Yamaha Version2 Owner's manual
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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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