Yamaha VL-7 Owner's Manual
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Yamaha VL-7 Owner's Manual

Yamaha VL-7 Owner's Manual

Virtual acoustic synthesizer
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This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved
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Virtual Acoustic Synthesizer Typ : VL7
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  • Page 1 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.
  • Page 2 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.

  • Page 3: Important Safety Instructions

    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.
  • Page 4 Feature Reference Owner’s Manual 2...

  • Page 5: Table Of Contents

    About the Manuals ..... . 4 The Getting Started Manual ....4 The Feature Reference Manual (this manual) .
  • Page 6 4: Mixing ......96 • 4-1: Mixing Driver Output Key Scaling 98 •...

  • Page 7: About The Manuals

    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.

  • Page 8: The Feature Reference Manual (This Manual)

    Feature Reference 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 five main sections, each describing the various functions within a particular VL7 edit or utility mode. 1.
  • Page 9 Feature Reference...

  • Page 10: General Operation

    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.

  • Page 11: The Three Main Modes

    Feature Reference 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”...

  • Page 12: Finding Functions & Parameters

    Feature Reference 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 Here you can see that the EDIT mode functions are divided into two main groups:...
  • Page 13 Feature Reference General Operation 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. Move the Cursor To “4:Reverberation”...

  • Page 14: Other Navigation Aids

    Feature Reference 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”...

  • Page 15: Selecting & Editing Parameters

    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.

  • Page 16: Play Mode

    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.

  • Page 17: The Main Play Mode Display

    Feature Reference 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 Normal Voice Display Voice number.

  • Page 18: Voice Selection

    Feature Reference 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.
  • Page 19 Feature Reference Play Mode Alternate Voice Selection Methods = and - Buttons Data Dial 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.

  • Page 20: Controller Views

    Feature Reference 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.
  • Page 21 Feature Reference Play Mode ¢ (“Cnt4”) Page 78. Damping Absorption Page 79. 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:...

  • Page 22: Quick Editing In The Play Mode

    Feature Reference § (“CS”): Continuous Sliders The § function button calls the Continuous Slider (“CS”) controller view, which will look something like this: The continuous sliders — – and several parameters that you can control in real time while playing (also see “Quick Editing In the Play Mode”, below).
  • Page 23 Feature Reference Play Mode...

  • Page 24: Edit 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 .

  • Page 25: The Voice Number Buttons In The Edit Mode

    Feature Reference 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. Effect On/Off EFFECT ON / OFF The VL7’s internal digital signal processor provides three effect stages: Modulation, Feedback Delay, and Reverb.

  • Page 26: The Edit Compare Function

    Feature Reference 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).

  • Page 27: The Copy Function

    Feature Reference 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.
  • Page 28 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.
  • Page 29 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.

  • Page 30: Storing Edited Data

    Feature Reference 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.
  • Page 31 Feature Reference Edit Mode 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.
  • Page 32 Feature Reference Edit Mode...

  • Page 33: Initial Edit Page

    Feature Reference Initial Edit Page EDIT MODE 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.
  • Page 34 Feature Reference Edit Mode Voice Name 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 •...

  • Page 35: Common Miscellanous

    Feature Reference Edit Mode Common Miscellaneous COMMON EDIT MODE MISCELLANEOUS EFFECT CONTROLLER ELEMENT MISCELLANEOUS MODIFIER ENVELOPE The COMMON MISCELLANEOUS group includes a miscellaneous range of functions which affect the entire voice. 1: Setting ........33 2: Controller .

  • Page 36: 1: Setting

    Feature Reference 1: Setting Assign Mode 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.

  • Page 37: 2: Controller

    Feature Reference 2: Controller Breath Attack Time 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”...

  • Page 38: 3: Element Pitch

    Feature Reference 3: Element Pitch Element Tune 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 Shifts the pitch of the voice element up or down in semitone increments.

  • Page 39: 4: Element Level & Pan

    Feature Reference 4: Element Level & Pan Element Level 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”...
  • Page 40 Feature Reference Edit Mode • 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...

  • Page 41: 5: Portamento

    Feature Reference 5: Portamento Portamento Mode 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 Full Time when the portamento switch is on, even if the first note is released before the second is played.

  • Page 42: 6: Micro Tuning

    • 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.

  • Page 43: 7: Continuous Slider

    Feature Reference 7: Continuous Slider 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).
  • Page 44 Feature Reference Edit Mode...

  • Page 45: Common Effect

    Common Effect EDIT MODE The COMMON EFFECT parameters provide access to the VL7’s sophisticated three-stage digital signal processing system. 1: Setting ........43 2: Modulation Effect .

  • Page 46: 1: Setting

    Feature Reference 1: Setting Feedback Delay/Reverb Mode Determines whether the Feedback Delay and Reverb effect stages are connected in series (Serial) or in parallel, as shown in the illustration. From Modulation Element From Modulation Element Effect Control — Destination Effect This and the following parameter make it possible to control certain effect param- eters in real time via any physical controller.

  • Page 47: 2: Modulation Effect

    Feature Reference 2: Modulation Effect Modulation Effect Type 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.

  • Page 48: Flanger

    Feature Reference Edit Mode Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Wave Selects the waveform which will be used to modulate the flanger effect. Triangle Sine Random Freq. Sets the speed of modulation and therefore the rate of flanger effect variation. Depth Sets the depth of modulation.
  • Page 49 Feature Reference Delay Flanger 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.

  • Page 50: Pitch Change

    Feature Reference Edit Mode Pitch Change Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Mode 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.
  • Page 51 Feature Reference 1 Pitch (L Pitch) Pitch Change 2 Pitch (R Pitch) 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”...

  • Page 52: Distortion

    Feature Reference Edit Mode Distortion Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Overdrive Sets the intensity of the overdrive or distortion effect. Higher values produce more distortion. Device Determines the basic sound of the distortion effect. Transistor The crisp, tight distortion of an overdriven transistor amplifier.
  • Page 53 Feature Reference Output Level Distortion Sets the output level of the distortion sound. Higher values produce higher level. Speaker Simulates a variety of speaker types and configurations via which the distortion sound might be reproduced. Flat Stack Combo Twin Radio Megaphone Presence Varies the “presence”...

  • Page 54: 3: Feedback Delay

    Feature Reference 3: Feedback Delay Delay Type 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”. The Mono delay effect produces a single delay sound which appears in Mono the center of the stereo sound field.
  • Page 55 Feature Reference FB Delay Time Mono Delay Sets the delay time between repeats. The higher the value the longer the delay. • Use the VL7 “Time Calculation” function ( based on musical tempo and note lengths. FB Gain Determines the amount of effect-sound feedback returned to the input of the delay stage.

  • Page 56: L,R Delay

    Feature Reference Edit Mode Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Return 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 Set the delay time between repeats.
  • Page 57 Feature Reference Lch High L,R Delay Rch High 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 Effect Block Diagram R In L In...

  • Page 58: L,C,R Delay

    Feature Reference Edit Mode L,C,R Delay Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Return Determines how much of the delayed sound is mixed with the direct sound. Higher values produce higher delay sound levels. FB Delay Time Sets the delay time between repeats.
  • Page 59 Feature Reference Lch Delay Time L,C,R Delay Cch Delay Time Rch Delay Time 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. •...
  • Page 60 Feature Reference Edit Mode Musical Time Calculation 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. Select a Delay Time Parameter Position the cursor at the delay time parameter you want to edit —...

  • Page 61: 4:Reverberation

    Feature Reference 4: Reverberation Reverb Type 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 Hall 1 concert hall.

  • Page 62: Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse

    Feature Reference Edit Mode Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse Use the ¡ (“>”) and ™ (“<”) buttons to switch between the two pages • of effect parameters. Return Determines how much of the reverb sound is mixed with the direct sound. Higher values produce higher reverb sound levels.
  • Page 63 Feature Reference Edit Mode High Control 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 Adjusts the left-right “spread” of the reverb sound. The higher the value the greater the spread.
  • Page 64 Feature Reference Edit Mode Reverb Effect Block Diagram R In R Out Reverb L In L Out...

  • Page 65: Element Controller

    Element Controller EDIT MODE 1: Pressure ......63 2: Embouchure ......64 3: Pitch .

  • Page 66: 1: Pressure

    Feature Reference 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 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.

  • Page 67: 2: Embouchure

    Feature Reference 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 The “Embouchure” parameter corresponds to the tightness of the lips against the reed or against each other.

  • Page 68: 3: Pitch

    Feature Reference “Lower Depth” parameter is not available when the “Mode” parameter, below, is set to “Minimum Base”. Mode 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.
  • Page 69 Feature Reference Edit Mode Upper Depth 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.

  • Page 70: 4: Vibrato

    Feature Reference 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 71: 5: Tonguing

    Feature Reference 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 The “Tonguing” parameter simulates the half-tonguing technique used by saxo- phone players by changing the “slit”...

  • Page 72: 6: Amplitude

    Feature Reference 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 Unlike pressure, the “Amplitude” parameter controls the volume of the sound without varying timbre.

  • Page 73: 7: Scream

    Feature Reference 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 The “Scream” parameter drives the entire system into chaotic oscillation, creating effects that can only be achieved with physical modeling technology.

  • Page 74: 8: Breath Noise

    Feature Reference 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 •...

  • Page 75: 9: Growl

    Feature Reference 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 Determines the amount of breath noise produced when the “Controller” param- eter is set to “off”.

  • Page 76: 10: Throat Formant

    Feature Reference 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 —...
  • Page 77 Feature Reference Edit Mode Controller 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.

  • Page 78: 11: Dynamic Filter

    Feature Reference 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 •...

  • Page 79: 12; Harmonic Enhancer

    Feature Reference 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.
  • Page 80 Feature Reference Edit Mode Curve 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.

  • Page 81: 13: Damping

    Feature Reference 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 Simulates the effect of damping due to losses within the body of a wind instrument or in a string due to air friction.

  • Page 82: 14: Absorption

    Feature Reference 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 The absorption parameter simulates the effect of high-frequency loss at the end of the air column or string.

  • Page 83: Controller Search & Replace

    Feature Reference 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. Select the Controller Search &...
  • Page 84 Feature Reference Edit Mode 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).

  • Page 85: Element Miscellaneous

    Element Miscellaneous EDIT MODE 1: Setting ......83 2: Breath Noise ......84 2-1: Breath Noise Level Key Scaling .

  • Page 86: 1: Setting

    Feature Reference 1: Setting Trigger Mode Determines how the attack portion of the sound will be triggered. If a note is played on the keyboard, then a subsequent note or notes Single are played while the first key is still held, no attack is produced. The attack is always reproduced regardless of whether a previous key Multi is held or not.

  • Page 87: 2: Breath Noise

    Feature Reference 2: Breath Noise The • button (“Ctrl”) can be used to go directly to the breath noise • controller page ( TROLLER directory. You can then return to the miscellaneous breath noise page by pressing • (“Para”) again. •...
  • Page 88 Feature Reference Edit Mode HPF Cutoff Frq Sets the cutoff frequency of the breath noise high-pass filter. Noise components below the specified frequency are cut off. LPF Cutoff Frq Sets the cutoff frequency of the breath noise low-pass filter. Noise components above the specified frequency are cut off.

  • Page 89: 2-1: Breath Noise Level Key Scaling

    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. • Level The “Level” parameter is linked to the main breath noise “Level” parameter, and sets the level (volume) of the breath noise sound.

  • Page 90: 2-2: Breath Noise Hpf Key Scaling

    Feature Reference Edit Mode 2-2: Breath Noise HPF Key Scalling 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 §...

  • Page 91: 2-3: Breath Noise Lpf Key Scaling

    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 §...

  • Page 92: 3: Throat Formant

    Feature Reference 3: Throat Formant The • button (“Ctrl”) can be used to go directly to the throat formant • controller page ( TROLLER directory. You can then return to the miscellaneous throat formant page by pressing • (“Para”) again. •...
  • Page 93 Feature Reference Edit Mode • If this parameter is set to “0”, no throat formant effect can be applied via a controller. Intens 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. •...

  • Page 94: 3-1: Throat Formant Pitch Key Scaling

    Feature Reference Edit Mode 3-1: Throat Formant Pitch Key Scalling 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 ¶...

  • Page 95: 3-2: Throat Formant Amount Key Scaling

    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 §...

  • Page 96: 3-3: Throat Formant Intensity Key Scaling

    Feature Reference Edit Mode 3-3: Throat Formant Intensity Key Scalling 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 §...

  • Page 97: 3-4: Throat Formant Hpf Key Scaling

    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 §...

  • Page 98: 3-5: Throat Formant Lpf Key Scaling

    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 §...

  • Page 99: 4: Mixing

    Feature Reference 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.
  • Page 100 Feature Reference Edit Mode Tap Location 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. Driver Signal Driver Pipe/String Pipe/Strings Signal...

  • Page 101: 4-1: Mixing Driver Output Key Scaling

    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 ¶...

  • Page 102: 4-2: Mixing Pipe/String Output Key Scaling

    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 §...

  • Page 103: 4-3: Mixing Tap Output Key Scaling

    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 §...

  • Page 104: 4-4: Mixing Tap Location Key Scaling

    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 §...

  • Page 105: 5: Amplitude

    Feature Reference 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 Sets the final output level after mixing.
  • Page 106 Feature Reference Edit Mode Breakpoint 1 … 8 Key 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 •...

  • Page 107: Element Modifier

    Element Modifier EDIT MODE 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 .

  • Page 108: 1: Harmonic Enhancer

    Feature Reference 1: Harmonic Enhancer Carrier Parameters Modulator Parameters • 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 ™...
  • Page 109 Feature Reference Edit Mode Signal Select 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, Normal pipe/string, and tap signals. This signal represents the instantaneous amplitude of the breath noise Breath Noise produced at the driver.
  • Page 110 Feature Reference Edit Mode Phase (Modulator only) 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) Determines how much modulation is applied to the carrier signal (i.e.

  • Page 111: 1-1: Harmonic Enhancer Hpf Key Scaling

    Feature Reference Edit Mode 1-1: Harmonic Enhancer HPF Key Scaling 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.

  • Page 112: 1-2: Harmonic Enhancer Overdrive Key Scaling

    Feature Reference Edit Mode Breakpoint 1 & 2 Offset 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.

  • Page 113: 1-3: Harmonic Enhancer Carrier Level Key Scaling

    Feature Reference Edit Mode Breakpoint 1 & 2 Key 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 •...

  • Page 114: 1-4: Harmonic Enhancer Modulator Index Key Scaling

    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”...

  • Page 115: 1-5: Harmonic Enhancer Balance Key Scaling

    Feature Reference Edit Mode Breakpoint 1 … 4 Offset 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.

  • Page 116: 2: Dynamic Filter

    Feature Reference 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.
  • Page 117 Feature Reference Edit Mode Input Gain Adjusts the level of the input signal to the dynamic filter stage. The higher the value the higher the input level. Balance Sets the balance between the “wet” (the output of the dynamic filter) and “dry” (direct) signals.

  • Page 118: 2-1: Dynamic Filter Cutoff Key Scaling

    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 ¶...

  • Page 119: 2-2: Dynamic Filter Resonance Key Scaling

    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 §...

  • Page 120: 3: Equalizer Auxiliary

    Feature Reference 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.

  • Page 121: 3-1: Equalizer Auxiliary Hpf Key Scaling

    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 ¶...

  • Page 122: 3-2: Equalizer Auxiliary Lpf Key Scaling

    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 §...

  • Page 123: 4: Equlizer Band

    Feature Reference 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.

  • Page 124: 5: Impulse Expander & Resonator Setting

    Feature Reference 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.
  • Page 125 Feature Reference Edit Mode 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 Sets the level of the dry signal (i.e.

  • Page 126: 6: Impulse Expander

    Feature Reference 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” ( balance settings relating to the Impulse Expander are also available in that display page.

  • Page 127: 7: Resonator

    Feature Reference 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” ( settings relating to the Resonator are also available in that display page. Press the •...
  • Page 128 Feature Reference Edit Mode Decay Time Determines the length of decay of the sound. The higher the value the longer the decay. LPF Cutoff Freq. Sets the cutoff frequency of the low-pass filter. Produces a natural decay in the high-frequency components of the delay sound. Diffusion Determines how the resonance sound “spreads”...

  • Page 129: Element Envelope

    Element Envelope EDIT MODE 1: Pressure ........127 2: Embouchure &...

  • Page 130: 1: Pressure

    Feature Reference 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.

  • Page 131: 2: Embouchure & Pitch

    Feature Reference Velocity Sens To Rate 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.
  • Page 132 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.

  • Page 133: 2-1: Embouchure & Pitch Hold Time Key Scaling

    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 ¶...

  • Page 134: 2-2: Embouchure & Pitch Initial Level Key Scaling

    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.

  • Page 135: 2-3: Embouchure & Pitch Decay Rate Key Scaling

    Feature Reference Edit Mode 2-3: Embouchure & Pitch Decay Rate Key Scaling 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.

  • Page 136: 3: Vibrato

    Feature Reference 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.
  • Page 137 Feature Reference Edit Mode Dpth to Emb 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 Determines how deeply the settings in this display page affect pitch. The higher the value the greater the effect.

  • Page 138: 3-1: Vibrato Delay Time Key Scaling

    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 ¶...

  • Page 139: 3-2: Vibrato Attack Rate Key Scaling

    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 §...

  • Page 140: 3-3: Vibrato Depth Key Scaling

    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 §...

  • Page 141: 3-4: Vibrato Speed Key Scaling

    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 §...

  • Page 142: 4: Growl

    Feature Reference 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.

  • Page 143: 4-1: Growl Speed Key Scaling

    Feature Reference Edit Mode Speed Sets the speed of the growl effect. The higher the value the faster the growl. Randomness 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...

  • Page 144: 5: Amplitude & Filter

    Feature Reference 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. •...
  • Page 145 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 Determines how deeply the Amplitude & Filter envelope will affect amplitude. The higher the value the greater the effect. Depth To Filter Determines how deeply the Amplitude &...
  • Page 146 Feature Reference Edit Mode Rate: Decay 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 Determines the rate at which the envelope level goes from the sustain level to “0” when the key is released.

  • Page 147: 5-1: Amplitude & Filter Attack Rate Key Scaling

    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.

  • Page 148: 5-2: Amplitude & Filter Attack 1 Level Key Scaling

    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.

  • Page 149: 5-3: Amplitude & Filter Decay Rate Key Scaling

    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.

  • Page 150: 5-4: Amplitude & Filter Sustain Level Key Scaling

    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 §...

  • Page 151: 5-5: Amplitude & Filter Release Rate Key Scaling

    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.

  • Page 152: Utility Mode

    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 .

  • Page 153: System

    Feature Reference Utility Mode System SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO 1: KBD Setting ......151 2: TG Setting .

  • Page 154: 1: Kbd Setting

    Feature Reference 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.

  • Page 155: 2: Tg Setting

    Feature Reference 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.

  • Page 156: 3: Midi Setting

    Feature Reference 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.

  • Page 157: 4: Assignable Controllers

    Feature Reference 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”. •...

  • Page 158: 5: Curve

    Feature Reference 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.

  • Page 159: 6: Miscellaneous

    Feature Reference 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: •...
  • Page 160 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.

  • Page 161: Midi Bulk Dump

    Feature Reference Utility Mode MIDI Bulk Dump SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO...
  • Page 162 Feature Reference Utility Mode 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”).
  • Page 163 Feature Reference Utility Mode Press [ Press the [ button. The “Are You Sure?” confirmation display will appear. 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!”...
  • Page 164 Feature Reference Utility Mode...

  • Page 165: Disk

    Feature Reference UTILITY MODE 1: Disk Status ......163 2: Load From Disk ..... . 164 3: Save To Disk .

  • Page 166: 1: Disk Status

    Feature Reference 1: Disk Status This function displays a range of information about the currently loaded floppy disk. Total The total number of files on the disk. Used The amount of disk space currently used, in kilobytes. Free The amount of disk space currently free, in kilobytes. System The number of “System”...

  • Page 167: 2: Load From Disk

    Feature Reference 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. System All Utility System page settings and internal Microtuning data. All Voice All 64 voices in the VL7 memory.
  • Page 168 Feature Reference • 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 … •...

  • Page 169: 3: Save To Disk

    Feature Reference 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. All system and voice data. System All Utility System page settings and internal Microtuning data.
  • Page 170 Feature Reference Utility Mode 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. Press [ Press the [ button to close the name window.

  • Page 171: 4: Rename File

    Feature Reference 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. System All Utility System page settings and internal Microtuning data.
  • Page 172 Feature Reference Utility Mode 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.

  • Page 173: 5: Delete File

    Feature Reference 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. All system and voice data. System All Utility System page settings and internal Microtuning data.

  • Page 174: 6: Format Disk

    Feature Reference 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).

  • Page 175: Edit Recall

    Feature Reference Utility Mode Edit Recall UTILITY MODE SYSTEM MIDI BULK DUMP DISK EDIT RECALL DEMO...
  • Page 176 Feature Reference Utility Mode 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.

  • Page 177: Demo

    Feature Reference Utility Mode Demo SYSTEM UTILITY MODE MIDI BULK DUMP DISK EDIT RECALL DEMO...
  • Page 178 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 module.
  • Page 179 Feature Reference Utility Mode...

  • Page 180: Appendix

    Appendix Troubleshooting ..... . . 178 Error Messages ..... . . 182 Specifications .

  • Page 181: Troubleshooting

    Feature Reference 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.
  • Page 182 Feature Reference Amplifier, Mixer, Connection Problems Symptom No sound. • 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? Distorted sound.
  • Page 183 Feature Reference Voice Setting Problems Symptom No sound. • 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 184 Feature Reference Appendix...

  • Page 185: Error Messages

    The loaded floppy disk is damaged. Try a different disk. Change battery! The voice backup battery needs to be replaced. Have the battery replaced by qualified Yamaha service personnel. Data not found! The specified data cannot be found on the currently selected file.
  • Page 186 Feature Reference Display Illegal disk! 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. Illegal file! The specified file is not a VL7 file. Check the disk and files. Memory protected! You have attempted to perform a function which will change the contents of the internal memory, but the memory protect function is...

  • Page 187: Specifications

    Feature Reference Specifications Tone Generator Type S/VA (Self-oscillating Virtual Acoustic Synthesis), monophonic. Modifiers Harmonic Enhancer. Dynamic Filter (LPF, HPF, BPF, BEF, with resonance). Equalizer (5 bands with frequency, resonace, and boost/cut control). Impulse Expander. Resonator. Effects 32-bit digital signal processor, stereo in/stereo out. Modulation effects (flanger, pitch change, distorion).
  • Page 188 Feature Reference Panel Switches Play (with LED). Utility (with LED). Copy. Bank select x 4 (with LEDs). Data entry x 2. Function x 8. Exit. Display 240 x 64 dot backlit liquid crystal display. Connectors Front Panel Stereo headphones. Rear Panel Output x 2 (L and R).

  • Page 189: 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 190 Element note shift ......Element pan ......Element pitch .
  • Page 191 Phones jack ......Pitch change ......Pitch .
  • Page 192 Feature Reference Appendix...
  • Page 193 Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario,...

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