Yamaha | VL Version2 | Owner's Manual | Yamaha Version2 Owner's manual

Voice Lists & MIDI Data
Contents
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VL1/VL1-m Version 2 Voices . . . . . . . . . . . . . . . 2
VL1/VL1-m Version 2 WX Voices . . . . . . . . . . . 6
VL7 Version 2 Voices . . . . . . . . . . . . . . . . . . . . . 8
VL7 Version 2 WX Voices . . . . . . . . . . . . . . . . 10
Additional Version 2 Voices . . . . . . . . . . . . . . . 11
MDI Data Format . . . . . . . . . . . . . . . . . . . . . . . 12
MIDI Implementation Chart
VL1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
VL1-m . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
VL7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Voice Lists
■ VL1/VL1-m Version 2 Voices
● File name: VL1_VER2.ALL
Loading this file with the “ALL” load option restores the VL1 Version 2 to its initial state as shipped from the factory.
The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/WX” the breath controller or a
WX wind controller cannot be used. Many voices can be played more expressively with a breath controller, so for the notes, below, we
assume that the “Breath Mode” parameter is set to “BC/WX”.
Many of these voices can also be used on the VL7 Version 2, so load them and give them a try.
2
● Voice number
Voice name
Voice explanation
A01 (001)
Vintage VL
Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position
or at minimum position for darker sound.
A02 (002)
Jazz Sax
Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about
Ab5.
A03 (003)
AnaBottle
This voice is a combination of an analog sounding square wave with breath noise. It uses new kind
of breath noise and has a very speedy response which is fun for solos.
A04 (004)
JazzTrumpt
A jazz-oriented trumpet with a wide dynamic range.
A05 (005)
Stick
A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.
A06 (006)
Violin
The breath controller controls both bow pressure and speed on this violin voice. Can also be used in
the cello and viola ranges.
A07 (007)
Wet Mini
Powerfull synth-bass with a lot of resonance.
A08 (008)
Pastorale
A mysterious reed/pipe timbre, quite unlike any existing instrument.
A09 (009)
Warm Dist
Distorted amplified electric guitar.
A10 (010)
Super Jam
A trumpet and trombone horn section with wide dynamics.
A11 (011)
Shakuhachi
An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.
A12 (012)
DeepThroat
Strange organ using lots of throat formant.
A13 (013)
XtraX
Acid rave lead string sound.
A14 (014)
EnglishHrn
The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.
A15 (015)
MuteCone
Simulation of the muted trumpet.
A16 (016)
Acid Bass
A perfect bass sound for “acid” basslines.
● Voice number
Voice name
Voice explanation
B01 (017)
Brassyn
Bright analog synth-brass.
B02 (018)
Tenor Sub
Sax with a strong sub-tone content. A good choice for jazzy phrases.
B03 (019)
SaxyTrump
A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath
pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.
B04 (020)
Trumpet
Bright trumpet. Suitable for a wide range of styles.
B05 (021)
FingerBass
A fingered bass simulation.
B06 (022)
Cello
A natural-sounding cello simulation.
B07 (023)
Soft Mini
An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth
are on the continuous sliders (CC16, CC17).
B08 (024)
Thai Reed
Simulation of a South East Asian (mainly Thailand) reed instrument.
B09 (025)
GuitarHero
A distortion guitar. Controlling the feedback with aftertouch is particularly effective.
B10 (026)
DynaTp&Sx
A trumpet and sax ensemble using the new dynamic split capabilities of Version 2. The split point is
C4 when the voice is initially selected, but will shift dynamically according to what you play. Add
vibrato with aftertouch.
B11 (027)
C Flute
Flute for a wide range of musical styles.
B12 (028)
Moby
Mysterious sound in which the basic sound components increase successively as the key is
gradually pressed. Best features brought out with aftertouch.
B13 (029)
MechaHorse
Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.
B14 (030)
Oboe
An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5.
B15 (031)
Mute Boyz
Unison layered muted trumpets. PB controls embouchure to create parallel tuned intervals. PB at
minimum transposes element 1 down a 4th, 3rd or minor 3rd, and PB at maximum transposes
element 2 up a 4th, 3rd or minor 3rd (key range dependenent) .
B16 (032)
Wah Man
Cry-baby wah-pedal effect on the BC.
VL1/VL1-m Version 2 Voices
Voice Lists
● Voice number
Voice name
Voice explanation
C01 (033)
Ossyncro
An analog synthesizer, oscillator-sync, cross-modulation sound.
C02 (034)
SopranoSax
Try using after touch.
C03 (035)
FlutoPhone
Flute/Sax hybrid. Velocity is assigned to Embouchure, producing an interesting unstable attack in
the upper registers for fast staccato trills in intervals a fifth or more.
C04 (036)
FlugelHorn
A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.
C05 (037)
Fretless
Fretless bass … this one is ideal for melodic lines.
C06 (038)
JetLipBow
A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.
C07 (039)
OldMini
Solo sound typical of saw-tooth waveforms in analog synthesizers. You can control the balance
using CS1 (CC16) and CS2 (CC17) .
C08 (040)
Japanesque
Another Shakuhachi with breath noise.
C09 (041)
JazzGuitar
Electric guitar-like timbre. An obvious choice for jazz.
C10 (042)
40’sSaxes
A sax ensemble with that ’40’s jazz feel.
C11 (043)
Tull Flute
A noisy flute. MW2 (CC13) adjusts growl . Aftertouch is recommended.
C12 (044)
Mad Tube
An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.
C13 (045)
HydroStorm
MW1 and Velocity are important controlers for this voice … but try them all.
C14 (046)
Jazz Clari
Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to
soften the tonguing transient.
C15 (047)
Croma Harp
A chromatic harmonica simulation
C16 (048)
JungleBass
Sliding bass for jungle music.
● Voice number
Voice name
Voice explanation
D01 (049)
SynthSplit
Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position
or at minimum position for darker sound.
D02 (050)
BaritonSax
Baritone sax suitable for lead lines.
D03 (051)
RoundBreth
An ethnic flute sound in octaves.
D04 (052)
JazzBone
A trombone simulation.
D05 (053)
Tube Bass
Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.
Vary the velocity for dynamic timbre changes.
D06 (054)
Viol Outt
Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for
bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.
D07 (055)
Mr. Mogue
Synthesized bass in octaves.
D08 (056)
Bagpipes
Sounds below Bb2 are drones. Scottish folk songs are often performed with drones on Bb, and
playing in Bb Mixolydian mode in the right hand.
D09 (057)
Cruncher
Distortion guitar. Subtle picking nuances can be controlled via velocity.
D10 (058)
Mrs.Yang
Combination of Chinese violin and violin.
D11 (059)
Piccolo
Simulation of the piccolo.
D12 (060)
No Harm AT
Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for
a unique ‘car horn’ style effect.
D13 (061)
Crystal
ME type pad effect.
D14 (062)
Clarinet
A light clarinet sound useful for classical music. Range is Db2 to about Ab5.
D15 (063)
Blues Harp
A miked harmonica, played through a guitar amplifier.
D16 (064)
PowerBass
Big rave bass sound.
VL1/VL1-m Version 2 Voices
3
Voice Lists
4
● Voice number
Voice name
Voice explanation
E01 (065)
AnorakSyn
Unstable oscillator analog synth.
E02 (066)
Bell Miked
A simulation of saxophone miked close to the bell.
E03 (067)
Taped Jet
Analog tape sampler type sound. Could be flute or recorder.
E04 (068)
MelTrump
Mellow trumpet.
E05 (069)
Birdland
A sound somewhere between an analog synthesizer and electric bass. The bass harmonics are
emphasized in the high range.
E06 (070)
DoubleBow
A bass with strong “stringed instrument” characteristics. CS2 varies the timbre.
E07 (071)
Igneous
Feedback synthesized lead. A simulation of an analog-synthesized distortion guitar.
E08 (072)
Solitude
A delicate wind sound.
E09 (073)
IndoPluck
A Mideastern plucked sound.
E10 (074)
Elec Lips
Combination of lead voice, synth lead & shakuhachi. Shakuhachi mode changes produced by MW2
(CC13).
E11 (075)
Pan Pipes
Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.
E12 (076)
PlastiSax
An alto sax … sounding the way it might if played through a plastic body.
E13 (077)
Black Hole
Try every controller.
E14 (078)
BassClari
The sound of the Bb bass clarinet. Range is D2 to F5.
E15 (079)
Lead Bows
A new violin-like instrument that happens to sound like detuned sawtooth waves layered in octaves.
Try BC tonguing for a nice hard bowed attack. Range C2-C6.
E16 (080)
Sub Bass
A bass sound for the subsonic range.
● Voice number
Voice name
Voice explanation
F01 (081)
Funny Cat
Filter-sweep synth sound.
F02 (082)
Old Tenor
A dry, jazzy tenor sax.
F03 (083)
SteamLead
Soft lead w/hard attack. Velocity controls the brigtness of the “steam.” MW2 (CC13) brings the
sound up an octave and changes the timbre.
F04 (084)
Horn
A poly-mode horn voice.
F05 (085)
ThumBass
Thumped Bass.
F06 (086)
Viowind
A new type of sound, not belonging to any existing instrumental group. Play using MW2 (CC13),
BC, and aftertouch.
F07 (087)
50 / 50
Solo sound using simple analog synthesizer square waves.
F08 (088)
Digeritek
Includes elements of distorted guitar, sax, and bowed strings. Use of the breath controller is
recommended.
F09 (089)
Sitar
Simulation of a sitar. Effective if you play the bass in the left hand and the melody in the right. Use
of aftertouch and pitch bend is very effective. Velocity controls dynamic timbral effects.
F10 (090)
The Cool
Combination of Flugelhorn & AltoSax. Good for the melody in 4-beat jazz styles.
F11 (091)
BassFlute
The sound of the rarely heard bass flute, extending an octave below the C flute. Range: C3 to C6.
F12 (092)
BuzzSax
A bright, buzzy tenor sax that is very responsive to breath pressure. Try aftertouch for various
squeaks and growls.
F13 (093)
Freezing
Experiment with all controllers.
F14 (094)
Dubble
New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.
MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.
F15 (095)
BowByBlow
Hard bowed flute/wind hybrid. Very slowly blowing BC pressure sounds octave overtone during
attack before stabilizing at fundamental.
F16 (096)
Outback
A sound incorporating two types of ethnic timbres. Dynamic timbre change is possible using the
aftertouch from the lowest note to D2.
VL1/VL1-m Version 2 Voices
Voice Lists
● Voice number
Voice name
Voice explanation
G01 (097)
AirSqeezer
Simple octave analog synth.
G02 (098)
Nat Tenor
Tenor sax with a unique attack.
G03 (099)
Sarangi
Traditional Indian string instrument. Use aftertouch vibrato and pitch bend for microtonal ornaments,
and for timbral variation.
G04 (100)
Cornet
A cornet for easy-listening styles.
G05 (101)
Square
Synth bass with emphasized filter.
G06 (102)
Nu Viola
Mellow, woody viola. Range C2-G6. MW2 (CC13) for tremolo. Vary BC pressure for bowing … try
tonguing BC for hard bowed attack.
G07 (103)
MoreGrunge
A new type of deep synthesized lead.
G08 (104)
Aerophone
Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to
Embouchure for alternate bend effect. Aftertouch for growl.
G09 (105)
Spanish
Spanish type acoustic guitar.
G10 (106)
FluBassoon
A classical woodwind ensemble.
G11 (107)
Floboe
A combination of properties of several different woodwind instruments.
G12 (108)
PlastcReed
The sound of a plastic reed instrument that is warm at low pressures but thin at higher pressures.
Growl on aftertouch.
G13 (109)
Mu
Noise produced by MW1. The tone is controlled by MW2 (CC13).
G14 (110)
DarkBasoon
A dark, but lighter bassoon voice than the original VL bassoon. Range is Bb1 (oct down) to Eb5.
G15 (111)
Faerie Bow
A new “violin” instrument that happens to sound like a bright, vocal, “gizmo” motorized synth. Try BC
tonguing for a nice hard bowed attack. MW2 (CC13) controls attack tightness. Range C2-C6.
G16 (112)
Yamasteel
A steel drum-like percussion sound. MW2 (CC13) changes the timbre.
● Voice number
Voice name
Voice explanation
H01 (113)
Afterwork
This voice benefits from extensive use of aftertouch.
H02 (114)
Alto Sax
Bright alto sax simulation.
H03 (115)
Tenor Air
Unique tenor lead tone. MW2 (CC13) controls Embouchure for subtle pitch bend effects.
H04 (116)
Lite Tuba
A “light” tuba simulation.
H05 (117)
Brite Bass
Artifical slap-bass. Low velocity for thumped notes; high velocity for slapped notes.
H06 (118)
Lite Cello
A “light” cello simulation.
H07 (119)
FunkyLead
Funky wah synth for percussive riffs. Very velocity sensitive.
H08 (120)
Syraphone
Unique transient attack response when playing intervals over a fifth with fast, staccato articulation …
gives a nice tongued/bowed attack to the sound. Plays very smoothly with legato articulations and
BC tonguing.
H09 (121)
AsianPlck
Oriental plucked sound.
H10 (122)
BaroqeDuet
A dynamic split with a recorder sound on top and baroque sounding cello on the bottom. Velocity
controls the volume of the cello; breath controls the volume of the recorder. Vibrato for both voices
is on aftertouch.
H11 (123)
GrassHarp
A harmonica type sound with grass reeds. Use a sustain pedal to switch to the mono mode for an
ethnic sounding woodwind solo.
H12 (124)
CombMute
Imaginary trumpet type instrument with a very strange mute. Try moving MW2 (CC13) for a more
natural vibrato.
H13 (125)
Haze
A psychedelic fuzzy organ in fifths, with breath control routed to the filter.
H14 (126)
AltoRecrdr
A duophonic alto recorder for imitating renaissance recorder duets. Range is F3 to F5.
H15 (127)
Bowed Saw
Sound of a bowed saw. Has the character of Ondes Martenot or Theremin (pioneer electronic
instruments).
H16 (128)
Waterphone
Mysterious percussion instrument. Attack is softened with MW1. Squeakiness (embouchure) on
MW2 (CC13). Violent SCRAPE sound with aftertouch.
VL1/VL1-m Version 2 Voices
5
Voice Lists
■ VL1/VL1-m Version 2 WX Voices
● File name: VL1V2_WX.ALL
The 32 voices included in this file have been programmed specifically for optimum playability with a Yamaha WX-series wind controller
(WX7/WX11). It is assumed that you will be using the WX Tight Lip mode (see Note 1, below). Also, make sure that the VL1 Version 2 or
VL1-m Version 2 UTILITY/SYSTEM/TG SETTING “WX Lip” parameter is set to “Expand” (see Note 2).
If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.
Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for
details.
Note 2: When the VL1V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to
“Expand”.
In order to produce the correct pitch with a WX-series controller when the “Tight Lip” mode is selected, it is necessary to apply the
right amount of pressure to the WX reed (i.e. sax-type embouchure). Adjust the WX controller so that a Pitch Bend value of “0” appears in
the VL1-m monitor display screen (Press [F7] in the PLAY mode to see this display — see Note 3). The VL1 does not have a monitor
display.
Note 3: When the WX controller is set to the “Tight Lip” mode and the VL “WX Lip” parameter is set to “Expand”, the Pitch Bend
value in the monitor display should vary from “-64” to “63” in response to variations in lip pressure.
This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable
for the rock and pop genres, so don’t overlook them for keyboard control.
The A01, A06, A10, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually after a note
is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/E1/ENV/VIBRATO parameter page to “0”.
6
● Voice number
Voice name
Voice explanation
A01 (001)
Hey! Kenny
A soprano sax simulation with delayed vibrato.
A02 (002)
AcoEkoSyn
A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the
light portamento effect.
A03 (003)
BrassSectn
An ensemble with different voices assigned to the two elements. Timing, pitch, and timbre can be
effectively controlled via breath and reed (pitch bend).
A04 (004)
MutedLipWX
A muted trumpet suitable for “old” jazz styles.
A05 (005)
GlassAlto
Bright alto sax, suitable for pop styles. Wide variation with breath pressure.
A06 (006)
C Flute 2
Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise
pitch an octave.
A07 (007)
WXTenorSax
Use lower breath pressures to produce a “gravelly” sound with more subtones. Higher pressure
produces a tone that is ideal for jazz and fusion styles.
A08 (008)
WahUpHarp
Use breath control the wah effect.
A09 (009)
C Trumpet
Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;
tighten for lip slur.
A10 (010)
Shakuhachi
Use lip pressure to shift the fundamental tone.
A11 (011)
WX Bariton
A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.
A12 (012)
AnaEkoSyn
An analog synth with phaser effect. Good for long-tone solos.
A13 (013)
GuitarHero
Reed and breath control can produce some remarkable effects with a distortion guitar voice.
A14 (014)
LonelyPhone
Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching
melodies.
A15 (015)
MoreGrunge
An analog type voice with a long delay. Use over about a 5-octave range.
A16 (016)
Horn 2
Simulates the long tube — and hard-to-play pitch characteristics — of a real horn. You might want
to keep an eye on the monitor display while playing this one.
VL1/VL1-m Version 2 WX Voices
Voice Lists
● Voice number
Voice name
Voice explanation
B01 (017)
MildAltSax
Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.
B02 (018)
JazzBone
Soft timbre on soft passages; brighter when played fortissimo.
B03 (019)
BrightTenr
Tenor sax with a solid attack.
B04 (020)
Clarinet 2
A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very
expressive.
B05 (021)
Blues Harp
A blues harp suitable for punchy lines.
B06 (022)
PanPicol
Somewhere between pan pipes and piccolo.
B07 (023)
OldMini
Analog synth. Breath control produces cutoff resonance type effects. Useful over an extremely wide
range.
B08 (024)
HarpSoprn
A combination of soprano sax and harp.
B09 (025)
WX Trumpet
Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual
upward pitch bend.
B10 (026)
Andean
Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can
also be played as a pan pipe.
B11 (027)
Air Saxes
A dry sax sound.
B12 (028)
Marsaloboe
Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.
B13 (029)
JazzGuitar
Where else can you play jazz guitar with tonguing? Very expressive.
B14 (030)
DoubleBow
Breath control produces effects like bowing a cello. Breath is assigned to bow speed.
B15 (031)
Nz Piccolo
Ebony piccolo with outstanding breath noise at low pressures.
B16 (032)
LM AltoSax
Alto sax for pops or fusion styles.
VL1/VL1-m Version 2 WX Voices
7
Voice Lists
■ VL7 Version 2 Voices
● File name: VL7_VER2.ALL
Loading this file with the “ALL” load option restores the VL7 Version 2 to its initial state as shipped from the factory.
The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/WX” the breath controller or a
WX wind controller cannot be used. Many voices can be played more expressively with a breath controller, so for the notes, below, we
assume that the “Breath Mode” parameter is set to “BC/WX”.
● Voice number
8
Voice name
Voice explanation
A01 (001)
Brassyn
Bright analog synth-brass.
A02 (002)
Jazz Sax
Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about
Ab5.
A03 (003)
AnaBottle
This voice is a combination of an analog sounding square wave type sound with breath noise. It
uses the straight horn algorithm and new fricative waves. It has a very speedy response which is
fun for solos.
A04 (004)
JazzTrumpt
A jazz-oriented trumpet with a wide dynamic range.
A05 (005)
Stick
A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.
A06 (006)
Violin
The breath controller controls both bow pressure and speed on this violin voice. Can also be used in
the cello and viola ranges.
A07 (007)
Wet Mini
Powerfull synth-bass with a lot of resonance.
A08 (008)
Pastorale
A mysterious reed/pipe timbre, quite unlike any existing instrument.
A09 (009)
Warm Dist
Distorted amplified electric guitar.
A10 (010)
IndoPluck
A Mideastern plucked sound.
A11 (011)
Shakuhachi
An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.
A12 (012)
DeepThroat
Strange organ using lots of throat formant.
A13 (013)
Freezing
Experiment with all the controllers.
A14 (014)
EnglishHrn
The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.
A15 (015)
MuteCone
Simulation of the muted trumpet.
A16 (016)
Acid Bass
A perfect bass sound for “acid” basslines.
● Voice number
Voice name
Voice explanation
B01 (017)
AnorakSyn
Unstable oscillator analog synth.
B02 (018)
Tenor Sub
Sax with a strong sub-tone content. A good choice for jazzy phrases.
B03 (019)
SaxyTrump
A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath
pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.
B04 (020)
Trumpet
Bright trumpet. Suitable for a wide range of styles.
B05 (021)
FingerBass
A fingered bass simulation.
B06 (022)
Cello
A natural-sounding cello simulation.
B07 (023)
Soft Mini
An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth
are on the continuous sliders (CC16, CC17).
B08 (024)
Thai Reed
Simulation of a South East Asian (mainly Thailand) reed instrument.
B09 (025)
GuitarHero
A distortion guitar. Controlling the feedback with aftertouch is particularly effective.
B10 (026)
Spanish
Spanish type acoustic guitar.
B11 (027)
C Flute
Flute for a wide range of musical styles.
B12 (028)
Moby
Mysterious sound in which the basic sound components increase successively as the key is
gradually pressed. Best features brought out with aftertouch.
B13 (029)
MechaHorse
Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.
B14 (030)
Oboe
An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5.
B15 (031)
Cornet
A cornet for easy-listening styles.
B16 (032)
Wah Man
Cry-baby wah-pedal effect on the BC.
VL7 Version 2 Voices
Voice Lists
● Voice number
Voice name
Voice explanation
C01 (033)
Ossyncro
An analog synthesizer, oscillator-sync, cross-modulation sound.
C02 (034)
SopranoSax
Try using after touch.
C03 (035)
FlutoPhone
Flute/Sax hybrid. Velocity is assigned to Embouchure, producing an interesting unstable attack in
the upper registers for fast staccato trills in intervals a fifth or more.
C04 (036)
FlugelHorn
A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.
C05 (037)
Fretless
Fretless bass … this one is ideal for melodic lines.
C06 (038)
JetLipBow
A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.
C07 (039)
Solitude
A delicate wind sound.
C08 (040)
Floboe
A combination of properties of several different woodwind instruments.
C09 (041)
JazzGuitar
Electric guitar-like timbre. An obvious choice for jazz.
C10 (042)
Sitar
Simulation of the sitar.
C11 (043)
Pan Pipes
Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.
C12 (044)
Mad Tube
An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.
C13 (045)
Mu
Noise produced by MW1. The tone is controlled by MW2 (CC13).
C14 (046)
Jazz Clari
Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to
soften the tonguing transient.
C15 (047)
Croma Harp
A chromatic harmonica simulation.
C16 (048)
Dubble
New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.
MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.
● Voice number
Voice name
Voice explanation
D01 (049)
AirSqeezer
Simple octave analog synth.
D02 (050)
BaritonSax
Baritone sax suitable for lead lines.
D03 (051)
Aerophone
Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to
Embouchure for alternate bend effect. Aftertouch for growl.
D04 (052)
JazzBone
A trombone simulation.
D05 (053)
Tube Bass
Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.
Vary the velocity for dynamic timbre changes.
D06 (054)
Viol Outt
Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for
bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.
D07 (055)
Mr. Mogue
Synthesized bass in octaves.
D08 (056)
Old Tenor
A dry, jazzy tenor sax.
D09 (057)
Cruncher
Distortion guitar. Subtle picking nuances can be controlled via velocity.
D10 (058)
AsianPlck
Oriental plucked sound.
D11 (059)
Piccolo
Simulation of the piccolo.
D12 (060)
No Harm AT
Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for
a unique ‘car horn’ style effect.
D13 (061)
Crystal
ME type pad effect.
D14 (062)
Clarinet
A light clarinet sound useful for classical music. Range is Db2 to about Ab5.
D15 (063)
Blues Harp
A miked harmonica, played through a guitar amplifier.
D16 (064)
Waterphone
Mysterious percussion instrument. Attack is softened with MW1. Squeakiness (embouchure) on
MW2 (CC13). Violent SCRAPE sound with aftertouch.
VL7 Version 2 Voices
9
Voice Lists
■ VL7 Version 2 WX Voices
● File name: VL7V2_WX.ALL
The 32 voices included in this file have been programmed specifically for optimum playability with a Yamaha WX-series wind controller
(WX7/WX11). It is assumed that you will be using the WX Tight Lip mode (see Note 1, below). Also, make sure that the VL1 Version 2 or
VL1-m Version 2 UTILITY/SYSTEM/TG SETTING “WX Lip” parameter is set to “Expand” (see Note 2).
If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.
Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for
details.
Note 2: When the VL7V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to
“Expand”.
In order to produce the correct pitch with a WX-series controller when the “Tight Lip” mode is selected, it is necessary to apply the
right amount of pressure to the WX reed (i.e. sax-type embouchure). Adjust the WX controller for optimum response.
This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable
for the rock and pop genres, so don’t overlook them for keyboard control.
The A01, A06, A08, A10, B07, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually
after a note is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/EL/ENV/VIBRATO parameter page to “0”.
10
● Voice number
Voice name
Voice explanation
A01 (001)
Hey! Kenny
A soprano sax simulation with delayed vibrato.
A02 (002)
AcoEkoSyn
A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the
light portamento effect.
A03 (003)
PanPicol
Somewhere between pan pipes and piccolo.
A04 (004)
MutedLipWX
A muted trumpet suitable for “old” jazz styles.
A05 (005)
GlassAlto
Bright alto sax, suitable for pop styles. Wide variation with breath pressure.
A06 (006)
C Flute 2
Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise
pitch an octave.
A07 (007)
Bassoon 2
An extraordinarily realistic bassoon simulation. Applying reed pressure above F4 shifts the fundamental.
A08 (008)
BreathBow
A bowed string instrument with breath noise.
A09 (009)
C Trumpet
Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;
tighten for lip slur.
A10 (010)
Shakuhachi
Use lip pressure to shift the fundamental tone.
A11 (011)
WX Bariton
A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.
A12 (012)
AnaEkoSyn
An analog synth with phaser effect. Good for long-tone solos.
A13 (013)
GuitarHero
Reed and breath control can produce some remarkable effects with a distortion guitar voice.
A14 (014)
LonelyPhone
Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching
melodies.
A15 (015)
Ophelia
Synth lead with a soft, comfortable delay.
A16 (016)
Horn 2
Simulates the long tube — and hard-to-play pitch characteristics — of a real horn.
● Voice number
Voice name
Voice explanation
B01 (017)
MildAltSax
Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.
B02 (018)
JazzBone
Soft timbre on soft passages; brighter when played fortissimo.
B03 (019)
BrightTenr
Tenor sax with a solid attack.
VL7 Version 2 WX Voices
Voice Lists
B04 (020)
Clarinet
A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very
expressive.
B05 (021)
Blues Harp
A blues harp suitable for punchy lines.
B06 (022)
Ocarina
Somehow more “intimate” than a real ocarina. Make good use of the portamento effect.
B07 (023)
Oboe 2
An oboe simulation with delayed vibrato.
B08 (024)
HarpSoprn
A combination of soprano sax and harp.
B09 (025)
WX Trumpet
Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual
upward pitch bend.
B10 (026)
Andean
Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can
also be played as a pan pipe.
B11 (027)
Air Saxes
A dry sax sound.
B12 (028)
Marsaloboe
Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.
B13 (029)
Alto Oboe
A somewhat “sweet” oboe simulation that sounds a bit like a clarinet. Middle register ideal for soft
melodies.
B14 (030)
DoubleBow
Breath control produces effects like bowing a cello. Breath is assigned to bow speed.
B15 (031)
Nz Piccolo
Ebony piccolo with outstanding breath noise at low pressures.
B16 (032)
LM AltoSax
Alto sax for pops or fusion styles.
■ Additional Version 2 Voices
● File name: ADDITION.ALL
This file includes some excellent voices that are not in the VL1_VER2.ALL or VL7_VER2.ALL files. Most are single-element voices, so
the VL1 voices can be used effectively on the VL7.
In all these voices the BREATH MODE is set to “BC/WX”.
● Voice number
Voice name
Voice explanation
A01 (001)
GlassTenor
Tenor sax with a glass-like resonance.
A02 (002)
Old Tenor2
Tenor sax suited for “old” jazz styles.
A03 (003)
FunkyTenor
Good with heavy backing. Use aftertouch.
A04 (004)
Nat Alto
A natural-sounding alto sax for pops styles. Edit the Modifiers to create your own sound.
A05 (005)
HarpAlto
A blend of harp and alto sax — or a heavily-processed sax, depending on how you play.
A06 (006)
HarpSoprn
Somewhere between soprano and alto sax. Unique sound in the high register.
A07 (007)
SharpTrmp
Bright trumpet with a distinctive upper register.
A08 (008)
MuteLipJaz
Muted trumpet for a wide range of styles.
A09 (009)
Lite Horn
A solo voice with a brass-like harmonic structure.
A10 (010)
DubleDuble
A variation of the Duble voice.
A11 (011)
Floboe 2
A variation of the Floboe voice.
A12 (012)
Cello 2
A variation of the Cello voice.
A13 (013)
JetLipBow2
A variation of the JetLipBow voice.
A14 (014)
LiteViolin
This strings voice is suited for delicate phrases.
A15 (015)
CelleSynth
Anal strings with the Celeste effect.
A16 (016)
WahGtr BC
Wah guitar with the Distortion+Wah effect.
Additional Version 2 Voices
11
MIDI
Voice
DataLists
Format
■ MIDI Data Format for VL1, VL1-m, VL7 Version 2
1 MIDI receive
MIDI
<Rch>
<Rch>
<Rch>
<Rch>
<Rch>
<Rch>
<Rch>
<Dev No>
<Dev No>
<Dev No>
Note : <Rch>
<Dev No>
n
m
:
:
:
:
$8n ...
$9n ...
$Bn $01~$1F ...
$Bn $21~$77 ...
$Bn $79 $00
$Cn ...
$Dn ...
$En ...
$F0 $43 $0m $7A ...
$F0 $43 $1m...
$F0 $43 $2m...
$FE
MIDI receive channel switch
Device number switch
MIDI channel
Device number
Note Off
None On
Control Change
Reset All Controllers
Program Change
Channel Aftertouch
Pitch Bend
Universal Bulk Dump With Additional Header
Parameter Change
Bulk Dump Request
Active Sensing
The Voice number changes according to received Program Changes.
Program Change data
Voice number
VL1,1-m
: $00 ~ $7F
A01(001) ~ H16(128)
VL7
Ignores the third byte of Note Off.
Ignores the second byte of Pitch Bend.
No incoming MIDI signals will be recognized in Demo mode.
: $00 ~ $3F
$40 ~ $7F
A01(001) ~ D16(064)
A01(001) ~ D16(064)
Reception may not be possible if Memory protect is ON in Bulk Dump.
Details of System Exclusive Messages are given later.
While Active Sensing is on, if no MIDI Active Sensing signals are received for
more than around 330 msec, the MIDI receive buffer will be cleared, and any
sound being generated will be cut off.
2 MIDI transmit
[for VL1, VL7]
MIDI
Note On/Off
Modulation Wheel 1
Continuous Slider 1
Continuous Slider 2
Breath Controller
Modulation Wheel 2
and Foot Controller 1,2
Foot Switch 1,2
Program Change
Aftertouch
Pitch Bend Wheel
and Octave Switch
Universal Bulk Dump
With Additional Header
Parameter Change
Active Sensing
12
$9n ...
$Bn $01 ...
$Bn $10 ...
$Bn $11 ...
$Bn $01~$1F, $21~$77 ...
$Bn $01~$1F, $21~$77 ...
$Cn ...
$Cn ...
$Dn ...
$En ...
<on/off>
<Tch>
<Tch>
<Tch>
<Tch>
<Tch>
<on/off>
<Tch>
<Tch>
<Tch>
<Tch>
$F0 $43 $0m $7A ...
<Dev No>
$F0 $43 $1m ...
$FE
<Dev No>
MIDI
Voice
DataLists
Format
Note : <Tch>
<Dev No>
n
m
:
:
:
:
MIDI transmit channel switch
Device number switch
MIDI channel
Device number
If the unit is in Play mode, or if Footswitches 1 or 2 are assigned to Program
Increment in any mode, then Program Increments of any type will cause a
Program Change message corresponding to the Voice number after the
change to be transmitted.
Voice number
Program Change data
VL1
: A01(001) ~ H16(128)
$00 ~ $7F
VL7
: A01(001) ~ D16(064)
$00 ~ $3F
The normal transmitted note numbers corresponding to the keyboard are $30
~ $60.
Use of Keyboard Transpose can shift these values by -$0C ~ +$0C, and use
of Octave Switch can shift them a further -$0C ~ +$0C.
Pitch Bend has 7 bit resolution.
In Demo mode, only Demo sequence data will be transmitted (not keyboard
data).
Details of System Exclusive Message are given later.
Active Sensing will be transmitted every 270 msec approximately.
[for VL1-m]
MIDI
Breath Controller
Universal Bulk Dump
With Additional Header
Parameter Change
Note : <Tch>
<Dev No>
n
m
:
:
:
:
$Bn $02 ...
$F0 $43 $0m $7A ...
<Tch>
<Dev No>
$F0 $43 $1m ...
<Dev No>
MIDI transmit channel switch
Device number switch
MIDI channel
Device number
In Demo mode, only Demo sequence data will be transmitted.
Details of System Exclusive Message are given later.
3 Keyboard and Tone Generator Configuration
Note : Note On/Off messages received
from the keyboard and from
MIDI are indistinguishable. This
also applies to controller data.
Local keyboard and controller
data will always be received,
irrespective of the Transmit and
Receive channel settings.
Keyboards
(Octave Switch)
(Transpose)
Controllers
Tch
VL1-m does not have Keyboards and
only have Breath Controller as a
controller.
MIDI IN
Rch
MIDI OUT
Local on/off
WX Lip
Breath Mode
(Note Shift)
Tone Generator
13
MIDI
Voice
DataLists
Format
4
System Exclusive Message
The following Bulk Dump Data will be transmitted on the Utility/Bulk screen.
System
Program Change Table Bulk
Micro Tuning Bulk,memory no.=0,1
System Bulk
refer to 4.1(VL1-m only)
refer to 4.5.1
refer to 4.1
All Voice
Voice Bulk,memory type=0,memory no.=
$00~$7F
VL1,1-m
$00~$3F
VL7
refer to 4.1
refer to 4.1
Current Voice
Voice Bulk,memory type=$7F
refer to 4.1
When Voice Data is changed in Edit Mode or System Data is changed in
Utility Mode,a Parameter Change formatted as described in the separate
tables,4.2,4.4,4.5.2 will be transmitted.
4.1
Bulk Dump
Both transmitted
is used.
Count Value
0
11110000
1
01000011
2
0000nnnn
3
01111010
4
0bbbbbbb
5
0bbbbbbb
6
7
8
9
10
11
12
13
14
15
14
01001100
01001101
00100000
00100000
00110000
00110001
00110001
00110111
0aaaaaaa
0aaaaaaa
Counts 16 and 17 ignored when receiving “SY” and “PR” data.
On reception, counts 18 ~ 31 are ignored as they are sent as 0’s.
Data for “VC” is
nos.32 ~ 139
Common Data Separate table 5.1,nos.0 ~ 107
nos.140 ~ 1619 Element 1 Data Separate table 5.2,nos.0 ~ 1479
nos.1620 ~ 3099 Element 2 Data Separate table 5.2,nos.0 ~ 1479
(VL1,1-m only)
Data for “SY” is
nos.32 ~ 95
System Data Separate table 5.3,nos.0 ~ 63
Data for “PR” is
nos.32 ~ 159
Program Change Table Data Separate table 5.6,
nos.0 ~ 127
4.2
Parameter Change
Both transmitted
Count Value
0
11110000
1
01000011
2
0001nnnn
3
01010100
4
0000tttt
and received. Universal Bulk Dump With Additional Header
$
F0
43
n
7A
b
b
4C
4D
20
20
30
31
31
37
a
a
16
0ttttttt
t
17
0uuuuuuu
u
18
Ø
31
32
Ø
00000000
00
00000000
0ddddddd
Ø
0sssssss
00
d
11110111
F7
s
Description
= device number
= MSB of byte count
= LSB of byte count
Byte count is from count 6 to the beginning of check
sum.
ascii”L”
ascii”M”
ascii” “
ascii”2"
ascii”0"
ascii”1"
ascii”1"
ascii”7"
= data type
= data type
56,43(ascii”V”,”C”) : Voice
53,59(ascii”S”,”Y”) : System
50,52(ascii”P”,”R”) : Program Change Table (VL1-m
only)
= memory type
0 : Memory, 7F : Edit Buffer
= memory number
Ignored when memory type = 7F.
When memory type = 0, indicates the voice number.
0 ~ 7F : A01(001) ~ H16(128)
VL1,1-m
0 ~ 3F : A01(001) ~ D16(064)
VL7
5
0000000e
6
000000cc
7
8
0ppppppp
0ppppppp
9
0vvvvvvv
(10 0vvvvvvv
11110111
Master Tuning of System Parameters can only be performed during reception.
Transmission will be performed using the 4.4 DX1 Master Tuning Compatibility format. In addition, Device Number Parameter Change cannot be received
or transmission.
Refer to 5 Appended Tables regarding the parameter offset.
4.3
= data
= check sum (The 2’s complement of the 7 bit sum of
the data)
EOX
and received.
$
Description
F0
43
n
= device number
54
t
= parameter type
0 : Common parameter
1 : Element parameter
2 : System parameter
5 : Remote Switch(device number is ignored)
7 : Program Change Table parameter (VL1-m only)
8 : Element,Effect and Modifier on/off
Element, Effect and Modifier on/off is effective in Edit
Mode only. Element on/off is ineffective for VL7.
e
= element number
0 : element 1
1 : element 2
When parameter type = 1, the element number is
effective, otherwise ignored.
Ignored on VL7.
c
= data count
1 : 1byte parameter
2 : 2byte parameter
When parameter type=2,5,7,8, data count=1.
p
= MSB of parameter offset
p
= LSB of parameter offset
Taken as the offset of the leading parameter when
data count is 2.
v
= parameter value
v
= parameter value when data count is 2)
F7 EOX
Bulk Dump Request
Performed only during receive.
Count Value
$
Description
0
11110000
F0
1
01000011
43
2
0010nnnn
n
= device number
3
01111010
7A
4
01001100
4C ascii”L”
5
01001101
4D ascii”M”
6
00100000
20 ascii” “
7
00100000
20 ascii”2"
MIDI
Voice
DataLists
Format
8
9
10
11
12
13
00110000
00110001
00110001
00110111
0aaaaaaa
0aaaaaaa
30
31
31
37
a
a
14
0ttttttt
t
15
0uuuuuuu
u
16
Ø
29
30
00000000
00
00000000
11110111
00
F7
ascii”0"
ascii”1"
ascii”1"
ascii”7"
= data type
= data type
56,43(ascii”V”,”C”) : Voice
53,59(ascii”S”,”Y”) : System
50,52(ascii”P”,”R”) : Program Change Table (VL1-m
only)
= memory type
0 : Memory, 7F : Edit Buffer
= memory number
Ignored when memory type = 7F
When memory type = 0, indicates the voice number.
0 ~ 7F : A01(001) ~ H16(128)
VL1,1-m
0 ~ 3F : A01(001) ~ D16(064)
VL7
13
14
15
16
Ø
30
31
00110001
01001101
01010100
00000000
31
4D
54
00
00000000
0uuuuuuu
00
u
32
Ø
297
298
299
0vvvvvvv
v
= memory number
0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84
= data
0vvvvvvv
0sssssss
11110111
v
s
F7
= check sum
EOX
EOX
4.5.2 Parameter Change
Counts 14 and 15 ignored when receiving “SY” and “PR” data.
On reception, counts 16 ~ 29 are ignored as they are sent as 0’s.
4.4
DX1 Master Tuning Compatibility
The System Master Tuning Parameter Change is transmitted / received in
DX1 compatible format.
Count Value
$
Description
0
11110000
F0
1
01000011
43
2
0001nnnn
n
= device number
3
00000100
04
4
01000000
40
5
0vvvvvvv
v
= parameter value
-64 ~ +63 (o/b)
6
11110111
F7 EOX
ascii”1"
ascii”M”
ascii”T”
On reception, memory number 2~:P-1~ is received as 1:I-2.
Data is
nos.32 ~ 297
Separate table 5.4 Micro Tuning Parameters,
nos.0 ~ 265
Performed only during receive.
Count Value
$
Description
0
11110000
F0
1
01000011
43
2
0001nnnn
n
= device number
3
00110100
34
4
00001011
0B
5
0000000u
u
= memory number
0 : I-1 , 1 : I-2
6
000000pp
p
= MSB of parameter offset
7
0ppppppp
p
= LSB of parameter offset
8
0vvvvvvv
v
= parameter value
9
0vvvvvvv
v
= parameter value
10 11110111
F7 EOX
Refer to the separate table 5.4 Micro Tuning Parameters of the values of p
and v.
(o/b): offset binary (The 2’s complement sign bit reversed.)
4.5.3 Bulk Dump Request
4.5
SY77/99 Micro Tuning Compatibility
The Bulk Dump, Bulk Dump Request, and Parameter Change messages for
Micro Tuning are in SY77/99 compatible format.
4.5.1 Bulk Dump
Transmit / receive
Count Value
$
0
11110000
F0
1
01000011
43
2
0000nnnn
n
3
01111010
7A
4
0bbbbbbb
b
5
0bbbbbbb
b
6
7
8
9
10
11
12
01001100
01001101
00100000
00100000
00111000
00110001
00110000
4C
4D
20
20
38
31
30
Description
= device number
= MSB of byte count
= LSB of byte count
Byte count is from count 6 to the beginning of check
sum.
ascii”L”
ascii”M”
ascii” “
ascii” “
ascii”8"
ascii”1"
ascii”0"
Performed only during receive.
Count Value
$
Description
0
11110000
F0
1
01000011
43
2
0010nnnn
n
= device number
3
01111010
7A
4
01001100
4C ascii”L”
5
01001101
4D ascii”M”
6
00100000
20 ascii” “
7
00100000
20 ascii” “
8
00111000
38 ascii”8"
9
00110001
31 ascii”1"
10 00110000
30 ascii”0"
11 00110001
31 ascii”1"
12 01001101
4D ascii”M”
13 01010100
54 ascii”T”
14 00000000
00
Ø
28 00000000
00
29 0uuuuuuu
u
= memory number
0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84
30 11110111
F7 EOX
15
MIDI
Voice
DataLists
Format
5
Appended Tables
In this table no.
is the parameter number
(decimal)
c
is the data count
(decimal)
p
is the offset (MSB, LSB)
(hexadecimal)
v
is the value
(decimal)
Values may be of four types given below, depending on the range of the
values. These values are expressed in MIDI data in hexadecimal.
0 ~ 127
: 00 ~ 7F
0 ~ 127 , 128 ~ 16383
: 00 00 ~ 00 7F , 01 00 ~ 7F 7F
-64 ~ -1 , 0 , 1 ~ 63
: 40 ~ 7F , 00 , 01 ~ 3F
(2’s compliment)
-128 ~ -1 , 0 , 1 ~ 127
: 01 00 ~ 01 7F , 00 00 , 00 01 ~ 00 7F
(2’s compliment)
Table 5.1 Common Parameters
no.
0~9
10~15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
56
57
59
60
61
62
63
64~73
16
c
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
1
2
1
1
1
1
1
p
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
v
name
00 ~ 00 09 32 ~ 126 Voice Name 1~10
0A ~ 00 0F 0
reserve
10
0~3
Key Mode
VL1,1-m only
11
0~1
Voice Mode
VL1,1-m only
12
0~2
Split Mode
VL1,1-m only
13
0 ~ 127
Split Point
VL1,1-m only
14
0 ~ 24
Split Interval
VL1,1-m only
15
0 ~ 15
Elem1 MIDI Rch
VL1,1-m only
16
0 ~ 15
Elem2 MIDI Rch
VL1,1-m only
17
0 ~ 31
Poly Expand Mode VL1,1-m only
18
0 ~ 31
Poly Expand No.
VL1,1-m only
19
0~2
PB,AT&MOD Mode VL1,1-m only
1A
0 ~ 119
Polyphony Control VL1,1-m only
1B
0~1
Sustain
1C
0~2
Pitch Bend Mode
VL1,1-m only
1D
0~2
Assign Mode
1E
0 ~ 127
Brth Atck Time
1F
0 ~ 127
Brth Atck Gain
20
0 ~ 127
Touch EG Time
21
0 ~ 127
Touch EG Gain
22
0~1
Portamento Time MIDI Control
23
0~1
Portamento Mode
24
0 ~ 127
Portamento Time
25
0~1
Elem1 Portamento
26
0~1
Elem2 Portamento VL1,1-m only
27
-7 ~ 7
Elem1 Detune
28
-7 ~ 7
Elem2 Detune
VL1,1-m only
29
-64 ~ 63 Elem1 Note Shift
2A
-64 ~ 63 Elem2 Note Shift
VL1,1-m only
2B
0~7
Elem1 Rand Pitch
2C
0~7
Elem2 Rand Pitch VL1,1-m only
2D
0 ~ 86
Elem1 MicroTuning
2E
0 ~ 86
Elem2 MicroTuning VL1,1-m only
2F
0 ~ 127
Elem1 Level
30
0 ~ 127
Elem2 Level
VL1,1-m only
31
-64 ~ 63 Elem1 Pan L
32
-64 ~ 63 Elem1 Pan R
33
-64 ~ 63 Elem2 Pan L
VL1,1-m only
34
-64 ~ 63 Elem2 Pan R
VL1,1-m only
35
0 ~ 4 ( 0 ~ 2)
CS1 Class (Voice Mode=0 or VL7)
36
0 ~ 150 (0 ~ 47) CS1 Assign (CS1 Class=1)
38
0 ~ 4 (0 ~ 2)
CS2 Class (Voice Mode=0 or VL7)
39
0 ~ 150 (0 ~ 47) CS2 Assign (CS2 Class=1)
3B
0~3
Destination Effect
3C
0 ~ 122
Effect Controller
3D
0~9
Mod Effect Type
3E
0~1
Elem1 on/off
VL1,1-m only
3F
0~1
Elem2 on/off
VL1,1-m only
40 ~ 00 49 Refer to Table 5.1.1 Mod Effect no.0 ~ 9.
74
1
75
1
76
1
77~94
95
1
96~105
106~107
00
00
00
00
00
00
00
4A
4B
4C
4D ~ 00 5E
5F
60 ~ 00 69
6A ~ 00 6B
0~1
FBD/Reverb Mode
0~3
FBD Type
0 ~ 100
FBD Return
Refer to Table 5.1.2 FBD no.0 ~ 17.
0~8
Reverb Type
Refer to Table 5.1.3 Reverb no.0 ~ 9.
reserve
Table 5.1.1 Modulation Effect
Flanger
no.
0
1
2
3
4
5
7
8
9
c
1
1
1
1
1
2
1
1
1
v
0~2
0 ~ 127
0 ~ 100
0 ~ 126
-8 ~ 8
-100 ~ 100
0~9
0 ~ 10
0 ~ 100
name
Wave
Freq
Depth
Delay
Phase
FB Gain
High
Analog Feel
Wet/Dry Balance
Pitch Change
no.
0
1
2
4
5
6
8
9
c
1
1
2
1
1
2
1
1
v
0~1
-12 ~ 12
-100 ~ 100
0 ~ 100
-12 ~ 12
-100 ~ 100
0 ~ 100
0 ~ 100
name
Mode
Pitch 1
Fine 1
Out 1
Pitch 2
Fine 2
Out 2
Wet/Dry Balance
Distortion
no.
0
1~2
3
4
5
6
7~9
c
1
v
0 ~ 100
1
1
1
1
0~
0~
-10
0~
4
5
~ 10
100
name
Overdrive
reserve
Device
Speaker
Presence
Output Level
reserve
Chorus
no.
0
1
2
3
4
6
7
8~9
c
1
1
1
1
2
1
1
v
0~1
0 ~ 127
0 ~ 100
0 ~ 126
-100 ~ 100
0~9
0 ~ 100
name
Mode
Freq
Depth
Delay
FB Gain
High
Wet/Dry Balance
reserve
v
0~1
0~1(0~3)
0 ~ 127
0 ~ 100
0 ~ 100
-8 ~ 8 ( 0 ~ 1 )
-100 ~ 100
0 ~ 100
name
Mode
Stage (Mode=0)
Freq
Depth
Offset
Phase (Diffusion when Mode=0)
FB Gain
Wet/Dry Balance
reserve
Phaser
no.
0
1
2
3
4
5
6
8
9
c
1
1
1
1
1
1
2
1
MIDI
Voice
DataLists
Format
Symphonic
no.
0
1
2
3
4
5
6~9
c
1
1
1
1
1
1
v
0
0
0
0
0
0
~
~
~
~
~
~
L/C/R
1
127
100
10
12
100
name
Mode
Freq
Depth
Diffusion
Lo-Fi
Wet/Dry Balance
reserve
Celeste
no.
0
1
2
3
4
6
7
8~9
c
1
1
1
1
2
1
1
v
0~1
0 ~ 127
0 ~ 100
0 ~ 126
-100 ~ 100
0 ~ 12
0 ~ 100
name
Mode
Freq
Depth
Delay
FB Gain
Lo-Fi
Wet/Dry Balance
reserve
Distortion+Flanger
no.
0
1
2
3
4
5
6
7
8
9
c
1
1
1
1
1
1
1
1
1
1
v
0 ~ 100
0~5
0 ~ 100
0 ~ 127
0 ~ 100
0 ~ 126
-8 ~ 8
0 ~ 100
0~9
0 ~ 100
name
Overdrive
Speaker
Output Level
Freq
Depth
Delay
Phase
FB Gain
High
Flanger Balance
Distortion+Wah
no.
0
1
2
3
4
5
6
7
8~9
c
1
1
1
1
1
1
1
1
v
0
0
0
0
0
0
0
0
~
~
~
~
~
~
~
~
100
5
100
3
1
127
127
100
name
Overdrive
Speaker
Output Level
Mode
Wah Pre/Post
Cutoff Freq
Resonance
Sens
reserve
Table 5.1.2 Feedback Delay
Mono
no.
0~5
6
8
9
11
12
13~17
c
v
2
1
2
1
1
0
0
0
0
0
~1024
~ 100
~1024
~ 100
~9
c
2
1
1
1
2
1
1
1
v
0
0
0
0
0
0
0
0
~
~
~
~
~
~
~
~
name
reserve
Delay Time
Level
FB Delay Time
FB Gain
High
reserve
L/R
no.
0
2
3
4
5
7
8
9
10~17
512
100
9
100
512
100
9
100
name
Lch Delay Time
Lch FB Gain
Lch High
Lch Level
Rch Delay Time
Rch FB Gain
Rch High
Rch Level
reserve
no.
0
2
3
5
6
8
9
11
12
13~17
c
2
1
2
1
2
1
2
1
1
v
0
0
0
0
0
0
0
0
0
~1024
~ 100
~1024
~ 100
~1024
~ 100
~1024
~ 100
~9
name
Lch Delay Time
Lch Level
Rch Delay Time
Rch Level
Cch Delay Time
Cch Level
FB Delay Time
FB Gain
High
reserve
Table 5.1.3 Reverberation
no.
0
1
2
3
4
6
7
8
9
c
1
1
1
1
2
1
1
1
1
v
0~
0~
0~
0~
0~
-21
-21
0~
0~
100
95
9
10
405
~ 12
~ 12
3
10
name
Return
Reverb Time
High Control
Diffusion
Initial Delay
Treble
Bass
Feel
Reverb Time Boost
Table 5.2 Element Parameters
no.
0
1
2
4
5
6
8
10
11
12
13
14
15
16
18
19
20
22
23
24
26
27
28
29
31
32
33
34
36
37
38
39
41
42
43
44
46
47
c
1
1
2
1
1
2
2
1
1
1
1
1
p
00
00
00
00
00
00
00
00
00
00
00
00
00
01
02
04
05
06
08
0A
0B
0C
0D
0E
v
0 ~ 124
-16 ~ 16
-127 ~ 127
0 ~ 124
0~1
-127 ~ 127
-127 ~ 127
0 ~ 124
0~1
-12 ~ 12
-12 ~ 12
0 ~ 124
2
1
1
2
1
1
2
1
1
1
2
1
1
1
2
1
1
1
2
1
1
1
2
1
1
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
10
12
13
14
16
17
18
1A
1B
1C
1D
1F
20
21
22
24
25
26
27
29
2A
2B
2C
2E
2F
-127 ~ 127
0 ~ 124
-16 ~ 16
-127 ~ 127
0 ~ 124
-16 ~ 16
-127 ~ 127
0 ~ 124
0 ~ 127
-16 ~ 16
-127 ~ 127
0 ~ 124
0 ~ 127
-16 ~ 16
-127 ~ 127
0 ~ 124
0 ~ 127
-16 ~ 16
-127 ~ 127
0 ~ 124
0 ~ 127
-16 ~ 16
-127 ~ 127
0 ~ 124
-16 ~ 16
name
Pressure Control
Pressure Curve
Pressure Depth
Embouchure Control
Embouchure Mode
Embouchure Upper Depth
Embouchure Lower Depth
Pitch Control
Pitch Mode
Pitch Upper Depth
Pitch Lower Depth
Vibrato Control
reserve
Vibrato Depth
Tonguing Control
Tonguing Curve
Tonguing Depth
Amplitude Control
Amplitude Curve
Amplitude Depth
Scream Control
Scream Value
Scream Curve
Scream Depth
B.Noise Control
B.Noise Value
B.Noise Curve
B.Noise Depth
Growl Control
Growl Value
Growl Curve
Growl Depth
T.Formant Control
T.Formant Value
T.Formant Curve
T.Formant Depth
D.Filter Control
D.Filter Curve
17
MIDI
Voice
DataLists
Format
48
50
51
52
54
55
56
58
59
60
62
63
64
65
66
67
68~77
78
79
80
81~82
83
84
85
86~87
88
89
90
91
92
93
95
96
98~118
119
121
122
124~132
133
134
135
136~141
142
143
144
145~148
149
150
151
152~155
156
157
158
159~168
169
170
171
172~181
182
183
184
185~194
195
196
197
198
18
2
1
1
2
1
1
2
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
1
2
00
2
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
30
32
33
34
36
37
38
3A
3B
3C
3E
3F
40
41
42
43
44 ~ 00 4D
4E
4F
50
51 ~ 00 52
53
54
55
56 ~ 00 57
58
59
5A
5B
5C
5D
00 5F
00 60
62 ~ 00 76
00 77
00 79
00 7A
00 7C ~ 01 04
01 05
01 06
01 07
01 08 ~ 01 0D
01 0E
01 0F
01 10
01 11 ~ 01 14
01 15
01 16
01 17
01 18 ~ 01 1D
01 1C
01 1D
01 1E
01 1F ~ 01 28
01 29
01 2A
01 2B
01 2C ~ 01 35
01 36
01 37
01 38
01 39 ~ 01 42
01 43
01 44
01 45
01 46
-127 ~ 127
0 ~ 124
-16 ~ 16
-127 ~ 127
0 ~ 124
-16 ~ 16
-127 ~ 127
0 ~ 124
-16 ~ 16
-127 ~ 127
0~1
0 ~ 96
0 ~ 50
0 ~ 127
0 ~ 127
-64 ~ 63
D.Filter Depth
H.Enhancer Control
H.Enhancer Curve
H.Enhancer Depth
Damping Control
Damping Curve
Damping Depth
Absorption Control
Absorption Curve
Absorption Depth
Trigger Mode
Xfade Speed
Interpolate Speed
B.Noise Level
Break Point 1
Offset 1
Break Point/Offset 2~6
0 ~ 125
B.Noise HPF
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2
0 ~ 127
B.Noise LPF
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2
0 ~ 22
B.Noise Noise
0~1
B.Noise Key On Reset
0 ~ 32
B.Noise Slit Drive
-64 ~ 63
B.Noise Control Balance
0~1
T.Formant Pitch Tracking
0~176(-128~127)
T.Formant Pitch (Tracking=1)
0 ~ 127
Break Point 1
-127 ~ 127
Offset 1
Break Point/Offset 2~8
-127 ~ 127
T.Formant Intens
0 ~ 127
Break Point 1
-127 ~ 127
Offset 1
Break Point/Offset 2~4
-64 ~ 63
T.Formant Amount
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~4
0 ~ 125
T.Formant HPF
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~3
0 ~ 127
T.Formant LPF
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~3
0 ~ 127
Driver Output
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~6
0 ~ 127
Pipe/String Output
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~6
0 ~ 127
Tap Output
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~6
0~1
Tap Sign
0~4
Tap Setting
0 ~ 127
Tap Location
0 ~ 127
Break Point 1
199
200~213
214
215
216
217~230
231~240
241~707
708
710
711
713~718
719~725
726
728
729
731~736
737
738
739
740~743
744
745
746
747
748
749
750~753
754
755
756
757
758
759~764
765
766
767
768~773
774
775
776
777~786
787
788
789
790
791~792
793
794
795
796~797
798
799
800
801
802~807
808
809
810
811~816
817
818
819
820
821
822
1
1
1
1
2
1
2
2
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
01
01
01
01
01
01
01
01
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
05
47
48 ~ 01 55
56
57
58
59 ~ 01 66
67 ~ 01 70
71 ~ 05 43
44
46
47
49 ~ 05 4E
4F ~ 05 55
56
58
59
5B ~ 05 60
61
62
63
64 ~ 05 67
68
69
6A
-64 ~ 63
Offset 1
Break Point/Offset 2~8
0 ~ 127
Amplitude Level
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~8
32 ~ 126
Element Name 1~10
reserve
-127 ~ 127
Excitation Level To Pipe/String
0 ~ 127
Break Point 1
-127 ~ 127
Offset 1
Break Point/Offset 2~3
reserve
-127 ~ 127
Excitation Level To Driver
0 ~ 127
Break Point 1
-127 ~ 127
Offset 1
Break Point/Offset 2~3
0 ~ 127
Excitation LPF Cutoff Freq
0 ~ 127
Break Point 1
-64 ~ 63
Offset 1
Break Point/Offset 2~3
0 ~ 16
Excitation Velo Sens To Level
0 ~ 16
Excitation Velo Sens To LPF
-16 ~ 16
Excitation Velo Sens To
P.Width
05 6B
0 ~ 127
Excitation Pulse Width
05 6C
0 ~ 127
Break Point 1
05 6D
-64 ~ 63
Offset 1
05 6E ~ 05 71
Break Point/Offset 2~3
05 72
reserve
05 73
0~5
HE Carrier Signal
05 74
0 ~ 127
HE Carrier HPF
05 75
0 ~ 127
Break Point 1
05 76
-64 ~ 63
Offset 1
05 77 ~ 05 7C
Break Point/Offset 2~4
05 7D
-64 ~ 63
HE Carrier Overdrive
05 7E
0 ~ 127
Break Point 1
05 7F
-64 ~ 63
Offset 1
06 00 ~ 06 05
Break Point/Offset 2~4
06 06
0 ~ 127
HE Carrier Level
06 07
0 ~ 127
Break Point 1
06 08
-64 ~ 63
Offset 1
06 09 ~ 06 12
Break Point/Offset 2~6
06 13
0~5
HE Modulator Signal
06 14
0 ~ 127
HE Modulator HPF
06 15
0 ~ 127
Break Point 1
06 16
-64 ~ 63
Offset 1
06 17 ~ 06 18
Break Point/Offset 2
06 19
-64 ~ 63
HE Modulator Overdrive
06 1A
0 ~ 127
Break Point 1
06 1B
-64 ~ 63
Offset 1
06 1C ~ 06 1D
Break Point/Offset 2
06 1E
0 ~ 127
HE Modulator Phase
06 1F
0 ~ 127
HE Modulator Index
06 20
0 ~ 127
Break Point 1
06 21
-64 ~ 63
Offset 1
06 22 ~ 06 27
Break Point/Offset 2~4
06 28
-64 ~ 63
HE Balance
06 29
0 ~ 127
Break Point 1
06 2A
-64 ~ 63
Offset 1
06 2B ~ 06 30
Break Point/Offset 2~4
06 31
0~3
DF Filter Mode
06 32
0 ~ 127
DF Input Gain
06 33
0~1
DF Cutoff Tracking
06 34
0~127(-64~63) DF Cutoff Freq (Tracking=1)
06 35
0 ~ 127
Break Point 1
06 36
-64 ~ 63
Offset 1
MIDI
Voice
DataLists
Format
823~826
827
828
829
830~833
834
835
836
837
838
839~844
845
846
847
848~853
854
855
856
857
858
859~860
861
862~863
864
865~866
867
868~869
870
871
872
873
874
875
876
877
878~887
888
889
890
891
892
893
894
895
896
897
898
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
07
07
07
899
1
07 03
0 ~ 16
900~953
954
955
1
1
07 04 ~ 07 39
07 3A
07 3B
0~2
0 ~ 16
956
1
07 3C
-16 ~ 16
957
958
959
960~961
962
963
964
965~966
967
968
969
1
1
1
07
07
07
07
07
07
07
07
07
07
07
0 ~ 127
0 ~ 127
-64 ~ 63
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
37 ~ 06 3A
3B
3C
3D
3E ~ 06 41
42
43
44
45
46
47 ~ 06 4C
4D
4E
4F
50 ~ 06 55
56
57
58
59
5A
5B ~ 06 5C
5D
5E ~ 06 5F
60
61 ~ 06 62
63
64 ~ 06 65
66
67
68
69
6A
6B
6C
6D
6E ~ 06 77
78
79
7A
7B
7C
7D
7E
7F
00
01
02
3D
3E
3F
40 ~ 07 41
42
43
44
45 ~ 07 46
47
48
49
0 ~ 127
0 ~ 127
-64 ~ 63
-64
0~
0~
0~
-64
~ 63
127
127
127
~ 63
0 ~ 127
0 ~ 127
-64 ~ 63
-8 ~ 8
0 ~ 48
0 ~ 127
-64 ~ 63
22 ~ 70
42 ~ 90
64 ~ 112
84 ~ 127
0~
0~
0~
0~
0~
-64
0~
0~
0~
0~
0~
-64
0~
-16
0~
-64
0~
-16
-16
0~
1
127
127
16
127
~ 63
1
127
1023
127
127
~ 63
16
~ 16
127
~ 63
127
~ 16
~ 16
16
-64 ~ 63
0 ~ 127
-64 ~ 63
0 ~ 127
0 ~ 127
-64 ~ 63
Break Point/Offset 2~3
DF Resonance
Break Point 1
Offset 1
Break Point/Offset 2~3
DF Balance
EQ Input Gain
EQ HPF
Break Point 1
Offset 1
Break Point/Offset 2~4
EQ LPF
Break Point 1
Offset 1
Break Point/Offset 2~4
EQ Post EQ Boost
EQ Band1 Freq
Q
Level
EQ Band2 Freq
Q and Level
EQ Band3 Freq
Q and Level
EQ Band4 Freq
Q and Level
EQ Band5 Freq
Q and Level
IE on/off
IE Density
IE Dispersion
IE Roughness
IE Wet Level
IE Level Balance
RSN on/off
RSN Input Gain
RSN Delay Time 1~5
RSN Decay Time
RSN LPF
RSN Conjunction
RSN Diffusion
RSN Phase
RSN Wet Level
RSN Level Balance
IE&RSN Dry Level
Pres EG Attack Rate Offset
Pres EG Release Rate Offset
Pres EG Velocity Sens To
Level
Pres EG Velocity Sens To
Rate
reserve
Pres EG Mode
E&P EG Velocity Sens To
Level
E&P EG Velocity Sens To
Rate
E&P EG Hold Time
Break Point 1
Offset 1
Break Point/Offset 2
E&P EG Initial Level
Break Point 1
Offset 1
Break Point/Offset 2
E&P EG Attack Rate
Break Point 1
Offset 1
970~971
972
973
974
975~976
977
978
979
980~981
982
1
07
07
07
07
07
07
07
07
07
07
4A ~ 07 4B
4C
4D
4E
4F ~ 07 50
51
52
53
54 ~ 07 55
56
983
1
984
1
985
1
986
1
987~988
989
1
990
1
991
1
992~993
994
1
995
1
996
1
997
1
998~999
1000
1
1001
1
1002
2
1004
1
1005
1
1006
1
1007~1008
1009
1
1010
1
1011
1
1012
1
1013
2
1015
1
1016
1
1017
1
1018~1019
1020
1
1021
1
1022
1
1023
1
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
07
57
0 ~ 64
58
0 ~ 127
59
0 ~ 127
5A
-64 ~ 63
5B ~ 07 5C
5D
0 ~ 127
5E
0 ~ 127
5F
-64 ~ 63
60 ~ 07 61
62
0 ~ 127
63
0 ~ 127
64
0 ~ 127
65
-64 ~ 63
66 ~ 07 67
68
0 ~ 127
69
0 ~ 127
6A
-127 ~ 127
6C
0 ~ 127
6D
0 ~ 127
6E
-64 ~ 63
6F ~ 07 70
71
0 ~ 16
72
0 ~ 10
73
0 ~ 127
74
0 ~ 127
75
-127 ~ 127
77
0 ~ 127
78
0 ~ 127
79
-64 ~ 63
7A ~ 07 7B
7C
0 ~ 10
7D
0 ~ 16
7E
0~1
7F
0 ~ 16
1024
08 00
0 ~ 16
08
08
08
08
08
08
08
08
08
08
08
08
08
08
08
08
08
0 ~ 127
0 ~ 127
-64 ~ 63
1
1
1
1
1
1
1
1025
1
1026
1
1027
1
1028~1029
1030
1
1031~1034
1035
1
1036~1039
1040
1
1041~1044
1045
1
1046~1049
1050
1
1051~1054
1055
1
1056
2
1058~1479
01
02
03
04 ~ 08 05
06
07 ~ 08 0A
0B
0C ~ 08 0F
10
11 ~ 08 14
15
16 ~ 08 19
1A
1B ~ 08 1E
1F
20
22 ~ 0B 47
0 ~ 127
0 ~ 127
-64 ~ 63
0 ~ 127
0 ~ 127
-64 ~ 63
0 ~ 64
0 ~ 127
0 ~ 127
0 ~ 127
0 ~ 127
0 ~ 127
0 ~ 127
-127 ~ 127
Break Point/Offset 2
E&P EG Attack Level
Break Point 1
Offset 1
Break Point/Offset 2
E&P EG Decay Rate
Break Point 1
Offset 1
Break Point/Offset 2
E&P EG Depth To
Embouchure
E&P EG Depth To Pitch
Vibrato Delay Time
Break Point 1
Offset 1
Break Point/Offset 2
Vibrato Attack Rate
Break Point 1
Offset 1
Break Point/Offset 2
Vibrato Sustain Level
Vibrato Depth
Break Point 1
Offset 1
Break Point/Offset 2
Vibrato Depth To Embouchure
Vibrato Depth To Pitch
Vibrato Offset
Vibrato Speed
Break Point 1
Offset 1
Break Point/Offset 2
Vibrato Speed Shift
Vibrato Randomness
Growl Depth To Pressure
Growl Depth To B.Noise
Growl Offset
Growl Speed
Break Point 1
Offset 1
Break Point/Offset 2
Growl Randomns
Growl Speed Shift
Growl Vibrato Sync
A&F EG Velocity Sens To
Level
A&F EG Velocity Sens To
Rate
A&F EG Attack Rate 1
Break Point 1
Offset 1
Break Point/Offset 2
A&F EG Attack Level 1
Break Point/Offset 1~2
A&F EG Attack Rate 2
Break Point/Offset 1~2
A&F EG Decay Rate
Break Point/Offset 1~2
A&F EG Sustain Level
Break Point/Offset 1~2
A&F EG Release Rate
Break Point/Offset 1~2
A&F EG Depth To Amplitude
A&F EG Depth To Filter
reserve
19
MIDI
Voice
DataLists
Format
Table 5.3 System Parameters
no.
0~19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51~63
c
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
00
p
00 00 ~ 00 13
00 14
00 15
00 16
00 17
00 18
00 19
00 1A
00 1B
00 1C
00 1D
00 1E
00 1F
00 20
00 21
00 22
00 23
00 24
00 25
00 26
00 27
00 28
00 29
00 2A
00 2B
00 2C
00 2D
00 2E
00 2F
00 30
00 31
00 32
33 ~ 00 3F
v
32 ~ 126
-12 ~ 12
0~1
0~3
-64 ~ 63
0~1
0~1
0~1
0 ~ 127
-16 ~ 17
-16 ~ 17
0 ~ 119
0 ~ 120
0 ~ 120
0 ~ 119
0 ~ 119
0 ~ 119
0 ~ 15
0 ~ 16
0 ~ 17
0
0~1
0~1
0~1
0~2
0 ~ 127
0 ~ 127
-7 ~ 7
0 ~ 127
-7 ~ 7
0 ~ 127
-7 ~ 7
0
name
Greeting Message 1~20
Keyboard Transpose
VL1,7
Local on/off
Octave Switch Hold
VL1,7
Master Tuning
Memory Protect
Reverb
Output
Velocity Curve
VL1,7
After Touch Curve
VL1,7
Breath Control Curve
Modulation Wheel 2
VL1,7
Foot Switch 1
VL1,7
Foot Switch 2
VL1,7
Foot Controller 1
VL1,7
Foot Controller 2
VL1,7
Breath Controller
VL1,7
Transmit Channel
Receive Channel
Device Number
reserve
Display
Confirm
WX Lip
Breath Mode
Touch EG Time
After Touch High Offset
After Touch High Gain
After Touch Low Offset
After Touch Low Gain
Velocity Offset
Velocity Gain
reserve
only
no.
0~254
256~265
c
2
1
p
00 00 ~ 01 7E
02 00 ~ 02 09
v
0 ~ 10794
32 ~ 126
name
C-2~G8
Table Name 1~10
Table 5.5 Remote Switch
no.
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
20
c
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
p
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
name
PLAY
EDIT
UTILITY
COPY
STORE
Data Dial -1
Data Dial +1
Data Dial -16
Data Dial +16
DEC
CURSOR UP
INC
CURSOR LEFT
CURSOR DOWN
CURSOR RIGHT
EXIT
1
1
1
1
1
00
00
00
00
00
10
11~18
19~1C
1D~20
21~30
ENTER
F1~F8
A~D
E~H
1~16
VL1,7 only
VL1 only
VL1,7 only
only
value 0 ~ 63
value 64 ~ 127
only
only
only
only
only
only
only
only
Master Tuning of System Parameters can only be performed during reception.
Transmission will be performed using the 4.4 DX1 Master Tuning Compatibility format. In addition, Device Number Parameter Change cannot be received
or transmission.
Table 5.4 Micro Tuning Parameters
16
17~24
25~28
29~32
33~48
: off
: on
Table 5.6 Program Change Table Parameters
(VL1-m only)
no.
0~127
c
1
p
00 00~7F
v
0 ~ 127
name
001~128
Table 5.7 Element, Effect and Modifier on/off
no.
0
1
2
3
4
5
6
7
8
9
c
1
1
1
1
1
1
1
1
1
1
value 0 ~ 63
value 64 ~ 127
p
00
00
00
00
00
00
00
00
00
00
00
01
02
03
04
05
06
07
08
09
: off
: on
name
Element 1 on/off
VL1,1-m only
Element 2 on/off
VL1,1-m only
Modulation Effect on/off
Feedback Delay on/off
Reverberation on/off
Harmonic Enhancer on/off
Dynamic Filter on/off
Equalizer on/off
Impulse Expander on/off
Resonator on/off
M.D.G., EMI Division © Yamaha Corporation 1995
512POCP6.2-01A0
Printed in Japan
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