rates and low keyboard velocities will
The Sensitivity Parameters
142
Feature Reference
Edit Mode
decrease the rates. The higher the value the greater the effect of keyboard velocity on the
envelope rates.
Depth To Amplitude
0 127.
Determines how deeply the Amplitude & Filter envelope will affect amplitude. The
higher the value the greater the effect.
Depth To Filter
-127 127.
Determines how deeply the Amplitude & Filter envelope will affect the cutoff
frequency of the Dynamic Filter. The higher the value the greater the effect. Negative
values invert the effect of the envelope on the filter.
The parameters in this page set the actual “shape” of the envelope used for ampli-
tude and filter control. The parameters correspond to the envelope as shown in the
diagram below.
Rate: Attack1
0 127.
Determines the rate at which the envelope level goes from “0” to the level set by
the “Level: Attack1” parameter. The higher the value the faster the attack.
Rate: Attack2
0 127.
Determines the rate at which the envelope level goes from the level set by the
Level: Attack1” parameter to maximum level. The higher the value the faster the
attack.
The Envelope Parameters
Time
Level
Key offKey on
Max.Level
(fixed:127)
Level:
Attack1
Level:
Sustain
Rate:
Attack2
Rate:
Attack1
Rate:
Decay
Rate:
Release
143
Feature Reference
Edit Mode
Rate: Decay
0 127.
Determines the rate at which the envelope level goes from maximum level to the
sustain level set by the “Level: Sustain” parameter. The higher the value the faster
the decay.
Rate: Release
0 127.
Determines the rate at which the envelope level goes from the sustain level to “0”
when the key is released. The higher the value the faster the release.
Level: Attack1
0 127.
Sets the envelope level reached by the first portion of the attack, as determined by
the “Rate: Attack1” parameter. The higher the value the higher the level. When set
to “127” the attack 1 level becomes the same as the maximum level, therefore the
second portion of the attack (“Rate: Attack2” parameter) will not be produced.
Level: Sustain
0 127.
Sets the envelope sustain level. The higher the value the higher the level. When set
to “127” the sustain level becomes the same as the maximum level, therefore the decay
portion of the envelope (“Rate: Decay” parameter) will not be produced.
Element Envelope
144
Feature Reference
Edit Mode
5-1: Amplitude & Filter Attack Rate Key Scaling
Amplitude & Filter attack rate key scaling produces natural attack rate variations
across the range of the keyboard by allowing different rate offset values to be applied to
each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Amplitude & Filter key scaling page without
having to return to the main parameter page.
A1Rate, A2Rate
0 127.
The “A1Rate” and “A2Rate” parameters are linked to the main Amplitude &
Filter “Rate: Attack1” and “Rate: Attack2” parameters, and have the same
effect. These values also determine the main attack rates on which all key-scaled varia-
tions are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of attack rate offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the attack rate, and positive
values increase the attack rate at the corresponding breakpoint. No matter what offset
value is chosen, the actual attack rate will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
attack rate varies smoothly between the breakpoints.
145
Feature Reference
Edit Mode
5-2: Amplitude & Filter Attack 1 Level Key Scaling
Amplitude & Filter attack level key scaling produces natural attack level variations
across the range of the keyboard by allowing different level offset values to be applied to
each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Amplitude & Filter key scaling page without
having to return to the main parameter page.
A1Lvl
0 127.
The “A1Lvl” parameter is linked to the main Amplitude & Filter “Level: At-
tack1” parameter, and has the same effect. This value also determines the main attack 1
level on which all key-scaled variations are based (indicated by a dotted line on the
graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of attack 1 level offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the attack 1 level, and positive
values increase the attack 1 level at the corresponding breakpoint. No matter what offset
value is chosen, the actual attack 1 level will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
attack 1 level varies smoothly between the breakpoints.
Element Envelope
146
Feature Reference
Edit Mode
5-3: Amplitude & Filter Decay Rate Key Scaling
Amplitude & Filter decay rate key scaling produces natural decay rate variations
across the range of the keyboard by allowing different rate offset values to be applied to
each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Amplitude & Filter key scaling page without
having to return to the main parameter page.
DcRate
0 127.
The “DcRate” parameter is linked to the main Amplitude & Filter “Rate: De-
cay” parameter, and has the same effect. This value also determines the main decay rate
on which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of decay rate offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the decay rate, and positive
values increase the decay rate at the corresponding breakpoint. No matter what offset
value is chosen, the actual decay rate will never exceed its minimum or maximum abso-
lute value. When different offset values are applied to adjacent breakpoints, the decay
rate varies smoothly between the breakpoints.
147
Feature Reference
Edit Mode
5-4: Amplitude & Filter Sustain Level Key Scaling
Amplitude & Filter sustain level key scaling produces natural sustain level varia-
tions across the range of the keyboard by allowing different level offset values to be
applied to each of two breakpoints set at appropriate keys.
The § and buttons (“Bpag” and “Fpag”) can be used to go directly
backward or forward to the next Amplitude & Filter key scaling page without
having to return to the main parameter page.
SusLvl
0 127.
The “SusLvl” parameter is linked to the main Amplitude & Filter “Level:
Sustain” parameter, and has the same effect. This value also determines the main
sustain level on which all key-scaled variations are based (indicated by a dotted line on
the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of sustain level offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the sustain level, and positive
values increase the sustain level at the corresponding breakpoint. No matter what offset
value is chosen, the actual sustain level will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
sustain level varies smoothly between the breakpoints.
Element Envelope
148
Feature Reference
Edit Mode
5-5: Amplitude & Filter Release Rate Key Scaling
Amplitude & Filter release rate key scaling produces natural release rate variations
across the range of the keyboard by allowing different rate offset values to be applied to
each of two breakpoints set at appropriate keys.
The § button (“Bpag”) can be used to go directly backward to the next
Amplitude & Filter key scaling page without having to return to the main
parameter page.
RlRate
0 127.
The “RlRate” parameter is linked to the main Amplitude & Filter “Rate: Re-
lease” parameter, and has the same effect. This value also determines the main release
rate on which all key-scaled variations are based (indicated by a dotted line on the graph).
Breakpoint 1 & 2 Key
C-2 G8.
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
of the normal data entry procedures, or use the keyboard. To use the keyboard for break-
point entry, position the cursor at the appropriate breakpoint key parameter, press the
button (“Kbd”), and then press the key at which you want to set the breakpoint while
Kbd” appears in inverse characters.
No breakpoint can be set to a key lower than the breakpoint to its left.
Breakpoint 1 & 2 Offset
-64 63.
Set the amount of release rate offset for each of the breakpoints defined by the
breakpoint key parameters, above. Negative values reduce the release rate, and positive
values increase the release rate at the corresponding breakpoint. No matter what offset
value is chosen, the actual release rate will never exceed its minimum or maximum
absolute value. When different offset values are applied to adjacent breakpoints, the
release rate varies smoothly between the breakpoints.
Utility Mode
The UTILITY mode provides access to a range
of functions that do not necessarity affect the instru-
ment’s sound or how it plays. Select the UTILITY
mode from either the EDIT or PLAY mode by press-
ing the U button.
System . . . . . . . . . . . . . . . . . . . . . . . . . . 150
MIDI Bulk Dump . . . . . . . . . . . . . . . . . . 158
Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Edit Recall . . . . . . . . . . . . . . . . . . . . . . . 172
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
150
Feature Reference
Utility Mode
System
UTILITY MODE
DEMO
EDIT RECALL
MIDI BULK DUMP
SYSTEM
DISK
1: KBD Setting . . . . . . . . . . . . . . . . . . . . . . . . . 151
2: TG Setting . . . . . . . . . . . . . . . . . . . . . . . . . . 152
3: MIDI Setting . . . . . . . . . . . . . . . . . . . . . . . . . 153
4: Assignable Controllers . . . . . . . . . . . . . . . . 154
5: Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
6: Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . 156
151
Feature Reference
Utility Mode
System
1: KBD Setting
Keyboard Transpose
-12 12.
Shifts the overall pitch of the VL7 up or down in semitone steps. A setting of “-
12”, for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch
up by a major third.
This setting also affects MIDI note numbers transmitted via the MIDI OUT
connector.
Octave SW Hold
off, on.
Normally (when this parameter is “off”) the OCTAVE buttons to the left of the
keyboard only shift the pitch of the keyboard as long as they are held. When this param-
eter is turned “on”, however, you press an OCTAVE button once to shift the pitch and
then again to return.
152
Feature Reference
Utility Mode
2: TG Setting
Master Tuning
-64 63.
Fine tunes the overall pitch of the VL7 in approximately 1.17-cent steps (a “cent” is
1/100th of a semitone). The maximum minus setting of “-64” produces a downward
pitch shift of almost three-quarters of a semitone, and the maximum plus setting of “63
produces an upward pitch shift of the same amount. A setting of “0” produces no pitch
change.
Reverb
off, on.
Turns the VL7’s internal reverb system off or on. This can be handy if you want to
use an external signal processor for reverberation.
Output
Monaural, Stereo.
Determines whether the VL7 output is delivered in mono or stereo. When the
“Monaural” setting is selected the same signal is output via the both the L and R OUT-
PUT jacks. Also, in the mono mode all parameters relating to panning or positioning in
the stereo sound field have no effect.
153
Feature Reference
Utility Mode
3: MIDI Setting
Transmit Channel
1 16.
Selects the MIDI channel via which all VL7 data will be transmitted.
Receive Channel
1 16, Omni.
Sets the MIDI receive channel to any channel between 1 and 16, or the “Omni”
mode for reception on all channels. Make sure that the VL7 MIDI receive channel is
either set to the channel that your external controller is transmitting on, or the omni
mode.
Local on/off
off, on.
“Local control” refers to the fact that, normally, the VL7 keyboard controls its
internal tone generator, allowing the internal voices to be played directly from the key-
board. This situation is “local control on” since the internal tone generator is controlled
locally by its own keyboard. Local control can be turned off, however, so that the key-
board does not play the internal voices, but the appropriate MIDI information is still
transmitted via the MIDI OUT connector when notes are played on the keyboard. At the
same time, the internal tone generator responds to MIDI information received via the
MIDI IN connector.
Device Number
off, 1 16, All.
Sets the MIDI device number — i.e. the MIDI channel on which all system exclu-
sive data (included in MIDI bulk dump data) will be received and transmitted. When
All” is selected reception occurs on all channels and transmission occurs via Device
Number 1.
The device number is important for transfer of voice data and other system exclu-
sive data between the VL7 and other MIDI devices — e.g. another VL7, a computer, or a
MIDI data recorder. Make sure that the VL7 device number is matched to that of other
devices in your system with which such data transfers will take place.
System
154
Feature Reference
Utility Mode
4: Assignable Controllers
Modulation Wheel 2
off, Modulation Wheel 119.
Sets the MIDI control number for Modulation Wheel 2. All MIDI control numbers
are available. Modulation Wheel 2 will not function when this parameter is turned “off”.
Modulation Wheel 1 is fixed at MIDI control number 001.
Foot Controller 2
off, Modulation Wheel 119.
Sets the MIDI control number for Foot Controller 2. All MIDI control numbers are
available. Foot Controller 2 will not function when this parameter is turned “off”.
Foot Controller 1 is fixed and MIDI control number 004.
Foot Switch 1 & 2
off, Modulation Wheel 119, Program Inc.
Sets the MIDI control number for Foot Switches 1 & 2. All MIDI control numbers
are available. When “Program Inc” is selected the VL7 voice number will increase by 1
each time the foot switch is pressed (the corresponding MIDI program change numbers
are also transmitted). When voice number “64” is reached, the next voice selected will be
“1”. Foot Switch 1 or 2 will not function when this parameter is turned “off”.
The initial factory settings for the assignable controllers are as follows:
• Modulation Wheel 2...... 013
• Foot Controller 2 ........ Breath Controller
• Foot Switch 1 ........... Sustain
• Foot Switch 2 ........... Portamento Switch
If a Foot Controller 2 or Footswitch 1/2 are assigned but not connected, the
maximum foot controller value and footswitch “on” status are assumed.
(except Sustain)
155
Feature Reference
Utility Mode
5: Curve
Three curve display pages are provided: one for the velocity curve (“Velo”), one for the
aftertouch curve (“Aftr”), and one for the breath controller curve (“Brth”). Press the §,
, and buttons to select these pages, respectively.
Velocity Curve
Normal, Soft, Wide, Hard.
After Touch Curve
Normal, Soft, Wide, Hard.
Breath Control Curve
Normal, Soft, Wide, Hard.
Determine the relationship between controller input — keyboard velocity, keyboard
aftertouch, and breath controller — and output. For example, a player who generally uses
a light keyboard touch will get maximum dynamic range from the VL7 keyboard if the
Velocity Curve” parameter is set to “Soft”. Try out the various settings while
playing the respective controllers in order to find the curves that work best for you.
System
If you play the keyboard or breath controller while viewing the appropriate
curve display, the instantaneous velocity, aftertouch, or breath pressure input
and output values will appear on the display both numerically and graphically
in the form of markers surrounding the curve graph.
The relationship between input and output is linear.
This curve makes it easy to cover a wide dynamic range with a light
keyboard touch.
Subjectively, this curve produces the widest dynamic range.
Best for players who use a relatively heavy touch.
Normal
Soft
Wide
Hard
156
Feature Reference
Utility Mode
6: Miscellaneous
Display
Reverse, Normal.
Determines whether the VL7 display appears in the normal way (black characters
on a white background) or reverse (white characters on a black background).
Confirm
off, on.
Determines whether the “Are You Sure?” confirmation message will appear
during the following operations:
• Voice store.
• Disk save, load, rename, delete, format.
• Bulk data transmit.
• Edit recall.
• Demo mode entry.
Turning the confirmation function off can make operation faster and more
efficient by reducing the number of steps required for some operations, but it
also increases the danger of accidentally erasing important data. Use with
caution.
Memory Protect
off, on.
Turns internal RAM memory protection on or off. When “on” no operations that
alter the contents of the internal memory can be performed. Be sure to turn memory
protection “off” before loading data, storing voices, receiving bulk data from external
equipment, etc.
The default Memory Protect setting is “off”.
Memory protect is automatically turned “on” when data that was saved with
Memory Protect “on” is reloaded.
157
Feature Reference
Utility Mode
Greeting Message
Up to 20 characters.
Allows you to enter an original greeting message which will be displayed by the
VL7 when the power is initially turned on. Position the cursor at the “Greeting Message”
parameter and press the button (“Name”). Then use the name entry procedure de-
scribed on page 31.
Voice data can be loaded into the VL7 edit buffer from an external device
even when Memory Protect is “on”.
System
158
Feature Reference
Utility Mode
MIDI Bulk Dump
UTILITY MODE
DEMO
EDIT RECALL
MIDI BULK DUMP
SYSTEM
DISK
159
Feature Reference
Utility Mode
MIDI Bulk Dump
Bulk Data Transmission Procedure
1. Preparation
Make sure the VL1 is properly connected to a device which is capable of receiving
its bulk data: another VL7, a computer, a MIDI data recorder, etc. The VL7 MIDI OUT
connector should be connected to the MIDI IN connector of the receiving device via a
high-quality MIDI cable. Also make sure that the VL7 and receiving device are set to the
same MIDI Device Number.
2. Select a Data Type
Position the cursor at the type of bulk data you want to send — “System”, “All
Voice”, or “Current Voice”.
MIDI “bulk dump” transmission makes it possible to transfer system and voice data
between the VL7 and other MIDI equipment. The VL7 is capable transmitting three types
of data:
All VL7 system Data: the settings in the Utility System page and the 2
internal Micro Tuning data.
All 64 voices in the VL7 memory.
The currently selected voice only.
1: System
2: All Voice
3: Current Voice
VL7/VL1 Bulk Data Compatibility
Data can be transferred between the VL7 and the VL1 Virtual Acoustic
Syntesizer via bulk dump opertations, as listed below.
Bulk Data Dump from VL1 to VL7
VL1 Element 2 data and all settings pertaining to Element 2 are ignored
(The Modulation Effect Element on/off setting is “on”).
System data is fully compatible.
If an “All Voice” dump is performed from the VL1, voices 65 through
128 remain in the VL7 voice memory locations 1 through 64. If the VL1
] button is pressed after voice 64 has been transmitted, however,
voice numbers 1 through 64 will remain in VL7 memory locations 1
through 64.
Bulk Data Dump from VL7 to VL1
Common and Element 1 data will be transmitted. The VL1 Element 2 data
will remain intact.
System data is fully compatible.
160
Feature Reference
Utility Mode
3. Press [
Press the [ button. The “Are You Sure?” confirmation display will
appear.
4. Press - to Transmit
Press the - button to transmit the selected data (or = to cancel the opera-
tion). The progress of the transmission will be indicated in bar-graph form on the display,
and “Completed!” will appear when all the data has been transmitted.
•“All Voice” transmissions can be cancelled between blocks by pressing the
] button. All data up to the point at which the ] button is pressed
will be properly transmitted.
5. Press ]
Press the ] button to clear the “Completed!” display and return to the main
bulk transmit display.
Bulk Data Reception
In order for the VL7 to receive a bulk transmission from another VL7 or other
device, the MIDI OUT of the transmitting device must be connected to the MIDI IN of
the VL7 via a MIDI cable. The VL7 will then automatically receive and load the data as
long as it is set to the same device number as the transmitting device and its Memory
Protect function is turned “off”. Memory Protect does not need to be turned off in order
to receive a single voice (the current voice).
161
Feature Reference
Utility Mode
MIDI Bulk Dump
162
Feature Reference
Utility Mode
Disk
UTILITY MODE
DEMO
EDIT RECALL
MIDI BULK DUMP
SYSTEM
DISK
1: Disk Status . . . . . . . . . . . . . . . . . . . . . . . . . . 163
2: Load From Disk . . . . . . . . . . . . . . . . . . . . . . 164
3: Save To Disk . . . . . . . . . . . . . . . . . . . . . . . . 166
4: Rename File . . . . . . . . . . . . . . . . . . . . . . . . 168
5: Delete File . . . . . . . . . . . . . . . . . . . . . . . . . . 170
6: Format Disk . . . . . . . . . . . . . . . . . . . . . . . . . 171
CAUTION! Never attempt to remove a disk from the disk drive while the disk
drive indicator is lit. Doing so can damage the data on the disk.
The disk write protect tab must be set to the “off” or “write enable” position
in order to save data to the disk, rename a file, delete a file, or format the disk.
CAUTION!
163
Feature Reference
Utility Mode
1: Disk Status
This function displays a range of information about the currently loaded floppy
disk.
Disk
The total number of files on the disk.
The amount of disk space currently used, in kilobytes.
The amount of disk space currently free, in kilobytes.
The number of “System” files on the disk.
The number of “All Voice” files on the disk.
The number of “1 Bank” files on the disk.
The number of “1 Voice” files on the disk.
The number of files on the disk that do not match any of the above
categories.
The number of “All” files on the disk.
Total
Used
Free
System
All Voice
1 Bank
1 Voice
Others
All
164
Feature Reference
Utility Mode
2: Load From Disk
This function loads a specified data file from a floppy disk inserted in the VL7
floppy disk drive. Five types of data files can be selected.
All system and voice data.
All Utility System page settings and internal Microtuning data.
All 64 voices in the VL7 memory.
16 voices from 1 VL7 memory bank (A … D).
1 voice.
All
System
All Voice
1 Bank
1 Voice
Disk Load Procedure
1. Insert the Floppy Disk
Make sure the floppy disk containing the data you want to load is properly inserted
in the VL7 floppy disk drive.
Also make sure that the VL7 Memory Protect function is turned “off” (
Page 156).
2. Select a File Type and press [
Position the cursor at the type of file you want to load, then press the [
button.
3. Select a File and Press [
When the file window appears, select the file you want to load and press [
again.
Depending on the type of data you have selected, an additional selection window
may appear after you have selected the file you want to load. You may have to select an
individual bank or voice, or specify a destination for the data to be loaded (“SRC” in the
selection window title indicates that you are selecting a source file, while “DST” indicates
that you are selecting a destination). Continue making the required selections and press-
ing [ until the confirmation prompt appears.
When selecting a voice to load from a long list, you can use the § (“123”)
and (“ABC”) buttons to display the voices in numeric or alphabetic order,
as required. Sometimes it may take a few seconds to sort the data as specified
— the “Now sorting!” message will appear during the sort operation.
165
Feature Reference
Utility Mode
If you select the “1 Voice” file type when loading from a VL1 disk, you
can select any of the 8 available banks (A through H) by using the voice bank
buttons: the a through d buttons alternately select banks A … D and E …
H.
If you select the “1 Voice” file type, “E2” will appear above the
function button in the file selection window. Press this button (“E2” will be
highlighted) if you want to load the element-2 data from a 2-element voice
originally used by the VL1 Virtual Acoustic Synthesizer. The element-2 data
loaded will include the voice name, element-2 name, common data, and all
element-2 data. The button alternately turns the “E2” option on and off.
If you select the “All” or “All Voice” file type when loading from a VL1
disk, the first 64 voices of the 128 included in the file will be loaded into the
VL7 memory. Only the element-1 data will be loaded.
If you select the “1 Bank” file type when loading from a VL1 disk, you can
select any of the 8 available banks (A through H). Only the element-1 data
will be loaded.
When loading VL1 voice data the modulation effect Element on/off setting
will be “on”.
4. Press - to Load
When the “Are You Sure?” confirmation prompt appears, press the -
button to load the selected data (or = to cancel the operation). The progress of the
load operation will be indicated in bar-graph form on the display, and “Completed!
will appear when all the data has been loaded.
A load operation in progress cannot be cancelled.
5. Press ]
Press the ] button to clear the “Completed!” display.
CAUTION! Whenever a load operation is performed any previous data in the
memory location to which the new data is loaded to will be erased and replaced
by the new data! Be sure to save important data to disk to minimize the possibil-
ity of accidental erasure.
Disk
CAUTION!
166
Feature Reference
Utility Mode
3: Save To Disk
This function saves a specified data file from the VL7 memory to a floppy disk
inserted in the VL7 floppy disk drive. Five types of data files can be selected.
Disk Save Procedure
1. Insert the Floppy Disk
Make sure the floppy disk to which you want to save the data is properly inserted in
the VL7 floppy disk drive.
Also make sure that the floppy disk’s write protect tab is set to the “off” or
“write enable” position.
Only floppy disks which have been formatted using the “Format Disk” func-
tion ( Page 171) can be used to save VL7 data.
2. Select a File Type and press [
Position the cursor at the type of file you want to save, then press the [
button.
If you select “All”, “System” or “All Voice” a list of the files on disk will
appear. In this case skip step 3, below, and go directly to step 4. If you select “1 Bank
or “1 Voice” continue with step 3.
3. Select a Bank or Voice and Press [
When the source window appears, select the bank or voice you want to save and
press [.
4. Select the Destination File
If you want to save the selected data to a new file, position the cursor at a file name
with the “NewFile” extension. To save the data to an existing file, position the cursor at
the appropriate file name. In the latter case there is no need to enter a new file name, so
you can skip ahead top step 7.
All system and voice data.
All Utility System page settings and internal Microtuning data.
All 64 voices in the VL7 memory.
16 voices from 1 VL7 memory bank (A … D).
1 voice.
All
System
All Voice
1 Bank
1 Voice
167
Feature Reference
Utility Mode
5. Enter a File Name
Press (“Name”) and enter a name (maximum 8 characters) for the file to be
saved ( Page 27).
File names which begin with or contain a space are not allowed.
6. Press [
Press the [ button to close the name window.
7. Press [ and Confirm
Press the [ button. When the “Are You Sure?” confirmation prompt
appears, press the - button to save the selected data (or = to cancel the opera-
tion). The progress of the save operation will be indicated in bar-graph form on the
display, and “Completed!” will appear when all the data has been saved.
A save operation in progress cannot be cancelled.
Files are automatically saved with an extension (a period followed by three
characters) which indicates the file type: .ALL = All Data; .SYS = System;
.AVC = All Voice; .1BK = 1 Bank; .1VC = 1 Voice.
8. Press ]
Press the ] button to clear the “Completed!” display.
Disk
168
Feature Reference
Utility Mode
4: Rename File
This function can be used to rename a specified data file on a floppy disk inserted
in the VL7 floppy disk drive. Five types of data files can be selected.
All system and voice data.
All Utility System page settings and internal Microtuning data.
All 64 voices in the VL7 memory.
16 voices from 1 VL7 memory bank (A … D).
1 voice.
All
System
All Voice
1 Bank
1 Voice
File Rename Procedure
1. Insert the Floppy Disk
Make sure the floppy disk containing the file you want to rename is properly
inserted in the VL7 floppy disk drive.
Also make sure that the floppy disk’s write protect tab is set to the “off” or
“write enable” position.
2. Select a File Type and press [
Position the cursor at the type of file you want to rename, then press the [
button.
3. Select a File and Press
When the file window appears, select the file you want to rename and press the
button (“Rnam”).
4. Enter a File Name
Enter a new name (maximum 8 characters) for the selected file ( Page 31).
File names which begin with or contain a space are not allowed.
5. Press [
Press the [ button to close the name window.
169
Feature Reference
Utility Mode
6. Press [ and Confirm
Press the [ button. When the “Are You Sure?” confirmation prompt
appears, press the - button to rename the file (or = to cancel the operation). “Now
Executing” will appear while the file name is being rewritten, and “Completed!
will appear when the rename operation is finished.
7. Press ]
Press the ] button to clear the “Completed!” display.
Disk
170
Feature Reference
Utility Mode
5: Delete File
This function can be used to delete a specified data file on a floppy disk inserted in
the VL7 floppy disk drive. Six types of data files can be selected.
File Delete Procedure
1. Insert the Floppy Disk
Make sure the floppy disk containing the file you want to delete is properly inserted
in the VL7 floppy disk drive.
Also make sure that the floppy disk’s write protect tab is set to the “off” or
“write enable” position.
2. Select a File Type and press [
Position the cursor at the type of file you want to delete, then press the [
button.
3. Select a File and Press [
When the file window appears, select the file you want to delete and press [.
4. Press - To Delete
When the “Are You Sure?” confirmation prompt appears, press the -
button to delete the file (or = to cancel the operation). “Now Executing” will
appear while the file is being deleted, and “Completed!” will appear when the delete
operation is finished.
5. Press ]
Press the ] button to clear the “Completed!” display.
All system and voice data.
All Utility System page settings and internal Microtuning data.
All 64 voices in the VL7 memory.
16 voices from 1 VL7 memory bank (A … D).
1 voice.
Any files not included in the above categories.
All
System
All Voice
1 Bank
1 Voice
Others
171
Feature Reference
Utility Mode
6: Format Disk
This function formats new 2DD or 2HD type floppy disks for use with the VL7.
2DD type disks provide 720 kilobytes of storage capacity when formatted
(MS-DOS 9-sector format), and 2HD disks have 1.44 megabytes of storage
capacity when formatted (MS-DOS 18-sector format).
Disk Format Procedure
1. Insert the Floppy Disk
Make sure the floppy disk you want to format is properly inserted in the VL7
floppy disk drive.
Also make sure that the floppy disk’s write protect tab is set to the “off” or
“write enable” position.
2. Press [ and Confirm
Press the [ button. When the “Are You Sure?” confirmation prompt
appears, press the - button to begin formatting the disk (or = to cancel the
operation). The progress of the format operation will be indicated on the display in bar
graph form, and “Completed!” will appear when the format operation is finished.
3. Press ]
Press the ] button to clear the “Completed!” display.
CAUTION! Formatting a disk that contains data will erase all data on the
disk!
Disk
CAUTION!
172
Feature Reference
Utility Mode
Edit Recall
UTILITY MODE
DEMO
EDIT RECALL
MIDI BULK DUMP
SYSTEM
DISK
173
Feature Reference
Utility Mode
Edit Recall
If you’ve accidentally “lost” an edited voice by selecting a different voice in the
PLAY mode before storing your edited data, the Edit Recall function can be used to
recall the edited data.
If you’ve made no further edits to any other voice since losing the data, only
the name of the last voice edited (the “Recall Memory Voice”) will
appear on the display. If you’ve already made at least one edit to the newly
selected voice both the name of the recall memory voice and the current voice
will appear on the display — with the warning that the current voice will be
overwritten by the recall memory voice if you proceed with the recall opera-
tion!
Edit Recall Procedure
1. Press [ and Confirm
Press the [ button. When the “Are You Sure?” confirmation prompt
appears, press the - button to recall the edit data (or = to cancel the operation).
Completed!” will appear when the recall operation is finished.
2. Press P
Press the P button to return to the PLAY mode. “E”(´) will appear to the left
of the voice name.
174
Feature Reference
Utility Mode
Demo
UTILITY MODE
DEMO
EDIT RECALL
MIDI BULK DUMP
SYSTEM
DISK
176
Feature Reference
Utility Mode
Appendix
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . 178
Error Messages . . . . . . . . . . . . . . . . . . . . . . . 182
Specifications . . . . . . . . . . . . . . . . . . . . . . . . 184
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
178
Feature Reference
Appendix
Troubleshooting
The VL7 is a very versatile instrument with many features and functions that affect
operation. In many cases, what appears to be a fault with the VL7 can actually be traced
to an improperly set parameter or, at the most fundamental level, to something as simple
as a bad connection.
Here’s how to determine if the problem is internal (e.g. parameter settings) or
external (e.g. connections, amplifier, etc.):
Listen via Headphones. Plug a pair of headphones into the VL7 and play.
If the headphone sound is OK, then the problem is most likely in the
amplifier or mixer you are using, or the audio connection cables.
Try moving all controllers — modulation wheels, foot controlers, etc. In
some cases extreme controller settings can cause unexpected sound or
pitch … or even no sound at all.
Try selecting different voices. If the problem occurs only on one voice
then the voice parameters are most likely at fault. If the problem occurs on
all voices then a utility parameter should be suspected.
The following are some common problems and probable causes:
179
Feature Reference
Appendix
Troubleshooting
Amplifier, Mixer, Connection Problems
Symptom
Possible Cause
Is the amplifier/mixer power turned on?
Is the amplifier/mixer volume set to an appropriate level?
Are the VL7 outputs properly connected to the amplifier/mixer
inputs?
Are the connection cables shorted, open, or otherwise faulty?
Is the VL7 connected to a high-sensitivity microphone or instru-
ment input on your amplifier or mixer? Try turning the VL7
DOWN controls down to avoid overloading the amplifier/mixer
inputs.
Check the level and pan controls on the sound system/mixing
console being used with the VL7.
No sound.
Distorted sound.
Improper stereo positioning.
Utility Setting Problems
Symptom
Possible Cause
Is the local off mode selected (page 153)?
Are the MIDI transmit channel and receive channels matched to
those of the external MIDI device used (page 153)?
Is the master tune parameter set properly (page 152)?
Is the keyboard transpose parameter set properly (page 151)?
Is the “Octave SW Hold” parameter turned “on” (page 151)?
Is the TG Setting Reverb parameter turned “on” (page 152)?
The VL7 is basically designed for stereo output, but it can be
used in mono if only the L or R OUTPUT jack is used and the
UTILITY mode TG Setting page Output parameter is set to
“Monaural”.
Are the Assignable Controllers parameters set properly (page
154)?
When the VL7 is initially shipped, or when the “NOBREATH:All”
data file on the supplied disk is loaded, Foot Controller 2 are
assigned to breath control.
When any file other than “EXAMPLE:All” file on the supplied disk
is loaded Modulation Wheel 2 is assigned to MIDI control change
number 013. In this case “normal” sound is produced with the
modulation wheel at its center position.
No Sound
Wrong pitch.
No reverb.
The mono output doesn’t
sound right.
Improper controller operation.
180
Feature Reference
Appendix
Voice Setting Problems
Symptom
Possible Cause
Make sure that the element level is not set to “0” (page 36)?
Make sure that the total amplitude level is not set to “0” (page
102)?
Make sure that the driver, pipe/strings, and tap output mixing
parameters are not all set to “0” (page 96)?
Make sure that the amplitude & filter sustain level is not set to
“0” (page 143).
Check the pressure controller (page 63)?
Check the amplitude controller (page 69)?
Check the embouchure controller (page 64)?
Check the damping controller (page 78)?
Check the absorption controller (page 79)?
Some voices will not produce sound when played at extremely
high or low pitches.
Make sure that the pressure EG mode parameters is not set to
“Disable” (page 127)?
Check the element tune, note shift, and random pitch parameters
(page 35)?
Microtuning may be set to a tuning other than equal tempera-
ment (page 39)?
Check the effect pitch change parameters (page 48)?
Check the pitch controller (page 65)?
Some voices will change pitch when pressure or embouchure
control is applied.
The pitch of extremely high or low notes can sometimes be
unstable.
Check the effect distortion settings (page 49)?
Check the scream controller (page 70)?
Check the growl controller (page 72)?
Check the throat formant controller (page 73)?
Are the element pan L and R parameters set to values other
than “-64” and “63”, respectively (page 36)?
Check the effect feedback delay settings (page 52)?
No sound.
Sound won’t stop.
Wrong pitch.
Distorted sound.
Improper stereo positioning.
181
Feature Reference
Appendix
Troubleshooting
182
Feature Reference
Appendix
Error Messages
When an operational error or other problem occurs, the VL7 will display one of the
following error messages to inform you of the problem.
Display
Comments
The loaded floppy disk is damaged. Try a different disk.
The voice backup battery needs to be replaced. Have the battery
replaced by qualified Yamaha service personnel.
The specified data cannot be found on the currently selected file.
Make sure the appropriate file is loaded.
MIDI bulk data could not be transmitted or received because the
device number parameter is turned off. Check the device number
setting.
MIDI bulk data could not be transmitted or received because the
device number of the VL7 is not matched to that of the second
device. Check the device number settings.
Data cannot be saved to floppy disk because the currently
loaded disk is full. Delete unwanted files to make more space on
the disk, or use a different disk.
The currently loaded floppy disk has not been formatted for use
with the VL7. Format the disk before performing any disk opera-
tions.
You have attempted to perform a disk operation while no floppy
disk is loaded. Insert an appropriate floppy disk in the disk drive.
The specified file cannot be found on the currently loaded floppy
disk. Check the file name or use the appropriate disk.
Bad disk!
Change battery!
Data not found!
Device number is off!
Device number mismatch!
Disk full!
Disk not formatted!
Disk not ready!
File not found!
183
Feature Reference
Appendix
Error Messages
Display
Comments
Illegal disk!
Illegal file!
Memory protected!
MIDI buffer full!
MIDI checksum error!
MIDI data error!
Same file name exists!
Write protected!
The currently loaded disk has a non-VL7 format. Either use a
different disk or, if the data on the disk is not needed, re-format the
disk.
The specified file is not a VL7 file. Check the disk and files.
You have attempted to perform a function which will change the
contents of the internal memory, but the memory protect function is
“on”. Turn memory protect “off” and try again.
The MIDI receive buffer is full. Reduce the amount of data being
transmitted to the VL7.
An error has been detected in the received MIDI data. Check the
transmitting device and MIDI cables, and try again.
An error has been detected in the received MIDI data. Check the
transmitting device and MIDI cables, and try again.
You have attempted to save a file with the same name as a file
that already exists on the disk. Change the file name and try again.
You have attempted a save, rename, or delete operation to a
disk which is write protected. Set the disk’s write protect tab to the
“off” or “enable” position and try again.
184
Feature Reference
Appendix
Specifications
Tone Generator
S/VA (Self-oscillating Virtual Acoustic Synthesis), monophonic.
Harmonic Enhancer.
Dynamic Filter (LPF, HPF, BPF, BEF, with resonance).
Equalizer (5 bands with frequency, resonace, and boost/cut
control).
Impulse Expander.
Resonator.
32-bit digital signal processor, stereo in/stereo out.
Modulation effects (flanger, pitch change, distorion).
Feed back delay.
Reverberation.
Voice mode only.
Smallest tone generator unit: element. Voices use element.
Voices are composed on “common data” and “element data”.
1 note.
Type
Modifiers
Effects
Play Mode
Polyphony
Memory
64 voices.
3.5" 2DD or 2HD floppy disk.
Internal
Disk
Keyboard
49 (C scale, FS type)
Velocity.
Channel aftertouch.
Keys
Sensitivity
Controllers
Master volume slider. Continuous sliders x 2.
Pitch bend wheel. Modulation wheel x 2.
Data entry dial. LCD contrast control.
185
Feature Reference
Appendix
Specifications
Panel Switches
Play (with LED). Edit (with LED).
Utility (with LED). Octave x 2 (with LEDs).
Copy. Store.
Bank select x 4 (with LEDs). Program change x 16 (with LEDs).
Data entry x 2. Cursor x 4.
Function x 8.
Exit. Enter.
Display
240 x 64 dot backlit liquid crystal display.
Connectors
Stereo headphones. Breath controller.
Output x 2 (L and R). Foot controller x 2.
Foot switch x 2. MIDI IN.
MIDI OUT. MIDI THRU.
Front Panel
Rear Panel
Output Level
2.5 ±2 dBm into 10 k.
2.0 ±2 dBm into 33 .
Line
Headphones
Power Requirements
UL/CSA: 120V, 16W
Europe: 220-240V, 16W
General
914 (W) x 380 (D) x 105 (H) mm.
12.3 kg
Dimensions
Weight
Accessories
Power cable. BC2 Breath Controller.
FC7 Foot Controller. Floppy disk.
Owners manuals x 2. Voice List & MIDI Data Format.
* Specifications subject to change without notice.
186
Feature Reference
Appendix
Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©12, 38
Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©7
Copy button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©17
Copy function . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ24
Cursor buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©18
D
Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ78
Data dial . . . . . . . . . . . . . . . . . . . . . .
©18, 35. ƒ16
Decrement & increment buttons . . .
©18, 35. ƒ16
Demo playback . . . . . . . . . . . . . . . . . . .
©26. ƒ174
Device number . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ153
Disk format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ171
Disk status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ163
Disk, delete file . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ170
Disk, load from . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ164
Disk, rename file . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ168
Disk, save to . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ166
Display mode . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ156
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ49
Dynamic filter . . . . . . . . . . . . . . . . .
©54. ƒ75, 113
Dynamic filter key scaling . . . . . . . . . . . . .
ƒ115-116
E
Edit compare function . . . . . . . . . . . . . . . . . . . . . ƒ23
Edit recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ172
Effect control . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ43
Effect on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ22
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©58
Element level . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ36
Element names . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ31
Index
This index covers both the VL7 Getting Started and Feature Reference manuals for
easy cross-referencing. Page numbers in the Getting Started manual are preceded by
©”, and page numbers in the Feature Reference manual are preceded by “ƒ”.
A
Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ79
Aftertouch curve . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ155
Amplitude & filter envelope . . . . . . . . . . . . . . .
ƒ141
Amplitude & filter key scaling . . . . . . . . .
ƒ144-148
Amplitude (Element Controller) . . . . . . . . . . . . .
ƒ69
Amplitude level . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ102
Assign mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ33
B
Backup battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©4
Bank buttons . . . . . . . . . . . . . . . . . . .
©19, 34. ƒ15
Breath attack gain . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ34
Breath attack time . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ34
Breath control curve . . . . . . . . . . . . . . . . . . . . . .
ƒ155
Breath controller calibration . . . . . . . . . . . . . . . . . ©28
Breath controller . . . . . . . . . . . . . . . . . . . . . . . . . .
©23
Breath controller jack . . . . . . . . . . . . . . . . . . . . . .
©19
Breath noise . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ71, 84
Breath noise key scaling . . . . . . . . . . . . . . . . .
ƒ86-88
Bulk dump, MIDI . . . . . . . . . . . . . . . . . . . . . . . .
ƒ158
C
Common miscellaneous . . . . . . . . . . . . . . . . . . . . ƒ32
Confirm mode . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ156
Continuous slider assignment . . . . . . . . . . . . . . . .
ƒ40
Continuous sliders . . . . . . . . . . . . . . .
©18, 47. ƒ19
Controller envelopes . . . . . . . . . . . . . . . . . . . . . . .
©46
Controller search & replace . . . . . . . . . . . . . . . . .
ƒ80
Controller parameters . . . . . . . . . . . . . . . . . . . . . . ©40
Controller views . . . . . . . . . . . . . . . .
©41, 47. ƒ17
187
Feature Reference
Appendix
Index
Element note shift . . . . . . . . . . . . . . . . . . . . . . . . . ƒ35
Element pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ36
Element pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ35
Element random pitch . . . . . . . . . . . . . . . . . . . . . .
ƒ35
Element tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ35
Embouchure & pitch envelope . . . . . . . . . . . . . .
ƒ128
Embouchure & pitch envelope key scaling
ƒ130-132
Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ64
Enter button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©18
Equalizer auxiliary . . . . . . . . . . . . . . . . . . . . . . .
ƒ117
Equalizer auxiliary key scaling . . . . . . . . .
ƒ118-119
Equalizer band . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ120
Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©55
Error messages . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ182
Exit button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©18
F
Feedback delay effects . . . . . . . . . . . . . . . . . . . . . ©59
Feedback delay . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ51
Feedback delay/reverb mode . . . . . . . . . . . . . . . .
ƒ43
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ45
Floppy disk drive . . . . . . . . . . . . . . . . . . . . . . . . .
©19
Floppy disks & drive, handling . . . . . . . . . . . . . . .
©5
Foot controller 2 assign . . . . . . . . . . . . . . . . . . .
ƒ154
Foot controller jacks . . . . . . . . . . . . . . . . . . . . . . .
©20
Foot controllers . . . . . . . . . . . . . . . . . . . . . . . . . . .
©23
Foot switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©23
Foot switch assign . . . . . . . . . . . . . . . . . . . . . . .
ƒ154
Foot switch jacks . . . . . . . . . . . . . . . . . . . . . . . . .
©20
Function buttons . . . . . . . . . . . . . . . . . . . . . . . . . .
©18
Functions & parameters, finding . . . . . . . . . . . . . .
ƒ9
G
Greeting message . . . . . . . . . . . . . . . . . . . . . . . . ƒ157
Growl envelope . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ139
Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ72
Growl speed key scaling . . . . . . . . . . . . . . . . . .
ƒ140
H
Harmonic enhancer . . . . . . . . . . . . . ©51. ƒ76, 105
Harmonic enhancer key scaling . . . . . . . . .
ƒ108-112
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©23
I
Impulse expander & resonator setting . . . . . . . . ƒ121
Impulse expander . . . . . . . . . . . . . . . . .
©56. ƒ123
Initial edit page . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ30
Interpolate speed . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83
K
Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19
Keyboard transpose . . . . . . . . . . . . . . . . . . . . . . .
ƒ151
L
L,C,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ55
L,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ53
LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©18
Local on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153
M
Manuals, about the . . . . . . . . . . . . . . . . . . . ©6. ƒ4
Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ152
Memory protect . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ156
Micro tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ39
MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . .
©24
MIDI connectors . . . . . . . . . . . . . . . . . . . . . . . . . . ©20
MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ153
Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . .
©48. ƒ96
Mixing key scaling . . . . . . . . . . . . . . . . . . . .
ƒ98-101
Mode buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©17
Modes, the 3 main . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ8
Modifier on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ22
Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©51
Modulation effect type . . . . . . . . . . . . . . . . . . . .
ƒ44
Modulation effects . . . . . . . . . . . . . . . . . . . . . . . .
©59
Modulation wheel 2 assign . . . . . . . . . . . . . . . . .
ƒ154
Modulation wheels . . . . . . . . . . . . . . . . . . . . . . . .
©19
Mono delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ51
N
Navigation aids . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ11
O
Octave buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19
Octave switch hold . . . . . . . . . . . . . . . . . . . . . . .
ƒ151
Output jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©20
188
Feature Reference
Appendix
V
Velocity curve . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ155
Vibrato envelope . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ133
Vibrato envelope key scaling . . . . . . . . . . .
ƒ135-138
Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ67
Voice directory . . . . . . . . . . . . . . . . . . . . . . . . . . .
©36
Voice name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ31
Voice number buttons . . . . . . . . .
©19, 35. ƒ15, 22
Voice selection . . . . . . . . . . . . . . . . . . . .
©34. ƒ15
Volume control . . . . . . . . . . . . . . . . . . . . . . . . . . .
©18
X
Xfade speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ83
P
Phones jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19
Pitch change . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ47
Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ65
Pitch wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ©19
Play-mode display . . . . . . . . . . . . . . . . . .
©34. ƒ14
Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ38
Power cord socket . . . . . . . . . . . . . . . . . . . . . . . . .
©20
Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©22
Power switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©20
Power-on procedure . . . . . . . . . . . . . . . . . . . . . . . ©25
Pre-programmed voices, loading . . . . . . . . . . . . .
©31
Pressure envelope . . . . . . . . . . . . . . . . . . . . . . . .
ƒ127
Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ63
Q
Quick editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ19
R
Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . ƒ153
Resonator . . . . . . . . . . . . . . . . . . . . . . . . ©57. ƒ124
Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©60
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ58, 152
S
Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ70
Selecting & editing parameters . . . . . . . . . . . . . .
ƒ12
Sound system . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©24
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . ƒ184
Store button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
©17
Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ27
Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ33
T
Throat formant . . . . . . . . . . . . . . . . . . . . . . . . ƒ73, 89
Throat formant key scaling . . . . . . . . . . . . . .
ƒ91-95
Time calculation, musical . . . . . . . . . . . . . . . . . . . ƒ57
Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ68
Touch EG time . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ34
Transmit channel . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ153
Trigger mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ83
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . .
ƒ178
189
Feature Reference
Appendix
Index
SY05
MIDDLE & SOUTH AMERICA
MEXICO
Yamaha De Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRASIL
Yamaha Musical Do Brasil LTDA.
Ave. Reboucas 2636, São Paulo, Brasil
Tel: 55-11 853-1377
PANAMA
Yamaha De Panama S.A.
Edificio Interseco, Calle Elvira Mendez no.10,
Piso 3, Oficina #105, Ciudad de Panama, Panama
Tel: 507-69-5311
OTHER LATIN AMERICAN COUNTRIES
AND CARIBBEAN COUNTRIES
Yamaha Music Latin America Corp.
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A.
Tel: 305-261-4111
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 0908-366700
IRELAND
Danfay Limited
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
AUSTRIA/HUNGARY/SLOVENIA/
ROMANIA/BULGARIA
Yamaha Music Austria GesmbH.
Schleiergasse 20, A-1100 Wien Austria
Tel: 0222-60203900
THE NETHERLANDS
Yamaha Music Benelux B.V.,
Verkoop Administratie
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-828411
BELGIUM/LUXEMBOURG
Yamaha Music Benelux B.V.,
Brussels-office
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2445
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.
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.
FRANCE
Yamaha Musique France,
Division Instruments Electroniques et de Scène
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.,
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN
Yamaha-Hazen Electronica Musical, S.A.
Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270
PORTUGAL
Valentim de Carvalho CI SA
Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,
Portugal
Tel: 01-443-3398/4030/1823
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
Yamaha Scandinavia AB
J.A. Wettergrens gata 1, Box 30053, 400 43
Göteborg, Sweden
Tel: 031-496090
DENMARK
Yamaha Scandinavia Filial Denmark
Generatorvej 8B 2730 Herlev, Denmark
Tel: 44 92 49 00
FINLAND
Fazer Music Inc.
Aleksanterinkatu 11, SF 00100 Helsinki, Finland
Tel: 0435 011
NORWAY
Narud Yamaha AS
Østerndalen 29, 1345 Østerås
Tel: 02-24 47 90
ICELAND
Páll H. Pálsson
P.O. Box 85, 121 Reykjavik, Iceland
Tel: 01-19440
EAST EUROPEAN COUNTRIES
(Except HUNGARY)
Yamaha Europa GmbH.
Siemensstraße 22-34, D-2084 Rellingen, F.R. of
Germany
Tel: 04101-3030
ASIA
HONG KONG
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 730-1098
INDONESIA
PT. Yamaha Music Indonesia(Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Cosmos Corporation
#131-31, Neung-Dong, Sungdong-Ku, Seoul
Korea
Tel: 02-466-0021~5
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Malaysia
Tel: 3-717-8977
PHILIPPINES
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. BOX 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
Blk 17A Toa Payoh #01-190 Lorong 7
Singapore 1231
Tel: 354-0133
TAIWAN
Kung Hsue She Trading Co., Ltd.
No. 322, Section 1, FuHsing S. Road,
Taipei 106, Taiwan. R.O.C.
Tel: 02-709-1266
THAILAND
Siam Music Yamaha Co., Ltd.
865 Phornprapha Building, Rama I Road,
Patumwan, Bangkok 10330, Thailand
Tel: 2-215-3443
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
AFRICA
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Musique France, Division Export
BP 70-77312 Marne-la-Valée Cedex 2, France
Tel: 01-64-61-4000
OTHER COUNTRIES
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
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.
Tel: 714-522-9011
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
17-33 Market Street, South Melbourne, Vic. 3205,
Australia
Tel: 3-699-2388
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa, Auckland,
New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
International Marketing Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311
11

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