Summary of the content on the page No. 1
Getting Started
Owner's Manual 1
Summary of the content on the page No. 2
Getting Started Owner’s Manual 1
Summary of the content on the page No. 3
Getting Started Contents Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6 The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6 The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Summary of the content on the page No. 4
Getting Started Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . .34 Selecting & Playing the VL1’s 128 Voices Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 The Pre-programmed VL1 Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 The Controllers . . . . . . . . . . . . . . . . . . . . . . . . .38 Natural Musical Nuance and Expressive Control Physical Controllers . . . . . . . . . . . . . . . . . . . .
Summary of the content on the page No. 5
Getting Started Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! Location Handling and Transport Do not expose the instrument to the following • Never apply excessive force to the controls, conditions to avoid deformation, discoloration, or more connectors or other parts of the instrument. serious damage. • Always unplug cables by gripping the plug firmly, not by pulling on the cable. • Direct sunlight (e.g. near a window). • Disconnect all cables before moving the instru- • High tempera
Summary of the content on the page No. 6
Getting Started • Internal memory data can be corrupted due to Service and Modification incorrect operation. Be sure to save important data • The VL1 contains no user serviceable parts. to floppy disk frequently so you have a backup to Opening it or tampering with it in any way can revert to if something happens to damage the data lead to irreparable damage and possibly electric in memory. Also note that magnetic fields can shock. Refer all servicing to qualified YAMAHA damage data on the disk
Summary of the content on the page No. 7
Getting Started About the Manuals The VL1 comes with two manuals — Getting Started and Feature 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: 1. VL1 Basics [≥ Page 8] Basic concepts you’ll need to understand in order to get the most out of the VL1. 2. The Controls & Connectors [≥ Page 16] Brief descriptions of the VL1 control
Summary of the content on the page No. 8
Getting Started The Feature Reference Manual The Feature Reference manual is the “nuts and bolts” reference for the VL1, individually describing its many functions in detail. The Feature Reference manual is divided into five main sections, each describing the various functions within a particular VL1 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 w
Summary of the content on the page No. 9
Getting Started VL1 Basics Essential Concepts for the VL1 User he Yamaha VL1 Virtual Acoustic Synthesizer produces sound in an entirely new way. It has no oscillators or function generators, no T preset waveforms or samples. In fact, it uses none of the sound generation concepts employed in conventional synthesizers. The VL1 represents the world’s first practical application of computer-based “physi- cal modeling” in musical sound synthesis. In the same way that computer models are used to simul
Summary of the content on the page No. 10
Getting Started What Are the Advantages? he VL1 offers many advantages in terms of musical performance. Not just in terms of sound, but also in terms of the “behavior” that T makes acoustic instruments so … well, musical! But this is not because someone has programmed a certain sound or pattern 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
Summary of the content on the page No. 11
Getting Started The VL1 Model he overall VL1 model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these Tblocks are arranged as follows: One VL "Element" (the VL has 2 of these) Controllers (also envelopes) Sound Instrument Modifiers out. 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
Summary of the content on the page No. 12
Getting Started Reed vibration. In all these instruments pressure applied here Lip vibration. (the driving point) causes vibration which results in sound. Air vibration. String vibration. The pitch of the sound is determined by the length of the air column or The sound thus string, and the timbre is a complex produced is amplified product of the driving source (reed, and sustained by the body of lip, air, string), the shape of the resonant cavity, the materials from the instrument. which t
Summary of the content on the page No. 13
Getting Started The Controllers The input to an acoustic instrument comes from the player’s lungs, trachea, oral cavity, and lips. In a string instrument it comes from the players arm movement, trans- mitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL1 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
Summary of the content on the page No. 14
Getting Started The Modifiers Although you don’t have direct programming access to the VL1 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’s sound-producing model and have a significant effect on the sound (the VL1 has a separate effects stage with reverb, delay, and modula
Summary of the content on the page No. 15
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
Summary of the content on the page No. 16
Getting Started There’s More … n this brief introduction to VL1 basics we’ve only looked at the central physical model which is the key the VL1’s unprecedented Isound and musical performance. There’s actually much more to it. To begin with the VL1 actually has two elements which function as independ- ent physical models. Although it is basically a monophonic solo instru- ment, this means that the VL1 can produce two notes at once. More com- monly the two elements are used as layers of a single v
Summary of the content on the page No. 17
Getting Started The Controls & Connectors The Controls & Connectors A Brief Introduction To the VL1 Interface The following brief descriptions of the VL1 controls and connectors should help you to understand the overall logic of the interface. q MODE Buttons w C Button e S Button r VOLUME Control t – and ≠ Control Sliders LR 12 1 2 IN OUT THRU OUTPUT FOOT CONTROLLER FOOT SWITCH MIDI @0 Floppy Disk Drive MODE PLAY EDIT UTILITY COPY STORE COMPARE F1 F2 F3 F4 F5 F6 F7 F8 CONT !5 OCTAVE _
Summary of the content on the page No. 18
The Controls & Connectors Getting Started The Controls & Connectors Front Panel q MODE Buttons The P, E, and U buttons select the corresponding VL1 modes. The PLAY mode lets you select and play voices, the EDIT mode gives you programming access to the VL1’s voice and controller parameters, and the UTILITY mode includes MIDI, disk, system and other functions that are essential for general operation. w C Button This button is used to copy voice parameters for fast, efficient editing. ☛ Feature R
Summary of the content on the page No. 19
Getting Started The Controls & Connectors r VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R jacks as well as the PHONES jack. ☛ Getting Started page 25. t – and ≠ Control Sliders These controls can be assigned to a range of controller parameters for real-time expressive control. ☛ Getting Started page 47. Feature Reference page 19. y LCD Display & ÷ Control This large multi-function liquid crystal display panel shows all parameters and prompts you nee
Summary of the content on the page No. 20
The Controls & Connectors Getting Started The Controls & Connectors !2 Bank a through h Buttons The VL1 has 128 internal voice memory locations arranged in 8 banks of 16 voices each. These buttons select the voice bank from which an individual voice will be se- lected. ☛ Getting Started page 35. Feature Reference page 15. !3 Voice Number 1 through ^ Buttons The voice number buttons are used in conjunction with the bank buttons to select any of the VL1’s 128 internal voice memory locations. Whe
