Yamaha VL1-m Omistajan opas

Owner’s Manual 1

Getting Started

Virtual Acoustic Tone Generator

2

Getting Started

Contents

Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6

■ The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

VL1-m Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Essential Concepts for the VL1-m User

■ What Are the Advantages? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

■ The VL1-m Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

■ There’s More … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Controls & Connectors . . . . . . . . . . . . . . . 16

A Brief Introduction To the VL1-m Interface

■ Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

■ Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

System Connections & Preparation

■ Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

■ Breath Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

■ MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

■ Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Stereo Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

■ Power-on Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

■ Play the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

■ Breath Controller Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

■ Load the Pre-programmed Voice Data . . . . . . . . . . . . . . . . . . . . . . . . . . 31

3

Getting Started

Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34

Selecting & Playing the VL1-m’s 128 Voices

■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■ The Sound Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

■ The Pre-programmed VL1-m Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . 38

Natural Musical Nuance and Expressive Control

■ Physical Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

■ VL1-m Controller Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

■ Some Exercises With the AltoSax Controllers . . . . . . . . . . . . . . . . . . . . 42

■ Controller Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

■ Other Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Mixing & The Modifiers . . . . . . . . . . . . . . . . . . 48

Creating New Timbres and Original Voices

Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

■ An Exercise: Remix the Pan Pipes Voice . . . . . . . . . . . . . . . . . . . . . . . . 49

The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Harmonic Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■ Dynamic Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

■ Frequency Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

■ Impulse Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

■ Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Creating the Right Ambience

■ Modulation Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Feedback Delay Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

■ Reverb Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

4

Getting Started

■ Location

Do not expose the instrument to the following

conditions to avoid deformation, discoloration, or more

serious damage.

• Direct sunlight (e.g. near a window).

• High temperatures (e.g. near a heat source,

outside, or in a car during the daytime).

• Excessive humidity.

• Excessive dust.

• Strong vibration.

■ Power Supply

• Turn the power switch OFF when the instrument

is not in use.

• The power supply cord should be unplugged from

the AC outlet if the instrument is not to be used

for an extended period of time.

• Unplug the instrument during electric storms.

• Avoid plugging the instrument into the same AC

outlet as appliances with high power consumption,

such as electric heaters or ovens. Also avoid using

multi-plug adaptors since these can result in

reduced sound quality and possibly damage.

■ Turn Power OFF When Making Connections

• To avoid damage to the instrument and other

devices to which it is connected (a sound system,

for example), turn the power switches of all

related devices OFF prior to connecting or discon-

necting audio and MIDI cables.

● DANGER

Improper connection of the equipment-grounding

conductor can result in a risk of electric shock.

Do not modify the plug provided with the product

— if it will not fit the outlet, have a proper outlet

installed by a qualified electrician. Do not use an

adaptor which defeats the function of the equip-

ment-grounding conductor. If you are in doubt as

to whether the product is properly grounded,

check with a qualified serviceman or electrician.

■ MIDI Connections

• When connecting the VL1-m to MIDI equipment,

be sure to use high-quality cables made especially

for MIDI data transmission.

• Avoid MIDI cables longer than about 15 meters.

Longer cables can pick up electrical noise that can

causes data errors.

■ Handling and Transport

• Never apply excessive force to the controls,

connectors or other parts of the instrument.

• Always unplug cables by gripping the plug firmly,

not by pulling on the cable.

• Disconnect all cables before moving the instru-

ment.

• Physical shocks caused by dropping, bumping, or

placing heavy objects on the instrument can result

in scratches and more serious damage.

■ Cleaning

• Clean the cabinet and panel with a dry soft cloth.

• A slightly damp cloth may be used to remove

stubborn grime and dirt.

• Never use cleaners such as alcohol or thinner.

■ Electrical Interference

• This instrument contains digital circuitry and may

cause interference if placed too close to radio or

television receivers. If this occurs, move the

instrument further away from the affected equip-

ment.

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!

5

Getting Started

YAMAHA is not responsible for damage caused by improper handling or operation.

■ Data Backup

• The VL1-m contains a special long-life battery

that retains the contents of its internal memory

even when the power is turned OFF. The backup

battery should last for several years. When the

backup battery needs to be replaced “Change

battery!” will appear on the display when the

power is turned on. When this happens, have the

backup battery replaced by qualified Yamaha

service personnel. DO NOT ATTEMPT TO

REPLACE THE BACKUP BATTERY YOUR-

SELF!

• Internal memory data can be corrupted due to

incorrect operation. Be sure to save important data

to floppy disk frequently so you have a backup to

revert to if something happens to damage the data

in memory. Also note that magnetic fields can

damage data on the disk, so it is advisable to

make a second back-up copy of disks that contain

very important data, and keep backup disks in a

safe place away from stray magnetic fields (i.e.

away from speakers, appliances containing mo-

tors, etc.).

■ Handle Floppy Disks and the Disk Drive With

Care

• Use only 3.5" 2HD or 2DD type floppy disks.

• Do not bend or apply pressure to the floppy disk.

Do not open the shutter and touch the surface of

the floppy disk inside.

• Do not expose the disk to high temperatures. (e.g.

direct sunlight, a car interior, etc.)

• Do not expose the disk to magnetic fields. Mag-

netic fields can partially or totally erase data on

the disk, rendering the disk unreadable.

• To eject a floppy disk, press the eject button

slowly as far as it will go then, when the disk is

fully ejected, remove it by hand.

The disk may not be ejected properly if the eject

button is pressed too quickly, or it is not pressed

in as far as it will go (the eject button may be-

come stuck in a half-pressed position and the disk

extends from the drive slot by only a few

millimeters). If this happens, do not attempt to

pull out the partially ejected disk. Using force in

this situation can damage the disk-drive mecha-

nism or the floppy disk. To remove a partially

ejected disk, try pressing the eject button once

again, or push the disk back into the slot and then

repeat the eject procedure carefully.

• Do not insert anything but floppy disks into the

disk drive. Other objects may cause damage to the

disk drive or the floppy disk.

■ Service and Modification

• The VL1-m contains no user serviceable parts.

Opening it or tampering with it in any way can

lead to irreparable damage and possibly electric

shock. Refer all servicing to qualified YAMAHA

personnel.

■ Third-party Software

• Yamaha can not take any responsibility for

software produced for this product by third-party

manufacturers. Please direct any questions or

comments about such software to the manufac-

turer or their agents.

6

Getting Started

About the Manuals

The VL1-m comes with two manuals — Getting Started and Fea-

ture Reference.

The Getting Started Manual (this 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 you’ll 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-m’s 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 ambiance to the VL1-m sound.

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

try out the various operations described. Once you’ve gone through the entire

Getting Started manual in this way, you should be familiar enough with the

VL1-m to need only the VL1-m Feature Reference manual in future.

7

Getting Started

● Buttons & Controls

Button and control names used on the VL1-m panel appear in the

text in capital letters within square brackets: “the P button”, for

example.

● 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.

The Feature Reference Manual

The Feature Reference manual is the “nuts and bolts” reference for

the VL1-m, individually describing its many functions in detail. The Fea-

ture Reference manual is divided into 5 main sections, each describing the

various functions within a particular VL1-m edit or utility mode.

1. General Operation [

≥ Page 7]

2. Play Mode [

≥ Page 13]

3. Edit Mode [≥ Page 21]

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 functions

you’ve never used before, or refresh your memory about functions that

you don’t use very often.

Each section of the Feature Reference manual has its own table of

contents, so you should be able to locate any particular function quickly

and easily. Functions and references can also be located by referring to the

index at the back of the manual.

Conventions

The following conventions are used through the VL1-m manuals to

avoid confusion and make the text easier to read.

8

Getting Started

VL1-m Basics

Essential Concepts for the VL1-m User

T

he Yamaha VL1-m Virtual Acoustic Tone Generator produces sound

in an entirely new way. It has no oscillators or function generators,

no preset waveforms or samples. In fact, it uses none of the sound

generation concepts employed in conventional synthesizers. The VL1-m

applies sophisticated computer-based “physical modeling” technology to

musical sound synthesis.

In the same way that computer models are used to simulate weather

systems or the flight characteristics of aircraft in the design stage, the

VL1-m simulates the very complex vibrations, resonances, reflections and

other acoustic phenomena that occur in a real wind or string instrument.

This requires a tremendous amount of computer processing power

(weather and aerodynamic modeling require room-filling super comput-

ers), and radical advances in microprocessor speed and capability plus

some very sophisticated Yamaha technology were necessary to achieve the

real-time sound generation capabilities exhibited by the VL1-m Virtual

Acoustic Tone Generator.

9

Getting Started

What Are the Advantages?

T

he VL1-m offers many advantages in terms of musical

performance. Not just in terms of sound, but also in terms of the

“behavior” that makes acoustic instruments so … well, musical!

But this is not because someone has programmed a certain sound or pat-

tern of behavior into it. The physical model can be programmed to have

certain attributes — the length of a pipe or the stiffness of a reed, for

example — but the actual sound produced by any configuration can only

be accurately determined by playing it. Of course, the same applies to the

design of acoustic instruments. Because of its natural acoustic behavior the

VL1-m is undoubtedly a little harder to play than conventional tone gen-

erators, but when mastered this is the very characteristic that is its greatest

strength. Yamaha Virtual Acoustic Synthesis is the most musical tone

generation system ever created. A soloist’s dream!

• The VL1-m sounds better, has more depth, and is more realistic

in the musical sense than any other tone generation system.

• Simply pressing a key in the same way does not always produce

precisely the same sound. The instrument is responsive and

“alive”.

• Note-to-note transitions have the same continuity exhibited by

acoustic instruments. What goes on in between the notes is just as

important musically as the notes themselves.

• It has extraordinary expressive capability. Rather than simply

controlling parameters like volume or pitch, you can control

characteristics such as breath and reed pressure with appropriate

complex effects on the timbre of the sound.

10

Getting Started

The VL1-m Model

Controllers (also envelopes)

Instrument

Modifiers

Sound

out.

One VL "Element"

(the VL has 2 of these)

T

he overall VL1-m model or “algorithm” consists of three main

blocks: the instrument, controllers, and modifiers. In schematic

form these blocks are arranged as follows:

●

The Instrument

The key block in this algorithm is the instrument, since it is here that the

fundamental tone or “timbre” of the sound is defined. The extreme complexity

of this portion of the model makes it unsuitable for user programming, so vari-

ous instruments for the VL1-m are provided in the form of pre-programmed

voices. These are primarily woodwind, brass, and string voices, since the VL1-

m’s physical model is capable of most accurately simulating the sound-generat-

ing mechanism of all three instrument categories.

The instrument model consists primarily of a driver — the reed/mouth-

piece, lip/mouthpiece, or bow/string system — and a resonant system corre-

sponding to the tube and air column or string.

11

Getting Started

Reed vibration.

Lip vibration.

Air vibration.

String vibration.

In all these

instruments

pressure

applied here

(the driving

point) causes

vibration which

results in

sound.

The pitch of the sound is determined

by the length of the air column or

string, and the timbre is a complex

product of the driving source (reed,

lip, air, string), the shape of the

resonant cavity, the materials from

which the instrument is made, etc.

The sound thus

produced is amplified

and sustained

by the body of

the instrument.

One of the remarkable features of the VL1-m’s Virtual Acoustic Synthesis

system is that just about any driver can be used with any type of pipe or string.

Drivers Pipes/String

12

Getting Started

Pressure

The amount of breath pressure

applied to the reed or mouthpiece,

or bow velocity applied to the string".

Embouchure

The tightness of the lips against

the reed or against each other, or

the force of the bow against the

string.

Pitch

Changes the length of the

air column or string, and thereby

the pitch of the sound.

Tonguing

Simulates the half-tonguing

technique used by saxophone

players by changing the "slit"

of the reed.

Scream

Drives the entire system into

chaotic oscillation, creating

effects that can only be

achieved with physical

modelling technology.

Growl

A periodic pressure (bow

velocity) modulation which

produces the "growl" effect

often heard in wind instruments.

Throat

Controls the characteristics

of the "player's" throat or bowing arm.

Damping & Absorption

Simulate the effects of air friction

in the pipe or on the string,

and of high-frequency losses

at the end of the pipe or string.

●

The Controllers

The input to an acoustic wind instrument comes from the player’s lungs, trachea,

oral cavity, and lips. In a string instrument it comes from the player’s arm movement,

transmitted to the string via a bow. These elements actually form an important part of the

sound generating system and, in the VL1-m model, are included in the controllers block.

The player also influences the sound of the instrument by playing the keys, tone holes, or

frets, and this aspect of control constitutes another part of the controllers block. These

and other control parameters provided by the VL1-m are listed in the illustration below.

In essence, the controller parameters determine how the instrument “plays”. All of

these parameters can be assigned to any external controller that can be used with the

VL1-m: breath controller, foot controller, modulation wheel, etc. The pressure parameter,

for example, will normally be assigned to a breath controller so the player can control the

dynamics of the instrument by varying the breath pressure applied to the controller — a

natural, instinctive way to play wind-instrument voices. At the same time the growl and

throat parameters might also be assigned to the breath controller in order to achieve life-

like response and effects.

13

Getting Started

In

Out

Impulse

Expander

Frequency

Equalizer

Dynamic

Filter

Harmonic

Enhancer

Resonator

●

The Modifiers

Although you don’t have direct programming access to the VL1-m instru-

ment block, the modifiers allow a significant degree of control over the final

timbre of the voice. The modifiers block consists of 5 sections as shown in the

diagram. Although these may appear to be simple effects, they are actually

intimately related to the VL1-m’s sound-producing model and have a significant

effect on the sound (the VL1-m has a separate effects stage with reverb, delay,

and modulations effects — see page 58).

Harmonic Enhancer

The Harmonic Enhancer allows you to

manipulate the harmonic structure of the

sound to the extent that you can create

radical timbral variations within the current

instrument “family” (e.g. saxes). [Page 51]

Dynamic Filter

This section is similar to the dynamic filters

found in many conventional synthesizers. It

has selectable high-pass, bandpass, band

elimination, and low-pass modes, and a

“wet/dry” balance parameter which allows

delicate variations in the degree of filtration

applied. Another important feature is key-

board cutoff tracking which varies the cutoff

frequency according to the key played.

[Page 54]

Frequency Equalizer

This is a 5-band parametric equalizer with

frequency, Q (bandwidth), and level control.

The equalizer also has pre-EQ high- and

low-pass filters as well as key scaling capa-

bility for precise response control throughout

the instrument’s range.[Page 55]

14

Getting Started

Impulse Expander

The Impulse Expander works in conjunction with the Resonator, described

below, to simulate the effect of an instrument’s resonant cavity or sound

box. It can also be used to simulate the acoustic environment in which the

instrument is played. In contrast to the Resonator, the Impulse Expander is

more suited to the simulation of metallic resonances and is thus invaluable

for refining the sound of brass and metal-bodied woodwinds. Other impor-

tant effects are the ability to diffuse sharp attack sounds and to give depth

and realism to vibrato. [Page 56]

Resonator

While the Impulse Expander and even the Harmonic Enhancer tend to give

the sound a metallic quality, the Resonator produces a more woody reso-

nance effect. Careful adjustment of the resonator’s parameters can often

bring a not-quite-right voice to life. [Page 57]

15

Getting Started

Sound

out.

Effects

Controllers

Instrument Modifiers

Element 1

Element 2

Controllers

Instrument Modifiers

There’s also an extensive range of other functions and features that

are similar to those you may be familiar with from conventional synthesiz-

ers. There are, for example, a range of programmable envelopes that can

be applied to most of the controllers in addition to real-time player con-

trol. And, of course, there’s a comprehensive selection of MIDI, disk, and

other utility functions that give the VL1-m maximum versatility and con-

venience.

Now that you understand the basics, dive in and find out what the

VL1-m can really do.

There’s More …

I

n this brief introduction to VL1-m basics we’ve only looked at the

central physical model which is the key the VL1-m’s unprecedented

sound and musical performance. There’s actually much more to it. To

begin with the VL1-m actually has two elements which function as inde-

pendent physical models. Although it is basically a monophonic solo in-

strument, this means that the VL1-m can produce two notes at once. More

commonly the two elements are used as layers of a single voice.

16

Getting Started

●

The Controls & Connectors

A Brief Introduction To the VL1-m Interface

The following brief descriptions of the VL1-m controls and connec-

tors should help you to understand the overall logic of the interface.

The Controls & Connectors

F4

GENERATO

F1 F2 F3

COMPARE

PLAY

EDIT UTILITY COPY

STORE

MIDI

VIRTUAL ACOUSTIC TONE G

POWER

ON / OFF

BREATH

PHONES

VOLUME

MAXMIN

!4 Breath Controller Jack

!3 PHONES Jack

e MIDI Indicator

r C Button

t S Button

y VOLUME Control

!5 Floppy Disk Drive

q POWER Switch

w MODE Buttons

17

Getting Started

●

The Controls & Connectors

Front Panel

q p Switch

Press to turn power ON or OFF.

w MODE Buttons

The P, E, and U keys select the corresponding VL1-m modes. The

PLAY mode lets you select and play voices, the EDIT mode gives you programming

access to the VL1-m’s voice and controller parameters, and the UTILITY mode includes

MIDI, disk, system and other functions that are essential for general operation.

e MIDI Indicator

The MIDI indicator functions as a simple MIDI monitor, flashing whenever MIDI

data is received by the VL1-m.

r C Button

This button is used to copy voice parameters for fast, efficient editing.

☛ Feature Reference page 25

F5 F6 F7 F8 CONT

ENTER/SOUNDEXIT

INCDEC

O

R

!2

] and

o Data Dial

!0

Cursor Buttons

i

¡ through • Function Buttons

!1

= and - Buttons

u LCD Display & ÷ Control

Buttons

ENTER/SOUND

18

Getting Started

●

The Controls & Connectors

t S Button

Used to store edited data to an internal memory location.

☛ Feature Reference page 27.

y VOLUME Control

Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R

jacks as well as the PHONES jack.

☛ Getting Started page 25.

u LCD Display & ÷ Control

This large multi-function liquid crystal display panel shows all parameters and prompts

you need to operate the VL1-m with optimum ease and efficiency.

Use the ÷ (contrast) control located near the lower right-hand corner of the

display to achieve the best display visibility (LCD visibility varies greatly with viewing

angle and lighting).

☛ Getting Started page 34. Feature Reference page 14.

i ¡ through • Function Buttons

The functions of these buttons depend on the selected mode. They are used to

engage a function indicated on the display immediately above the button, select a page of

parameters, scroll through a list of parameters, and more.

☛ Getting Started page 26. Feature Reference page 9.

o Data Dial

The data dial provides a fast, efficient way to select voices or make large value

changes in any of the edit modes.

☛ Getting Started page 35. Feature Reference page 15.

!0 Cursor Buttons

These 4 buttons move the “cursor” around the display screen, highlighting the

various items that are available for selection or parameters that are available for editing.

☛ Getting Started page 32. Feature Reference page 11.

!1 = and - Buttons

Used to select voices and edit parameter values in any of the VL1-m edit modes.

Either button can be pressed briefly for single stepping in the specified direction, or held

for continuous scrolling. They also have a large-step function which allows you to skip

ahead or backward in increments of 16 when selecting voices or editing numeric param-

eters: press either the = or - button while holding the other button. These buttons

are also used to respond “Yes” or “No” to the “Are you sure?” confirmation prompt when

saving or loading data.

☛ Getting Started page 35. Feature Reference page 15.

!2 ] and

ENTER/SOUND

Buttons

The ] button can generally be used to exit from any sub-mode or function,

while the

ENTER/SOUND

button is used to engage a variety of modes and functions.

☛ Getting Started page 27. Feature Reference page 10.

19

Getting Started

●

The Controls & Connectors

!3 PHONES Jack

Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for

headphone monitoring of the VL1-m sound without the need for external amplification

equipment.

☛ Getting Started page 23.

!4 Breath Controller Jack

An optional Yamaha BC2 or BC1 Breath Controller can be plugged in here.

☛ Getting Started page 23.

!5 Floppy Disk Drive

The VL1-m’s built-in floppy disk drive allows easy, economical, high-volume

storage of voice data. The disk-in-use indicator below the drive slot lights while any disk

operation is in progress (

NEVER attempt to remove a disk or turn the power off while a

disk operation is in progress). The eject button, also below the disk slot, is used to

remove disks from the drive.

☛ Feature Reference page 162.

20

Getting Started

●

The Controls & Connectors

Rear Panel

!6 AC Power Cord Socket

Be sure the plug the VL1-m’s AC power cord into this socket

before plugging the

power cord into an AC outlet.

☛ Getting Started page 22.

!7 OUTPUT L and R Jacks

These are the main stereo outputs from the VL1-m. Be sure to connect both outputs

to the appropriate channels of a stereo sound system in order to appreciate the full quality

of the VL1-m sound and effects.

☛ Getting Started page 24.

!8 MIDI IN, OUT and THRU Connectors

The MIDI IN connector receives the data from an external sequencer or other MIDI

device which is to control or transmit data to the VL1-m. The MIDI THRU connector

simply re-transmits the data received at the MIDI IN connector, allowing convenient

chaining of MIDI devices. The MIDI OUT connector transmits data corresponding to

VL1-m Breath Controller operation, or bulk data when one of the MIDI data transmission

functions are activated.

☛ Getting Started page 24.

!6 AC Power Cord

Socket

!7 OUTPUT L and R Jacks

!8 MIDI IN, OUT and

THRU Connectors

THRU OUT

MIDI

IN

AC INLET

R

L

OUTPUT

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