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

vedrrende radiostj. IMPORTANT NOTICE FOR THE UNITED KINGDOM

Cet appareil est conforme aux prescriptions de la

Connecting the Plug and Cord
directive communautaire 87/308/CEE. IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:

Diese Gerte entsprechen der EG-Richtlinie 82/ GREEN-AND-YELLOW : EARTH

499/EWG und/oder 87/308/EWG. BLUE : NEUTRAL
BROWN : LIVE
This product complies with the radio frequency As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured
interference requirements of the Council Direc- markings identifying the terminals in your plug, proceed as follows:
tive 82/499/EEC and/or 87/308/EEC.
The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug
Questo apparecchio conforme al D.M.13 aprile which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.
1989 (Direttiva CEE/87/308) sulla soppressione
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter
dei radiodisturbi. N or coloured BLACK.

Este producto est de acuerdo con los requisitos The wire which is coloured BROWN must be connected to the terminal which is marked with the
sobre interferencias de radio frequencia fijados letter L or coloured RED.
por el Consejo Directivo 87/308/CEE.
* This applies only to products distributed by YAMAHA - KEMBLE MUSIC (U.K.) LTD.
YAMAHA CORPORATION

Bescheinigung des Importeurs

Litiumbatteri!
Hiermit wird bescheinigt, da der/die/das
Br endast bytas av servicepersonal.
Explosionsfara vid felaktig hantering.
Virtual Acoustic Tone Generator Typ : VL1-m
(Gert, Typ, Bezeichnung)
VAROITUS! in bereinstimmung mit den Bestimmungen der
Lithiumparisto, Rjhdysvaara.
Pariston saa vaihtaa ainoastaan alan VERFGUNG 1046/84
ammattimies. (Amtsblattverfgung)
funk-entstrt ist.

ADVARSEL! Der Deutschen Bundespost wurde das Inverkehrbringen dieses

Lithiumbatteri! Gertes angezeigt und die Berechtigung zur berprfung der Serie
Eksplosionsfare. Udskiftning m kun foretages auf Einhaltung der Bestimmungen eingerumt.
af en sagkyndig, og som beskrevet i
servicemanualen. 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- methods used to produce them, meet these goals. In keeping
ucts may have either labels similar to the graphics shown with both the letter and the spirit of the law, we want you to
below or molded/stamped facsimiles of these graphics on the be aware of the following:
enclosure. The explanation of these graphics appears on this
page. Please observe all cautions indicated on this page and Battery Notice: This product MAY contain a small non-
those indicated in the safety instruction section. 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.

CAUTION Warning: Do not attempt to recharge, disassemble, or incin-

RISK OF ELECTRIC SHOCK erate this type of battery. Keep all batteries away from
DO NOT OPEN 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
CAUTION: TO REDUCE THE RISK OF do have the option of having the servicer dispose of these
ELECTRIC SHOCK, DO NOT REMOVE parts for you.
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO Disposal Notice: Should this product become damaged be-
QUALIFIED SERVICE PERSONNEL 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
Explanation of Graphical Symbols lead, batteries, plastics, etc.
The exclamation point within the equilateral
NOTICE: Service charges incurred due to lack of knowledge
triangle is intended to alert the user to the
relating to how a function or effect works (when the unit is
presence of important operating and mainte-
operating as designed) are not covered by the manufacturers
nance (servicing) instructions in the litera-
warranty, and are therefore the owners responsibility. Please
ture accompanying the product.
study this manual carefully and consult your dealer before
requesting service.
The lightning flash with arrowhead symbol
within the equilateral triangle is intended to
NAME PLATE LOCATION: The graphic below indicates
alert the user to the presence of uninsulated
the location of the name plate. The model number, serial
dangerous voltage within the products
number, power requirements, etc., are located on this plate.
enclosure that may be of sufficient magni-
You should record the model number, serial nunber, and the
tude to constitute a risk of electrical shock.
date of purchase in the spaces provided below and retain this
manual as a permanent record of your purchase.
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 THRU
MIDI
OUT IN R
OUTPUT
L

warranties may also be affected. AC INLET

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 Model
obligation to update existing units.
Serial No.
ENVIRONMENTAL ISSUES: Yamaha strives to produce
products that are both user safe and environmentally friendly. Purchase Date
We sincerely believe that our products and the production

92-469 q
 IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIER HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING When using any electrical or electronic prod- 8. This product was NOT designed for use in wet/damp
uct, basic precautions should always be followed. These locations and should not be used near water or exposed to
precautions include, but are not limited to, the following: rain. Examples of wet/damp locations are; near a swim-
ming pool, spa, tub, sink, or wet basement.
1. Read all Safety Instructions, Installation Instructions, Spe-
cial Message Section items, and any Assembly Instruc- 9. This product should be used only with the components
tions found in this manual BEFORE making any connec- supplied or; a cart, rack, or stand that is recommended by
tions, including connection to the main supply. the manufacturer. If a cart, rack, or stand is used, please
observe all safety markings and instructions that accom-
2. Main Power Suplly Verifications: Yamaha products are
pany the accessory product.
manufactured specifically for the supply voltage in the
area where they are to be sold. If you should move, or if 10.The power supply cord (plug) should be disconnected
any doubt exists about the supply voltage in your area, from the outlet when electronic products are to be left
please contact your dealer for supply voltage verification unused for extended periods of time. Cords should also be
and (if applicable) instructions. The required supply volt- disconnected when there is a high probability of lightening
age is printed on the name plate. For name plate location, and/or electrical storm activity.
please refer to the graphic found in the Special Message
Section of this manual.
11.Care should be taken that objects do not fall and liquids
are not spilled into the enclosure through any openings
3. This product may be equipped with a polarized plug (one that may exist.
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
12.Electrical/electronic products should be serviced by a
qualified service person when:
problem persists, contact electrician to have the obsolete
outlet replaced. Do NOT defeat the safety purpose of the a. The power supply cord has been damaged; or
plug. b. Objects have fallen, been inserted, or liquids have been
spilled into the enclosure through openings; or
4. Some electronic products utilize external power supplies
c. The product has been exposed to rain; or
or adapters. DO NOT connect this type of product to any
d. The product does not operate, exhibits a marked change
power supply or adapter other than one described in the
in performance; or
owners manual, on the name plate, or specifically recom-
e. The product has been dropped, or the enclosure of the
mended by Yamaha.
product has been damaged.
5. WARNING: Do not place this product or any other objects
on the power cord or place it in a position where anyone
13.Do not attempt to service this product beyond that de-
scribed in the user-maintenance instructions. All other
could walk on, trip over, or roll anything over power or
servicing should be referred to qualified service personnel.
connecting cords of any kind. The use of an extension cord
is not recommended! If you must use an extension cord, 14.This product, either alone or in combination with an
the minimume wire size for a 25' cord (or less) is 18 AWG. amplifier and headphones or speaker/s, may be capable of
NOTE: The smaller the AWG number, the larger the producing sound levels that could cause permanent hear-
current handling capacity. For longer extension cords, ing loss. DO NOT operate for a long period of time at a
consult a local electrician. high volume level or at a level that is uncomfortable. If
you experience any hearing loss or ringing in the cars, you
6. Ventilation: Electronic products, unless specifically de-
should cousult an audiologist. IMPORTANT: The louder
signed for enclosed installations, should be placed in
the sound, the shorter the time period before damage
locations that do not interfere with proper ventilation. If
occurs.
instructions for enclosed installations are not provided, it
must be assumed that unobstructed ventilation is required. 15.Some Yamaha products may have benches and/or acces-
sory mounting fixtures that are either supplied as a part of
7. Temperature considerations: Electronic products should be
the product or as optional accessories. Some of these items
installed in locations that do not significantly contribute to
are designed to be dealer assembled or installed. Please
their operating temperature. Placement of this product
make sure that benches are stable and any optional fixtures
close to heat sources such as; radiators, heat registers and
(where applicable) are well secured BEFORE using. Benches
other devices that produce heat should be avoided.
supplied by Yamaha are designed for seating only. No
other uses are recommended.

PLEASE KEEP THIS MANUAL

92-469-3
Virtual Acoustic Tone Generator

Feature Reference

Owners Manual 2
 Feature Reference

Contents

About the Manuals . . . . . . . . . . . . . . . . . . . . . . 4 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . 53

The Getting Started Manual . . . . . . . . . . . . . . . 4 Mono Delay . . . . . . . . . . . . . . . . . . . . . . . 53
The Feature Reference Manual (this manual) . 5 L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . 55
Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . 57
4:Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 60
Hall1, Hall2, Room1, Room2, Studio,
Plate, Space, Reverse . . . . . . . . . . . . . . . 61
General Operation
The Three Main Modes . . . . . . . . . . . . . . . . . . . 8 Element Controller . . . . . . . . . . . . . . . . . . . . . 64
Finding Functions & Parameters . . . . . . . . . . . 9 1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Other Navigation Aids . . . . . . . . . . . . . . . . . . 11 2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . 66
Selecting & Editing Parameters . . . . . . . . . . . 12 3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Play Mode 7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
The Main Play Mode Display . . . . . . . . . . . . . 14 8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 73
Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . 15 9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Controller Views . . . . . . . . . . . . . . . . . . . . . . . 17 10: Throat Formant . . . . . . . . . . . . . . . . . . . . . 75
Quick Editing In the Play Mode . . . . . . . . . . . 19 11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 77
The Monitor Mode . . . . . . . . . . . . . . . . . . . . . 20 12; Harmonic Enhancer . . . . . . . . . . . . . . . . . 78
13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Edit Mode 14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . 81
Controller Search & Replace . . . . . . . . . . . . . 82
Element Selection In the Edit Mode . . . . . . . 22
The Edit Compare Function . . . . . . . . . . . . . . 23 Element Miscellaneous . . . . . . . . . . . . . . . . . 84
The Copy Function . . . . . . . . . . . . . . . . . . . . . 24 1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Storing Edited Data . . . . . . . . . . . . . . . . . . . . . 27 2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . 86

Initial Edit Page . . . . . . . . . . . . . . . . . . . . . . . . 30 2-1: Breath Noise Level Key Scaling . . 88

2-2: Breath Noise HPF Key Scaling . . . 89
Common Miscellanous . . . . . . . . . . . . . . . . . 34
2-3: Breath Noise LPF Key Scaling . . . . 90
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 91
2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . 36
3-1: Throat Formant Pitch Key Scaling . 93
3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . 37
3-2: Throat Formant Amount Key
4: Element Level & Pan . . . . . . . . . . . . . . . . . 38
Scaling . . . . . . . . . . . . . . . . . . . . . . . 94
5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . 40
3-3: Throat Formant Intensity Key
6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . 42
Scaling . . . . . . . . . . . . . . . . . . . . . . . 95
7: Quick Edit Assign . . . . . . . . . . . . . . . . . . . . 43
3-4: Throat Formant HPF Key Scaling . 96
Common Effect . . . . . . . . . . . . . . . . . . . . . . . . 44 3-5: Throat Formant LPF Key Scaling . 97
1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
2: Modulation Effect . . . . . . . . . . . . . . . . . . . . 46 4-1: Mixing Driver Output Key Scaling 100
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 4-2: Mixing Pipe/String Output Key
Pitch Change . . . . . . . . . . . . . . . . . . . . . . 49 Scaling . . . . . . . . . . . . . . . . . . . . . . 101
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 51
2
 Feature Reference

4-3: Mixing Tap Output Key Scaling . 102 3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

4-4: Mixing Tap Location Key Scaling 103 3-1: Vibrato Delay Time Key Scaling . 137
5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . 104 3-2: Vibrato Attack Rate Key Scaling . 138
5-1: Total Amplitude Level Key Scaling104 3-3: Vibrato Depth Key Scaling . . . . . . 139
Element Modifier . . . . . . . . . . . . . . . . . . . . . 106 3-4: Vibrato Speed Key Scaling . . . . . . 140
1: Harmonic Enhancer . . . . . . . . . . . . . . . . . 107 4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
1-1: Harmonic Enhancer HPF Key 4-1: Growl Speed Key Scaling . . . . . . . 142
Scaling . . . . . . . . . . . . . . . . . . . . . . 110 5: Amplitude & Filter . . . . . . . . . . . . . . . . . . 143
1-2: Harmonic Enhancer Overdrive Key 5-1: Amplitude & Filter Attack Rate
Scaling . . . . . . . . . . . . . . . . . . . . . . 111 Key Scaling . . . . . . . . . . . . . . . . . . 146
1-3: Harmonic Enhancer Carrier Level 5-2: Amplitude & Filter Attack 1 Level
Key Scaling . . . . . . . . . . . . . . . . . . 112 Key Scaling . . . . . . . . . . . . . . . . . . 147
1-4: Harmonic Enhancer Modulator 5-3: Amplitude & Filter Decay Rate
Index Key Scaling . . . . . . . . . . . . . 113 Key Scaling . . . . . . . . . . . . . . . . . . 148
1-5: Harmonic Enhancer Balance Key 5-4: Amplitude & Filter Sustain Level
Scaling . . . . . . . . . . . . . . . . . . . . . . 114 Key Scaling . . . . . . . . . . . . . . . . . . 149
2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . 115 5-5: Amplitude & Filter Release Rate
2-1: Dynamic Filter Cutoff Key Scaling 117 Key Scaling . . . . . . . . . . . . . . . . . . 150
2-2: Dynamic Filter Resonance Key
Scaling . . . . . . . . . . . . . . . . . . . . . . 118
3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . 119 Utility Mode
3-1: Equalizer Auxiliary HPF Key
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Scaling . . . . . . . . . . . . . . . . . . . . . . 120
3-2: Equalizer Auxiliary LPF Key MIDI Bulk Dump . . . . . . . . . . . . . . . . . . . . . . 160
Scaling . . . . . . . . . . . . . . . . . . . . . . 121 Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
4: Equalizer Band . . . . . . . . . . . . . . . . . . . . . 122 Edit Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
5: Impulse Expander & Resonator Setting . . 123
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
6: Impulse Expander . . . . . . . . . . . . . . . . . . . 125
7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Element Envelope . . . . . . . . . . . . . . . . . . . . . 128
1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Appendix
2: Embouchure & Pitch . . . . . . . . . . . . . . . . . 130 VL1 & VL1-m Compatibility . . . . . . . . . . . . 178
2-1: Embouchure & Pitch Hold Time Troubleshooting . . . . . . . . . . . . . . . . . . . . . . 179
Key Scaling . . . . . . . . . . . . . . . . . . 132
Error Messages . . . . . . . . . . . . . . . . . . . . . . . 182
2-2: Embouchure & Pitch Initial Level
Key Scaling . . . . . . . . . . . . . . . . . . 133 Specifications . . . . . . . . . . . . . . . . . . . . . . . . 184
2-3: Embouchure & Pitch Decay Rate Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Key Scaling . . . . . . . . . . . . . . . . . . 134

3
 Feature Reference

About the Manuals

The VL1-m comes with two manuals Getting Started and Fea-
ture Reference. If youre just starting out with the VL1-m 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 VL1-m.

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 VL1-m:

1. VL1-m Basics [ Page 8]

Basic concepts youll need to understand in order to get the
most out of the VL1-m.
2. The Controls & Connectors [ Page 16]
Brief descriptions of the VL1-m controls and connectors, and
their functions.
3. Setting Up [ Page 22]
System connections, powering up, playing the demo, calibrating
the Breath Controller, and loading the pre-programmed voices.
4. Voice Selection [ Page 34]
Several ways to select and play the VL1-ms 128 voices.
5. The Controllers [ Page 38]
The VL1-m controllers and how they can be assigned and
edited for optimum control.
6. Mixing & The Modifiers [ Page 48]
Customizing the sound to suit your own personal needs.
7. Effects [ Page 58]
An overview of the built-in digital effects that you can use to
add depth and ambience to the VL1-m sound.

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

try out the various operations described. Once youve gone through the entire
Getting Started manual in this way, you should be familiar enough with the
VL1-m to need only the VL1-m Feature Reference manual in future.
4
 Feature Reference

The Feature Reference Manual (this manual)

The Feature Reference manual is the nuts and bolts reference for
the VL1-m, individually describing its many functions in detail. The
Feature Reference manual is divided into five main sections, each describ-
ing the various functions within a particular VL1-m edit or utility mode.

1. General Operation [ Page 7]

2. Play Mode [ Page 13]
3. Edit Mode [ Page 21]
4. Utility Mode [ Page 151]
5. Appendix [ Page 177]

Once you have become familiar with the way the VL1-m 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 youve never used before, or refresh your memory about functions
that you dont use very often.
Each section of the Feature Reference manual has its own table of
contents, so you should be able to locate any particular function quickly
and easily. Functions and references can also be located by referring to the
index at the back of the manual.

Conventions
The following conventions are used through the VL1-m manuals to
avoid confusion and make the text easier to read.

Buttons & Controls

Button and control names used on the VL1-m panel appear in the
text in capital letters within a border: the P button, for exam-
ple.
Parameter Names
Parameter names and other labels which appear on the VL1-m
display are printed in the courier typeface for easier identifica-
tion: 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.
5
Feature Reference

6
General Operation

The VL1-m 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
 Feature Reference
General Operation

The Three Main Modes

The VL1-m has three main modes: PLAY, EDIT, and UTILITY. Each of these
modes can be directly accessed by pressing the P, E, or U button, respec-
tively.

The PLAY mode is the one you use to select and play the VL1-m
voices. The PLAY mode also includes several Controller Views that
PLAY allow you to check controller assignments, the status of several
important performance parameters, and the quick edit assignments.
Pages 13 through 20.
All voice editing functions are accessed via the EDIT mode: controller
EDIT assignments, mixing, modifiers, effects, and more.
Pages 21 through 150.
The UTILITY mode includes a range of functions that affect overall
operation of the VL1-m rather than individual voices. For example:
UTILITY
master tuning, MIDI settings, disk operations, etc.
Pages 151 through 175.

8
 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 doesnt require this type of structure). The basic structure
of the EDIT mode, for example, looks like this:

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

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. Heres 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).

9
 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.

10
 Feature Reference
General Operation

Other Navigation Aids

In addition to the standard procedures described in the previous section, the VL1-m
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 dont 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.

11
 Feature Reference
General Operation

Selecting & Editing Parameters

Once youve 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.

12
 Play Mode

The primary function of the PLAY mode is to

allow you to select and play voices. The VL1-m 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
The Monitor Mode . . . . . . . . . . . . . . . . 20
 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 Normal Voice Display

Voice name. Pressure, Amplitude,

or D.Filter Controller *
Voice number. Reverb on or off.

Play mode.
Stereo output mode.

Element E1 and E2 names.

Effects in use.
Voice mode.

* If controllers are assigned to both Pressure and Amplitude, the con-

troller with the highest amplitude depth value will be displayed. If
neither is assigned, the Dynamic Filter controller will be displayed (if
assigned).

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).

14
 Feature Reference
Play Mode

Voice Selection
The VL1-ms 128 voices are organized into 8 banks A through H of 16
voices each (8 x 16 = 128). These can be selected in sequence by using either the data
dial or the = and - buttons. Note that the voice number which appears on the
play mode display includes both the voice bank/number (A01 through A16, B01
through B16, etc.) and the absolute voice number in parentheses following the bank/
number (001 through 128).

= and - Buttons
These are best for small, step-wise changes
e.g. selecting adjacent voice numbers, or
DEC INC
numbers that are only a few steps away. Press
the = or - key briefly to decrement or
increment the voice number by one, or hold
either key for continuous decrementing or
incrementing in the corresponding direction.
The = and - buttons also have a
largestep function which allows you to skip
ahead or backward in increments of 16: press
either the = or - button while holding
the other button. The bank will switch auto-
matically 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, youre looking for a voice but
dont 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.

15
 Feature Reference
Play Mode

Using the Voice Directory

The VL1-m also features a voice directory display that can be more convenient than
the normal voice display in some situations. To switch to the voice directory display,
press the button located directly below Dir on the display. The directory
display shows all 16 voices in the current bank. Voices can be selected using either the
data dial or = and - buttons as described above the cursor will move to the
selected voice. You can also use the cursor keys to move the cursor to the next voice to
be selected (the voice is not actually selected in this case the cursor will flash), then
press the [ key to actually select the specified voice. This method lets you switch
directly to the specified voice without having to go through all others in between
To return to the normal voice display press the ] or P button.

The Sound Function

You can check the sound of the current voice in the PLAY mode directly from the
VL1-m panel: press the ENTER/SOUND key. The pitch played is C4. When a voice is
played in this way all 14 controller parameters (Pressure through Absorption) are
turned off.

16
 Feature Reference
Play Mode

Controller Views
In the PLAY mode, function buttons (Cnt1) through (QED) 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)

Pressure Page 65.

Embouchure Page 66.
Pitch Page 67.
Vibrato Page 69.

(Cnt2)

Tounguing Page 70.

Amplitude Page 71.
Scream Page 72.
Breath Noise Page 73.

(Cnt3)

Growl Page 74.

Throat Formant Page 75.
Dynamic Filter Page 77.
Harmonic Enhancer Page 78.

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 Feature Reference
Play Mode

(Cnt4)

Damping Page 80.

Absorption Page 81.

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 center and right columns,
corresponding to elements 1 and 2, respectively.

(Cnt5): Other Controller Settings

If you press the function button from the play mode youll see the following
controller view:

Polyphony Page 36.

Sustain Page 35.
Pitch Bend Page 35.
Portamento Page 40.
Effect Page 45.

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).

18
 Feature Reference
Play Mode

(QED): Quick Edit

The function button calls the Quick Edit (QED) controller view, which will
look something like this:

Two MIDI controllers (control change numbers 16 and 17) 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
controllers are individually preset for each voice. You can select from the available range
by using the Quick Edit Assign assignment function ( Page 43).
The quick edit view shows you which parameters are assigned to which controller
as well as the current positions of the controllers and their corresponding values. When
the positions of the MIDI controllers used do not correspond to the internal parameters,
the values of the internal parameters are displayed.

Quick Editing In the Play Mode

Although detailed voice editing is carried out in the EDIT mode, the MIDI control-
lers assigned to the quick edit parameters 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
requirements. Since the controllers actually edit the parameters to which they are as-
signed, the new voice created by using the sliders can be stored to one of the VL1-ms
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
MIDI controllers are individually preset for each voice. You can select from the available
range by using the Quick Edit Assign assignment function ( Page 43).

19
 Feature Reference
Play Mode

The Monitor Mode

In the PLAY mode the function button (Moni) selects a Monitor display
which shows the most recently received MIDI values for a range of parameters, plus that
from a breath controller connected to the BREATH jack. Press the ] or P key to
return to the normal play mode display.

The most recently received MIDI control change value for the specified
control change number. This parameter can be set to any control
Control Change change number from 001 (Modulation) to 119, or off. To change
the control change number move the cursor to the number and set as
required via the data dial or = and - buttons.
Modulation Wheel
The most recently received modulation value (0 127).
(001)

Breath Controller The most recently received breath controller value (0 127). Data
from both the front-panel BEATH jack and the MIDI IN connector are
(002) displayed (last-received priority).
Foot Controller
The most recently received foot controller value (0 127).
(004)

Main Volume
The most recently received main volume value (0 127).
(007)

Pitch Bend The most recently received pitch bend value (-64 63).

After Touch The most recently received after touch value (0 127).

The most recently received note number and velocity value (note: C-2
Note
G8. velocity: 1 127).

20
 Edit Mode

All voice editing functions are accessed via the

EDIT mode: controller assignments, mixing, modifi-
ers, effects, and more.

Element Selection
In the Edit Mode . . . . . . . . . . . . . . 22
The Edit Compare Function . . . . . 23
The Copy Function . . . . . . . . . . . . 24
Storing Edited Data . . . . . . . . . . . 27
Initial Edit Page . . . . . . . . . . . . . . . . . . . 30
Common Miscellanous . . . . . . . . . . . . . . 34
Common Effect . . . . . . . . . . . . . . . . . . . . 44
Element Controller . . . . . . . . . . . . . . . . . 64
Element Miscellaneous . . . . . . . . . . . . . 84
Element Modifier . . . . . . . . . . . . . . . . . 106
Element Envelope . . . . . . . . . . . . . . . . . 128
 Feature Reference
Edit Mode

Element Selection In the Edit Mode

In the EDIT mode youll need to be able to select the element to be edited, and
independently turn the elements on and off to monitor the sound.

Element Select
The function button and , and < cursor buttons are used to select the ele-
ment to be edited in a 2-element voice when an ELEMENT parameter is selected. Press
, while holding to select element 1, or press < while holding to select ele-
ment 2. The currently selected element is shown in the function name at the top of the
display page: E1 for element 1 and E2 for element 2.
In the example display below, element 2 is selected for editing (EDIT/E2/
CTRL/PRESSURE):

The element cannot be selected when a COMMON parameter is selected. Of course,

E2 can only be selected in a voice that uses two elements. Single-element voices use
only E1.

Element On/Off
While editing a 2-element voice it is handy to be able to turn one or the other
element off so you can clearly hear the result of edits to the element you are working on.
The function button and . and > cursor buttons perform this function. Hold
and press the > button to toggle element 1 on and off, or hold and press the .
button to toggle element 2 on and off. The on/off status of the elements is indicated by
the element numbers (12) at the right end of the second display line: a highlighted
number indicates that the element is on, a plain number that the element is off. In the
following display, for example, element 2 is on while element 1 is off:

The element ON/OFF settings are only effective in the edit mode.

22
 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 VL1-m 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.

23
 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, Key Mode, or Voice Mode 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.

24
 Feature Reference
Edit Mode

To copy all element data, go to the initial EDIT mode display and move the
cursor to the E1 Name or E2 Name parameter.
Example: Copy all element data.

To copy the E1 or E2 controller, miscellaneous, modifier, or envelope data,

select the corresponding directory display page.
Example: Copy all E1 element modifier data.

To copy the data from a single element function select the display page for
that function.
Example: Copy the E2 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 (and the element when copying element data).

At this point you can play the voice to hear how it will sound after the speci-
fied data is copied before actually copying the data.

25
 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.

When copying element data in a 2-element voice E1 or E2 will appear

above this will be the name of the element not currently being edited.
In this case the function button can be pressed to copy the data from the
second element to the element being edited.

4. Press [ and Confirm To Copy

Press the [ button once youve selected the copy source (at this point you can
also press the ] button to cancel the copy function).

26
 Feature Reference
Edit Mode

Storing Edited Data

Once youve created a new voice in the edit mode, its necessary to store the voice
to one of the VL1-ms 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
5: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.

27
 Feature Reference
Edit Mode

4. Press [ and Confirm To Store

Press the [ button once youve 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.

28
Feature Reference
Edit Mode

29
 Feature Reference
Edit Mode

Initial Edit Page

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

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.

30
 Feature Reference
Edit Mode

Voice Name

Initial Edit Page

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 Name only appears above the button when
the cursor is positioned at the Voice Name parameter). 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.

E1 Name, E2 Name
A name of up to 10 characters.
These parameters allow independent names to be entered for the E1 and E2 ele-
ments of the current voice (only E1 is available in a single-element voice). To enter a
new element name position the cursor at the E1 Name or E2 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
(suffixes _A and _B will be appended to the E1 and E2 names respec-
tively).

Key Mode
Mono, Poly, Unison.
In conjunction with the Voice Mode parameter, below, the Key Mode parameter
determines how the VL1-ms two elements are used to produce sound.

Mono Only a single note can be played at a time.

Poly Two different notes may be played simultaneously.
Unison Playing a single key produces two notes in unison.

31
 Feature Reference
Edit Mode

Voice Mode
Single, Dual.
In conjunction with the Key Mode parameter, above, the Voice Mode parameter
determines how the VL1-ms two elements are used to produce sound.

Single Only the sound of one element will be produced at a time.

Dual The sound of two elements may be produced simultaneously.

Various Key Mode and Voice Mode setting combinations produce the following results:
Sax

Key: Mono
Voice: Single

Sax Sax

Key: Poly
Voice: Single

Sax Sax Sax Sax

Key: Unison
Voice: Single

Bass Sax

Key: Mono
Voice: Dual

Bass Sax

Key: Poly
Voice: Dual

Bass Sax Bass Sax

Key: Unison
Voice: Dual

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 Feature Reference
Edit Mode

When the cursor is positioned at the E1 Name or E2 Name parameter

Initial Edit Page

in the initial EDIT mode display, Swap appears above the button.
Pressing this button exchanges the E1 and E2 data, including the element
names. This function can be used to swap the elements used for the high and
low notes when Key Mode is set to Unison and Voice Mode is set to
Dual. Since E2 always contains data, the Swap function can be use to
temporarily switch elements even when Key Mode is set to Single.

33
 Feature Reference
Edit Mode

Common Miscellaneous

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

The COMMON MISCELLANEOUS group includes a miscellaneous

range of functions which affect the entire voice.

1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
3: Element Pitch . . . . . . . . . . . . . . . . . . . . . . . . . 37
4: Element Level & Pan . . . . . . . . . . . . . . . . . . . 38
5: Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
6: Micro Tuning . . . . . . . . . . . . . . . . . . . . . . . . . 42
7: Quick Edit Assign . . . . . . . . . . . . . . . . . . . . . . 43

34
 Feature Reference
Edit Mode

1: Setting

Common Miscellaneous
Assign Mode
Bottom Note, Top Note, Last Note.
Determines which note(s) will be played when more than one note is played at a
time. Operation is different in the mono, poly, and unison key modes ( Page 31), as
noted below. This parameter also affects how the VL1-m responds to external MIDI
control.
Bottom Note The lowest note(s) played sounds.
Top Note The highest note(s) played sounds.
Last Note The last note(s) played sounds.

The above settings apply when the Mono key mode is selected.
When the Poly key mode is selected, Top Note* will appear in place
of the Last Note setting and operation will be the same as when Top
Note is selected.
When the Unison key mode is selected, the lowest and highest notes
played will sound regardless of the Assign Mode setting.

Pitchbend Mode
Normal, Bottom, Top.
Sets the pitch bend mode. The Bottom and Top modes are only effective
when the poly or unison key mode ( Page 31) is selected.

Normal Both notes are effected by pitch bend data.

Bottom The lowest of two notes played will be affected by pitch bend data.
Top The highest of two notes played will be affected by pitch bend data.

Sustain
off, on.
Turns the VL1-m sustain function on or off. When off the sustain function will
not work even if a sustain on MIDI message is received.

Off Sustain can not be applied via MIDI.

On Sustain can be applied via MIDI.

35
 Feature Reference
Edit Mode

2: Controller

Breath Attack Time

5.00msec 1.24 sec.
Determines how quickly the VL1-m 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 VL1-m Touch Envelope Generator. The Touch Enve-
lope 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.

Polyphony Ctrl
off, Modulation Wheel 119.
The VL1-m allows any physical MIDI controller to be used to switch between the
mono and poly key modes while playing. This parameter assigns the desired controller to
the key-mode switching function.

The key-mode switching function is off. This setting automatically

off
selected when Key Mode set to Mono or Unison.

Modulation The selected controller will switch between the Mono and Poly key
Wheel 119. modes.

The key-mode switching function can only be activated (i.e. a controller

assigned) when the Key Mode parameter is set to Poly.

36
 Feature Reference
Edit Mode

3: Element Pitch

Common Miscellaneous
Element 1 Detune
Element 2 Detune
-7 7.
Produces a slight upward or downward shift in the pitch of Element 1 or Element 2,
and therefore a detuning effect in relation to the other element. Minus values lower the
pitch while positive values raise the pitch. The change in pitch produced by each incre-
ment is very slight (on the order of a few cents per increment). Both elements can be
independently detuned in relation to each other, and in relation to the VL1-ms true pitch
as determined by the UTILITY mode Master Tuning parameter ( Page 153). If
a 1-element voice is being edited the Element 2 Detune parameter will not appear
unless the Voice Mode is set to Single and the Key Mode is set to Unison. In the
latter case the Element 2 Detune parameter appears because the same voice is
being played in the unison mode.

Element 1 Note Shift

Element 2 Note Shift
-64 63.
Shifts the pitch of Element 1 or Element 2 up or down in semitone increments.
Minus values lower the pitch while positive values raise the pitch. The pitches of both
elements can be independently shifted in relation to each other, and in relation to the
VL1-ms true pitch as determined by the UTILITY mode Master Tuning param-
eter ( Page 153).

Element 1 Random Pitch

Element 2 Random Pitch
0 7.
Produces a slight random variation in the pitch of Element 1 or Element 2, simulat-
ing 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
variation.

37
 Feature Reference
Edit Mode

4: Element Level & Pan

Element 1 Level
Element 2 Level
0 127.
Sets the level (volume) of the output from Element 1 or Element 2. A setting of 0
produces no output; 127 produces maximum output. Indepedent level parameters are
provided for Element 1 and Element 2, making it easy to create the desired balance.
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 1 Pan L
Element 1 Pan R
Element 2 Pan L
Element 2 Pan R
-64 63.
Determines the position of Element 1 or Element 2 in the stereo sound field. Nor-
mally there would be only one pan parameter for each element, placing the sound of the
element anywhere from full left to right in the stereo sound field. The output from the
VL1-m elements and modifier stages is already in stereo, so two pan parameters (L and
R) and provided for each element, offering maximum panning versatility. The Element
1 Pan L parameter, for example, determines the position of the left-channel output
signal from Element 1, while the Element 1 Pan R parameter determines the
position of the right-channel output from the same 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
corresponding slider to the right.

To reproduce the original stereo

-64 0 63
sound of the element, set the
Pan L parameter to -64
and the Pan R parameter to Left Right
63.

Sound

38
 Feature Reference
Edit Mode

To limit the sound of Element 1

-64 0 63
to the left half of the sound field,
for example, set Element 1
Pan L to -64 and Ele-

Common Miscellaneous
Left Right
ment 1 Pan R to 0.

Sound

If both the L and R param-

-64 0 63
eters are set to the same value,
the sound of the corresponding
element will appear as a mono Left Right
source at the appropriate position
in the stereo sound field. If both
parameters are set to 0, for
example, the sound of the Sound
element will be heard only in the
center of the sound field.

The Element 2 pan and level parameters will not appear if the Voice Mode
parameter is set to Single.

The pan parameters have no effect if the UTILITY mode Output param-
eter is set to Monaural.

39
 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
Full Time 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
Fingered
the second note is played.

If the Key Mode parameter ( Page 31) is set to Poly or Unison

the Portamento Mode parameter is fixed at Full Time and cannot
be changed.

Time MIDI Control

off, on.
The portamento time (the length of slide between notes) can be controlled in
realtime via MIDI portamento time messages from an external device. This parameter
turns realtime portamento time control off or on.

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 1
off, on.
Turns portamento off or on for element 1 only.

40
 Feature Reference
Edit Mode

Element 2
off, on.
Turns portamento off or on for element 2 only.

Common Miscellaneous
The Element 2 parameter will not appear if the Voice Mode param-
eter ( Page 32) is set to Single.

41
 Feature Reference
Edit Mode

6: Micro Tuning

Element 1
Element 2
off, I-1 I-2, P-1 P-54.
Selects the micro-tuning for Element 1 or Element 2.

Equal Temperament: The standard modern keyboard tuning with

off perfectly even intervals between all 12 notes of the scale. This tuning
allows transposition to any key without modification.
Internal Microtuning: These tunings are included in the system data
I-1, I-2
on the VL1-m 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
P-1 P-12
ensemble, but the tuning must be changed to match the key of the
music.
Pure Minor C Pure Minor B: Same as the Pure Major scales
P-13 P-24
above, but for minor keys.
Mean Tone C Mean Tone B: This tuning was originally devised to
P-25 P-36 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: A classic tuning from ancient Greece with a few
P-37 P-48 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
P-49 the curious chacteristic, 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.
P-50 Kirnberger: See Werckmeister.
P-51 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
P-52
standard equal temperament tuning for some unusual and very tense
effects.
P-53 1/4 Tone: All semitones on the keyboard become 1/4-tone intervals.
P-54 1/8 Tone: All semitones on the keyboard become 1/8-tone intervals.

The I-1 and I-2 tunings (Internal Microtuning) cannot be edited or modified
using the VL1-m. Microtuning data from the Yamaha SY99 or SY77 synthe-
sizer, however, can be loaded into the VL1-m via a MIDI bulk dump or
parameter change operation.

42
 Feature Reference
Edit Mode

The Element 2 parameter will not appear if the Voice Mode param-
eter ( Page 32) is set to Single.

Common Miscellaneous
7: Quick Edit Assign

QED1 (cc16)
QED2 (cc17)
off, Com, E1, E2, Both plus the parameters available for the current voice.
Assigns the available common or element edit parameters to the corresponding
MIDI controller (QED1 = control change number 16; QED2 = control change number
17). The controllers 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 UTILITY 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 parameter will be
controlled.

Controller not assigned. Choose this setting if you dont want the
off
controller to affect any edit parameters.
Com Selects the common edit parameters.
Selects the element 1 edit parameters. This setting will appear as E1*
E1 if previously set to E2 or Both with the Voice Mode parameter set to
Dual, then the Voice Mode parameter is switched to Single.
E2 Selects the element 2 edit parameters.
Selects element edit parameters that will affect both element 1 and
Both
element 2.

The second (rightmost) part is the actual parameter which will be controlled. The
parameters available for editing via the continuous sliders are individually preset for each
voice.
Since the controllers actually edit the parameters to which they are assigned,
the new voice created by using the controllers can be stored to one of the
VL1-ms 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 quick edit 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.

43
 Feature Reference
Edit Mode

Common Effect

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

The COMMON EFFECT parameters provide access to the VL1-ms

sophisticated three-stage digital signal processing system.

1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 3: Feedback Delay . . . . . . . . . . . . . . . . . . . . . . . 53

2: Modulation Effect . . . . . . . . . . . . . . . . . . . . . . 46 Mono Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 L,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Pitch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 L,C,R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 4: Reverberation . . . . . . . . . . . . . . . . . . . . . . . . 60
Hall1, Hall2, Room1, Room2, Studio, Plate,
Space, Reverse . . . . . . . . . . . . . . . . . . . . . . . . . 61

44
 Feature Reference
Edit Mode

1: Setting

Common Effect
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.

Serial Mode

From Feedback To
Modulation Reverb
Element Delay Output

Parallel Mode

From Feedback To
Modulation
Element Delay Output

Reverb

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 MIDI 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, isnt
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 dont require realtime effect
control.

45
 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
Flanger
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
Pitch Change
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
Distortion
comprehensive range of other parameters that can be used to refine
the distortion sound.

46
 Feature Reference
Edit Mode

Flanger

Common Effect
Use the (>) and (<) buttons to switch between the two pages
of effect parameters.

Element on/off E1: & E2:

off, on.
In this parameter the cursor can be positioned at E1: or E2: to individually turn
the flanger effect on or off for elements 1 and 2, respectively. When on the output of
the corresponding element is fed to the input of the modulation stage, and when off
the modulation stage is bypassed. The E2: parameter will not appear when editing a
single-element voice.

Wave
Triangle, Sine, Random.
Selects the waveform which will be used to modulate the flanger 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.
47
 Feature Reference
Edit Mode

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 difference 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

L In L Out

Flanger

Flanger

R In R Out

48
 Feature Reference
Edit Mode

Pitch Change

Common Effect
Use the (>) and (<) buttons to switch between the two pages
of effect parameters.

Element on/off E1: & E2:

off, on.
In this parameter the cursor can be positioned at E1: or E2: to individually
turn the pitch change effect on or off for elements 1 and 2, respectively. When on the
output of the corresponding element is fed to the input of the modulation stage, and when
off the modulation stage is bypassed. The E2: parameter will not appear when
editing a single-element voice.

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.
Monaural Mode Block Diagram

L In L Out

Pitch Change 1

Pitch Change 2

R In R Out

Stereo Mode Block Diagram

L In L Out

Pitch Change L

Pitch Change R

R In R Out

49
 Feature Reference
Edit Mode

Pitch Change 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.

50
 Feature Reference
Edit Mode

Distortion

Common Effect
Use the (>) and (<) buttons to switch between the two pages
of effect parameters.

Element on/off E1: & E2:

off, on.
In this parameter the cursor can be positioned at E1: or E2: to individually
turn the distortion effect on or off for elements 1 and 2, respectively. When on the
output of the corresponding element is fed to the input of the modulation stage, and when
off the modulation stage is bypassed. The E2: parameter will not appear when
editing a single-element voice.

Overdrive
0 100 %.
Sets the intensity of the overdrive or distortion effect. Higer values produce more
distortion.

Device
Transistor, Vintage Tube, Distortion 1, Distortion 2, Fuzz.
Determines the basic sound of the distortion effect.

Transistor The crisp, tight distortion of an overdriven transistor amplifier.

Simulates the warm, relatively soft distortion produced by vacuum
Vintage Tube
tube amplifiers.
Distortion 1 A traditional stomp-box type distortion unit, type 1.
Distortion 2 A traditional stomp-box type distortion unit, type 2.
Early fuzz boxes produced this type of distortion rough and
Fuzz
somewhat rude.

51
 Feature Reference
Edit Mode

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.

No speaker the sound of a direct feed to a recording or sound

Flat
reinforcement console.
Stack The powerful, expansive sound of stacked speaker cabinets.
Combo A single 12" speaker unit in an open-backed enclosure.
Twin Two 12" speaker units in a relatively small open-backed enclosure.
Radio The small, compressed, but pleasant tone of a radio receiver.
Megaphone Constricted tone with emphasis on the middle frequencies.

Presence
-10 10.
Varies the presence or brilliance of the sound. Higher values produce more
presence and punch.

Distortion Effect Block Diagram

L In L Out

Distortion

R In R Out

52
 Feature Reference
Edit Mode

3: Feedback Delay

Common Effect
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 The Mono delay effect produces a single delay sound which appears in
the center of the stereo sound field.

L,R This variation provides independently programmable delays for the left
and right stereo channels.

L, C, R Independent delays are provided for the left and right channels, plus a
center delay.

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.

53
 Feature Reference
Edit Mode

Mono Delay FB Delay Time

0 1024 ms.
Sets the delay time between repeats. The higher the value the longer the delay.
Use the VL1-m Time Calculation function ( Page 59) 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 VL1-m Time Calculation function ( Page 59) 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.

Direct Sound
Volume

FB Gain
Level

Time
Delay Time FB Delay Time

Mono Delay Effect Block Diagram

L In L Out

Delay

R In R Out

54
 Feature Reference
Edit Mode

L,R Delay

Common Effect
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 VL1-m Time Calculation function ( Page 59) 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.
55
 Feature Reference
Edit Mode

L,R Delay Lch High

Rch High
0.1 1.0.
Produces a natural decay in the in the high-frequency components of subsequent
repeats. The lower the value the faster and more pronounced the drop-off in high-frequen-
cies. Independent parameters are provided for the left (Lch) and right (Rch) chan-
nels.

L,R Delay Effect Block Diagram

L In L Out

Delay

Delay

R In R Out

56
 Feature Reference
Edit Mode

L,C,R Delay

Common Effect
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 VL1-m Time Calculation function ( Page 59) 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 in the high-frequency components of subsequent
repeats. The lower the value the faster and more pronounced the drop-off in high-frequen-
cies.

57
 Feature Reference
Edit Mode

L,C,R Delay 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 VL1-m Time Calculation function ( Page 59) 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 Effect Block Diagram

L In L Out
L

C
Delay

R
R In R Out

58
 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 VL1-m includes a time calculation function that makes it easy
to convert standard note values to their corresponding delay times in milliseconds.

Common Effect
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).

59
 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

Hall 1
concert hall.

Hall 2 This hall simulation produces a richer low-frequency reverb sound than
the Hall 1 program.

Room 1 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
Room 2
bigger reverb sound.
In recording studios it is generally desirable to suppress low-frequency
Studio 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 was
Plate
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-
Space
tremely large space.
In this effect the reverb sound plays in reverse, building up to
Reverse
maximum level rather than decaying as normal.

60
 Feature Reference
Edit Mode

Hall1, Hall2, Room1, Room2, Studio, Plate, Space, Reverse

Common Effect
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.
Level

Boost
Reverb

Time

61
 Feature Reference
Edit Mode

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.

Initial
Delay
Direct Sound
Level

Reverb

Time

Feel
0 3.
Selects one of four variations in density or overall sound available for each of the
VL1-ms 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.

62
 Feature Reference
Edit Mode

Reverb Effect Block Diagram

L In L Out

Common Effect
Reverb

R In R Out

63
 Feature Reference
Edit Mode

Element Controller

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 9: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
2: Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . 66 10: Throat Formant . . . . . . . . . . . . . . . . . . . . . . 75
3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 11: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . 77
4: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 12; Harmonic Enhancer . . . . . . . . . . . . . . . . . . . 78
5: Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 13: Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
6: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 14: Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7: Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Controller Search & Replace . . . . . . . . . . . . . . 82
8: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 73

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
assigmments as required ( Page 82).

64
 Feature Reference
Edit Mode

1: Pressure

Element Controller
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 VL1-m tone generator is the product
of the pressure from the controller and that from the pressure envelope (
Page 129).

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.

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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 VL1-m tone generator is a mix of
the embouchure from the controller and that from the embouchure and pitch
envelopes ( Page 130).

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-

Element Controller
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.

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. When set to off no pitch variation is produced.
The actual pitch value applied to the VL1-m tone generator is a mix of the
pitch value from the controller and that from the embouchure and pitch
envelopes ( Page 130).
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 pitch 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 pitch 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 param-
eter has no effect on the Upper Depth value. The 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 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

Element Controller
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 135), 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 135, 136).

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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 a 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

Element Controller
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 instruments output, and therefore
the total output from all modifier and effect stages.
The Amplitude parameter affects the level of the sound prior to the VL1-m
effect stages, so it can be used to vary the amount of overdrive produced by
the distortion effect, for example ( Page 51).

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.
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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

Element Controller
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 86), 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-

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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 86).

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 141), 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.

Element Controller
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 BNoise
parameter are set to 0 or the Offset parameter is set to 63 ( Page
141).

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 91), 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
players 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 91, 92).

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11: Dynamic Filter

Element Controller
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 115), 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 VL1-m 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 VL1-m 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
143).

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-

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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 116).

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 107), 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 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

Element Controller
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 108).

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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

Element Controller
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.

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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 Growl parameter is assigned to the Modulation

Wheel:

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 Velocity controller, which is current is asssigned to
the Amplitude.

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4. Press [ to Confirm the new Assignment

Element Controller
When youre 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 youre ready to return to the element controller direc-
tory.

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Element Miscellaneous

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
2: Breath Noise . . . . . . . . . . . . . . . . . . . . . . . . . 86 4-1: Mixing Driver Output Key Scaling . . . . . . 100
2-1: Breath Noise Level Key Scaling . . . . . . . . 88 4-2: Mixing Pipe/String Output Key Scaling . . 101
2-2: Breath Noise HPF Key Scaling . . . . . . . . . 89 4-3: Mixing Tap Output Key Scaling . . . . . . . . 102
2-3: Breath Noise LPF Key Scaling . . . . . . . . . . 90 4-4: Mixing Tap Location Key Scaling . . . . . . 103
3: Throat Formant . . . . . . . . . . . . . . . . . . . . . . . 91 5: Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
3-1: Throat Formant Pitch Key Scaling . . . . . . 93 5-1: Amplitude Level Key Scaling . . . . . . . . . . 104
3-2: Throat Formant Amount Key Scaling . . . . 94
3-3: Throat Formant Intensity Key Scaling . . . . 95
3-4: Throat Formant HPF Key Scaling . . . . . . . 96
3-5: Throat Formant LPF Key Scaling . . . . . . . 97

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1: Setting

Trigger Mode

Element Miscellaneous
Single, Multi.
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 is still held, no attack is produced.
The attack is always reproduced regardless of whether a previous note
Multi
is held or not.

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 VL1-m to control changes Pressure, Embou-
chure, etc. The higher the value the slower 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.

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2: Breath Noise

The button (Ctrl) can be used to go directly to the breath noise

controller page ( Page 73), 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 VL1-ms physical model (in a
reed instrument, the space between the reed and the mouthpiece). This parameter deter-
mines the intensity of the breath noise. The smaller the value the more intense and rough
the breath noise.
If this parameter is set to 63, no breath noise can be applied via a controller.

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.

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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.

Element Miscellaneous
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.

The noise generator is not reset for each note, result in a different, and
off
therefore natural, attack feel for each note played.
The noise generator is reset for each note, resulting in the same breath
on
noise attack feel for each note played.

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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).

NOTES Breakpoint 1 6 Key

C-2 G8.
BP4
Allows six separate key scaling breakpoints to be set at any notes between C-2 and
BP2
BP1 BP5
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
BP3 of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint
C2 C3 C4 entry, position the cursor at the appropriate breakpoint key parameter, press the
If two breakpoints are button (Kbd), and then press the key at which you want to set the breakpoint while
set to the same note, the Kbd appears in inverse characters.
lower one functions as the
end of the key scaling
No breakpoint can be set to a key lower than the breakpoint to its left.
segment connecting to the
next lowest breakpoint
while the higher one Breakpoint 1 6 Offset
functions as the end of the
segment connecting to the -64 63.
next highest breakpoint.
Further, the higher
Set the amount of level offset for each of the breakpoints defined by the breakpoint
breakpoint applies to the key parameters, above. Negative values reduce the level, and positive values increase the
specified note while the level at the corresponding breakpoint. No matter what offset value is chosen, the actual
lower one actually applies
to the next note to its left.
level will never exceed its minimum or maximum absolute value. When different offset
If more than two break- values are applied to adjacent breakpoints, the level varies smoothly between the break-
points are set to the same points.
note, only the lowest and
highest of these will
function as ends of the
corresponding key scaling
segments while the rest
are ignored.

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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.

Element Miscellaneous
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 a keyboard. To use a 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 & 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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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 a keyboard. To use a 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 & 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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3: Throat Formant

The button (Ctrl) can be used to go directly to the throat formant

Element Miscellaneous
controller page ( Page 75), 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 notes played.

The throat formant is fixed at the pitch specified by the Pitch

Fixed
parameter, below.
The pitch of the throat formant tracks the note(s) played, offset by the
KeyTrack
amount specified by the Pitch parameter, below.

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 note played in octave units. In the latter case negative values
offset the throat formant pitch below the pitch of the note played, while positive values
offset the throat formant pitch above that of the note 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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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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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.

Element Miscellaneous
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 a keyboard. To use a 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 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.
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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 a keyboard. To use a 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 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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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.

Element Miscellaneous
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 a keyboard. To use a 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 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.

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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 breath noise HPF Cutoff Frq
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 a keyboard. To use a 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.

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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.

Element Miscellaneous
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 Frq
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 a keyboard. To use a 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.

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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 instruments driver output. The Driver signal is the
direct output from the mouthpiece (or bow/string interface) without the resonance of the
instruments body. The higher the value the higher the output.

Pipe/String Output
0 127.
Adjusts the main output from the instruments 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 instruments 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 instruments
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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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
instruments pipe or string.

Driver Signal

Tap

Element Miscellaneous
Driver Pipe/String Mixing
Signal

Pipe/Strings Signal

Modifiers
Driver signal to Mixed
Harmonic Enhancer Output

Output

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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 throat formant Driver 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 a keyboard. To use a 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 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.

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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.

Element Miscellaneous
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 a keyboard. To use a 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 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.

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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 Position.

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 a keyboard. To use a 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 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.

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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.

Element Miscellaneous
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 Position.

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 a keyboard. To use a 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 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.

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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 of the selected Element, 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.

The button (Xfd) can be used to invert the curve of the Amplitude Key
Scaling for the other element when a 2-element voice is being edited to
produce a crossfade key scaling effect between elements (Xfd will not
appear when a 1-element voice is edited).

Level
0 127.
The Level parameter is linked to the main amplitude Amplitude Level
parameter, and sets the final output level of the selected Element, 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).

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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 a keyboard. To use a 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.

Element Miscellaneous
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.

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Element Modifier

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1: Harmonic Enhancer . . . . . . . . . . . . . . . . . . . 107 3: Equalizer Auxiliary . . . . . . . . . . . . . . . . . . . 119

1-1: Harmonic Enhancer HPF Key Scaling . . . 110 3-1: Equalizer Auxiliary HPF Key Scaling . . . . 120
1-2: Harmonic Enhancer Overdrive Key Scaling 111 3-2: Equalizer Auxiliary LPF Key Scaling . . . . 121
1-3: Harmonic Enhancer Carrier Level Key 4: Equlizer Band . . . . . . . . . . . . . . . . . . . . . . . . 122
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . 112 5: Impulse Expander & Resonator Setting . . . 123
1-4: Harmonic Enhancer Modulator Index Key 6: Impulse Expander . . . . . . . . . . . . . . . . . . . . 125
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . 113 7: Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
1-5: Harmonic Enhancer Balance Key Scaling 114
2: Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . 115
2-1: Dynamic Filter Cutoff Key Scaling . . . . . . 117
2-2: Dynamic Filter Resonance Key Scaling . . 118

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1: Harmonic Enhancer
Carrier Parameters

Modulator Parameters

Element Modifier
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.

Modulator
Source. Modulator

Carrier
Source. Carrier

Driver, Wet/Dry
pipe/string, Out
Balance
and tap sound. (to Dynamic Filter.)

The button (Ctrl) can be used to go directly to the harmonic enhancer

controller page ( Page 78), 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.

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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,
Normal
pipe/string, and tap signals.
This signal represents the instantaneous amplitude of the breath noise
Breath Noise
produced at the driver. It is basically a highly distorted version of the
Amplitude
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,
Flow Rate Satura-
however, a limit to the speed of the airflow which can be produced
tion
(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
Beat
mouthpiece.
As the reed vibrates, the area of gap (slit) between it and the mouth-
Slit/Friction piece varies accordingly. The Slit/Friction signal corresponds to the
varying are of the reed/mouthpiece slit.

Reed This signal is derived directly from the flexing of the 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.

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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.

Element Modifier
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 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 modulation is
applied, so a higher value is generally required to create sufficient variation.
The second approach is to set the carrier signal to any 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 modu-
lated 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.

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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.

Carrier Parameters

Modulator Parameters

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).

NOTES
Breakpoint 1 & 2 Key
BP4 C-2 G8.
BP2 Allows two separate key scaling breakpoints to be set at any notes between C-2 and
BP1 BP5
BP3 G8. You can position the cursor at the appropriate breakpoint key parameter and use any
C2 C3 C4 of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint
If two breakpoints are
entry, position the cursor at the appropriate breakpoint key parameter, press the
set to the same note, the button (Kbd), and then press the key at which you want to set the breakpoint while
lower one functions as the Kbd appears in inverse characters.
end of the key scaling
segment connecting to the
No breakpoint can be set to a key lower than the breakpoint to its left.
next lowest breakpoint
while the higher one
functions as the end of the
segment connecting to the
next highest breakpoint. 110
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Further, the higher Breakpoint 1 & 2 Offset

breakpoint applies to the
specified note while the -64 63.
lower one actually applies
to the next note to its left.
Set the amount of cutoff frequency offset for each of the breakpoints defined by the
If more than two break- breakpoint key parameters, above. Negative values lower the cutoff frequency, and
points are set to the same positive values raise the cutoff frequency at the corresponding breakpoint. No matter
note, only the lowest and
highest of these will
what offset value is chosen, the actual cutoff frequency will never exceed its minimum or
function as ends of the maximum absolute value. When different offset values are applied to adjacent break-
corresponding key scaling points, the cutoff frequency varies smoothly between the breakpoints.
segments while the rest
are ignored.

1-2: Harmonic Enhancer Overdrive Key Scaling

Element Modifier
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.

Carrier Parameters

Modulator 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).

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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 a keyboard. To use a 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 & 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
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of the normal data entry procedures, or use a keyboard. To use a 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 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 carie level at the corresponding breakpoint. No matter what offset value is
chosen, the actual carrier level will never exceed its minimum or maximum absolute

Element Modifier
value. When different offset values are applied to adjacent breakpoints, the carrier level
varies smoothly between the breakpoints.

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 a keyboard. To use a 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.
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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 a keyboard. To use a 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 & 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),

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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

Element Modifier
The button (Ctrl) can be used to go directly to the dynamic filter
controller page ( Page 77), 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.

Dynamic
Filter

In
(from Harmonic
Enhancer) Wet/Dry
Out
Balance
(to Frequency
Equalizer)

Filter Mode
LPF, BPF, HPF, BEF.
Selects the filter mode.
Low-pass filter. Frequencies below the cutoff frequency are passed
LPF
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
BPF 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
HPF
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
BEF narrow band of frequencies which will be cut off. The cutoff slope is -6
dB/octave.

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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 notes
played.

The dynamic filter is fixed at the frequency specified by the Cutoff

Fixed
Freq. parameter, below.
The cutoff frequency of the dynamic filter tracks the note(s) played,
KeyTrack offset by the amount specified by the Cutoff Freq. parameter,
below.

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 note played
in octave units. In the latter case negative values offset the cutoff frequency below the
frequency of the note played, while positive values offset the cutoff frequency above that
of the note played.

Resonance
1.00 15.67.
This parameter produces a peaking effect at the filters cutoff frequency, further
emphasizing the frequencies at that point. This higher the value the higher the resonant
peak.

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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.

Element Modifier
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 a keyboard. To use a 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.

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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

dynaic 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 a keyboard. To use a 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.

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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

Element Modifier
] 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.

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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 a keyboard. To use a 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.

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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.

Element Modifier
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 a keyboard. To use a 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.

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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
284.0 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 stages 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 equalizers five bands. The higher
the value the narrower the bandwidth.

Bnd1 Bnd5 Level

-24.0 23.6.
Individually set the level of the equalizers five bands. Negative values produce a
cut at the frequency of the corresponding band while positive values produce a boost.

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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

Element Modifier
parameter will appear in the upper right area of the display.

Ipulse
Impulse Resonator Resonator
Expander Resonator On/Off Wet Level
On/Off Input Gain
Resonator
Level
Balance

Dry Impulse
Impulse Expander
Level Expander Level
Wet 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 125) or Resonator (
Page 126) 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.

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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.

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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

Element Modifier
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 instruments resonant cavity or sound box. It can also be used to
simulate the acoustic environment in which the instrument is played.

In Frequency-dependent Delay
(from Frequency
Equalizer)

Mix Out
(to Resonator)

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.

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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 124). 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 resonators
parameters can often bring a not-quite-right voice to life.

Delay

Delay Right Channel

In Delay Out (to Effects)

(from Resonator)
Delay Left Channel

Delay

DL1 DL5
0.29 msec 41.54 msec.
These parameters independently set the delay times for the Resonators five delay
lines.
Delay times for natural effects can be calculated by dividing the instruments
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.

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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

Element Modifier
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.

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Element Envelope

EDIT MODE COMMON MISCELLANEOUS

EFFECT

ELEMENT CONTROLLER

MISCELLANEOUS

MODIFIER

ENVELOPE

1: Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 4: Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

2: Embouchure & Pitch . . . . . . . . . . . . . . . . . . 130 4-1: Growl Speed Key Scaling . . . . . . . . . . . . . . . 142
2-1: Embouchure & Pitch Hold Time Key Scaling 132 5: Amplitude & Filter . . . . . . . . . . . . . . . . . . . . . . 143
2-2: Embouchure & Pitch Initial Level Key Scaling 133 5-1: Amplitude & Filter Attack Rate Key Scaling . . 146
2-3: Embouchure & Pitch Decay Rate Key Scaling 134 5-2: Amplitude & Filter Attack 1 Level Key Scaling 147
3: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 5-3: Amplitude & Filter Decay Rate Key Scaling . 148
3-1: Vibrato Delay Time Key Scaling . . . . . . . 137 5-4: Amplitude & Filter Sustain Level Key Scaling 149
3-2: Vibrato Attack Rate Key Scaling . . . . . . . 138 5-5: Amplitude & Filter Release Rate Key Scaling 150
3-3: Vibrato Depth Key Scaling . . . . . . . . . . . 139
3-4: Vibrato Speed Key Scaling . . . . . . . . . . . 140

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1: Pressure

Each VL1-m 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

Element Envelope
Disable, ADSR, AR.
This parameter determines whether or how the pressure envelope will be used.

The voices 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-
Disable 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
ADSR settings of the voices pressure envelope.
Pressure responds according to the attack and release settings of the
AR voices pressure envelope. The decay and sustain settings are ignored.

Attack Rate Offset

-16 16.
Adjusts the attack rate of the voices pressure evelope. Positive values produce a
faster attack while negative values produce a slower attack.

Release Rate Offset

-16 16.
Adjusts the release rate of the voices pressure evelope. 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.

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Velocity Sens To Rate

0 16.
Determines the relationship between the voices 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 VL1-m voice has its own embouchure & pitch envelope which deter-
mines 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 voices 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,

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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.

Element Envelope
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.

63
Level

0 Time
Initial Lvl
Decay Rate

Hold Time
-64

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.

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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).

NOTES
Breakpoint 1 & 2 Key
C-2 G8.
BP4
Allows two separate key scaling breakpoints to be set at any notes between C-2 and
BP2
BP5
G8. You can position the cursor at the appropriate breakpoint key parameter and use any
BP1
BP3 of the normal data entry procedures, or use a keyboard. To use a keyboard for breakpoint
C2 C3 C4 entry, position the cursor at the appropriate breakpoint key parameter, press the
If two breakpoints are button (Kbd), and then press the key at which you want to set the breakpoint while
set to the same note, the Kbd appears in inverse characters.
lower one functions as the No breakpoint can be set to a key lower than the breakpoint to its left.
end of the key scaling
segment connecting to the
next lowest breakpoint
while the higher one Breakpoint 1 & 2 Offset
functions as the end of the -64 63.
segment connecting to the
next highest breakpoint. Set the amount of hold time offset for each of the breakpoints defined by the
Further, the higher
breakpoint applies to the breakpoint key parameters, above. Negative values reduce the hold time, and positive
specified note while the values increase the hold time at the corresponding breakpoint. No matter what offset
lower one actually applies value is chosen, the actual hold time will never exceed its minimum or maximum abso-
to the next note to its left.
If more than two break- lute value. When different offset values are applied to adjacent breakpoints, the hold time
points are set to the same varies smoothly between the breakpoints.
note, only the lowest and
highest of these will
function as ends of the
corresponding key scaling
segments while the rest
are ignored.

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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.

Element Envelope
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 a keyboard. To use a 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 & 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 inital
level varies smoothly between the breakpoints.

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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.

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 a keyboard. To use a 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 & 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.

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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

Element Envelope
page ( Page 69), 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
69) 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.
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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.

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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.

Element Envelope
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 a keyboard. To use a 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 & 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.

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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 a keyboard. To use a 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 & 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.

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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.

Element Envelope
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 a keyboard. To use a 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 & 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.

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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 a keyboard. To use a 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 & 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.

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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 74), also available from the ELEMENT CONTROLLER

Element Envelope
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 BNoise parameter, below, are set to 0.

Dpth to BNoise
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.
off The growl variation is independent from the vibrato variation.
Growl speed and randomness are synchronized to the same vibrato
on parameters. In this case the speed and randomness parameters, listed
below, will not appear.

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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 a keyboard. To use a 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 & 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.
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Edit Mode

5: Amplitude & Filter

Element Envelope
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.

The Sensitivity Parameters

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

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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 Envelope Parameters

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.

Max.Level
(fixed:127) Rate:
Decay
Level

Level: Rate:
Attack1 Attack2
Level: Rate:
Sustain Release

Rate:
Attack1

Time

Key on Key off

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.
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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.

Element Envelope
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.

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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 a keyboard. To use a 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 & 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.
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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.

Element Envelope
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 a keyboard. To use a 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 & 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.

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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 a keyboard. To use a 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 & 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.

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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.

Element Envelope
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 a keyboard. To use a 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 & 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.

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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 and Fpag) 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 a keyboard. To use a 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 & 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.

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 Utility Mode

The UTILITY mode provides access to a range

of functions that do not necessarity affect the instru-
ments sound or how it plays. Select the UTILITY
mode from either the EDIT or PLAY mode by press-
ing the U button.

System . . . . . . . . . . . . . . . . . . . . . . . . . . 152
MIDI Bulk Dump . . . . . . . . . . . . . . . . . . 160
Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Edit Recall . . . . . . . . . . . . . . . . . . . . . . . 172
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
 Feature Reference
Utility Mode

System

UTILITY MODE SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

1: TG Setting . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2: MIDI Setting . . . . . . . . . . . . . . . . . . . . . . . . . 154
3: PGM Change Table . . . . . . . . . . . . . . . . . . . 155
4: BC Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
5: Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . 157

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Utility Mode

1: TG Setting

System
Master Tuning
-64 63.
Fine tunes the overall pitch of the VL1-m 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 VL1-ms internal reverb system off or on. This can be handy if you want
to use an external signal processor for rverberation.

Output
Monaural, Stereo.
Determines whether the VL1-m 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.

WX Lip
Normal, Expand.
This parameter can be set
to Expand when using a tight-lip loose-lip
WX11 or WX7 Wind Controller 63 63
in the tight-lip mode to expand
the normally limited lip pitch 31
bend range of these controllers
to the full range available on the 0 0
VL1-m. -16
Set to Normal when
using a WX11 or WX7 in the
loose-lip mode, or when using a -63 -63
keyboard or other non-wind Expand Normal
controller.

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2: MIDI Setting

Transmit Channel
1 16.
Selects the MIDI channel via which all VL1-m 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 VL1-m 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, a breath controller plugged into the
BREATH jack controls the VL1-m internal tone generator. This situation is local control
on since the internal tone generator is controlled locally by the locally-connected breath
controller. Local control can be turned off, however, so that the breath controller does not
affect the internal voices, but the appropriate MIDI information is still transmitted via the
MIDI OUT connector. 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 VL1-m and other MIDI devices e.g. VL1, another VL1-m, a
computer, or a MIDI data recorder. Make sure that the VL1-m device number is matched
to that of other devices in your system with which such data transfers will take place.

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Utility Mode

3: PGM Change Table

System
Normally, MIDI program change numbers 001 through 128 select the correspond-
ingly-numbered VL1-m voices. The program change table can be used to alter these
assignments as required.
To change a program change assignment, move the cursor to the voice number to be
changed use the (>) and (<) buttons to scroll up and down through
the table then use the data dial or = and - buttons to change it as required.
The initial program change assignments can be restored by pressing the (Init)
button, and then the - button in response to the Are You Sure? prompt. When the
table has been initialized Completed! will appear on the display. Press ] to return
to the utility mode display.

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4: BC Curve

Curve
Normal, Soft, Wide, Hard.
Determines the relationship between breath controller input and output. Try out the
various settings while using the breath controller in order to find the curve that works
best for you.

Normal The relationship between input and output is linear.

This curve makes it easy to cover a wide dynamic range with light
Soft
pressure.
Wide Subjectively, this curve produces the widest dynamic range.
Hard Best for players who use relatively heavy pressure.

If you play the breath controller while viewing the appropriate curve display,
the instantaneous breath pressure input and output values will appear on the
display both numerically and graphically in the form of markers surrounding
the curve graph.

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Utility Mode

5: Miscellaneous

System
Display
Reverse, Normal.
Determines whether the VL1-m 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 data load.
Program change table initialize.

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.

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Utility Mode

Greeting Message
Up to 20 characters.
Allows you to enter an original greeting message which will be displayed by the
VL1-m when the power is initially turned on. Position the cursor at the Greeting Mes-
sage parameter and press the button (Name). Then use the name entry procedure
described on page 31.

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System

159
 Feature Reference
Utility Mode

MIDI Bulk Dump

UTILITY MODE SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

160
 Feature Reference
Utility Mode

MIDI bulk dump transmission makes it possible to transfer system and voice data
between the VL1-m and other MIDI equipment. The VL1-m is capable transmitting three
types of data:

MIDI Bulk Dump

All VL1-m system Data: the settings in the Utility System page, the 2
1: System
internal Micro Tuning, and Program change table data.
2: All Voice All 128 voices in the VL1-m memory.
3: Current Voice The currently selected voice only.

Bulk Data Transmission Procedure

1. Preparation
Make sure the VL1-m is properly connected to a device which is capable of receiv-
ing its bulk data: another VL1-m, a computer, a MIDI data recorder, etc. The VL1-m
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 VL1-m 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.

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.
System and All Voice transmissions can be cancelled between
blocks by pressing the ] button.

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 VL1-m to receive a bulk transmission from another VL1-m or other
device, the MIDI OUT of the transmitting device must be connected to the MIDI IN of
the VL1-m via a MIDI cable. The VL1-m 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).

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Utility Mode

Disk

UTILITY MODE SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

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
CAUTION! in order to save data to the disk, rename a file, delete a file, or format the disk.

162
 Feature Reference
Utility Mode

1: Disk Status

Disk
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 files on the disk.
All Voice The number of All Voice files on the disk.
1 Bank The number of 1 Bank files on the disk.
1 Voice The number of 1 Voice files on the disk.
All The number of All files on the disk.
The number of files on the disk that do not match any of the above
Others
categories.

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Utility Mode

2: Load From Disk

This function loads a specified data file from a floppy disk inserted in the VL1-m
floppy disk drive. Five types of data files can be selected.

All All system and voice data.

System All Utility System page settings and internal Microtuning data.
All Voice All 128 voices in the VL1-m memory.
1 Bank 16 voices from 1 VL1-m memory bank (A H).
1 Voice 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 VL1-m floppy disk drive.
Also make sure that the VL1-m Memory Protect function is turned off (
Page 157).

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 presing
[ 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.

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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.

Disk
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-
CAUTION! ity of accidental erasure.

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Utility Mode

3: Save To Disk

This function saves a specified data file from the VL1-m memory to a floppy disk
inserted in the VL1-m floppy disk drive. Five types of data files can be selected.

All All system and voice data.

System All Utility System page settings and internal Microtuning data.
All Voice All 128 voices in the VL1-m memory.
1 Bank 16 voices from 1 VL1-m memory bank (A H).
1 Voice 1 voice.

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 VL1-m floppy disk drive.
Also make sure that the floppy disks 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 VL1-m 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 to step 7.

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5. Enter a File Name

Press (Name) and enter a name (maximum 8 characters) for the file to be
saved ( Page 31).
File names which begin with or contain a space are not allowed.

Disk
6. Press ] or [
Press the ] or [ 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.

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Utility Mode

4: Rename File

This function can be used to rename a specified data file on a floppy disk inserted
in the VL1-m floppy disk drive. Five types of data files can be selected.

All All system and voice data.

System All Utility System page settings and internal Microtuning data.
All Voice All 128 voices in the VL1-m memory.
1 Bank 16 voices from 1 VL1-m memory bank (A H).
1 Voice 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 VL1-m floppy disk drive.
Also make sure that the floppy disks 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 ] or [
Press the ] or [ button to close the name window.

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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.

Disk
7. Press ]
Press the ] button to clear the Completed display.

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 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 VL1-m floppy disk drive. Six types of data files can be selected.

All All system and voice data.

System All Utility System page settings and internal Microtuning data.
All Voice All 128 voices in the VL1-m memory.
1 Bank 16 voices from 1 VL1-m memory bank (A H).
1 Voice 1 voice.
Others Any files not included in the above categories.

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 VL1-m floppy disk drive.
Also make sure that the floppy disks 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.

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Utility Mode

6: Format Disk

Disk
This function formats new 2DD or 2HD type floppy disks for use with the VL1-m.
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 VL1-m
floppy disk drive.
Also make sure that the floppy disks 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!
CAUTION!

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 Feature Reference
Utility Mode

Edit Recall

UTILITY MODE SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

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Utility Mode

If youve 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 youve 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 youve 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

Edit Recall
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.

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Utility Mode

Demo

UTILITY MODE SYSTEM

MIDI BULK DUMP

DISK

EDIT RECALL

DEMO

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 Feature Reference
Utility Mode

The VL1-m includes a built-in demonstration which can be played as follows.

Demo Playback Procedure

1. Press [
Press the [ button. The demo selection, start, and stop control display should
appear.

2. Select a Demo

Demo
Select the demo you want to play (Top Song parameter).

3. Press To Run
Press the button to run the demo. The various demo songs will play in sequence
until stopped.

4. Press To Stop
Press the button to stop demo playback.

NOTES If you run the demo while editing a voice, the edited data will be lost.
Be sure to store the edited voice before running the demo.

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Utility Mode

176
 Appendix

VL1 & VL1-m Compatibility . . . . . . . 178

Troubleshooting . . . . . . . . . . . . . . . . . . . 179
Error Messages . . . . . . . . . . . . . . . . . . . 182
Specifications . . . . . . . . . . . . . . . . . . . . 184
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
 Feature Reference
Appendix

VL1 & VL1-m Compatibility

Although the VL1 Virtual Acoustic Synthesizer and VL1-m Virtual Acoustic Tone
generator are basically data-compatible, there are a few small differences which should be
noted by the user who will be dealing with both instruments.

Differences Between the VL1 and VL1-m

VL1-m Features Not Available On the VL1
Program Change Table (page 155).
Sound Function (Getting Started manual, page 36).
WX Lip Parameter (page 153).
Monitor Display (page 20).

Functional Differences
The VL1 Continuous Sliders are not provided on the VL1-m, but control change numbers
16 and 17 can be used for the same purpose via the Quick Edit function (page 43).
While bank selection is carried out on the VL1 via the BANK SELECT buttons, bank
selection on the VL1-m is carried out via the = and - buttons (Getting Started
manual, page 35).

VL1 Features Not Available On the VL1-m

Keyboard Transpose.
Octave Buttons.
Assignable Controllers.
Velocity/Aftertouch Curve.

VL1-m/VL1 Data Compatibility

Sytem Exclusive Message Compatibility
VL1 and VL1-m system exclusive data are compatible except for differences
in the physical configurations of the two instruments (i.e. keyboard vs. tone
generator module).
The VL1-m Quick Edit function will accept control change numbers 16 and 17
as well as parameter change data from the VL1 CS1 and CS2 continuous
sliders.

Supplied Disk Compatibility

Except for the VL1-m NOBREATH.ALL, EXAMPLE.ALL and
WXSELECT.ALL files and some system data, the VL1
CUSTOMER.ALL and FACTORY.ALL files are the same as the
FULLCTRL.ALL and STANDARD.ALL files provided with the VL1-m.
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Troubleshooting

Troubleshooting
The VL1-m is a very versatile instrument with many features and functions that
affect operation. In many cases, what appears to be a fault with the VL1-m can actually
be traced to an improperly set parameter or, at the most fundamental level, to something
as simple as a bad connection.
Heres 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 VL1-m 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 diferent 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:

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Appendix

Amplifier, Mixer, Connection Problems

Symptom Possible Cause

No sound. Is the amplifier/mixer power turned on?

Is the amplifier/mixer volume set to an appropriate level?
Are the VL1-m outputs properly connected to the amplifier/mixer
inputs?
Are the connection cables shorted, open, or otherwise faulty?

Distorted sound. Is the VL1-m connected to a high-sensitivity microphone or

instrument input on your amplifier or mixer? Try turning the VL1-
m DOWN controls down to avoid overloading the amplifier/mixer
inputs.

Improper stereo positioning. Check the level and pan controls on the sound system/mixing
console being used with the VL1-m.

Utility Setting Problems

Symptom Possible Cause

No Sound Is the local off mode selected (page 154)?

Are the MIDI transmit channel and receive channels matched to
those of the external MIDI device used (page 154)?

Wrong pitch. Is the master tune parameter set properly (page 153)?.

No reverb. Is the TG Setting Reverb parameter turned on (page 153)?.

Improper controller operation. Are the controllers on your MIDI keyboard or other instrument
assigned to the appropriate control change numbers?

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Appendix

Voice Setting Problems

Troubleshooting
Symptom Possible Cause

No sound. Is the appropriate element selected (page 25)?.

Make sure that the element level is not set to 0 (page 38)?.
Make sure that the amplitude level is not set to 0 (page 104)?.
Make sure that the driver, pipe/strings, and tap output mixing
parameters are not all set to 0 (page 98)?.
Make sure that the amplitude & filter sustain level is not set to
0 (page 145).
Check the pressure controller (page 65)?.
Check the amplitude controller (page 71)?.
Check the embouchure controller (page 66)?.
Check the damping controller (page 80)?.
Check the absorption controller (page 81)?.
Some voices will not produce sound when played at extremely
high or low pitches.

Sound wont stop. Make sure that the pressure EG mode parameters is not set to
Disable (page 129)?.

Wrong pitch. Check the element detune, note shift, and random pitch param-
eters (page 37)?.
Microtuning may be set to a tuning other than equal tempera-
ment (page 42)?.
Check the effect pitch change parameters (page 50)?.
Check the pitch controller (page 67)?.
Some voices will change pitch when pressure or embouchure
control is applied.

Distorted sound. Check the effect distortion settings (page 51)?.

Check the scream controller (page 72)?.
Check the growl controller (page 74)?.
Check the throat formant controller (page 75)?.

Improper stereo positioning. Are the element pan L and R parameters set to values other
than -64 and 63, respectively (page 38)?.
Check the effect feedback delay settings (page 53)?.

Cant play two notes Make sure that the key mode and voice mode parameters are
simultaneously. set properly (page 31,32)?.
Check the controller assigned to polyphony control.

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Appendix

Error Messages

When an operational error or other problem occurs, the VL1-m will display one of
the following error messages to inform you of the problem.

Display Comments

Bad disk! 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.
Make sure the appropriate disk is loaded.

Device number is off! MIDI bulk data could not be transmitted or received because the
device number parameter is turned off. Check the device number
setting.

Device number mismatch! MIDI bulk data could not be transmitted or received because the
device number of the VL1-m is not matched to that of the second
device. Check the device number settings.

Disk full! 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.

Disk not formatted! The currently loaded floppy disk has not been formatted for use
with the VL1-m. Format the disk before performing any disk opera-
tions.

Disk not ready! You have attempted to perform a disk operation while no floppy
disk is loaded. Insert an appropriate floppy disk in the disk drive.

File not found! The specified file cannot be found on the currently loaded floppy
disk. Check the file name or use the appropriate disk.

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Appendix

Display Comments

Illegal disk! The currently loaded disk has a non-VL1-m format. Either use a

Error Messages
different disk or, if the data on the disk is not needed, re-format the
disk.

Illegal file! The specified file is not a VL1-m 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
on. Turn memory protect off and try again.

MIDI buffer full! The MIDI receive buffer is full. Reduce the amount of data being
transmitted to the VL1-m.

MIDI checksum error! An error has been detected in the received MIDI data. Check the
transmitting device and MIDI cables, and try again.

MIDI data error! An error has been detected in the received MIDI data. Check the
transmitting device and MIDI cables, and try again.

Same file name exists! 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.

Write protected! You have attempted a save, rename, or delete operation to a

disk which is write protected. Set the disks write protect tab to the
off or enable position and try again.

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Appendix

Specifications

Tone Generator
Type S/VA (Self-oscillating Virtual Acoustic Synthesis).

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).
Feed back delay.
Reverberation.

Play Mode Voice mode only.

Smallest tone generator units: elements. Voices use 1 or 2
elements.
Voices are composed on common data and element data.

Polyphony 2 notes max.

Assign Modes Mono, Poly, Unison

Memory
Internal 128 voices.

Disk 3.5" 2DD or 2HD floppy disk.

Controls
Master volume. LCD contrast control.
Data entry dial.

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Appendix

Panel Switches
Play (with LED). Edit (with LED).
Utility (with LED).
Copy. Store.
Data entry x 2. Cursor x 4.

Specifications
Function x 8.
Exit. Enter/Sound.

Display
240 x 64 dot backlit liquid crystal display.

Connectors
Front Panel Stereo headphones. Breath controller.

Rear Panel Output x 2 (L and R). MIDI IN.

MIDI OUT. MIDI THRU.

Output Level
Line 2.5 2 dBm into 10 k.

Headphones 2.0 2 dBm into 33 .

Power Requirements
UL/CSA: 120V, 16W
Europe: 220-240V, 16W

General
Dimensions 480 (W) x 361 (D) x 132 (H) mm.

Weight 7.5 kg

Accessories
Power cable. Floppy disk.
Owners manuals x 2. MIDI cable

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Appendix

Index

This index covers both the VL1-m Getting Started and Feature Reference manuals
for easy cross-referencing. Page numbers in the Getting Started manual are preceded by
, and page numbers in the Feature Reference manual are preceded by .

A D
Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Amplitude & filter envelope . . . . . . . . . . . . . . . 143 Data dial . . . . . . . . . . . . . . . . . . . . . . 18, 35. 15
Amplitude & filter key scaling . . . . . . . . . 146-150 Decrement & increment buttons . . . 18, 35. 15
Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Demo playback . . . . . . . . . . . . . . . . . . . 26. 175
Assign mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Device number . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Disk format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Disk status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
B Disk, delete file . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Backup battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Disk, load from . . . . . . . . . . . . . . . . . . . . . . . . . . 164
BC Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Disk, rename file . . . . . . . . . . . . . . . . . . . . . . . . . 168
Breath attack gain . . . . . . . . . . . . . . . . . . . . . . . . . 36 Disk, save to . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Breath attack time . . . . . . . . . . . . . . . . . . . . . . . . . 36 Display mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Breath controller calibration . . . . . . . . . . . . . . . . . 28 Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Breath controller . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Dynamic filter . . . . . . . . . . . . . . . . . 54. 77, 115
Breath controller jack . . . . . . . . . . . . . . . . . . . . . . 19 Dynamic filter key scaling . . . . . . . . . . . . . 117-118
Breath noise . . . . . . . . . . . . . . . . . . . . . . . . . . 73, 86
Breath noise key scaling . . . . . . . . . . . . . . . . . 88-90
Bulk dump, MIDI . . . . . . . . . . . . . . . . . . . . . . . . 161 E
Edit compare function . . . . . . . . . . . . . . . . . . . . . 23
Edit recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
C Effect control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Common miscellaneous . . . . . . . . . . . . . . . . . . . . 34 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Confirm mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Element detune . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Controller envelopes . . . . . . . . . . . . . . . . . . . . . . . 46 Element level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Controller search & replace . . . . . . . . . . . . . . . . . 82 Element names . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Controller parameters . . . . . . . . . . . . . . . . . . . . . . 40 Element note shift . . . . . . . . . . . . . . . . . . . . . . . . . 37
Controller views . . . . . . . . . . . . . . . . 41, 47. 17 Element on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12, 38 Element pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Element random pitch . . . . . . . . . . . . . . . . . . . . . . 37
Copy button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Element select . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Copy function . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Embouchure & pitch envelope . . . . . . . . . . . . . . 130
Crossfade speed . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Embouchure & pitch envelope key scaling 132-134
Cursor buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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Enter/Sound button . . . . . . . . . . . . . . . . . . . . . . . . 18 M
Equalizer auxiliary . . . . . . . . . . . . . . . . . . . . . . . 119
Equalizer band . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Manuals, about the . . . . . . . . . . . . . . . . . . . 6. 4
Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Equalizer key scaling . . . . . . . . . . . . . . . . . 120-121 Memory protect . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Micro tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Exit button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . 23
MIDI connectors . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MIDI Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Index
F MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Feedback delay effects . . . . . . . . . . . . . . . . . . . . . 59 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . 48. 98
Feedback delay . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Mixing key scaling . . . . . . . . . . . . . . . . . . . 100-105
Feedback delay/reverb mode . . . . . . . . . . . . . . . . 45 Mode buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Modes, the 3 main . . . . . . . . . . . . . . . . . . . . . . . . . 8
Floppy disk drive . . . . . . . . . . . . . . . . . . . . . . . . . 19 Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Floppy disks & drive, handling . . . . . . . . . . . . . . . 5 Modulation effect type . . . . . . . . . . . . . . . . . . . . 46
Function buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Modulation effects . . . . . . . . . . . . . . . . . . . . . . . . 59
Functions & parameters, finding . . . . . . . . . . . . . . 9 Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Mono delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

G
N
Greeting message . . . . . . . . . . . . . . . . . . . . . . . . 158
Growl envelope . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Navigation aids . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Growl speed key scaling . . . . . . . . . . . . . . . . . . 142 O
Output jacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
H
Harmonic enhancer . . . . . . . . . . . . . 51. 78, 107 P
Harmonic enhancer key scaling . . . . . . . . . 110-115
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Program Change Table . . . . . . . . . . . . . . . . . . . . 155
Phones jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Pitch bend mode . . . . . . . . . . . . . . . . . . . . . . . . . . 35
I Pitch change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Impulse expander & resonator setting . . . . . . . . 123 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Impulse expander . . . . . . . . . . . . . . . . . 56. 125 Play-mode display . . . . . . . . . . . . . . . . . . 34. 14
Initial edit page . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Polyphony control . . . . . . . . . . . . . . . . . . . . . . . . . 36
Interpolate speed . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Power cord socket . . . . . . . . . . . . . . . . . . . . . . . . . 20
Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
K Power switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Key mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Power-on procedure . . . . . . . . . . . . . . . . . . . . . . . 25
Pre-programmed voices, loading . . . . . . . . . . . . . 30
Pressure envelope . . . . . . . . . . . . . . . . . . . . . . . . 129
L Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
L,C,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
L,R delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
LCD display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Q
Local on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 QED1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Quick editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

187
 Feature Reference
Appendix

R
Receive channel . . . . . . . . . . . . . . . . . . . . . . . . . 154
Resonator . . . . . . . . . . . . . . . . . . . . . . . . 57. 126
Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Reverberation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

S
Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Selecting & editing parameters . . . . . . . . . . . . . . 12
Sound Function . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Sound system . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Store button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Store function . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

T
Throat formant . . . . . . . . . . . . . . . . . . . . . . . . 75, 91
Throat formant key scaling . . . . . . . . . . . . . . 93-97
Time calculation, musical . . . . . . . . . . . . . . . . . . . 59
Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Touch EG time . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Transmit channel . . . . . . . . . . . . . . . . . . . . . . . . . 154
Trigger mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . 179

V
Vibrato envelope . . . . . . . . . . . . . . . . . . . . . . . . . 135
Vibrato envelope key scaling . . . . . . . . . . . 137-140
Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
VL1 & VLI-m Compatibility . . . . . . . . . . . . . . . 178
Voice directory . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Voice list, abbreviated . . . . . . . . . . . . . . . . . . . . . 37
Voice mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Voice name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Voice selection . . . . . . . . . . . . . . . . . . . . 34. 15
Volume control . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

W
WX Lip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

188
Feature Reference
Appendix

Index

189
For details of products, please contact your nearest Yamaha or the Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten
authorized distributor listed below. Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen
Bestimmungslndern erhltlich.
Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha
ou au distributeur le plus proche de vous figurant dans la liste suivante. Para detalles sobre productos, contacte su tienda Yamaha ms cercana
o el distribuidor autorizado que se lista debajo.

NORTH AMERICA FRANCE ASIA

Yamaha Musique France,
CANADA Division Instruments Electroniques et de Scne HONG KONG
Yamaha Canada Music Ltd. BP 70-77312 Marne-la-Vale Cedex 2, France Tom Lee Music Co., Ltd.
135 Milner Avenue, Scarborough, Ontario, Tel: 01-64-61-4000 11/F., Silvercord Tower 1, 30 Canton Road,
M1S 3R1, Canada Tsimshatsui, Kowloon, Hong Kong
Tel: 416-298-1311 ITALY Tel: 730-1098
Yamaha Musica Italia S.P.A.,
U.S.A. Combo Division INDONESIA
Yamaha Corporation of America Viale Italia 88, 20020 Lainate (Milano), Italy PT. Yamaha Music Indonesia(Distributor)
6600 Orangethorpe Ave., Buena Park, Calif. 90620, Tel: 02-935-771 PT. Nusantik
U.S.A. Gedung Yamaha Music Center, Jalan Jend. Gatot
Tel: 714-522-9011 SPAIN Subroto Kav. 4, Jakarta 12930, Indonesia
Yamaha-Hazen Electronica Musical, S.A. Tel: 21-520-2577
MIDDLE & SOUTH AMERICA Jorge Juan 30, 28001, Madrid, Spain
Tel: 91-577-7270 KOREA
MEXICO Cosmos Corporation
Yamaha De Mexico S.A. De C.V.,
PORTUGAL #131-31, Neung-Dong, Sungdong-Ku, Seoul
Departamento de ventas Valentim de Carvalho CI SA Korea
Javier Rojo Gomez No.1149, Col. Gpe Del Estrada de Porto Salvo, Pao de Arcos 2780 Oeiras, Tel: 02-466-0021~5
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Portugal
Tel: 01-443-3398/4030/1823 MALAYSIA
Tel: 686-00-33
Yamaha Music Malaysia, Sdn., Bhd.
BRASIL GREECE 16-28, Jalan SS 2/72, Petaling Jaya, Selangor,
Yamaha Musical Do Brasil LTDA. Philippe Nakas S.A. Malaysia
Ave. Reboucas 2636, So Paulo, Brasil Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 3-717-8977
Tel: 55-11 853-1377 Tel: 01-364-7111
PHILIPPINES
PANAMA SWEDEN Yupangco Music Corporation
Yamaha De Panama S.A. Yamaha Scandinavia AB 339 Gil J. Puyat Avenue, P.O. BOX 885 MCPO,
Edificio Interseco, Calle Elvira Mendez no.10, J.A. Wettergrens gata 1, Box 30053, 400 43 Makati, Metro Manila, Philippines
Piso 3, Oficina #105, Ciudad de Panama, Panama Gteborg, Sweden Tel: 819-7551
Tel: 507-69-5311 Tel: 031-496090
SINGAPORE
OTHER LATIN AMERICAN COUNTRIES DENMARK Yamaha Music Asia Pte., Ltd.
AND CARIBBEAN COUNTRIES Yamaha Scandinavia Filial Denmark Blk 17A Toa Payoh #01-190 Lorong 7
Generatorvej 8B 2730 Herlev, Denmark Singapore 1231
Yamaha Music Latin America Corp.
Tel: 44 92 49 00 Tel: 354-0133
6101 Blue Lagoon Drive, Miami, Florida 33126,
U.S.A. FINLAND TAIWAN
Tel: 305-261-4111 Fazer Music Inc. Kung Hsue She Trading Co., Ltd.
Aleksanterinkatu 11, SF 00100 Helsinki, Finland No. 322, Section 1, FuHsing S. Road,
EUROPE Tel: 0435 011 Taipei 106, Taiwan. R.O.C.
Tel: 02-709-1266
THE UNITED KINGDOM NORWAY
Yamaha-Kemble Music (U.K.) Ltd. Narud Yamaha AS THAILAND
Sherbourne Drive, Tilbrook, Milton Keynes, sterndalen 29, 1345 sters Siam Music Yamaha Co., Ltd.
MK7 8BL, England Tel: 02-24 47 90 865 Phornprapha Building, Rama I Road,
Tel: 0908-366700 Patumwan, Bangkok 10330, Thailand
ICELAND Tel: 2-215-3443
IRELAND Pll H. Plsson
Danfay Limited P.O. Box 85, 121 Reykjavik, Iceland THE PEOPLES REPUBLIC OF CHINA
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-19440 AND OTHER ASIAN COUNTRIES
Tel: 01-2859177 Yamaha Corporation,
EAST EUROPEAN COUNTRIES
GERMANY/SWITZERLAND International Marketing Division
(Except HUNGARY)
Nakazawa-cho 10-1, Hamamatsu, Japan 430
Yamaha Europa GmbH. Yamaha Europa GmbH. Tel: 053-460-2311
Siemensstrae 22-34, D-2084 Rellingen, F.R. of Siemensstrae 22-34, D-2084 Rellingen, F.R. of
Germany Germany
Tel: 04101-3030 Tel: 04101-3030 OCEANIA
AUSTRIA/HUNGARY/SLOVENIA/ AFRICA AUSTRALIA
ROMANIA/BULGARIA Yamaha Music Australia Pty. Ltd.
Yamaha Corporation, 17-33 Market Street, South Melbourne, Vic. 3205,
Yamaha Music Austria Ges mbH. International Marketing Division
Schleiergasse 20, A-1100 Wien Austria Australia
Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 3-699-2388
Tel: 0222-60203900 Tel: 053-460-2311
THE NETHERLANDS NEW ZEALAND
Yamaha Music Benelux B.V.,
MIDDLE EAST Music Houses of N.Z. Ltd.
Verkoop Administratie TURKEY/CYPRUS 146/148 Captain Springs Road, Te Papapa, Auckland,
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands New Zealand
Yamaha Musique France, Division Export
Tel: 030-828411 Tel: 9-634-0099
BP 70-77312 Marne-la-Vale Cedex 2, France
BELGIUM/LUXEMBOURG Tel: 01-64-61-4000 COUNTRIES AND TRUST
Yamaha Music Benelux B.V., OTHER COUNTRIES TERRITORIES IN PACIFIC OCEAN
Brussels-office Yamaha Corporation, Yamaha Corporation,
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium International Marketing Division International Marketing Division
Tel: 02-7258220 Nakazawa-cho 10-1, Hamamatsu, Japan 430 Nakazawa-cho 10-1, Hamamatsu, Japan 430
Tel: 053-460-2311 Tel: 053-460-2311

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430
SY05 Tel: 053-460-2445