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Yamaha VL-7 Owner's Manual

Virtual acoustic synthesizer
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Getting Started
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  • Page 1 Getting Started Owner’s Manual 1...

  • Page 2: Table Of Contents

    Contents Precautions ..........4 About the Manuals .
  • Page 3 Voice Selection ......34 Selecting & Playing the VL7’s 64 Voices Using the Voice Directory ........36 The Controllers .

  • Page 4: Precautions

    Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • Direct sunlight (e.g. near a window). • High temperatures (e.g. near a heat source, outside, or in a car during the daytime).
  • Page 5 • Do not expose the disk to magnetic fields. Magnetic fields can partially or totally erase data on the disk, rendering the disk unreadable. YAMAHA is not responsible for damage caused by improper handling or operation. Getting Started • To eject a floppy disk, press the eject button slowly as far as it will go then, when the disk is fully ejected, remove it by hand.

  • Page 6: About The Manuals

    About the Manuals The VL7 comes with two manuals — Getting Started and Feature Reference. 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.

  • Page 7: The Feature Reference Manual

    The Feature Reference Manual The Feature Reference manual is the “nuts and bolts” reference for the VL7, individually describing its many functions in detail. The Feature Reference manual is divided into 5 main sections, each describing the various functions within a particular VL7 edit or utility mode. 1.

  • Page 8: Vl7 Basics

    VL7 Basics Essential Concepts for the VL7 User ike its predecessor, the VL1, the Yamaha VL7 Virtual Acoustic Synthesizer produces sound in an entirely new way. It has no oscillators or function generators, no preset waveforms or samples. In fact, it uses none of the sound generation concepts employed in conventional synthesizers.

  • Page 9: What Are The Advantages

    The Yamaha VL7 is the most musical synthesizer ever made. A soloist’s dream! • The VL7 sounds better, has more depth, and is more realistic in the musical sense than any other synthesizer system.

  • Page 10: The Vl7 Model

    The VL7 Model he overall VL7 model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as follows: The VL7 Voice "Element" Controllers (also envelopes) Instrument The Instrument The key block in this algorithm is the instrument, since it is here that the fundamental tone or “timbre”...
  • Page 11 Reed vibration. In all these instruments pressure applied here Lip vibration. (the driving point) causes vibration which results in sound. Air vibration. The sound thus produced is amplified and sustained by the body of the instrument. One of the remarkable features of the VL7’s Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string.

  • Page 12: The Controllers

    The Controllers The input to an acoustic wind instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the players arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL7 model, are included in the controllers block.

  • Page 13: The Modifiers

    The Modifiers Although you don’t have direct programming access to the VL7 instrument block, the modifiers allow a significant degree of control over the final timbre of the voice. The modifiers block consists of 5 sections as shown in the diagram. Although these may appear to be simple effects, they are actually intimately related to the VL7’s sound-producing model and have a significant effect on the sound (the VL7 has a separate effects stage with reverb, delay, and modulations effects —...
  • Page 14 Getting Started Impulse Expander The Impulse Expander works in conjunction with the Resonator, described below, to simulate the effect of an instrument’s resonant cavity or sound box. It can also be used to simulate the acoustic environment in which the instrument is played.

  • Page 15: There's More

    There’s More … n this brief introduction to VL7 basics we’ve only looked at the central physical model which is the key the VL7’s unprecedented sound and musical performance. There’s also an extensive range of other functions and features that are similar to those you may be familiar with from conventional synthesizers.

  • Page 16: The Controls & Connectors

    Getting Started The Controls & Connectors A Brief Introduction To the VL7 Interface The following brief descriptions of the VL7 controls and connectors should help you to understand the overall logic of the interface. Floppy Disk Drive OCTAVE _ and + Buttons PHONES Jack Breath Controller Jack PHONES...

  • Page 17: Front Panel

    Front Panel q MODE Buttons PLAY mode lets you select and play voices, the EDIT mode gives you programming access to the VL7’s voice and controller parameters, and the UTILITY mode includes MIDI, disk, system and other functions that are essential for general operation. w C Button e S Button y LCD Display &...
  • Page 18 Getting Started The Controls & Connectors r VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R jacks as well as the PHONES jack. Getting Started page 25. t – and Continuous Sliders These controls can be assigned to a range of controller parameters for real-time expressive control.
  • Page 19 Getting Started page 23. ! 9 Breath Controller Jack Plug the Yamaha BC2 Breath Controller supplied with the VL7 in here (an optional BC1 Breath Controller may also be used). Getting Started page 23. @ 0 Floppy Disk Drive The VL7’s built-in floppy disk drive allows easy, economical, high-volume storage of...

  • Page 20: Rear Panel

    Getting Started page 24. @ 4 FOOT CONTROLLER 1 and 2 Jacks These jacks accept Yamaha FC7 Foot Controllers which can be used to control any of the VL7’s controller parameters. One FC7 Foot Controller is supplied with the VL7, and this should normally be plugged into the FOOT CONTROLLER 2 jack.
  • Page 21 Getting Started The Controls & Connectors...

  • Page 22: Setting Up

    Getting Started Setting Up System Connections & Preparation Foot Controller Audio OUTPUT FOOT CONTROLLER MODE PLAY EDIT UTILITY COMPARE VOLUME DOWN OCTAVE PITCH MODULATION 1 MODULATION 2 Headphones Power Supply Before making any other connections the “female” end of the AC power cord supplied with the VL7 should be firmly plugged into the rear-panel AC cord socket.

  • Page 23: Controllers

    Foot Switches The use of one or two footswitches allows sustain portamento switching. We recommend that you purchase at least one Yamaha FC4 or FC5 Footswitch for this purpose. A single footswitch can be plugged into either the rear-panel FOOTSWITCH 1 or 2 jack.

  • Page 24: Stereo Sound System

    Like any other MIDI instrument the VL7 can be used with MIDI tone generators, sequencers, computer software, and controllers for virtually unlimited system expansion and control capability. You might, for example, like to control it from a Yamaha wind controller such as the WX11 rather than the keyboard for even more realistic wind- instrument feel and expression.

  • Page 25: Power-On Procedure

    Getting Started NOTES For detailed MIDI specifications refer to the “MIDI Data Format”. When using the VL7 with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equipment used to ensure compatibility. Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!).

  • Page 26: Play The Demo

    Getting Started Play the Demo Once you’ve set up your VL7 system, you might like to play the pre-programmed demo sequence to hear how some of the voices sound. This process will also help to familiarize you with some of the VL7’s selection and editing procedures. Select the Utility Mode System Page Press the U button to select the utility mode.
  • Page 27 16 demo pieces are provided. The last of these can be used with full accompa- niment if the VL7 is connected to a GM (General MIDI) tone generator such as the Yamaha TG300. Connect the VL7 MIDI OUT connector to the MIDI IN connector of the GM tone generator.

  • Page 28: Breath Controller Calibration

    Getting Started Breath Controller Calibration Proper operation of the breath controller is vital to achieving the best possible sound from the VL7. Although the controller is factory-calibrated to match most requirements, we recommend that you carefully calibrate the breath controller for optimum performance with your own playing style.
  • Page 29 Getting Started Setting Up Adjust the Breath Controller Gain Place the breath controller mouthpiece in your mouth and blow — notice that the cursors move to right and the number below the graph increases according to how hard you blow. Rotate the breath controller GAIN trimmer counter-clockwise as far as it will go (don’t force it!) then, while blowing into the mouthpiece using the maximum pressure you intend to use while playing, rotate the trimmer slowly clockwise until the number below the graph just reaches “127”...

  • Page 30: Load The Pre-Programmed Voice Data

    Getting Started Load the Pre-programmed Voice Data When initially shipped, the VL7 internal memory contains a set of voices programmed to be used without the breath controller (the “NOBREATH:All” file, described below). Since the breath controller is such an important expressive tool, and since some of the examples given in this manual use the breath controller, we recommend that you load the “FULLCNT1:All or FULLCNT2:All”...

  • Page 31: Loading The "Fullcnt1:All" Voice File

    Getting Started Setting Up Loading the “FULLCNT1:All” Voice File Insert the Voice Disk Insert the VL7 voice disk into the disk drive. The sliding disk shutter should go in first, and the label side of the disk should face upward. Select the Utility Mode System Page Press the U button to select the utility mode.
  • Page 32 Getting Started Setting Up Select “All” and Select the “002:FULLCNT1:All” File Make sure the cursor is positioned at “1:All” and press [. When the list of files appears use the cursor > and < buttons to select the “002:FULLCNT1:All” file, then press [ again. Load the File Loading will begin when you press the - button in response to the “Are You Sure?”...
  • Page 33 Getting Started Setting Up...

  • Page 34: Voice Selection

    Getting Started Voice Selection Selecting & Playing the VL7’s 64 Voices One of the first things you’ll want to do with your VL7 is select and play some of its voices … this section will show you how to do just that. Select the Play Mode Press the P button so that its indicator lights and the word “PLAY”...
  • Page 35 Getting Started Voice Selection Select a Voice 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 ^).

  • Page 36: Using The Voice Directory

    Getting Started Play Try playing the selected voice on the keyboard. Select a number of different voices and try them out. Assuming that you have loaded either of the “FULLCNT1:All” or “FULLCNT2:All” files as directed in the preceding section, you will have to apply breath pressure to the breath controller and/or press the foot controller forward to produce sound with many of the voices.
  • Page 37 Getting Started Voice Selection...

  • Page 38: The Controllers

    Getting Started The Controllers Natural Musical Nuance and Expressive Control If you’ve read the “VL7 Basics” section (if you haven’t, please do so — page 8) you should understand the concept of “controllers” as applied to the VL7. The “controller parameters” correspond to simulated characteristics of the instrument model —...

  • Page 39: Physical Controllers

    Getting Started Physical Controllers First, here’s a list of the physical controllers available for use with the VL7: A natural candidate for controlling pressure, tonguing, throat, growl, Breath Controller and other parameters. This unique "controller" can be applied only through the Breath Controller.

  • Page 40: Vl7 Controller Parameters

    Getting Started VL7 Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VL7’s controller parameters: The amount of breath pressure applied to a reed or mouthpiece, or Pressure the speed of the bow applied to a string. Pressure variations affect both volume and timbre.

  • Page 41: Controller Views

    Getting Started Controller Views In the PLAY mode, function buttons ¡ through § are used to select “controller view” displays that list all controller assignments for the currently selected voice. In particular, ¡ through ¢ display the assignments for the controller parameters listed in the preceding chart (you can press the ] button at any time to return to the normal play-mode display).

  • Page 42: Some Exercises With The Alto Sax Controllers

    Getting Started Some Exercises With the Alto Sax 1 Controllers Now that you know which physical controllers are assigned to which controller param- eters in the Alto Sax 1 voice (A14), play the voice using the assigned controllers to get a feel for their effect before changing the assignments.
  • Page 43 Getting Started The Controllers Edit the Scream Controller Parameter The cursor should be located at the “Controller” parameter, as shown in the example display. In the Alto Sax 1 voice the scream control parameter is not used so it is currently turned “off”.
  • Page 44 Getting Started The Controllers Go to the Pressure Controller Page From the Vibrato page use the § button to step back to the Pressure controller page. Quite logically, the Breath Controller is assigned to control the “Pressure” parameter, and we will leave it set that way while we experiment with the “Depth” and “Curve”...
  • Page 45 Getting Started The Controllers Once you pass zero, you enter a range of “negative” Depth values that produce reverse controller operation: i.e. the output level decreases as you blow harder into the Breath Controller. Like the normal positive range, the negative Depth range is from “0” to “-127”.

  • Page 46: Controller Envelopes

    Getting Started Experiment! Now that you’ve got the idea, flip through the all the available controller pages and experiment with alternative assignments and settings until you feel comfortable with the system. You should also try this with different voices later, since the controllers can have different effects with different voices.

  • Page 47: Other Controller Views

    Getting Started Other Controller Views If you press the function button from the play mode you’ll see the following controller view: 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).

  • Page 48: Mixing & The Modifiers

    Getting Started Mixing & The Modifiers Creating New Timbres and Original Voices The VL7 provides two ways to change the timber of a voice to create original variations: 1) by mixing the output signals from various parts of the physical model, and 2) by using the VL7’s “Modifiers” to shape the overall harmonic structure.

  • Page 49: An Exercise: Remix The Pan Pipes Voice

    Getting Started An Exercise: Remix the Pan Pipes Voice Before going to the EDIT mode, select and play the Pan Pipes (B03) voice for a few minutes to get a feel for how it sounds. Engage the EDIT Mode The mixing parameters are accessed via the EDIT mode “Mixing” page. To get to this page first press the E button to engage the edit mode.
  • Page 50 Getting Started Mixing & The Modifiers Tap Location The remaining tap parameter — “Tap Sign” — inverts the phase of the tap signal. It has two settings: “+” and “-”. Try it. 4. Return To the PLAY Mode When Done Press the P button to return to the PLAY mode when you’ve finished experi- menting with the mixing parameters.

  • Page 51: The Modifiers

    Getting Started The Modifiers As described in the “VL7 Basics” section (page 8), the VL7 has five “Modifier” stages that shape the overall timbre of the sound. Although the modifiers can vary the sound over a considerable range, the fundamental timbre of each voice is determined by its physical instrument model.
  • Page 52 Getting Started Mixing & The Modifiers Referring to the block diagram of the harmonic enhancer, above, we can see that it employs a modulation approach to building new harmonic structures. The carrier and modulator blocks have independent display pages and some independent parameters. The Modulator Parameter Page The Carrier Parameter Page NOTES...
  • Page 53 Getting Started Mixing & The Modifiers 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 other than normal, set the dry/wet “Balance”...

  • Page 54: Dynamic Filter

    Getting Started Dynamic Filter The Dynamic Filter stage is similar to the dynamic filters found in many conven- tional synthesizers. It allows both fixed and dynamic filtering in high-pass, low-pass, bandpass, and band elimination modes, and is effective for broad tonal control. (from Harmonic Enhancer) The Dynamic Filter Parameter Page...

  • Page 55: Frequency Equalizer

    Getting Started Frequency Equalizer The Frequency Equalizer stage consists of two blocks — Auxiliary and Band — each with its own display page. (from Dynamic Filter) The Equalizer Auxiliary Parameter Page The Equalizer Band Parameter Page The Auxiliary block includes programmable low-pass and high-pass filters that can be used independently or together to create a bandpass response.

  • Page 56: Impulse Expander

    Getting Started Impulse Expander The Impulse Expander works in conjunction with the Resonator, described below, to simulate the effect of an instrument’s resonant cavity or sound box. It can also be used to simulate the acoustic environment in which the instrument is played. (from Frequency Equalizer) The Impulse Expander Parameter Page...

  • Page 57: Resonator

    Getting Started Resonator 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. (from Impulse Expander) The Resonator Parameter Page The Resonator basically consists of five parallel delay lines with independently...

  • Page 58: Effects

    Getting Started Effects Creating the Right Ambience Effects are the essential finishing touches for any voice. Once you’ve created a sound you like, use one or more of the VL7’s three high- performance digital effect stages to polish and refine it as required. Each stage includes a number of effects.

  • Page 59: Modulation Effects

    Getting Started Modulation Effects Although “modulation” usually implies some sort of cyclical variation, the VL7 Modulation stage allows selection of Flanger, Pitch Change, and Distortion effects (only Flanger fits the traditional definition of a modulation effect). Since most of these effects produce a marked change in the sound, you’ll probably only want to use them on certain voices, and maybe not all the time.

  • Page 60: Reverb Effects

    Getting Started The Time Calculation Pop-up Page NOTES Refer to page 51 of the Feature Reference manual for full details on the Feedback Delay effects and parameters. Reverb Effects You’ll probably want to apply the effects in this stage to some degree to all your voices.
  • Page 61 Getting Started Effects...

  • Page 62: 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 “ Absorption .
  • Page 63 Element note shift ......Element pan ......Element pitch .
  • Page 64 Phones jack ......Pitch change ......Pitch .

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