Owner’s Manual 1
Getting Started
2
Getting Started
Contents
Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
About the Manuals . . . . . . . . . . . . . . . . . . . . . . . 6
■ The Getting Started Manual (this manual) . . . . . . . . . . . . . . . . . . . . . . . . 6
■ The Feature Reference Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
■ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
VL7 Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Essential Concepts for the VL7 User
■ What Are the Advantages? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
■ The VL7 Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
■ There’s More … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Controls & Connectors . . . . . . . . . . . . . . . 16
A Brief Introduction To the VL7 Interface
■ Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
■ Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
System Connections & Preparation
■ Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
■ Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Breath Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Foot Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
■ Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Stereo Sound System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
■ MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
■ Power-on Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
■ Play the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
■ Breath Controller Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
■ Load the Pre-programmed Voice Data . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Loading the “FULLCNT1:All” Voice File . . . . . . . . . . . . . . . . . . 31
3
Getting Started
Voice Selection . . . . . . . . . . . . . . . . . . . . . . . . . 34
Selecting & Playing the VL7’s 64 Voices
■ Using the Voice Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
The Controllers . . . . . . . . . . . . . . . . . . . . . . . . . 38
Natural Musical Nuance and Expressive Control
■ Physical Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
■ VL7 Controller Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
■ Controller Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
■ Some Exercises With the Alto Sax 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
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.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 disconnecting
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 VL7 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.
• Avoid placing vinyl objects on top of the instrument
(vinyl can stick to and discolor the surface).
■ 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
equipment.
5
Getting Started
■ Data Backup
• The VL7 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 YOURSELF!
• The VL7 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 YOURSELF!
■ 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.
Magnetic 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
become 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 VL7 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.
YAMAHA is not responsible for damage caused by improper handling or operation.
6
Getting Started
About the Manuals
The VL7 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 VL7:
1. VL7 Basics [≥ Page 8]
Basic concepts you’ll need to understand in order to get the
most out of the VL7.
2. The Controls & Connectors [≥ Page 16]
Brief descriptions of the VL7 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 VL7’s 64 voices.
5. The Controllers [≥ Page 38]
The VL7 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 VL7 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 VL7
to need only the VL7 Feature Reference manual in future.
7
Getting Started
The Feature Reference Manual
The Feature Reference manual is the “nuts and bolts” reference for
the VL7, individually describing its many functions in detail. The Feature
Reference manual is divided into 5 main sections, each describing the
various functions within a particular VL7 edit or utility mode.
1. General Operation [
≥ Page 7]
2. Play Mode [
≥ Page 13]
3. Edit Mode [≥ Page 21]
4. Utility Mode [≥ Page 149]
5. Appendix [≥ Page 177]
Once you have become familiar with the way the VL7 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 VL7 manuals to avoid
confusion and make the text easier to read.
Buttons & Controls
Button and control names used on the VL7 panel appear in the text
in capital letters within square brackets: “the [ button”, for
example.
Parameter Names
Parameter names and other labels which appear on the VL7 display
are printed in the courier typeface for easier identification: 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.
8
Getting Started
L
ike its predecessor, the VL1, the Yamaha VL7 Virtual 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. The VL7 represents an advanced application of
computer-based “physical modeling” in 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 VL7
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 computers), 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 VL7 Virtual Acoustic
Synthesizer.
VL7 Basics
Essential Concepts for the VL7 User
9
Getting Started
T
he VL7 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 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 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 VL7 is
undoubtedly a little harder to play than conventional synthesizers, but
when mastered this is the very characteristic that is its greatest strength.
The Yamaha VL7 is the most musical synthesizer ever made. A soloist’s
dream!
• The VL7 sounds better, has more depth, and is more realistic in
the musical sense than any other synthesizer system.
• Simply pressing a key in the same way does not always produce
precisely the same sound. The instrument is responsive and
“alive”.
• Simply pressing a key in the same way does not always produce
precisely the same sound. The instrument is responsive and
“alive”.
• 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.
What Are the Advantages?
10
Getting Started
The VL7 Model
T
he overall VL7 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 various instruments for the VL7 are provided in the form
of pre-programmed voices. These are primarily woodwind, brass, and
string voices, since the VL7’s physical model is capable of most
accurately simulating the sound-generating mechanism of all three
instrument categories.
The instrument model consists primarily of a driver — the reed/
mouthpiece, lip/mouthpiece, or bow/string system — and a resonant
system corresponding to the tube and air column or string.
Controllers (also envelopes)
Instrument
Modifiers
Sound
out.
The VL7 Voice "Element"
11
Getting Started
One of the remarkable features of the VL7’s Virtual Acoustic Synthesis
system is that just about any driver can be used with any type of pipe or string.
Drivers Pipes/String
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.
12
Getting Started
●
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 players arm movement,
transmitted to the string via a bow. These elements actually form an important part of the
sound generating system and, in the VL7 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 VL7 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 of the external controllers that can be used with
the VL7: breath controller, foot controller, modulation wheels, 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.
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.
13
Getting Started
●
The Modifiers
Although you don’t have direct programming access to the VL7
instrument 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 VL7’s sound-producing model and have a significant
effect on the sound (the VL7 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
keyboard 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 capability for precise response
control throughout the instrument’s range.
[Page 55]
In
Out
Impulse
Expander
Frequency
Equalizer
Dynamic
Filter
Harmonic
Enhancer
Resonator
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
important 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
resonance effect. Careful adjustment of the resonator’s parameters can
often bring a not-quite-right voice to life. [Page 57]
15
Getting Started
There’s More …
I
n this brief introduction to VL7 basics we’ve only looked at the
central physical model which is the key the VL7’s unprecedented
sound and musical performance. There’s also an extensive range of
other functions and features that are similar to those you may be familiar
with from conventional synthesizers. There are, for example, a range of
programmable envelopes that can be applied to most of the controllers in
addition to real-time player control. And, of course, there’s a
comprehensive selection of MIDI, disk, and other utility functions that
give the VL7 maximum versatility and convenience.
Now that you understand the basics, dive in and find out what the
VL7 can really do.
The Controls & Connectors
The following brief descriptions of the VL7 controls and connectors
should help you to understand the overall logic of the interface.
A Brief Introduction To the VL7 Interface
16
Getting Started
●
The Controls & Connectors
OC TAVE
DOWN UP
PITCH MODULATION 1 MODULATION 2
VOLUME CS1 CS2
F1 F2 F3 F4 F5 F6 F7 F8 CONT
MODE
COMPARE
PLAY
EDIT UTILITY COPY STORE
LR
OUTPUT
12
FOOT CONTROLLER
FOOT SWITCH
1
2
IN THRU
MIDI
OUT
!9 Breath Controller Jack
!8 PHONES Jack
PHONES
BREATH
q MODE Buttons
w C Button
e S Button
t – and ≠
Continuous Sliders
r VOLUME Control
u ¡ through •
Function Buttons
!7 “ and
!6 π Wheel
!5 OCTAVE _
and + Buttons
@0 Floppy Disk Drive
‘ Wheels
Front Panel
q MODE Buttons
The P, E, and U buttons select the corresponding VL7 modes. The
PLAY mode lets you select and play voices, the EDIT mode gives you programming
access to the VL7’s voice and controller parameters, and the UTILITY mode includes
MIDI, disk, system and other functions that are essential for general operation.
☛ Feature Reference page 8.
w C Button
This button is used to copy voice parameters for fast, efficient editing.
☛ Feature Reference page 24.
e S Button
Used to store edited data to an internal memory location.
☛ Feature Reference page 27.
17
Getting Started
●
The Controls & Connectors
The Controls & Connectors
ENTEREXIT
INCDEC
POWER
ON / OFF
A
1
9
ALL
B
2
10
HE
C
3
11
DF
D
4
12
EQ
5
ALL
13
IE
6
MOD
14
RSN
7
FBD
15
8
REV
16
EFFECT ON / OFF
MODIFIER ON / OFF
!1
] and [ Buttons
i Data Dial
!2
Bank a through
d Buttons
!3
Voice Number 1
through ^ Buttons
o
Cursor Buttons
!4
Keyboard
!0
= and - Buttons
y LCD Display & ÷ Control
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 ≠ Continuous 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 need to operate the VL7 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.
u ¡ 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.
☛ Feature Reference page 9.
i Data Dial
The data dial provides a fast, efficient way to cover a broad range of voice numbers
when, for example, you’re looking for a voice but don’t know the voice number. It’s also
handy for making large value changes in any of the edit modes.
☛ Getting Started page 35. Feature Reference page 16.
o 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 (the VL7
cursor appears as a dark block with inverse characters).
☛ Getting Started page 32. Feature Reference page 10.
!0 = and - Buttons
Used to select voices and edit parameter values in any of the VL7 edit modes.
Either button can be pressed briefly for single stepping in the specified direction, or held
for continuous scrolling. These buttons are also used to respond “Yes” or “No” to the
“Are You Sure?” confirmation prompt when required.
☛ Getting Started page 35. Feature Reference page 16.
!1 ] and [ Buttons
The ] button can generally be used to exit from any sub-mode or function,
while the [ button is used to engage a variety of modes and functions.
☛ Getting Started page 26. Feature Reference page 10.
!2 Bank a through d Buttons
The VL7 has 64 internal voice memory locations arranged in 4 banks of 16 voices
each. These buttons select the voice bank from which an individual voice will be selected.
☛ Getting Started page 35. Feature Reference page 15.
19
Getting Started
●
The Controls & Connectors
The Controls & Connectors
!3 Voice Number 1 through ^ Buttons
The voice number buttons are used in conjunction with the bank buttons to select
any of the VL7’s 64 internal voice memory locations. When editing voice parameters
they are also used to turn effects and modifiers on or off.
☛ Getting Started page 35. Feature Reference page 15.
!4 Keyboard
The VL7 has a 49-key keyboard that is both velocity and after-touch sensitive for
broad, intimate expressive control.
!5 OCTAVE _ and + Buttons
Shift the pitch of the keyboard up or down one octave. A utility “Octave Hold”
function provides two modes: shift only while the button is held, or press once to shift
and again to release. MIDI note output data is also shifted.
☛ Feature Reference page 151.
!6 π Wheel
This self-centering pitch wheel allows realistic upward and downward pitch bends.
The pitch wheel can also be assigned to any of the VL7’s extensive range of controller
parameters for sophisticated expressive control.
☛ Getting Started page 39.
!7 “ and ‘ Wheels
Can be assigned to any of the VL7’s extensive range of controller parameters for
extraordinary expressive control. The ‘ wheel features a center-click posi-
tion.
☛ Getting Started page 39. Feature Reference page 154.
!8 PHONES Jack
Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for
headphone monitoring of the VL7 sound without the need for external amplification
equipment.
☛ Getting Started page 23.
!9 Breath Controller Jack
Plug the Yamaha BC2 Breath Controller supplied with the VL7 in here (an optional
BC1 Breath Controller may also be used).
☛ Getting Started page 23.
@0 Floppy Disk Drive
The VL7’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.
☛ Getting Started page 5, 31. Feature Reference page 162.
20
Getting Started
●
The Controls & Connectors
Rear Panel
@1 AC Power Cord Socket
Be sure the plug the VL7’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.
@3 OUTPUT L and R Jacks
These are the main stereo outputs from the VL7. Be sure to connect both outputs to the
appropriate channels of a stereo sound system in order to appreciate the full quality of the
VL7 sound and effects.
☛ Getting Started page 24.
@4 FOOT CONTROLLER 1 and 2 Jacks
These jacks accept Yamaha FC7 Foot Controllers which can be used to control any of
the VL7’s controller parameters. One FC7 Foot Controller is supplied with the VL7, and this
should normally be plugged into the FOOT CONTROLLER 2 jack. The second FC7 foot
controller is optional.
☛ Getting Started page 23.
@5 FOOT SWITCH 1 and 2 Jacks
An optional Yamaha FC4 or FC5 footswitch can be connected to one or both of
these jacks for sustain, portamento, and other control functions.
☛ Getting Started page 23.
@6 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 VL7. 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 all
VL7 performance operations, or bulk data when one of the MIDI data transmission
functions are activated.
☛ Getting Started page 24.
R
L
OUTPUT
21
FOOT CONTROLLER
21
FOOT SWITCH
YAMAHA
MODEL VL7
AC INLET
POWER
ON / OFF
THRU OUT
MIDI
IN
@1
AC Power Cord
Socket
@2 POWER Switch
@4
FOOT CONTROLLER 1 and 2 Jacks
@3
OUTPUT L and R Jacks
@5
FOOT SWITCH 1 and 2 Jacks
@6
MIDI IN, OUT and
THRU Connectors
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