Yamaha Version2 Owner's manual

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Yamaha Version2 Owner's manual | Manualzz

Voice Lists & MIDI Data

Contents

■ 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.

● Voice number Voice name

A01 (001) Vintage VL

A02 (002)

A03 (003)

A04 (004)

A05 (005)

A06 (006)

A07 (007)

A08 (008)

A09 (009)

A10 (010)

A11 (011)

A12 (012)

A13 (013)

A14 (014)

A15 (015)

A16 (016)

Jazz Sax

AnaBottle

JazzTrumpt

Stick

Violin

Wet Mini

Pastorale

Warm Dist

Super Jam

Shakuhachi

DeepThroat

XtraX

EnglishHrn

MuteCone

Acid Bass

Voice explanation

Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position or at minimum position for darker sound.

Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is D b 3 to about

A b 5.

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.

A jazz-oriented trumpet with a wide dynamic range.

A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.

The breath controller controls both bow pressure and speed on this violin voice. Can also be used in the cello and viola ranges.

Powerfull synth-bass with a lot of resonance.

A mysterious reed/pipe timbre, quite unlike any existing instrument.

Distorted amplified electric guitar.

A trumpet and trombone horn section with wide dynamics.

An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.

Strange organ using lots of throat formant.

Acid rave lead string sound.

The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.

Simulation of the muted trumpet.

A perfect bass sound for “acid” basslines.

2

● Voice number Voice name

B01 (017) Brassyn

B02 (018)

B03 (019)

B04 (020)

B05 (021)

B06 (022)

B07 (023)

B08 (024)

B09 (025)

B10 (026)

B11 (027)

B12 (028)

B13 (029)

B14 (030)

B15 (031)

B16 (032)

Tenor Sub

SaxyTrump

Trumpet

FingerBass

Cello

Soft Mini

Thai Reed

GuitarHero

DynaTp&Sx

Voice explanation

Bright analog synth-brass.

Sax with a strong sub-tone content. A good choice for jazzy phrases.

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.

Bright trumpet. Suitable for a wide range of styles.

A fingered bass simulation.

A natural-sounding cello simulation.

An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth are on the continuous sliders (CC16, CC17).

Simulation of a South East Asian (mainly Thailand) reed instrument.

A distortion guitar. Controlling the feedback with aftertouch is particularly effective.

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.

C Flute

Moby

Flute for a wide range of musical styles.

Mysterious sound in which the basic sound components increase successively as the key is gradually pressed. Best features brought out with aftertouch.

MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.

Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is B b 2 to about G5.

Mute Boyz

Wah Man

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) .

Cry-baby wah-pedal effect on the BC.

VL1/VL1-m Version 2 Voices

Voice Lists

● Voice number Voice name

C01 (033) Ossyncro

C02 (034)

C03 (035)

SopranoSax

FlutoPhone

C04 (036)

C05 (037)

C06 (038)

C07 (039)

C08 (040)

C09 (041)

C10 (042)

C11 (043)

C12 (044)

C13 (045)

C14 (046)

C15 (047)

C16 (048)

FlugelHorn

Fretless

JetLipBow

OldMini

Japanesque

JazzGuitar

40’sSaxes

Tull Flute

Mad Tube

HydroStorm

Jazz Clari

Croma Harp

JungleBass

Voice explanation

An analog synthesizer, oscillator-sync, cross-modulation sound.

Try using after touch.

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.

A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.

Fretless bass … this one is ideal for melodic lines.

A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.

Solo sound typical of saw-tooth waveforms in analog synthesizers. You can control the balance using CS1 (CC16) and CS2 (CC17) .

Another Shakuhachi with breath noise.

Electric guitar-like timbre. An obvious choice for jazz.

A sax ensemble with that ’40’s jazz feel.

A noisy flute. MW2 (CC13) adjusts growl . Aftertouch is recommended.

An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.

MW1 and Velocity are important controlers for this voice … but try them all.

Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.

A chromatic harmonica simulation

Sliding bass for jungle music.

● Voice number

D01 (049)

D02 (050)

D03 (051)

D04 (052)

D05 (053)

D06 (054)

D07 (055)

D08 (056)

D09 (057)

D10 (058)

D11 (059)

D12 (060)

D13 (061)

D14 (062)

D15 (063)

D16 (064)

Voice name

SynthSplit

BaritonSax

RoundBreth

JazzBone

Tube Bass

Viol Outt

Mr. Mogue

Bagpipes

Cruncher

Mrs.Yang

Piccolo

No Harm AT

Crystal

Clarinet

Blues Harp

PowerBass

Voice explanation

Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position or at minimum position for darker sound.

Baritone sax suitable for lead lines.

An ethnic flute sound in octaves.

A trombone simulation.

Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.

Vary the velocity for dynamic timbre changes.

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.

Synthesized bass in octaves.

Sounds below B b 2 are drones. Scottish folk songs are often performed with drones on B b , and playing in B b Mixolydian mode in the right hand.

Distortion guitar. Subtle picking nuances can be controlled via velocity.

Combination of Chinese violin and violin.

Simulation of the piccolo.

Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for a unique ‘car horn’ style effect.

ME type pad effect.

A light clarinet sound useful for classical music. Range is D b 2 to about A b 5.

A miked harmonica, played through a guitar amplifier.

Big rave bass sound.

VL1/VL1-m Version 2 Voices

3

Voice Lists

● Voice number Voice name

E01 (065)

E02 (066)

E03 (067)

E04 (068)

E05 (069)

AnorakSyn

Bell Miked

Taped Jet

MelTrump

Birdland

E06 (070)

E07 (071)

E08 (072)

E09 (073)

E10 (074)

DoubleBow

Igneous

Solitude

IndoPluck

Elec Lips

E11 (075)

E12 (076)

E13 (077)

E14 (078)

E15 (079)

E16 (080)

Pan Pipes

PlastiSax

Black Hole

BassClari

Lead Bows

Sub Bass

Voice explanation

Unstable oscillator analog synth.

A simulation of saxophone miked close to the bell.

Analog tape sampler type sound. Could be flute or recorder.

Mellow trumpet.

A sound somewhere between an analog synthesizer and electric bass. The bass harmonics are emphasized in the high range.

A bass with strong “stringed instrument” characteristics. CS2 varies the timbre.

Feedback synthesized lead. A simulation of an analog-synthesized distortion guitar.

A delicate wind sound.

A Mideastern plucked sound.

Combination of lead voice, synth lead & shakuhachi. Shakuhachi mode changes produced by MW2

(CC13).

Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.

An alto sax … sounding the way it might if played through a plastic body.

Try every controller.

The sound of the B b bass clarinet. Range is D2 to F5.

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.

A bass sound for the subsonic range.

● Voice number Voice name

F01 (081)

F02 (082)

F03 (083)

F04 (084)

F05 (085)

F06 (086)

F07 (087)

F08 (088)

F09 (089)

F10 (090)

F11 (091)

F12 (092)

F13 (093)

F14 (094)

F15 (095)

F16 (096)

Funny Cat

Old Tenor

SteamLead

Horn

ThumBass

Viowind

50 / 50

Digeritek

Sitar

The Cool

BassFlute

BuzzSax

Freezing

Dubble

BowByBlow

Outback

Voice explanation

Filter-sweep synth sound.

A dry, jazzy tenor sax.

Soft lead w/hard attack. Velocity controls the brigtness of the “steam.” MW2 (CC13) brings the sound up an octave and changes the timbre.

A poly-mode horn voice.

Thumped Bass.

A new type of sound, not belonging to any existing instrumental group. Play using MW2 (CC13),

BC, and aftertouch.

Solo sound using simple analog synthesizer square waves.

Includes elements of distorted guitar, sax, and bowed strings. Use of the breath controller is recommended.

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.

Combination of Flugelhorn & AltoSax. Good for the melody in 4-beat jazz styles.

The sound of the rarely heard bass flute, extending an octave below the C flute. Range: C3 to C6.

A bright, buzzy tenor sax that is very responsive to breath pressure. Try aftertouch for various squeaks and growls.

Experiment with all controllers.

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.

Hard bowed flute/wind hybrid. Very slowly blowing BC pressure sounds octave overtone during attack before stabilizing at fundamental.

A sound incorporating two types of ethnic timbres. Dynamic timbre change is possible using the aftertouch from the lowest note to D2.

4

VL1/VL1-m Version 2 Voices

Voice Lists

● Voice number Voice name

G01 (097)

G02 (098)

G03 (099)

G04 (100)

G05 (101)

G06 (102)

G07 (103)

G08 (104)

G09 (105)

G10 (106)

G11 (107)

G12 (108)

G13 (109)

G14 (110)

G15 (111)

G16 (112)

AirSqeezer

Nat Tenor

Sarangi

Voice explanation

Simple octave analog synth.

Tenor sax with a unique attack.

Traditional Indian string instrument. Use aftertouch vibrato and pitch bend for microtonal ornaments, and for timbral variation.

Cornet

Square

Nu Viola

MoreGrunge A new type of deep synthesized lead.

Aerophone Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to

Embouchure for alternate bend effect. Aftertouch for growl.

Spanish

FluBassoon

Spanish type acoustic guitar.

A classical woodwind ensemble.

Floboe

PlastcReed

A cornet for easy-listening styles.

Synth bass with emphasized filter.

Mellow, woody viola. Range C2-G6. MW2 (CC13) for tremolo. Vary BC pressure for bowing … try tonguing BC for hard bowed attack.

Mu

DarkBasoon

Faerie Bow

Yamasteel

A combination of properties of several different woodwind instruments.

The sound of a plastic reed instrument that is warm at low pressures but thin at higher pressures.

Growl on aftertouch.

Noise produced by MW1. The tone is controlled by MW2 (CC13).

A dark, but lighter bassoon voice than the original VL bassoon. Range is Bb1 (oct down) to Eb5.

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.

A steel drum-like percussion sound. MW2 (CC13) changes the timbre.

● Voice number Voice name

H01 (113) Afterwork

H02 (114)

H03 (115)

H04 (116)

H05 (117)

H06 (118)

H07 (119)

H08 (120)

H09 (121)

H10 (122)

H11 (123)

H12 (124)

H13 (125)

H14 (126)

H15 (127)

H16 (128)

Alto Sax

Tenor Air

Lite Tuba

Brite Bass

Lite Cello

FunkyLead

Syraphone

AsianPlck

BaroqeDuet

GrassHarp

CombMute

Haze

AltoRecrdr

Bowed Saw

Waterphone

Voice explanation

This voice benefits from extensive use of aftertouch.

Bright alto sax simulation.

Unique tenor lead tone. MW2 (CC13) controls Embouchure for subtle pitch bend effects.

A “light” tuba simulation.

Artifical slap-bass. Low velocity for thumped notes; high velocity for slapped notes.

A “light” cello simulation.

Funky wah synth for percussive riffs. Very velocity sensitive.

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.

Oriental plucked sound.

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.

A harmonica type sound with grass reeds. Use a sustain pedal to switch to the mono mode for an ethnic sounding woodwind solo.

Imaginary trumpet type instrument with a very strange mute. Try moving MW2 (CC13) for a more natural vibrato.

A psychedelic fuzzy organ in fifths, with breath control routed to the filter.

A duophonic alto recorder for imitating renaissance recorder duets. Range is F3 to F5.

Sound of a bowed saw. Has the character of Ondes Martenot or Theremin (pioneer electronic instruments).

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”.

● Voice number Voice name

A01 (001)

A02 (002)

A03 (003)

A04 (004)

A05 (005)

A06 (006)

Hey! Kenny

AcoEkoSyn

BrassSectn

Voice explanation

A soprano sax simulation with delayed vibrato.

A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the light portamento effect.

An ensemble with different voices assigned to the two elements. Timing, pitch, and timbre can be effectively controlled via breath and reed (pitch bend).

MutedLipWX A muted trumpet suitable for “old” jazz styles.

GlassAlto Bright alto sax, suitable for pop styles. Wide variation with breath pressure.

A07 (007)

C Flute 2 Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise pitch an octave.

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)

A09 (009)

A10 (010)

A11 (011)

A12 (012)

A13 (013)

A14 (014)

A15 (015)

A16 (016)

WahUpHarp

C Trumpet

Use breath control the wah effect.

Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down; tighten for lip slur.

Shakuhachi

WX Bariton

AnaEkoSyn

GuitarHero

Use lip pressure to shift the fundamental tone.

A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.

An analog synth with phaser effect. Good for long-tone solos.

Reed and breath control can produce some remarkable effects with a distortion guitar voice.

LonelyPhone Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching melodies.

MoreGrunge An analog type voice with a long delay. Use over about a 5-octave range.

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.

6

VL1/VL1-m Version 2 WX Voices

Voice Lists

● Voice number Voice name

B01 (017)

B02 (018)

B03 (019)

B04 (020)

B05 (021)

B06 (022)

B07 (023)

B08 (024)

B09 (025)

B10 (026)

MildAltSax

JazzBone

BrightTenr

Clarinet 2

Voice explanation

Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.

Soft timbre on soft passages; brighter when played fortissimo.

Tenor sax with a solid attack.

A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very expressive.

Blues Harp

PanPicol

A blues harp suitable for punchy lines.

Somewhere between pan pipes and piccolo.

OldMini Analog synth. Breath control produces cutoff resonance type effects. Useful over an extremely wide range.

A combination of soprano sax and harp.

HarpSoprn

WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual upward pitch bend.

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)

B12 (028)

B13 (029)

B14 (030)

B15 (031)

B16 (032)

Air Saxes

Marsaloboe

JazzGuitar

DoubleBow

Nz Piccolo

LM AltoSax

A dry sax sound.

Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.

Where else can you play jazz guitar with tonguing? Very expressive.

Breath control produces effects like bowing a cello. Breath is assigned to bow speed.

Ebony piccolo with outstanding breath noise at low pressures.

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

A01 (001)

A02 (002)

A03 (003)

A04 (004)

A05 (005)

A06 (006)

Voice name

Brassyn

Jazz Sax

AnaBottle

JazzTrumpt

Stick

Violin

A07 (007)

A08 (008)

A09 (009)

A10 (010)

A11 (011)

A12 (012)

A13 (013)

A14 (014)

A15 (015)

A16 (016)

Wet Mini

Pastorale

Warm Dist

IndoPluck

Shakuhachi

DeepThroat

Freezing

EnglishHrn

MuteCone

Acid Bass

Voice explanation

Bright analog synth-brass.

Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is D b 3 to about

A b 5.

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.

A jazz-oriented trumpet with a wide dynamic range.

A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.

The breath controller controls both bow pressure and speed on this violin voice. Can also be used in the cello and viola ranges.

Powerfull synth-bass with a lot of resonance.

A mysterious reed/pipe timbre, quite unlike any existing instrument.

Distorted amplified electric guitar.

A Mideastern plucked sound.

An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.

Strange organ using lots of throat formant.

Experiment with all the controllers.

The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.

Simulation of the muted trumpet.

A perfect bass sound for “acid” basslines.

● Voice number Voice name

B01 (017)

B02 (018)

B03 (019)

B04 (020)

B05 (021)

B06 (022)

B07 (023)

B08 (024)

B09 (025)

B10 (026)

B11 (027)

B12 (028)

B13 (029)

B14 (030)

B15 (031)

B16 (032)

AnorakSyn

Tenor Sub

SaxyTrump

Trumpet

FingerBass

Cello

Soft Mini

Thai Reed

GuitarHero

Spanish

C Flute

Moby

Voice explanation

Unstable oscillator analog synth.

Sax with a strong sub-tone content. A good choice for jazzy phrases.

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.

Bright trumpet. Suitable for a wide range of styles.

A fingered bass simulation.

A natural-sounding cello simulation.

An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth are on the continuous sliders (CC16, CC17).

Simulation of a South East Asian (mainly Thailand) reed instrument.

A distortion guitar. Controlling the feedback with aftertouch is particularly effective.

Spanish type acoustic guitar.

Flute for a wide range of musical styles.

Mysterious sound in which the basic sound components increase successively as the key is gradually pressed. Best features brought out with aftertouch.

MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.

Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is B b 2 to about G5.

Cornet

Wah Man

A cornet for easy-listening styles.

Cry-baby wah-pedal effect on the BC.

8

VL7 Version 2 Voices

Voice Lists

● Voice number Voice name

C01 (033) Ossyncro

C02 (034)

C03 (035)

SopranoSax

FlutoPhone

C04 (036)

C05 (037)

C06 (038)

C07 (039)

C08 (040)

C09 (041)

C10 (042)

C11 (043)

C12 (044)

C13 (045)

C14 (046)

C15 (047)

C16 (048)

FlugelHorn

Fretless

JetLipBow

Solitude

Floboe

JazzGuitar

Sitar

Pan Pipes

Mad Tube

Mu

Jazz Clari

Croma Harp

Dubble

Voice explanation

An analog synthesizer, oscillator-sync, cross-modulation sound.

Try using after touch.

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.

A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.

Fretless bass … this one is ideal for melodic lines.

A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.

A delicate wind sound.

A combination of properties of several different woodwind instruments.

Electric guitar-like timbre. An obvious choice for jazz.

Simulation of the sitar.

Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.

An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.

Noise produced by MW1. The tone is controlled by MW2 (CC13).

Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.

A chromatic harmonica simulation.

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

D01 (049)

D02 (050)

D03 (051)

D04 (052)

D05 (053)

D06 (054)

D07 (055)

D08 (056)

D09 (057)

D10 (058)

D11 (059)

D12 (060)

D13 (061)

D14 (062)

D15 (063)

D16 (064)

AirSqeezer

BaritonSax

Aerophone

JazzBone

Tube Bass

Viol Outt

Mr. Mogue

Old Tenor

Cruncher

AsianPlck

Piccolo

No Harm AT

Crystal

Clarinet

Blues Harp

Waterphone

Voice explanation

Simple octave analog synth.

Baritone sax suitable for lead lines.

Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to

Embouchure for alternate bend effect. Aftertouch for growl.

A trombone simulation.

Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.

Vary the velocity for dynamic timbre changes.

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.

Synthesized bass in octaves.

A dry, jazzy tenor sax.

Distortion guitar. Subtle picking nuances can be controlled via velocity.

Oriental plucked sound.

Simulation of the piccolo.

Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for a unique ‘car horn’ style effect.

ME type pad effect.

A light clarinet sound useful for classical music. Range is D b 2 to about A b 5.

A miked harmonica, played through a guitar amplifier.

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”.

● Voice number Voice name

A01 (001)

A02 (002)

A03 (003)

A04 (004)

A05 (005)

A06 (006)

A07 (007)

Hey! Kenny

AcoEkoSyn

PanPicol Somewhere between pan pipes and piccolo.

MutedLipWX A muted trumpet suitable for “old” jazz styles.

GlassAlto

C Flute 2

Bright alto sax, suitable for pop styles. Wide variation with breath pressure.

Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise pitch an octave.

Bassoon 2

Voice explanation

A soprano sax simulation with delayed vibrato.

A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the light portamento effect.

A08 (008)

A09 (009)

BreathBow

C Trumpet

An extraordinarily realistic bassoon simulation. Applying reed pressure above F4 shifts the fundamental.

A bowed string instrument with breath noise.

Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down; tighten for lip slur.

A10 (010)

A11 (011)

A12 (012)

A13 (013)

A14 (014)

A15 (015)

A16 (016)

Shakuhachi

WX Bariton

AnaEkoSyn

GuitarHero

Use lip pressure to shift the fundamental tone.

LonelyPhone Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching melodies.

Ophelia

Horn 2

A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.

An analog synth with phaser effect. Good for long-tone solos.

Reed and breath control can produce some remarkable effects with a distortion guitar voice.

Synth lead with a soft, comfortable delay.

Simulates the long tube — and hard-to-play pitch characteristics — of a real horn.

● Voice number Voice name

B01 (017) MildAltSax

B02 (018)

B03 (019)

JazzBone

BrightTenr

Voice explanation

Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.

Soft timbre on soft passages; brighter when played fortissimo.

Tenor sax with a solid attack.

10

VL7 Version 2 WX Voices

Voice Lists

B04 (020)

B05 (021)

B06 (022)

B07 (023)

B08 (024)

B09 (025)

B10 (026)

B11 (027)

B12 (028)

B13 (029)

B14 (030)

B15 (031)

B16 (032)

Clarinet

Blues Harp

Ocarina

Oboe 2

HarpSoprn

A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very expressive.

A blues harp suitable for punchy lines.

Somehow more “intimate” than a real ocarina. Make good use of the portamento effect.

An oboe simulation with delayed vibrato.

A combination of soprano sax and harp.

WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual upward pitch bend.

Andean

Air Saxes

Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can also be played as a pan pipe.

A dry sax sound.

Marsaloboe

Alto Oboe

DoubleBow

Nz Piccolo

LM AltoSax

Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.

A somewhat “sweet” oboe simulation that sounds a bit like a clarinet. Middle register ideal for soft melodies.

Breath control produces effects like bowing a cello. Breath is assigned to bow speed.

Ebony piccolo with outstanding breath noise at low pressures.

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

A01 (001) GlassTenor

A02 (002)

A03 (003)

A04 (004)

Old Tenor2

FunkyTenor

Nat Alto

A05 (005)

A06 (006)

A07 (007)

A08 (008)

A09 (009)

A10 (010)

HarpAlto

HarpSoprn

SharpTrmp

MuteLipJaz

Lite Horn

DubleDuble

A11 (011)

A12 (012)

A13 (013)

A14 (014)

A15 (015)

A16 (016)

Floboe 2

Cello 2

JetLipBow2

LiteViolin

CelleSynth

WahGtr BC

Voice explanation

Tenor sax with a glass-like resonance.

Tenor sax suited for “old” jazz styles.

Good with heavy backing. Use aftertouch.

A natural-sounding alto sax for pops styles. Edit the Modifiers to create your own sound.

A blend of harp and alto sax — or a heavily-processed sax, depending on how you play.

Somewhere between soprano and alto sax. Unique sound in the high register.

Bright trumpet with a distinctive upper register.

Muted trumpet for a wide range of styles.

A solo voice with a brass-like harmonic structure.

A variation of the Duble voice.

A variation of the Floboe voice.

A variation of the Cello voice.

A variation of the JetLipBow voice.

This strings voice is suited for delicate phrases.

Anal strings with the Celeste effect.

Wah guitar with the Distortion+Wah effect.

Additional Version 2 Voices

11

12

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>

$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

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

Note : <Rch>

<Dev No> n m

: MIDI receive channel switch

: Device number switch

: MIDI channel

: Device number

Ignores the third byte of Note Off.

Ignores the second byte of Pitch Bend.

No incoming MIDI signals will be recognized in Demo mode.

The Voice number changes according to received Program Changes.

Program Change data Voice number

VL1,1-m : $00 ~ $7F A01(001) ~ H16(128)

VL7 : $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]

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

$9n ...

$Bn $01 ...

$Bn $10 ...

$Bn $11 ...

$Bn $01~$1F, $21~$77 ...

$Bn $01~$1F, $21~$77 ...

$Cn ...

$Cn ...

$Dn ...

$En ...

$F0 $43 $0m $7A ...

$F0 $43 $1m ...

$FE

<on/off>

<on/off>

<Tch>

<Tch>

<Tch>

<Tch>

<Tch>

<Tch>

<Tch>

<Tch>

<Tch>

<Dev No>

<Dev No>

MIDI

Note : <Tch>

<Dev No> n m

: MIDI transmit channel switch

: Device number switch

: MIDI channel

: Device number

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).

[for VL1-m]

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.

VL1

VL7

Voice number

: A01(001) ~ H16(128)

: A01(001) ~ D16(064)

Program Change data

$00 ~ $7F

$00 ~ $3F

Details of System Exclusive Message are given later.

Active Sensing will be transmitted every 270 msec approximately.

MIDI

Breath Controller

Universal Bulk Dump

With Additional Header

Parameter Change

$Bn $02 ...

$F0 $43 $0m $7A ...

$F0 $43 $1m ...

<Tch>

<Dev No>

<Dev No>

Note : <Tch>

<Dev No> n m

: 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)

VL1-m does not have Keyboards and only have Breath Controller as a controller.

MIDI IN Rch

WX Lip

Breath Mode

(Note Shift)

Tone Generator

Controllers

Local on/off

Tch MIDI OUT

13

14

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

All Voice

Voice Bulk,memory type=0,memory no.=

$00~$7F

$00~$3F

VL1,1-m

VL7

Current Voice

Voice Bulk,memory type=$7F refer to 4.1(VL1-m only) refer to 4.5.1

refer to 4.1

refer to 4.1

refer to 4.1

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.

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

4.1

Bulk Dump

Both transmitted and received. Universal Bulk Dump With Additional Header is used.

Count Value $

0 11110000 F0

Description

1 01000011 43

2 0000nnnn n

3 01111010 7A

4 0bbbbbbb b

5 0bbbbbbb b

= device number

= MSB of byte count

= LSB of byte count

Byte count is from count 6 to the beginning of check sum.

6 01001100 4C ascii”L”

7 01001101 4D ascii”M”

8 00100000 20 ascii” “

9 00100000 20 ascii”2"

10 00110000 30 ascii”0"

11 00110001 31 ascii”1"

12 00110001 31 ascii”1"

13 00110111 37 ascii”7"

14 0aaaaaaa a

15 0aaaaaaa a

= data type

= data type

56,43(ascii”V”,”C”) : Voice

53,59(ascii”S”,”Y”) : System

16

17

0ttttttt

0uuuuuuu t u

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

18 00000000 00

Ø

31 00000000 00

32 0ddddddd d

Ø Ø

= data

0sssssss s = check sum (The 2’s complement of the 7 bit sum of the data)

11110111 F7 EOX

4.2

Parameter Change

Both transmitted and received.

Count Value $ Description

0 11110000 F0

1 01000011 43

= device number 2 0001nnnn n

3 01010100 54

4 0000tttt t = parameter type

0 : Common parameter

1 : Element parameter

2 : System parameter

5 0000000e e

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.

= element number

0 : element 1

1 : element 2

6 000000cc c

When parameter type = 1, the element number is effective, otherwise ignored.

Ignored on VL7.

= data count

1 : 1byte parameter

2 : 2byte parameter

When parameter type=2,5,7,8, data count=1.

= MSB of parameter offset 7 0ppppppp p

8 0ppppppp p = LSB of parameter offset

Taken as the offset of the leading parameter when

9 0vvvvvvv

(10 0vvvvvvv v v data count is 2.

= parameter value

= parameter value when data count is 2)

11110111 F7 EOX

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

Bulk Dump Request

Performed only during receive.

Count Value $ Description

0 11110000 F0

1 01000011 43

2 0010nnnn n

3 01111010 7A

= device number

4 01001100 4C ascii”L”

5 01001101 4D ascii”M”

6 00100000 20 ascii” “

7 00100000 20 ascii”2"

8 00110000 30 ascii”0"

9 00110001 31 ascii”1"

10 00110001 31 ascii”1"

11 00110111 37 ascii”7"

12 0aaaaaaa a

13 0aaaaaaa a

= data type

= data type

56,43(ascii”V”,”C”) : Voice

53,59(ascii”S”,”Y”) : System

14

15

0ttttttt

0uuuuuuu t u

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

16 00000000 00

Ø

29 00000000 00

30 11110111 F7 EOX

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 $

0 11110000 F0

Description

1 01000011 43

2 0001nnnn n

3 00000100 04

4 01000000 40

5 0vvvvvvv v

= device number

= parameter value

-64 ~ +63 (o/b)

6 11110111 F7 EOX

(o/b): offset binary (The 2’s complement sign bit reversed.)

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

Description

= device number

= MSB of byte count

= LSB of byte count

Byte count is from count 6 to the beginning of check sum.

6 01001100 4C ascii”L”

7 01001101 4D ascii”M”

8 00100000 20 ascii” “

9 00100000 20 ascii” “

10 00111000 38 ascii”8"

11 00110001 31 ascii”1"

12 00110000 30 ascii”0"

13 00110001 31 ascii”1"

14 01001101 4D ascii”M”

15 01010100 54 ascii”T”

16 00000000 00

Ø

30 00000000 00

31 0uuuuuuu u = memory number

0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84

= data 32 0vvvvvvv

Ø v

297 0vvvvvvv

298 0sssssss v s = check sum

299 11110111 F7 EOX

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

4.5.2 Parameter Change

Performed only during receive.

Count Value $

0 11110000 F0

1 01000011 43

2 0001nnnn n

Description

= device number

3 00110100 34

4 00001011 0B

5 0000000u u

6 000000pp p

7 0ppppppp p

8 0vvvvvvv

9 0vvvvvvv v v

= memory number

0 : I-1 , 1 : I-2

= MSB of parameter offset

= LSB of parameter offset

= parameter value

= parameter value

10 11110111 F7 EOX

Refer to the separate table 5.4 Micro Tuning Parameters of the values of p and v.

4.5.3 Bulk Dump Request

Performed only during receive.

Count Value $

0 11110000 F0

1 01000011 43

2 0010nnnn n

Description

= 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

5 Appended Tables

In this table no.

c p v is the parameter number is the data count is the offset (MSB, LSB) is the value

(decimal)

(decimal)

(hexadecimal)

(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

-64 ~ -1 , 0 , 1 ~ 63

-128 ~ -1 , 0 , 1 ~ 127

: 00 00 ~ 00 7F , 01 00 ~ 7F 7F

: 40 ~ 7F , 00 , 01 ~ 3F

(2’s compliment)

: 01 00 ~ 01 7F , 00 00 , 00 01 ~ 00 7F

(2’s compliment)

16

41

42

43

44

37

38

39

40

33

34

35

36

29

30

31

32

25

26

27

28

21

22

23

24

17

18

19

20 no.

0~9

10~15

16

59

60

61

62

53

54

56

57

63

64~73

49

50

51

52

45

46

47

48

Table 5.1 Common Parameters

c p v name

1 00 00 ~ 00 09 32 ~ 126 Voice Name 1~10

1

1

1

1

1

1

1

00 0A ~ 00 0F 0

1 00 10

00 11

00 12

00 13

00 14

00 15

00 16

00 17

0 ~ 3

0 ~ 1

0 ~ 2

0 ~ 15

0 ~ 15 reserve

Key Mode

Voice Mode

Split Mode

0 ~ 127 Split Point

0 ~ 24

0 ~ 31

Split Interval

Elem1 MIDI Rch

Elem2 MIDI Rch

VL1,1-m only

VL1,1-m only

VL1,1-m only

VL1,1-m only

VL1,1-m only

VL1,1-m only

VL1,1-m only

Poly Expand Mode VL1,1-m only

1 00 18

1 00 19

1 00 1A

1 00 1B

0 ~ 31

0 ~ 2

0 ~ 119

0 ~ 1

Poly Expand No.

Sustain

VL1,1-m only

PB,AT&MOD Mode VL1,1-m only

Polyphony Control VL1,1-m only

1 00 1C

1 00 1D

1 00 1E

1 00 1F

1 00 20

1 00 21

1 00 22

1 00 23

0 ~ 2

0 ~ 2

0 ~ 1

0 ~ 1

Pitch Bend Mode VL1,1-m only

Assign Mode

0 ~ 127 Brth Atck Time

0 ~ 127 Brth Atck Gain

0 ~ 127 Touch EG Time

0 ~ 127 Touch EG Gain

Portamento Time MIDI Control

Portamento Mode

1 00 24

1 00 25

1 00 26

1 00 27

1 00 28

1 00 29

1 00 2A

1 00 2B

0 ~ 127 Portamento Time

0 ~ 1 Elem1 Portamento

0 ~ 1

-7 ~ 7

Elem2 Portamento

Elem1 Detune

VL1,1-m only

VL1,1-m only -7 ~ 7 Elem2 Detune

-64 ~ 63 Elem1 Note Shift

-64 ~ 63 Elem2 Note Shift

0 ~ 7 Elem1 Rand Pitch

VL1,1-m only

1

1

1

1

1

1

1

1

00 2C

00 2D

00 2E

00 2F

00 30

00 31

00 32

00 33

1 00 34

1 00 35

2 00 36

1 00 38

2

1

1

1

00 39

00 3B

00 3C

00 3D

0 ~ 7

0 ~ 86

0 ~ 86 Elem2 MicroTuning VL1,1-m only

0 ~ 127 Elem1 Level

0 ~ 127

Elem2 Rand Pitch VL1,1-m only

Elem1 MicroTuning

Elem2 Level

-64 ~ 63 Elem1 Pan L

VL1,1-m only

-64 ~ 63 Elem1 Pan R

-64 ~ 63

-64 ~ 63

0 ~ 4 ( 0 ~ 2)

Elem2 Pan L

Elem2 Pan R

CS1 Class

VL1,1-m only

VL1,1-m only

(Voice Mode=0 or VL7)

0 ~ 150 (0 ~ 47) CS1 Assign (CS1 Class=1)

0 ~ 4 (0 ~ 2) CS2 Class (Voice Mode=0 or VL7)

0 ~ 150 (0 ~ 47) CS2 Assign (CS2 Class=1)

0 ~ 3 Destination Effect

0 ~ 122 Effect Controller

0 ~ 9 Mod Effect Type

1 00 3E

1 00 3F

0 ~ 1

0 ~ 1

Elem1 on/off

Elem2 on/off

VL1,1-m only

VL1,1-m only

00 40 ~ 00 49 Refer to Table 5.1.1 Mod Effect no.0 ~ 9.

74

75

76

77~94

1 00 4A

1 00 4B

0 ~ 1

0 ~ 3

FBD/Reverb Mode

FBD Type

1 00 4C 0 ~ 100 FBD Return

00 4D ~ 00 5E Refer to Table 5.1.2 FBD no.0 ~ 17.

95 1 00 5F 0 ~ 8 Reverb Type

96~105 00 60 ~ 00 69 Refer to Table 5.1.3 Reverb no.0 ~ 9.

106~107 00 6A ~ 00 6B reserve

7

8

4

5

9

2

3

0

1

Table 5.1.1 Modulation Effect

Flanger no.

c v name

1 0 ~ 2

1 0 ~ 127

1 0 ~ 100

1 0 ~ 126

1 -8 ~ 8

2 -100 ~ 100

1 0 ~ 9

1 0 ~ 10

1 0 ~ 100

Wave

Freq

Depth

Delay

Phase

FB Gain

High

Analog Feel

Wet/Dry Balance

8

9

5

6

2

4

0

1

Pitch Change no.

c v

1 0 ~ 1

1 -12 ~ 12

2 -100 ~ 100

1 0 ~ 100

1 -12 ~ 12

2 -100 ~ 100

1 0 ~ 100

1 0 ~ 100

Distortion no.

c v

1 0 ~ 100

3

4

0

1~2

5

6

7~9

1 0 ~ 4

1 0 ~ 5

1 -10 ~ 10

1 0 ~ 100 name

Mode

Pitch 1

Fine 1

Out 1

Pitch 2

Fine 2

Out 2

Wet/Dry Balance name

Overdrive reserve

Device

Speaker

Presence

Output Level reserve

2

3

0

1

4

6

7

8~9

Chorus no.

c v

1 0 ~ 1

1 0 ~ 127

1 0 ~ 100

1 0 ~ 126

2 -100 ~ 100

1 0 ~ 9

1 0 ~ 100 name

Mode

Freq

Depth

Delay

FB Gain

High

Wet/Dry Balance reserve

6

8

9

4

5

2

3

0

1

Phaser no.

c v

1 0 ~ 1 name

Mode

1 0 ~ 1 ( 0 ~ 3 ) Stage (Mode=0)

1 0 ~ 127

1 0 ~ 100

Freq

Depth

1 0 ~ 100 Offset

1 -8 ~ 8 ( 0 ~ 1 ) Phase (Diffusion when Mode=0)

2 -100 ~ 100

1 0 ~ 100

FB Gain

Wet/Dry Balance reserve

2

3

0

1

4

5

6~9

Symphonic no.

c v

1 0 ~ 1

1 0 ~ 127

1 0 ~ 100

1 0 ~ 10

1 0 ~ 12

1 0 ~ 100

2

3

0

1

4

6

7

8~9

Celeste no.

c v

1 0 ~ 1

1 0 ~ 127

1 0 ~ 100

1 0 ~ 126

2 -100 ~ 100

1 0 ~ 12

1 0 ~ 100

6

7

4

5

8

9

2

3

0

1

Distortion+Flanger no.

c v

1 0 ~ 100

1 0 ~ 5

1 0 ~ 100

1 0 ~ 127

1 0 ~ 100

1 0 ~ 126

1 -8 ~ 8

1 0 ~ 100

1 0 ~ 9

1 0 ~ 100

Distortion+Wah no.

c v

2

3

0

1

6

7

4

5

8~9

1 0 ~ 100

1 0 ~ 5

1 0 ~ 100

1 0 ~ 3

1 0 ~ 1

1 0 ~ 127

1 0 ~ 127

1 0 ~ 100 name

Mode

Freq

Depth

Diffusion

Lo-Fi

Wet/Dry Balance reserve name

Mode

Freq

Depth

Delay

FB Gain

Lo-Fi

Wet/Dry Balance reserve name

Overdrive

Speaker

Output Level

Freq

Depth

Delay

Phase

FB Gain

High

Flanger Balance name

Overdrive

Speaker

Output Level

Mode

Wah Pre/Post

Cutoff Freq

Resonance

Sens reserve

Table 5.1.2 Feedback Delay

Mono no.

c v name

8

9

0~5

6

11

12

13~17

2 0 ~1024

1 0 ~ 100

2 0 ~1024

1 0 ~ 100

1 0 ~ 9 reserve

Delay Time

Level

FB Delay Time

FB Gain

High reserve

L/R no.

3

4

0

2

8

9

5

7

10~17 c v

2 0 ~ 512

1 0 ~ 100

1 0 ~ 9

1 0 ~ 100

2 0 ~ 512

1 0 ~ 100

1 0 ~ 9

1 0 ~ 100 name

Lch Delay Time

Lch FB Gain

Lch High

Lch Level

Rch Delay Time

Rch FB Gain

Rch High

Rch Level reserve

L/C/R no.

c v

6

8

9

11

3

5

0

2

12

13~17

2 0 ~1024

1 0 ~ 100

2 0 ~1024

1 0 ~ 100

2 0 ~1024

1 0 ~ 100

2 0 ~1024

1 0 ~ 100

1 0 ~ 9 name

Lch Delay Time

Lch Level

Rch Delay Time

Rch Level

Cch Delay Time

Cch Level

FB Delay Time

FB Gain

High reserve

7

8

4

6

9

2

3

0

1

Table 5.1.3 Reverberation no.

c v name

1 0 ~ 100

1 0 ~ 95

1 0 ~ 9

1 0 ~ 10

2 0 ~ 405

1 -21 ~ 12

1 -21 ~ 12

1 0 ~ 3

1 0 ~ 10

Return

Reverb Time

High Control

Diffusion

Initial Delay

Treble

Bass

Feel

Reverb Time Boost

2 00 10

1 00 12

1 00 13

2 00 14

1 00 16

1 00 17

2 00 18

1 00 1A

1 00 1B

1 00 1C

2 00 1D

1 00 1F

1 00 20

1 00 21

2 00 22

1 00 24

1 00 25

1 00 26

2 00 27

1 00 29

1 00 2A

1 00 2B

2 00 2C

1 00 2E

1 00 2F

34

36

37

38

29

31

32

33

24

26

27

28

19

20

22

23

44

46

47

39

41

42

43

14

15

16

18

10

11

12

13

6

8

4

5

1

2 no.

0

Table 5.2 Element Parameters

c p

1 00 00

1 00 01

2 00 02

1 00 04

1 00 05

2 00 06

2 00 08

1 00 0A

1 00 0B

1 00 0C

1 00 0D

1 00 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

-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

18

91

92

93

86~87

88

89

90

68~77

78

79

80

81~82

83

84

85

64

65

66

67

59

60

62

63

54

55

56

58

48

50

51

52

1 00 5F

2 00 60

00 62 ~ 00 76

2 00 77

1 00 79

2 00 7A

00 7C ~ 01 04

1 01 05

1 01 06

1 01 07

01 08 ~ 01 0D

1 01 0E

1 01 0F

1 01 10

01 11 ~ 01 14

1 01 15

1 01 16

1 01 17

01 18 ~ 01 1D

1 01 1C

1 01 1D

1 01 1E

01 1F ~ 01 28

1 01 29

1 01 2A

1 01 2B

01 2C ~ 01 35

1 01 36

1 01 37

1 01 38

01 39 ~ 01 42

1 01 43

1 01 44

1 01 45

1 01 46

150

151

152~155

156

157

158

159~168

169

170

171

172~181

182

183

184

185~194

195

196

197

198

95

96

98~118

119

121

122

124~132

133

134

135

136~141

142

143

144

145~148

149

2 00 30

1 00 32

1 00 33

2 00 34

1 00 36

1 00 37

2 00 38

1 00 3A

1 00 3B

2 00 3C

1 00 3E

1 00 3F

1 00 40

1 00 41

1 00 42

1 00 43

00 44 ~ 00 4D

1 00 4E

1 00 4F

1 00 50

00 51 ~ 00 52

1 00 53

1 00 54

1 00 55

00 56 ~ 00 57

1 00 58

1 00 59

1 00 5A

1 00 5B

1 00 5C

2 00 5D

-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

0 ~ 125

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

Break Point/Offset 2~6

B.Noise HPF

Break Point 1

Offset 1

Break Point/Offset 2

B.Noise LPF

Break Point 1

Offset 1

0 ~ 22

0 ~ 1

0 ~ 32

-64 ~ 63

0 ~ 1

Break Point/Offset 2

B.Noise Noise

B.Noise Key On Reset

B.Noise Slit Drive

B.Noise Control Balance

T.Formant Pitch Tracking

0~176(-128~127)

0 ~ 127

-127 ~ 127

T.Formant Pitch (Tracking=1)

Break Point 1

Offset 1

Break Point/Offset 2~8

-127 ~ 127

0 ~ 127

-127 ~ 127

-64 ~ 63

0 ~ 127

-64 ~ 63

T.Formant Intens

Break Point 1

Offset 1

Break Point/Offset 2~4

T.Formant Amount

Break Point 1

Offset 1

Break Point/Offset 2~4

0 ~ 125

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

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

T.Formant HPF

Break Point 1

Offset 1

Break Point/Offset 2~3

T.Formant LPF

Break Point 1

Offset 1

Break Point/Offset 2~3

Driver Output

Break Point 1

Offset 1

Break Point/Offset 2~6

Pipe/String Output

Break Point 1

Offset 1

Break Point/Offset 2~6

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 1

0 ~ 4

0 ~ 127

0 ~ 127

Tap Output

Break Point 1

Offset 1

Break Point/Offset 2~6

Tap Sign

Tap Setting

Tap Location

Break Point 1

817

818

819

820

821

822

794

795

796~797

798

799

800

801

802~807

808

809

810

811~816

767

768~773

774

775

776

777~786

787

788

789

790

791~792

793

747

748

749

750~753

754

755

756

757

758

759~764

765

766

711

713~718

719~725

726

728

729

731~736

737

738

739

740~743

744

745

746

199

200~213

214

215

216

217~230

231~240

241~707

708

710

1 05 6B

1 05 6C

1 05 6D

05 6E ~ 05 71

05 72

1 05 73

1 05 74

1 05 75

1 05 76

05 77 ~ 05 7C

1 05 7D

1 05 7E

1 05 7F

06 00 ~ 06 05

1 06 06

1 06 07

1 06 08

06 09 ~ 06 12

1 06 13

1 06 14

1 06 15

1 06 16

06 17 ~ 06 18

1 06 19

1 01 47

1

1

01 48 ~ 01 55

01 56

01 57

-64 ~ 63

0 ~ 127

0 ~ 127

1 01 58

01 59 ~ 01 66

-64 ~ 63

01 67 ~ 01 70 32 ~ 126

01 71 ~ 05 43

2 05 44

1 05 46

2 05 47

05 49 ~ 05 4E

05 4F ~ 05 55

-127 ~ 127

0 ~ 127

-127 ~ 127

-127 ~ 127

0 ~ 127

-127 ~ 127

2 05 56

1 05 58

2 05 59

05 5B ~ 05 60

1 05 61

1 05 62

1 05 63

05 64 ~ 05 67

1 05 68

1 05 69

1 05 6A

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 16

0 ~ 16

-16 ~ 16

1 06 1A

1 06 1B

1

1

1

1

1

06 1C ~ 06 1D

1 06 1E

1 06 1F

06 20

1 06 21

06 22 ~ 06 27

06 28

1 06 29

1 06 2A

06 2B ~ 06 30

06 31

06 32

06 33

1 06 34

1 06 35

1 06 36

Offset 1

Break Point/Offset 2~8

Amplitude Level

Break Point 1

Offset 1

Break Point/Offset 2~8

Element Name 1~10 reserve

Excitation Level To Pipe/String

Break Point 1

Offset 1

Break Point/Offset 2~3 reserve

Excitation Level To Driver

Break Point 1

Offset 1

Break Point/Offset 2~3

Excitation LPF Cutoff Freq

Break Point 1

Offset 1

Break Point/Offset 2~3

Excitation Velo Sens To Level

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 5

0 ~ 127

0 ~ 127

-64 ~ 63

Excitation Velo Sens To LPF

Excitation Velo Sens To

P.Width

Excitation Pulse Width

Break Point 1

Offset 1

Break Point/Offset 2~3 reserve

HE Carrier Signal

HE Carrier HPF

Break Point 1

Offset 1

-64 ~ 63

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

Break Point/Offset 2~4

HE Carrier Overdrive

Break Point 1

Offset 1

Break Point/Offset 2~4

HE Carrier Level

Break Point 1

Offset 1

Break Point/Offset 2~6

HE Modulator Signal

HE Modulator HPF

Break Point 1

0 ~ 5

0 ~ 127

0 ~ 127

-64 ~ 63

-64 ~ 63

0 ~ 127

-64 ~ 63

Offset 1

Break Point/Offset 2

HE Modulator Overdrive

Break Point 1

Offset 1

Break Point/Offset 2

0 ~ 127

0 ~ 127

0 ~ 127

-64 ~ 63

HE Modulator Phase

HE Modulator Index

Break Point 1

Offset 1

Break Point/Offset 2~4

HE Balance -64 ~ 63

0 ~ 127

-64 ~ 63

0 ~ 3

0 ~ 127

0 ~ 1

Break Point 1

Offset 1

Break Point/Offset 2~4

DF Filter Mode

DF Input Gain

DF Cutoff Tracking

0~127(-64~63) DF Cutoff Freq (Tracking=1)

0 ~ 127 Break Point 1

-64 ~ 63 Offset 1

888

889

890

891

892

893

894

895

823~826

827

828

829

830~833

834

835

836

837

838

839~844

845

846

847

848~853

854

1

1

1

1

1

1

06 37 ~ 06 3A

06 3B

06 3C

06 3D

06 3E ~ 06 41

06 42

06 43

06 44

1 06 45

1 06 46

06 47 ~ 06 4C

1 06 4D

1 06 4E

1 06 4F

06 50 ~ 06 55

1 06 56

0 ~ 127

0 ~ 127

-64 ~ 63

-64 ~ 63

0 ~ 127

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

855

856

857

858

859~860

861

862~863

864

1 06 57

1 06 58

1 06 59

1 06 5A

06 5B ~ 06 5C

1 06 5D

06 5E ~ 06 5F

1 06 60

-8 ~ 8

0 ~ 48

0 ~ 127

-64 ~ 63

22 ~ 70

42 ~ 90

64 ~ 112

865~866

867

06 61 ~ 06 62

1 06 63 84 ~ 127

868~869

870

871

872

873

874

875

876

877

1

1

1

1

1

1

1

06 64 ~ 06 65

06 66

06 67

06 68

06 69

06 6A

06 6B

06 6C

1 06 6D

0 ~ 1

0 ~ 127

0 ~ 127

0 ~ 16

0 ~ 127

-64 ~ 63

0 ~ 1

0 ~ 127

878~887 2 06 6E ~ 06 77 0 ~ 1023

896

897

898

1

1

1

1

1

1

1

1

1

1

1

06 78

06 79

06 7A

06 7B

06 7C

06 7D

06 7E

06 7F

07 00

07 01

07 02

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 16

-16 ~ 16

0 ~ 127

-64 ~ 63

0 ~ 127

-16 ~ 16

-16 ~ 16

0 ~ 16

899 1 07 03 0 ~ 16

900~953

954

955

07 04 ~ 07 39

1 07 3A

1 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 07 3D

1 07 3E

1 07 3F

07 40 ~ 07 41

1 07 42

1 07 43

1 07 44

07 45 ~ 07 46

1 07 47

1 07 48

1 07 49

0 ~ 127

0 ~ 127

-64 ~ 63

-64 ~ 63

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

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

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

970~971

972

973

974

975~976

977

978

979

980~981

982

07 4A ~ 07 4B

1 07 4C

1 07 4D

1 07 4E

07 4F ~ 07 50

1 07 51

1 07 52

1 07 53

07 54 ~ 07 55

1 07 56

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 64

983

984

985

986

987~988

989

990

991

992~993

994

995

996

997

998~999

1000

1001

1 07 57

1 07 58

1 07 59

1 07 5A

07 5B ~ 07 5C

1 07 5D

1 07 5E

1 07 5F

07 60 ~ 07 61

1 07 62

1 07 63

1 07 64

1 07 65

07 66 ~ 07 67

1 07 68

1 07 69

1002

1004

1005

1006

2 07 6A

1 07 6C

1 07 6D

1 07 6E

1007~1008

1009

07 6F ~ 07 70

1 07 71

1010

1011

1

1

07 72

07 73

1012

1013

1015

1016

1 07 74

2 07 75

1 07 77

1 07 78

1017

1018~1019

1 07 79

07 7A ~ 07 7B

1020

1021

1

1

07 7C

07 7D

1022

1023

1 07 7E

1 07 7F

0 ~ 64

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

-127 ~ 127

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 16

0 ~ 10

0 ~ 127

0 ~ 127

-127 ~ 127

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 10

0 ~ 16

0 ~ 1

0 ~ 16

1024 1 08 00

1025

1026

1 08 01

1 08 02

1027

1028~1029

1 08 03

08 04 ~ 08 05

1030

1031~1034

1 08 06

08 07 ~ 08 0A

1035

1036~1039

1 08 0B

08 0C ~ 08 0F

1040

1041~1044

1 08 10

08 11 ~ 08 14

1045

1046~1049

1 08 15

08 16 ~ 08 19

1050

1051~1054

1 08 1A

08 1B ~ 08 1E

1055

1056

1058~1479

1

2

08 1F

08 20

08 22 ~ 0B 47

0 ~ 16

0 ~ 127

0 ~ 127

-64 ~ 63

0 ~ 127

0 ~ 127

0 ~ 127

0 ~ 127

0 ~ 127

0 ~ 127

-127 ~ 127

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

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

19

20

Table 5.3 System Parameters

38

39

40

41

34

35

36

37

30

31

32

33

26

27

28

29

22

23

24

25 no.

c p v name

0~19 1 00 00 ~ 00 13 32 ~ 126 Greeting Message 1~20

20

21

1

1

00 14

00 15

-12 ~ 12

0 ~ 1

Keyboard Transpose

Local on/off

VL1,7 only

VL1,7 only 1 00 16

1 00 17

1 00 18

1 00 19

0 ~ 3

-64 ~ 63

0 ~ 1

0 ~ 1

Octave Switch Hold

Master Tuning

Memory Protect

Reverb

1

1

1

1

1

1

1

1

00 1A

00 1B

00 1C

00 1D

00 1E

00 1F

00 20

00 21

0 ~ 1

0 ~ 127

-16 ~ 17

-16 ~ 17

0 ~ 119

0 ~ 120

0 ~ 120

0 ~ 119

Output

Velocity Curve

After Touch Curve

Breath Control Curve

Modulation Wheel 2

Foot Switch 1

Foot Switch 2

Foot Controller 1

VL1,7 only

VL1,7 only

VL1,7 only

VL1,7 only

VL1,7 only

VL1,7 only

VL1,7 only

VL1,7 only

1 00 22

1 00 23

1 00 24

1 00 25

1 00 26

1 00 27

1 00 28

1 00 29

0 ~ 119

0 ~ 119

0 ~ 15

0 ~ 16

0 ~ 17

0

0 ~ 1

0 ~ 1

Foot Controller 2

Breath Controller

Transmit Channel

Receive Channel

Device Number reserve

Display

Confirm

46

47

48

49

42

43

44

45

1

1

1

1

1

1

1

1

00 2A

00 2B

00 2C

00 2D

00 2E

00 2F

00 30

00 31

50 1 00 32

51~63 00 33 ~ 00 3F

0 ~ 1

0 ~ 2

0 ~ 127

0 ~ 127

-7 ~ 7

0 ~ 127

-7 ~ 7

0 ~ 127

-7 ~ 7

0

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

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.

16

17~24

25~28

29~32

33~48

1

1

1

1

1

00 10

00 11~18

00 19~1C

00 1D~20

00 21~30 value 0 ~ 63 : off value 64 ~ 127 : on

ENTER

F1~F8

A~D

E~H

1~16

VL1,7 only

VL1 only

VL1,7 only

Table 5.6 Program Change Table Parameters

(VL1-m only) no.

0~127 c p

1 00 00~7F v

0 ~ 127 name

001~128

Table 5.7 Element, Effect and Modifier on/off

7

8

9

5

6

3

4

1

2 no.

0 c p

1 00 00

1 00 01

1 00 02

1 00 03

1 00 04

1 00 05

1 00 06

1 00 07

1 00 08

1 00 09 name

Element 1 on/off

Element 2 on/off

VL1,1-m only

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 value 0 ~ 63 : off value 64 ~ 127 : on

Table 5.4 Micro Tuning Parameters

no.

0~254 c

2 p

00 00 ~ 01 7E v

0 ~ 10794

256~265 1 02 00 ~ 02 09 32 ~ 126 name

C-2~G8

Table Name 1~10

Table 5.5 Remote Switch

11

12

13

14

15

7

8

9

10

5

6

3

4

1

2 no.

0 c p

1 00 00

1 00 01

1 00 02

1 00 03

1 00 04

1 00 05

1 00 06

1 00 07

1 00 08

1 00 09

1 00 0A

1 00 0B

1 00 0C

1 00 0D

1 00 0E

1 00 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

M.D.G., EMI Division © Yamaha Corporation 1995

512POCP6.2-01A0 Printed in Japan

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