Benutzeranleitung / Produktwartung VL1 des Produzenten Yamaha
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Owner's Manual 1 Getting Started.
Owner’s Manual 1 Getting Started.
2 Getting Started Contents Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6 ■ The Getting Started Manual (this manual) . .
3 Getting Started V oice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34 Selecting & Playing the VL1’s 128 Voices ■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 ■ The Pre-programmed VL1 Voices .
4 Getting Started Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! ■ Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • Direct sunlight (e.g. near a window). • High temperatures (e.
5 Getting Started • 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.
6 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.
7 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.
8 Getting Started T he Y amaha VL1 V irtual Acoustic Synthesizer produces sound in an entirely new way . It has no oscillators or function generators, no preset waveforms or samples. In fact, it uses none of the sound generation concepts employed in conventional synthesizers.
9 Getting Started T he VL1 of fers 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 pattern of behavior into it.
10 Getting Started The VL1 Model T he overall VL1 model or “algorithm” consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as fol.
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.
12 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.
13 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.
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.
15 Getting Started There’ s More … I n this brief introduction to VL1 basics we’ve only looked at the central physical model which is the key the VL1’ s unprecedented sound and musical performance. There’ s actually much more to it. T o begin with the VL1 actually has two elements which function as independ- ent physical models.
The Controls & Connectors The following brief descriptions of the VL1 controls and connectors should help you to understand the overall logic of the interface.
ENTER EXIT INC DEC POWER ON / OFF A 1 E1 9 ALL B 2 E2 10 HE C 3 E1 11 DF D 4 E2 12 EQ E 5 ALL 13 IE F 6 MOD 14 RSN G 7 FBD 15 H 8 REV 16 EFFECT ON / OFF ELEMENT ON / OFF ELEMENT SELECT MODIFIER ON / O.
18 Getting Started ● The Controls & Connectors r VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT L and R jacks as well as the PHONES jack. ☛ Getting Started page 25. t – and ≠ Control Sliders These controls can be assigned to a range of controller parameters for real-time expressive control.
19 Getting Started ● The Controls & Connectors 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.
20 Getting Started ● The Controls & Connectors Rear Panel @1 AC Power Cord Socket Be sure to plug the VL1’s AC power cord into this socket before plugging the power cord into an AC outlet. ☛ Getting Started page 22. @2 POWER Switch Press to turn power ON or OFF.
21 Getting Started ● The Controls & Connectors The Controls & Connectors.
22 Getting Started ● Setting Up CAUTION! Setting Up System Connections & Pr eparation Power Supply Before making any other connections the “female” end of the AC power cord supplied with the VL1 should be firmly plugged into the rear-panel AC cord socket.
23 Getting Started ● Setting Up Setting Up Controllers ● Breath Controller The Breath Controller is an essential expressive tool — both for realistic expression with wind-instrument voices and unprecedented expressive control with string voices.
24 Getting Started ● Setting Up ● Stereo Sound System The VL1 voices and effects are designed to sound their best in stereo, so you should always use a stereo sound system to appreciate the full impact of the VL1 voices and expressive features.
25 Getting Started ● Setting Up Setting Up NOTES ■ For detailed MIDI specifications refer to the “MIDI Data Format” . ■ When using the VL1 with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equip- ment used to ensure compatibility.
26 Getting Started ● Setting Up IMPORT ANT! Play the Demo Once you’ve set up your VL1 system, you might like to play the pre-programmed demo sequence to hear how some of the voices sound. This process will also help to familiarize you with some of the VL1’s selection and editing procedures.
27 Getting Started ● Setting Up Setting Up 3. Press [ and Confirm Press the [ button if it’s OK to go ahead with the demo — and rewrite all bank-H data. The VL1 will ask you to confirm again: press - to continue or = to abort. 4. Select a Song Use the data dial or = and - buttons to select the song number you want to start with.
28 Getting Started ● Setting Up 6. Stop the Demo Press the ¶ button to stop demo playback. 7. Return To the Play Mode When Done Press the MODE P button to return the PLAY mode.
29 Getting Started ● Setting Up Setting Up Breath Controller Calibration Proper operation of the breath controller is vital to achieving the best possible sound from the VL1.
30 Getting Started ● Setting Up 5. Adjust the Breath Controller Gain Place the breath controller mouthpiece in your mouth and blow — notice that the cursors move to right and the number below the graph increases according to how hard you blow.
31 Getting Started ● Setting Up Setting Up Load the Pre-programmed V oice Data Although the factory pre-programmed voices, performance combinations, and patterns are stored in the VL1 internal memor.
32 Getting Started ● Setting Up 4. Select the Disk Function Directory Press the £ function button (“ Disk ”) to select the utility mode disk function directory. 5. Select “Load From Disk” Use the cursor buttons to move the cursor to “ 2:Load From Disk ” and then press [ .
33 Getting Started ● Setting Up Setting Up 7. Load the File Loading will begin when you press the - button in response to the “ Are You Sure? ” prompt. A bar graph on the display will indicate the progress of the load opera- tion, and when all the data has been loaded “ Completed! ” will appear.
34 Getting Started ● Voice Selection Play mode. V oice B02 (no. 18 of 128). V oice name: Alto Sax Reverb is ON. Stereo output mode. Element E1 name: Alto Sax Mono voice, using a single element. Effects in use: Pitch Change, Feedback Delay off and Studio type reverb.
35 Getting Started ● Voice Selection Voice Selection DEC INC 2. Select a Voice The VL1’s 128 voices are organized into 8 banks of 16 voices each (8 x 16 = 128). Any voice can be selected by specifying its bank using the bank buttons ( a through h ), and its number using the voice number buttons ( 1 through ^ ).
36 Getting Started ● Voice Selection 3. Play Try playing the selected voice on the keyboard. Select a number of different voices and try them out. You will have to apply breath pressure to the breath controller, press the foot controller forward, or roll the ‘ wheel upward to produce sound with many of the VL1’s voices.
37 Getting Started ● Voice Selection Voice Selection The Pre-programmed VL1 V oices Here’s an abbreviated voice list for easy reference. G01 (097) Lees G02 (098) Breath Sax G03 (099) Bowed Saw G04.
38 Getting Started ● The Controllers The Controllers If you’ve read the “VL1 Basics” section (if you haven’ t, please do so — page 8) you should understand the concept of “controllers” as applied to the VL1. The “controller parameters” correspond to simulated character - istics of the instrument model — e.
39 Getting Started ● The Controllers The Controllers Physical Controllers First, here’s a list of the physical controllers available for use with the VL1: A natural candidate for controlling pressure, tonguing, throat, growl, and other parameters.
40 Getting Started ● The Controllers VL1 Controller Parameters Any of the physical controllers listed above can be assigned to control any of the VL1’s controller parameters: The amount of breath pressure applied to a reed or mouthpiece, or the speed of the bow applied to a string.
41 Getting Started ● The Controllers The Controllers Controller V iews In the PLAY mode, function buttons ¡ through § are used to select “controller view” displays that list all controller assignments for the currently selected voice.
42 Getting Started ● The Controllers Some Exercises W ith the AltoSax Controllers Now that you know which physical controllers are assigned to which controller parameters in the AltoSax voice, play the voice using the assigned controllers to get a feel for their effect before changing the assignments.
43 Getting Started ● The Controllers The Controllers 4. Edit the Scream Controller Parameter The cursor should be located at the “ Controller ” parameter, as shown in the example display. In the AltoSax voice the scream control parameter is not used so it is currently turned “ off ”.
44 Getting Started ● The Controllers 6. Go to the Pressure Controller Page From the Vibrato page use the § button to step back to the Pressure controller page.
45 Getting Started ● The Controllers The Controllers Once you pass zero, you enter a range of “negative” Depth values that produce reverse controller operation: i.e. the output level decreases as you blow harder into the Breath Controller. Like the normal positive range, the negative Depth range is from “ 0 ” to “ -127 ”.
46 Getting Started ● The Controllers 9. Experiment! Now that you’ve got the idea, flip through the all the available controller pages and experiment with alternative assignments and settings until you feel comfortable with the system.
47 Getting Started ● The Controllers The Controllers Other Controller V iews If you press the ∞ function button from the play mode you’ll see the following controller view: The controller parameters listed in this screen are not in the same category as those discussed in the preceding section, and therefore need to be introduced separately.
48 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers The VL1 provides two ways to change the timbre of a voice to cre- ate original variations: 1) by mixing the output signals from various parts of the physical model, and 2) by using the VL1’ s “Modifiers” to shape the overall harmonic structure.
49 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers An Exercise: Remix the Pan Pipes V oice Before going to the EDIT mode, select and play the Pan Pipes voice for a few minutes to get a feel for how it sounds. 1. Engage the EDIT Mode The mixing parameters are accessed via the EDIT mode “ Mixing ” page.
50 Getting Started ● Mixing & The Modifiers 50% 99% T ap Location 0% The remaining tap parameter — “ Tap Sign ” — inverts the phase of the tap signal.
51 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers Driver , pipe/string, and tap sound. Modulator Source. Carrier Source. Out (to Dynamic Filter .
52 Getting Started ● Mixing & The Modifiers Referring to the block diagram of the harmonic enhancer, above, we can see that it employs a modulation approach to building new harmonic structures. The carrier and modulator blocks have independent display pages and some independent parameters.
53 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers Although any modulator source signal can be applied to any carrier source signal, two approaches are recommended when attempting to create an acoustic instrument simulation.
54 Getting Started ● Mixing & The Modifiers In (from Harmonic Enhancer) Out (to Frequency Equalizer) Dynamic Filter Wet/Dry Balance Dynamic Filter The Dynamic Filter stage is similar to the dynamic filters found in many conven- tional synthesizers.
55 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers Frequency Equalizer The Frequency Equalizer stage consists of two blocks — Auxiliary and Band — each with its own display page.
56 Getting Started ● Mixing & The Modifiers Mix Frequency-dependent Delay In (from Frequency Equalizer) Out (to Resonator) 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.
57 Getting Started ● Mixing & The Modifiers Mixing & The Modifiers Right Channel Left Channel Out (to Effects) In (from Impulse Expander) Delay Delay Delay Delay Delay Resonator While the Impulse Expander tends to give the sound a metallic quality, the Resona- tor produces a more woody resonance effect.
58 Getting Started ● Effects Effects Ef fects are the essential finishing touches for any voice. Once you’ve created a sound you like, use one or more of the VL1’ s three high-per - formance digital ef fect stages to polish and refine it as required.
59 Getting Started ● Effects Effects Modulation Effects Although “modulation” usually implies some sort of cyclical variation, the VL1 Modulation stage allows selection of Flanger, Pitch Change, and Distortion effects (only Flanger fits the traditional definition of a modulation effect).
60 Getting Started ● Effects ■ The T ime Calculation Pop-up Page NOTES ■ Refer to page 53 of the Feature Reference manual for full details on the Feedback Delay effects and parameters. Reverb Effects You’ll probably want to apply the effects in this stage to some degree to all your voices.
61 Getting Started ● Effects Effects.
62 Getting Started ● Index Conventions © 7 Copy button © 17 Copy function ƒ 25 Crossfade speed ƒ 85 Cursor buttons © 18 D Damping ƒ 80 Data dial © 18, 35.
63 Getting Started ● Index Index Element on/off ƒ 22 Element pan ƒ 38 Element random pitch ƒ 37 Element select ƒ 22 Embouchure & pitch envelope ƒ 130 Embouchure & pitch envelope key sca.
64 Getting Started ● Effects 64 Getting Started ● Index P Phones jack © 19 Pitch bend mode ƒ 35 Pitch change ƒ 49 Pitch ƒ 67 Pitch wheel © 19 Play-mode display © 34.
M.D.G., EMI Division © Yamaha Corporation 1993 VQ65370 JADIR0PR117.2CP Printed in Japan.
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Wenn Sie Yamaha VL1 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Yamaha VL1 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Yamaha VL1 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Yamaha VL1 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Yamaha VL1 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Yamaha VL1 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Yamaha VL1. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Yamaha VL1 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
