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Yamaha VL70-M

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About

Yamaha VL70-MYamaha VL70M - Single Voice Virtual Acoustic Synthesizer Module - 1
YAMAHA VL70-m Virtual Acoustic Tone GeneratorAn exceptionally powerful, flexible creativity tool. Yamaha's half-rackspace monophonic Virtual Acoustic Tone Generator delivers rich, resonant acoustic sounds. The VL70-M module features 256 presets in 2 banks, VL-XG mode with effects, BC and WX input, and more. VA Synthesis unique to Yamaha offers computer-based physical modeling technology which accurately simulates the complex vibrations, resonances, reflections, and other acoustic phenomena t... Read more

Details
Brand: YAMAHA
Part Numbers: VL70-m, VL70M
UPC: 086792575223

 

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Comments to date: 7. Page 1 of 1. Average Rating:
bennettsupply 5:22pm on Wednesday, October 27th, 2010 
Great cover,durable,bright color,fast shipment,very pleased with purchase. This item is mislabeled. It is not for motorolal, it is for iphone only! really like it, have had it for over a month and it holds up well and is very pretty. great buy!
LukenShiro 10:48pm on Monday, September 27th, 2010 
Great phone, however, the user interface could be better; I get tried of the on off switch to answer a phone call.
cire3400 1:32am on Friday, September 17th, 2010 
I have owned phones from LG to Samsung and this would be my first Motorola, I am very happy with it. It has a great large screen.
darkelf18 9:47am on Thursday, September 9th, 2010 
BUYER BEWARE - This phone is not compatible with North American 3G bands. All in all I love this phone, only one I can think that is better is the Samsung I9000 Galaxy S. First to all the people who say that this is different than the verizon model; do some reasearch before you post. Second.
nicolasperotto 12:30am on Monday, August 9th, 2010 
I would like to see more service in my town, granted I bought them for use while I was at work.
philip_n 1:08am on Sunday, July 4th, 2010 
i got this flew in from the US and i must say it looked good as i brought it out, i was even impressed by the apps it had on the phone.
alangoho 10:47pm on Thursday, March 25th, 2010 
Overall, I would take this phone over the Droid. I think that the form factor, and Sense UI really help for the consumer. I think that the Droid.

Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.

 

Documents

doc0

Conventions

The following conventions are used through the VL70-m manuals to avoid confusion and make the text easier to read. s Buttons & Controls Button and control names used on the VL70-m panel appear in the text in capital letters within square brackets: the [ENTER] button, for example. s Parameter Ranges An ellipsis is used to indicate a range of parameter values: e.g. 0 127. This minimizes the confusion sometimes caused by the use of a hyphen or dash for this purpose.

Contents

Precautions Virtual Acoustic Synthesis

The VOICE PLAY Mode

The VOICE PLAY Main Control Mode. 31 The VOICE PLAY Sub-control Mode. 34
VA Advantages. 6 The VL70-m Model. 7 s The Instrument. 8 s The Controllers. 9 s The Modifiers. 10 Theres More . 11

The VL-XG PLAY Mode

A Simple XG System Incorporating the VL70-m. 36 The VL-XG PLAY Main Control Mode. 37 The VL-XG PLAY Sub-control Mode. 40
The Controls & Connectors
Controllers & Control Editing
Physical Controllers. VL70-m Controller Parameters. Accessing & Editing the Control Parameters. The Control Edit Parameters. s VOICE Sound Module Mode Control Edit Parameters. s VL-XG Sound Module Mode Control Edit Parameters. s Control Edit Parameter Descriptions. q Pitch Bend. q Modulation Wheel. q Aftertouch. q Assignable Controller. q Expression. q Pressure. q Filter. q Amplitude. q Embouchure. q Tonguing. q Scream. q Breath Noise. q Growl. q Throat Formant. q Harmonic Enhancer. q Damping. q Absorption.
Front Panel. 12 Rear Panel. 25 25

Setting Up

Power Supply. MIDI Connections. Breath Controller. WX-series Wind MIDI Controller. G50 Guitar MIDI Converter. Connecting to a Personal Computer. s Connecting to an Apple Macintosh Series Computer. s Connecting to an IBM PC/AT Series Computer. s Connecting to an NEC PC-9801/9821 Series Computer. Audio Connections. q Headphones. q Stereo Sound System. Power-on Procedure. Play the Demo. The Supplied Demo Disk. The VL70-m Voice Editing Software.
Voice Organization and Sound Module Modes
Voice Organization. The VL70-m Sound Module Modes. s The VOICE Mode. s The VL-XG Mode. s Selecting the VOICE or VL-XG Sound Module Mode. q VL Extension for XG.
Filter & Envelope Generator Editing
Amplitude & Filter EG. Pitch & Embouchre EG. Accessing & Editing the Filter & EG Parameters. The Filter & EG Edit Parameters. s VOICE Sound Module Mode Filter & EG Edit Parameters. s VL-XG Sound Module Mode Filter & EG Edit Parameters. s Filter & EG Edit Parameter Descriptions. q Filter. q Amplitude & Filter Envelope. q Pitch & Embouchure Envelope.

Press this button to select the VL70-m PLAY mode in which voices can be selected and played. If the PLAY mode is already selected, 12 The Controls & Connectors
!2 [MIDI/WX] Button Pressing this button alternately selects the VL70m MIDI and WX control modes (when the rearpanel HOST SELECT switch is set to Mac, PC1, PC-2). page 18 !3 [ENTER] Button
The [ENTER] button is used to engage submodes, confirm input, and execute certain operations. Double-clicking this button (i.e. press the button twice in rapid succession) provides access to the SHOW CONTROL and SHOW EXCLUSIVE (page 103) modes. page 24
XG or VOICE sound module mode (page 27) pressing both buttons simultaneously switches in and out of the PLAY mode sub-control mode (pages 34 and 40). When the EDIT mode is selected the PART buttons can be used to switch between parameters without having to return to the EDIT mode menu. page 36
!6 SELECT [<] and [>] Buttons
These buttons are used to select sub-modes or parameters. In some cases the selection will be made from a menu displays, and in others the SELECT buttons will actually switch display pages. page 31
!4 [EXIT] Button This button is used to exit from sub-modes and cancel certain operations. No matter where you are in the VL70-m display structure, pressing the [EXIT] button (a number of times if necessary) will eventually return you to the PLAY mode. page 24 !5 PART [-] and [+] Buttons When the VL-XG sound module mode is selected (page 28) these buttons select the part to be played. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. In either the VLe w
!7 VALUE [-] and [+] Buttons
Used to select voices and edit parameter values. Either button can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. They also have a large-step function which allows you to skip ahead or backward in larger increments when selecting voices or editing numeric parameters: press either the [-] or [+] button while holding the other button. page 31

y u i o !0 !1

!5 !6 !7

!2 !3 !4

The Controls & Connectors 13

Rear Panel

!8 DC IN Connector The DC output cable from the Yamaha PA-3B AC Power Adaptor supplied with the VL70-m is plugged in here. page 15 !9 OUTPUT L/MONO and R Jacks These are the main stereo outputs from the VL70-m. Be sure to connect both outputs to the appropriate channels of a stereo sound system in order to appreciate the full quality of the VL70m sound and effects. The L/MONO jack can be used alone when connecting to a mono sound system (e.g. a musical instrument amplifier). page 22 @0 MIDI IN, OUT and THRU Connectors The MIDI IN connector receives the data from an external sequencer or other MIDI device which is to control or transmit data to the VL70m. The MIDI THRU connector simply retransmits the data received at the MIDI IN connector, allowing convenient chaining of MIDI devices. The MIDI OUT connector transmits data corresponding to VL70-m Breath Controller operation, or bulk data when one of the MIDI data transmission functions are activated. The MIDI OUT connector can also be used to echo (re-transmit) data received via the MIDI IN or TO HOST connectors. page 16 @1 TO HOST Connector & HOST SELECT Switch This jack and selector switch allow direct connection to a personal computer for sequencing and other music applications without the need for a separate MIDI interface. page 20

HOST SELECT

OUTPUT
MIDI Mac PC-2 PC-1 THRU OUT IN

TO HOST

L/MONO

SER NO.

14 The Controls & Connectors

Power Supply

Your VL70-m comes supplied with a Yamaha PA-3B AC adaptor. Plug the DC output cable from the AC adaptor into the DC IN jack on the rear panel, then plug the adaptor into a convenient wall AC power socket. It is also a good idea to clip the adaptors DC cable into the cable clip on the VL70-m rear panel to minimize the possibility of accidentally unplugging the cable during operation.
s CAUTION Do not attempt to use an AC adaptor other than the supplied unit or an appropriate replacement provided by your Yamaha dealer to power the VL70-m. The use of an incompatible adaptor may cause irreparable damage to the VL70-m, and might pose a serious shock hazard!
Be sure to unplug the AC adaptor from the AC mains socket when the VL70-m is not in use.

HOST SELECT OUTPUT

MIDI Mac PC-2 PC-1

PA-3B AC power socket

Setting Up 15

MIDI Connections

The VL70-m can be used with virtually any type of MIDI controller: keyboard, wind controller, sequencer, etc. To ensure reliable error-free transfer of MIDI data always use high-quality MIDI cables obtained from your Yamaha dealer or music equipment store. Also avoid MIDI cables that are longer than about 15 meters, since cables longer than this can pick up noise which can cause data errors. The VL70-m MIDI receive channel and device number parameters are available via the PLAY mode display and PLAY mode sub-control display (pages 32 and 34). Make sure these parameters are set to match the corresponding settings of the MIDI controller used with the VL70-m. q The VL70-m receives the following MIDI data:
Note Control Change Aftertouch Pitch Bend The played note and velocity values. Modulation wheel, breath controller, foot controller, sustain, and other controller data. Keyboard aftertouch pressure (channel aftertouch only). Pitch bend wheel position.
Program Change Voice numbers and bank select messages. & Bank Select System Exclusive Voice and system data transmitted in the form of bulk dumps.
s NOTES IMPORTANT!: The rear-panel HOST SELECT switch must be set to MIDI when the VL70m is not connected to a computer via the TO HOST connector.
For detailed MIDI specifications refer to the MIDI Data Format on page 26 of the List Book. When using the VL70-m with other MIDI equipment, it is a good idea to refer to the MIDI specifications (implementation chart, MIDI data format) of the equipment used to ensure compatibility.

36 The VL-XG PLAY Mode
The VL-XG PLAY Main Control Mode
This mode is initially engaged when the VL-XG sound module mode is selected. If the sub-control mode is active (see page 40), the main control mode can be selected by simultaneously pressing the PART [-] and [+] buttons. The VL-XG PLAY main control mode display looks like this:
Part Number Receive Channel Bank Number Program Number

Volume Expression

Note Shift Variation Send Chorus Send Reverb Send Pan

The VL-XG PLAY Mode 37

Settings: 01 16, OFF
Sets the MIDI receive channel on which the VL70m will receive data from your keyboard or other controller. The receive channel must be set to the same channel that the controlling device is transmitting on (01 through 16). When OFF is selected, the VL70-m will not receive any data from external MIDI devices.

Expresn (Expression)

Settings: 112 119, Pr1, Pr2, Cst, Int
Sets the expression level of the current voice. The higher the value the higher the expression level.
Selects the VL70-m voice bank: 112 through 119, PRESET 1 (Pr1), PRESET 2 (Pr2), CUSTOM (Cst), or INTERNAL (Int). See Voice Organization on page 26.
Selects the voice to played on the VL70-m. Banks 112 through 119 allow selection of voice numbers from 022 to 128, although some voice numbers are skipped since the VL70-m does not have a full basic XG voice set. The PRESET 1 and PRESET 2 banks each have voice numbers from 001 to 128, while the CUSTOM bank has voice numbers from 001 to 006, and the INTERNAL bank has voice numbers from 001 to 064

38 The VL-XG PLAY Mode

Settings: (on, off when INS)
When the variation stage is connected as a system effect (page 87), this parameter adjusts the level of the signal sent to the VL70-m variation effect stage. The higher the value, the higher the level of the variation send signal. When the variation stage is connected as an insertion effect (page 86), this parameter turns variation send on or off.

03(03): PBLFO PMod

Pitch Bend LFO Pitch Modulation Settings: 000 127
Sets the amount of LFO pitch modulation applied by the pitch controller (e.g. the pitch bend wheel on a keyboard). The higher the value the greater the amount of pitch modulation produced by pitch controller operation. A setting of 000 produces no pitch modulation. In the VL70-m pitch modulation produces extremely realistic vibrato effects by simultaneously modulating the pitch, embouchure, and pressure parameters.
52 Controllers & Control Editing
Modulation Wheel 04(04): MWLFO PMod
Modulation Wheel LFO Pitch Modulation Settings: 000 127
Aftertouch 06(06): ATFil Ctrl Aftertouch Filter Control Settings: -64 +63
Sets the amount of LFO pitch modulation applied by the modulation controller (e.g. the modulation wheel on a keyboard MIDI control change number 01). The higher the value the greater the amount of pitch modulation produced by modulation controller operation. A setting of 000 produces no pitch modulation.
Determines the degree to which the filter is affected by keyboard aftertouch. Plus settings cause the cutoff frequency of the filter to increase in response to increasing aftertouch pressure, while minus values cause the filter frequency to decrease in response to increasing aftertouch pressure.
07(07): ATLFO PMod 05(05): MWLFO FMod
Modulation Wheel LFO Filter Modulation Settings: Aftertouch LFO Pitch Modulation Settings: 000 127
Sets the amount of LFO filter cutoff frequency modulation applied by the modulation controller (e.g. the modulation wheel on a keyboard MIDI control change number 01). The higher the value the greater the amount of filter modulation produced by modulation controller operation. A setting of 000 produces no filter modulation.
Sets the amount of LFO pitch modulation applied by keyboard aftertouch. The higher the value the greater the amount of pitch modulation produced by aftertouch pressure. A setting of 000 produces no pitch modulation.
Controllers & Control Editing 53
Assignable Controller 08(08): AC1 CC No.
Assignable Controller 1 Control Change Number Settings: off 95
amplitude to increase in response to increasing controller values, while minus values cause the amplitude to decrease in response to increasing controller values.

30(19): ScrCtrlDpt

Scream Control Depth Settings: -127 +127 (VL-XG Mode: -64 +63)
Determines the relationship between the controller value and tonguing. When set to +00 the relationship is linear. That is, a change in the controller value produces a corresponding change in tonguing. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents tonguing.
Sets the amount of variation produced by the controller assigned to scream. The higher the value the greater the variation. Positive values cause an increase in scream effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in scream effect in response to higher controller values. The Depth setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents scream.
Controllers & Control Editing 59
31: Scr Curve (VOICE mode only)
Scream Curve Settings: -16 +16
The BnzCtrlDpt parameter, below, must be set to an appropriate value (higher than +01 ro lower than -01) for breath noise control to have any effect.

33(21): BnzCtrlDpt

Breath Noise Control Depth Settings: -127 +127 (VL-XG Mode: -64 +63)
Determines the relationship between the controller value and scream. When set to +00 the relationship is linear. That is, a change in the controller value produces a corresponding change in scream effect. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents scream.

Sets the amount of variation produced by the controller assigned to breath noise. The higher the value the greater the variation. Positive values cause an increase in breath noise in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in breath noise in response to higher controller values. The Depth setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents breath noise.
34: Bnz Curve (VOICE mode only) Breath Noise 32(20): Bnz CC No.
Breath Noise Control Change Number Settings: off 95, AT, VEL, PB Breath Noise Curve Settings: -16 +16
Breath Noise can be used to add the required amount of breath noise to a voice. The Bnz CC No. parameter specifies the controller to be used for breath noise control. When set to off, no breath noise variation can be produced via a controller, but a continuous breath noise value is determined by the 33(21): BnzCtrlDpt parameter, below (negative values increase the breath noise level).
Determines the relationship between the controller value and breath noise. When set to +00 the relationship is linear. That is, a change in the controller value produces a corresponding change in breath noise. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis
60 Controllers & Control Editing
represents the controller value and the vertical axis represents breath noise. The amount of breath noise produced also depends on pressure, so the breath noise curve indicated by the graph at the bottom of the display may not always accurately reflect the perceived curve.
Sets the amount of variation produced by the controller assigned to growl. The higher the value the greater the variation. Positive values cause an increase in growl effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in growl effect in response to higher controller values. The Depth setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents growl.
37: Grl Curve (VOICE mode only) Growl 35(22): Grl CC No. Growl Control Change Number Settings: off 95, AT, VEL, PB
Determines the relationship between the controller value and growl. When set to +00 the relationship is linear. That is, a change in the controller value produces a corresponding change in growl. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents growl.

Growl Curve Settings: -16 +16
Growl produces a periodic pressure modulation which produces the growl effect often heard in wind instruments. The Grl CC No. parameter specifies the controller to be used for growl control. When set to off, no growl variation can be produced via a controller, but a continuous growl value is determined by the 36(23): GrlCtrlDpt parameter, below (negative values increase the growl level). The GrlCtrlDpt parameter, below, must be set to an appropriate value (higher than +01 or lower than -01) for growl control to have any effect.

36(23): GrlCtrlDpt

Growl Control Depth Settings: -127 +127 (VL-XG Mode: -64 +63)
Controllers & Control Editing 61
Throat Formant 38(24): Thr CC No.
Throat Formant Control Change Number Settings: off 95, AT, VEL, PB
40: Thr Curve (VOICE mode only)
Throat Formant Curve Settings: -16 +16
Throat Formant controls the characteristics of the simulated players lungs, trachea, and oral cavity. Can add a realistic roughness to the sound. The Thr CC No. parameter specifies the controller to be used for throat formant control. When set to off, no throat formant variation can be produced via a controller, but a continuous throat formant value is determined by the 39(25): ThrCtrlDpt parameter, below (negative values increase the throat formant level). The ThrCtrlDpt parameter, below, must be set to an appropriate value (higher than +01 or lower than -01) for throat formant control to have any effect. Throat Formant only applies to some reed-type voices.
Determines the relationship between the controller value and throat formant depth. When set to +00 the relationship is linear. That is, a change in the controller value produces a corresponding change in throat formant depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents throat formant depth.

39(25): ThrCtrlDpt

Throat Formant Control Depth Settings: -127 +127 (VL-XG Mode: -64 +63)
Harmonic Enhancer 41(26): Hrm CC No.
Harmonic Enhancer Control Change Number Settings: off 95, AT, VEL, PB
Sets the amount of variation produced by the controller assigned to throat formant. The higher the value the greater the variation. Positive values cause an increase in throat formant effect in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in throat formant effect in response to higher controller values. The Depth setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents throat formant depth.
The Harmonic Enhancer can vary the harmonic structure of the sound over a wide range. The Hrm CC No. parameter specifies the controller to be used for harmonic enhancer depth (wet/dry balance) control. When set to off no harmonic enhancer depth variation can be applied via a controller. The HrmCtrlDpt parameter, below, must be set to an appropriate value (higher than +01
62 Controllers & Control Editing
or lower than -01) for harmonic enhancer control to have any effect. Since most VL70-m voices have sufficient natural harmonic content, the Harmonic Enhancer is actually only used on a few voices. Therefore changing the controller destination with many voices will produce either no change in the sound or a simple change in amplitude. For detailed harmonic enhancer programming use the VL70-m Expert Editor software (page 25).
change in harmonic enhancer depth. As the curve value increases the lower end of the controller range has relatively little effect on the sound while higher controller values produce more dramatic changes. Negative curve values have the opposite effect: the sound changes dramatically at low controller values while higher values produce relatively little effect. The Curve setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth.

42(27): HrmCtrlDpt

Harmonic Enhancer Control Depth Settings: -127 +127 (VL-XG Mode: -64 +63)
Damping 44(28): Dmp CC No.
Sets the amount of variation produced by the controller assigned to the harmonic enhancer. The higher the value the greater the variation. Positive values cause an increase in harmonic enhancer depth in response to higher controller values (e.g. increased breath pressure or higher modulation wheel position), while minus values cause a decrease in harmonic enhancer depth in response to higher controller values. The Depth setting is reflected in the graph at the bottom of the display the horizontal axis represents the controller value and the vertical axis represents harmonic enhancer depth.

08: PolyExpnd (VOICE mode only)
Polyphonic Expansion Settings: 0ff, 02>01, 02>02, 03>01, 03>02, 03>03 32>32
Selects the VL70-m monophonic or polyphonic note mode. When the mono mode is selected note output will always be generated as long as a MIDI note-on message is being received. For example, if you play key A on your keyboard and then, while still holding A, play key B, note B will sound but will switch back to note A the instant key B is released. In the poly mode however, sound output will stop the instant key B is released. When mono is selected and the 14(10): Porta Sw parameter is turned on, the single-trigger mode is engaged (i.e. the EG is not re-triggered if a new note is played while a previous note is held). In all other cases (e.g. the poly mode is selected or the 14(10): Porta Sw parameter is turned off) the multi-trigger mode is engaged and the EG will be re-triggered every time a note is played.
This parameter is used when several VL70-m units are used together to increase the number of notes which can be played simultaneously (polyphony). The number preceding the > should be set to correspond to the number of VL70-m units to be used. The number following the > should be set to a different consecutive number for each VL70-m unit. For example, if you use four VL70-m units their PolyExpnd parameters should be set as follows:
VL70-m Unit No. PolyExpnd Setting 04>01 04>02 04>03 04>04

MIDI OUT MIDI IN

07: AssignMode (VOICE mode only)
Assign Mode Settings: Botm, Top, Last

04>01

MIDI THRU MIDI IN

VL70-m (1st)

04>02
Determines which note will be played when more than one note is played at a time. When Botm (Bottom) is selected only the lowest note in a group of notes played simultaneously will sound. When Top is selected only the highest note in a group of notes played simultaneously will sound. The Last setting causes only the last note played to sound.

VL70-m (2nd)

04>03

VL70-m (3rd)

6. Repeat As Necessary Repeat steps 4 and 5 to edit as many parameters as required. 7. Exit When Done Press ther [EXIT] button to return to the EFFECT sub-mode menu, or the [PLAY] button to return to the PLAY mode when youre finished editing.
Effects & Effect Editing 89

The Reverb Parameters

The reverb effects are essential to give your sound ambience and a sense of dimension, adding warmth and depth to an otherwise dry sound.
Reverb Type Settings: NO EFFECT, HALL 1, HALL 2, ROOM 1, ROOM 2, ROOM 3, STAGE 1, STAGE 2, PLATE, WHITE ROOM, TUNNEL, CANYON, BASEMENT

Rev Pan

Reverb Pan Settings: L63 C R63
Selects the reverb type, or NO EFFECT if no reverb effect is required. Refer to the separate List Book for brief descriptions of each of the reverb types.
Type-Specific Reverb Parameters

See separate List Book

Sets the pan position of the reverb sound i.e. the perceived position of the reverb sound within the stereo sound field. A setting of L63 sets the reverb sound full left, R63 sets the sound full right, and C places the sound in the center. Intermediate settings pan the reverb sound to corresponding positions in the stereo sound field.
Each of the reverb types, selected via the Type parameter, above, has a different set of parameters that specify the actual reverb sound. Refer to the separate List Book for information on the individual parameters for each reverb type.
90 Effects & Effect Editing

The Chorus Parameters

The VL70-m chorus stage actually includes a number of modulation-type effects that can be used to give your sound extra animation and life.
Chorus Type Settings: NO EFFECT, CHORUS 1, CHORUS 2, CHORUS 3, CELESTE 1, CELESTE 2, CELESTE 3, FLANGER 1, FLANGER 2, SYMPHONIC, PHASER
right, and C places the sound in the center. Intermediate settings pan the chorus sound to corresponding positions in the stereo sound field.

SendChoRev

Chorus-to-Reverb Send Level Settings: 000 127
Selects the chorus type, or NO EFFECT if no chorus effect is required. Refer to the separate List Book for brief descriptions of each of the chorus types.

AC1VarCtrl

Assignable Controller 1 Variation Control Settings: -64 +63
Each of the variation types, selected via the Type parameter, above, has a different set of parameters that specify the actual variation effect sound. Refer to the separate List Book for information on the individual parameters for each variation type.
This parameter only becomes available when the VarConnect parameter (page 93) is set to INS (i.e. when the variation stage is connected as an insertion effect). Assignable Controller variation
92 Effects & Effect Editing
control allows one of the selected variation effect parameters to be controlled in real time via assignable controller 1 (page 54). The parameter which can be controlled is individually preset for each variation effect type (see the separate List Book). The AC1VarCtrl parameter determines to what degree the effect parameter is affected by the controller. For example, if the TREMOLO effect is selected the controller affects the LFO Frequency parameter. In this case higher positive AC1VarCtrl values cause increased controller settings to increase the LFO speed, while higher negative values cause increased controller settings to decrease the LFO speed. If this parameter is set to +00 assignable controller 1 has no effect.
higher the value, the more variation signal is sent to the chorus stage. If this parameter and the PLAY mode VarRtn parameter are both set to values higher than 001, the output of the variation stage will be sent in corresponding amounts to the input of the chorus stage and the main outputs. This parameter becomes available when the VarConnect parameter is set to SYS (i.e. when the variation stage is connected as a system effect.)
Variation-to-Reverb Send Level Settings: 000 127

Var Pan

Variation Pan Settings: L63 C R63
Sets the pan position of the variation effect sound i.e. the perceived position of the variation effect sound within the stereo sound field. A setting of L63 sets the variation sound full left, R63 sets the sound full right, and C places the sound in the center. Intermediate settings pan the variation effect sound to corresponding positions in the stereo sound field. This parameter becomes available when the VarConnect parameter is set to SYS (i.e. when the variation stage is connected as a system effect.)
Sets the amount of signal sent from the output of the variation effect stage back to the input of the reverb effect stage (see diagram on page 87). The higher the value, the more variation signal is sent to the reverb stage. If this parameter and the PLAY mode VarRtn parameter are both set to values higher than 001, the output of the variation stage will be sent in corresponding amounts to the input of the reverb stage and the main outputs. This parameter becomes available when the VarConnect parameter is set to SYS (i.e. when the variation stage is connected as a system effect.)

114 Index

Harmonic Enhancer Control Change Number. Harmonic Enhancer Control Depth. Harmonic Enhancer Curve. Harmonic enhancer. Headphones. High Note Limit. HOST SELECT switch. 14
IBM PC, connecting to. 21 Initialize function. 102 Instrument. 8 Internal voice bank. 26
Lip mode. 18 Low Note Limit. 81
Macintosh, connecting to. 20 Manual, about the. 1 Master tuning. 98 Master Volume. 41 Message window. 104 MIDI bulk dump interval. 99 MIDI connections. 16 MIDI connectors. 14 MIDI note filter. 99 MIDI transmit channel. 98 MIDI/WX button. 13 MIDI/WX setting. 18 MODE button. 12 Modifiers. 10 Modulation Wheel LFO Filter Modulation. 53 Modulation Wheel LFO Pitch Modulation. 53 Modulation wheel. 43 Monophonic/Polyphonic Mode. 80
Pitch Bend LFO Pitch Modulation. Pitch Bend Low Control. Pitch bend wheel. PLAY button. Polyphonic Expansion. Portamento Mode. Portamento Switch. Portamento Time. Power supply. Power-on procedure. POWER/VOL control. Precautions. Preset voice banks. Pressure. Pressure Control Change Number. Pressure Control Depth. Pressure Curve. Program number. 32, Program pointer.
Receive channel. 34, Resonance. Reverb pan. Reverb parameters, type specific. Reverb return. 32, Reverb send. 35, Reverb type. 90
Scream. 45 Scream Control Change Number. 59 Scream Control Depth. 59 Scream Curve. 60 SELECT buttons. 13 Show control change. 103 Show exclusive. 103 Sound module mode. 18 Sound module modes. 27, 29 Specifications. 113 Stereo sound system. 22 Store function. 84 System exclusive receive. 98 System transpose. 33
NEC PC-9801/9821, connecting to. 21 Note shift. 35, 39
Other Edit Parameters. 75 OUTPUT L/MONO and R jacks. 14
Throat Formant Control Change Number. Throat Formant Control Depth. Throat Formant Curve. Throat formant. TO HOST connectors. Tonguing. Tonguing Control Change Number. Tonguing Control Depth. Tonguing Curve. Transpose. Treble Tone Control. Troubleshooting. 72 107
Pan. 32, PART buttons. Personal computer, connecting to. PHONES jack. Pitch & Embouchure Envelope Attack Time. Pitch & Embouchure Envelope Initial Level. Pitch & Embouchure Envelope Release Level. Pitch & Embouchure Envelope Release Time. Pitch & embouchure EG. Pitch Bend Control. 66 52

Wind MIDI Controller

Extraordinary Playability and Versatility
The Yamaha WX5 Wind MIDI Controller takes wind MIDI control to new levels of performance and playability. With precise, responsive wind and lip sensors, a choice of single-reed or recorder type mouthpieces, and a range of fingering modes, the WX5 makes expressive wind control more accessible than ever before. The WX5 gives experienced wind players a new medium and vastly expanded sonic possibilities in a familiar format, playable enough for beginners.

Expressive Controls

The WX5 provides expressive control and nuances that are simply not available with keyboards or other MIDI controllers. Although it is ideal for use with just about any MIDI tone generator or synthesizer, combined with a state-of-the-art tone generator such as the Yamaha VL70m Virtual Acoustic Tone Generator, the WX5 is capable of expressive depth and tonal subtlety that rivals the finest acoustic instruments.

Most Advanced

The Yamaha WX5 Wind MIDI Controller is simply the most advanced, most versatile, most playable and most expressive MIDI controller of its kind.
If You Already Play a Wind Instrument.
The WX5 is your key to vastly expanded expression and musical scope. You'll be able to use familiar fingering and techniques to play an unlimited range of new sounds. Play the WX5 like a saxophone, for example, but sound like a trombone, piano, electric guitar, bass. literally any sound that gives you the musical effect you want. Why leave this type of sonic versatility to the keyboard players?
If You've Never Played a Wind Instrument Before.
The WX5 is easy to learn. You can choose a fingering that you're most comfortable with right from the beginning. And, unlike an acoustic wind instrument, it doesn't take months of practice just to get a decent tone. The reedless recorder type mouthpiece supplied in addition to the saxophone type mouthpiece makes playing even easier. An extensive range of customizable parameters lets you set up the WX5 to play the way you want it to.The WX5 can open the door to a whole new world of expression.
Play Any MIDI Tone Generator
MIDI, the Music Instrument Digital Interface, is the standard used by virtually every modern MIDI tone generator or other electronic music device available from any manufacturer. Since the WX5 is a 100% MIDI-compatible controller, it can be used to play any MIDI tone generator on the market today - starting with the extensive lineup available from Yamaha.
Use the WX5 with the Yamaha VL70-m or MU Series Tone Generators
The Yamaha VL70m Virtual Acoustic Tone generator is a perfect match for the WX5. Although a mono tone generator, its advanced computer-modeling technology delivers some of the most realistic and expressive wind-instrument sounds available in any tone generator system. The MU-series XG tone generators are also an excellent choice. But you're in no way limited: choose the MIDI tone generator that provides the type of sound you want.
High-Resolution Wind and Lip Sensors with Precision Calibration Controls
The WX5 translates the player's breath and lip pressure to MIDI data via high-resolution wind and lip sensors that can be precisely calibrated to match individual playing characteristics. If you normally play sax, for example, you can set up the WX5 so that it plays almost exactly the same as your acoustic instrument. That way you can switch back and forth between instruments without even having to think about adjusting your style.
A Choice of Fingering Modes
Whether you're an experienced wind instrument player or a beginner, one of the WX5's four selectable fingering modes will provide optimum playability for you. The "Saxaphone (c)" mode, in particular, allows the same type of alternate fingerings that sax players use to add subtle variety and expression to their sound.
Saxophone (a) Fingering Mode
Basically the same as saxophone fingering, except that the fingering remains the same in all octaves, and thus easy to learn.
Saxophone (b) Fingering Mode
This mode is similar to Saxophone (a), but with additional trill key functions to facilitate rapid passages. This fingering is similar to that on the WX5's predecessor, the Yamaha WX11 Wind MIDI Controller.

Flute Fingering Mode

Similar to flute fingering, this mode is ideal for players who are familiar with flute fingering. Rather that continuous pitch bend in response to lip pressure, the pitch jumps up one octave when lip pressure is applied simulating the "overblow" octave shift on an acoustic flute.

Saxophone (c) Fingering Mode
A variation of the Saxophone (a) fingering mode, this mode allows saxophone-type alternate fingerings. Although alternate fingerings produce the same note, they produce slight variations in pitch and timbre which can be used for musical effect.
WX5 and VL70-m Virtual Acoustic Tone Generator
WX5 and VL70m Acoustic Tone Generator: The perfect match: extraordinarily realistic and expressive wind instrument sounds, as well as direct connection via the WX cable without the need for batteries or an AC Adaptor.
WX5 and MIDI Tone Generator
Basic but very versatile, this is the type of setup you'll use with any MIDI tone generator of your choice.
WX5 with the MFC10 Foot controller
With the MFC10 Foot Controller you can switch voices, control volume or other parameters, and generally change setups via foot control without interrupting your performance.
WX5 and QY70 or QY700 Music Sequencer
The WX5 can be connected to an integrated sequencer/tone generator unit such as the Yamaha QY70 or QY700 to allow convenient recording and playback of MIDI data.
Comprehensive Setup Capability and Versatile Realtime Control
In additon to connectors, calibration controls and setup switches, the "thumb side" of the WX5 offers a range of controls and features which are not available on conventional acoustic instruments.

Sensor Gain Controls

These four controls adjust the gain and zero point of the wind and lip sensors for optimum playability.

Octave Keys

These keys allow you to shift the pitch of the instrument up or down by one, two, or three octaves while playing.

Setup Button

Used in conjunction with other WX5 control buttons, the Setup Button allows software wind gain, octave transpose, and other settings to be changed while playing.

Pitch Bend Wheel

Like the pitch bend wheel on keyboard synthesizers, the WX5 pitch bend wheel can be used to produce smooth pitch bends.

Key Hold Button

The Key Hold button controls any of the four assignable key hold functions.

Program Change Button

Used in conjunction with the instrument's keys, the Program Change button can be used to transmit MIDI program changes and bank numbers to the connected MIDI tone generator in order to change voices directly from the WX5.

MIDI Out Connector

When not using the WX cable, this connector is used to directly connect the WX5 to a MIDI tone generator via a standard MIDI cable.

WX Out Connector

This connector allows the WX5 to be directly connected to compatible Yamaha tone generators (such as the VL70m) via the supplied WX cable.
Customize the WX5 for Your Playing Requirements Dip Switches 1 - 3
The WX5 has 16 DIP switches which allow it to be customized to meet your individual playing requirements. 1. Velocity: determines whether the key-on velocity (i.e. the attack of each note) will be fixed or controlled by wind pressure; 2. Wind Sensor to MIDI data: specifies the type of MIDI data which the WX5 wind data will be transmitted; 3. Wind Curve: determines the relationship between breath pressure and the output MIDI volume data

Dip Switches 4 - 6

4. Tight Lip/Loose Lip Mode: selects the Tight Lip or Loose Lip playing mode;
5. Lip Data Range: determines the range of data which can be produced via lip control - "Normal" or "Wide"; 6. LipData: specifies the type of MIDI data which the WX5 lip data will be transmitted - "Pitch Bend" or "Modulation".

Dip Switches 7 - 10

7. Lip + Control Change Data: determines whether or not MIDI control change number #18 will be added to the lip data transmitted by the WX5; 8. Transpose: sets the "key" of the WX5: i.e. the actual pitch played when all keys are closed - "C2," "Bb1," or "Eb2." 9. Fingering: specifies the WX5 fingering mode - "Saxophone (a)," "Saxophone (b)," "Saxophone (c)," or "Flute"; 10. Fast Response: sets the speed at which the WX5 will respond when a note is played.

Dip Switches 11 - 12

11. High D/D# Key Assign: determines whether the high D and D# keys will be used normally as playing keys, or to transmit control change data; 12. Pitch Bend to MIDI Data: determines the initial power-on Pitch Bend Wheel control mode.

Specifications:

Controls Note keys (16 keys including assignable high keys (2), Octave Change Keys (4) (Control range: 7 octave), Pitch Bend wheel, Setup Switch, Hold Switch (Key Hold/Sustain/Portament), Program Change Switch, Power On/Off Switch WIND ZERO, WIND GAIN, LIP GAIN, LIP ZERO Key Transpose: C2,Bb1,Eb; Octave Transpose: 5 step (-2/-1/0+1/+2) Saxophone (a), Saxophone (b), Saxophone (c), Flute Velicoty:On/Off; Wind Data: CC#2(Breath Controller), CC#7(Volume), CC#11(Expression); Wind Curve: Normal/Hard; Lip Mode: Tight Lip/Loose Lip; Lip Range: Normal/Wide; Lip Data: Pitch bend/Modulation wheel; Lip+ CC#18 (Gen3): On/Off; Transpose: C2/Bb1/Eb2; Fingering: Saxophone (a,b,c), Flute; Fast Response: On/Off; High D,D# key assign: On (D:CC#81, D#: CC#80)/Off; Pitch Bend Data: Pitch bend Up and Pitch bend Down/Modulation wheel and Pitch bend Down/CC#16 (Gen1) and CC#17(Gen2) Bright Up/ Down Wind Sensor, Lip Sensor Red LED x 2 (WIND Monitor, LIP ZERO Monitor) 10 - 16 channel MIDI Out connector, WX Out connector (Power and MIDI Out), DC in Jack UM-4, AAA, R03 x 6, PA3B AC Adapter, WX Out Connector (from compatible Yamaha Tone Generators or BT7 MIDI/Power Pack) 611 x 62 x 70 mm 520 g
Rotary Controls Transpose Fingering Dip Switches
Sensors LED MIDI Transmit Channel Connections Power Suppy Dimnsions ( L x W x D) Weight

Accessories:

Included:
Soft Case WX Cable Strap Recorder Cream Mouthpiece
Saxophone Type Mouthpiece (attached), Mouthpiece Cap (attached), Recorder type Mouthpiece

Optional:

VL70M VL70m Virtual Acoustic Tone Generator is a compact, low-cost addition to Yamaha's expanding line of Virtual Acoustic Synthesis instruments, giving electronic musicians unprecedented musical flexibility. MIDI Foot Controller - Provides remote switching of up to 100 control change parameters and 128 program change numbers (or up to 12,800 control change parameters if 100 bank select messages are used), and more. MIDI/Power Pack for the WX5 Music sequencer Music sequencer

BT7 QY70 QY700

PROTECTIVE GEAR: YCWX5 Deluxe hardshell case for the WX5 Wind Controller. Inside this hardshell case your Yamaha wind controller rests safely surrounded by custom formed foam with a soft valour covering.

 

Technical specifications

Full description

YAMAHA VL70-m Virtual Acoustic Tone GeneratorAn exceptionally powerful, flexible creativity tool. Yamaha's half-rackspace monophonic Virtual Acoustic Tone Generator delivers rich, resonant acoustic sounds. The VL70-M module features 256 presets in 2 banks, VL-XG mode with effects, BC and WX input, and more. VA Synthesis unique to Yamaha offers computer-based physical modeling technology which accurately simulates the complex vibrations, resonances, reflections, and other acoustic phenomena that occur in real wind and string instruments to produce high-quality monophonic voices. The tone generator's effects section includes reverb, chorus, variation, and distortion effects. While many parameters can be edited via the panel controls, Yamaha's website has peripheral voice editing software to extend your capabilities. The Visual Editor GUI offers easy-to-understand palettes and clickable buttons. The Analog Editor software lets you make selections using familiar analog-style knobs a...

 

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