FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/ reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

NEDERLAND / NETHERLAND

Dit apparaat bevat een lithium batterij voor geheugen back-up. This apparatus contains a lithium battery for memory back-up. Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 Gooi de batterij niet weg, maar lever hem in als KCA. Do not throw away the battery. Instead, hand it in as small chemical waste.

ADVARSEL!

LithiumbatteriEksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enlight fabrikantens instruktion.

VAROITUS

Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.

Battery Notice:

This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use household type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

Disposal Notice:

Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the top of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

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.
Effects & Effect Editing
Effect Signal Flow. q When the Variation Stage is an Insertion Effect. q When the Variation Stage is a System Effect. Accessing & Editing the Effect Parameters The Reverb Parameters. The Chorus Parameters. The Variation Parameters. The Distortion Parameters.

Breath Settings

Accessing & Editing the Breath Parameters 95 The Breath Parameters. 96

Other Edit Parameters

Accessing & Editing the Others Parameters. The Others Edit Parameters. s VOICE Sound Module Mode Others Edit Parameters. s VL-XG Sound Module Mode Others Edit Parameters. s Others Edit Parameter Descriptions q Vibrato. q Detune & Voice Level. q Assignment & Expansion. q Velocity Sensitivity. q Note Limits. q Portamento. q Dry Level & Voice Name.

The Utility Mode

The System Parameters. 98 The Dump Out Function. 100 q DUMPOUT Operation. 100 The Initialize Function. 102

Appendix

Show Control Change. Show Exclusive. The Message Window. q Message Window Data Format. Bitmap Window. q Bitmap Window Data Format. q Creating Bitmap Data. Checksum. Troubleshooting. Answers to Some Common Questions. Error Messages. Specifications.

113 114

The Store Function
Storing an Edited Voice. 84

Precautions

!! PLEASE READ THIS BEFORE PROCEEDING !!
s Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. Direct sunlight (e.g. near a window). High temperatures (e.g. near a heat source, outside, or in a car during the daytime). Excessive humidity. Excessive dust. Strong vibration. s Power Supply Turn the power switch OFF when the instrument is not in use. The power adaptor should be unplugged from the AC outlet if the instrument is not to be used for an extended period of time. Unplug the instrument during electric storms. Avoid plugging the instrument into the same AC outlet as appliances with high power consumption, such as electric heaters or ovens. Also avoid using multi-plug adaptors since these can result in reduced sound quality and possibly damage. s Turn Power OFF When Making Connections To avoid damage to the instrument and other devices to which it is connected (a sound system, for example), turn the power switches of all related devices OFF prior to connecting or disconnecting audio and MIDI cables. s MIDI Connections When connecting the VL70-m to MIDI equipment, be sure to use highquality cables made especially for MIDI data transmission. Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors. s Handling and Transport Never apply excessive force to the controls, connectors or other parts of the instrument. Always unplug cables by gripping the plug firmly, not by pulling on the cable. Disconnect all cables before moving the instrument. Physical shocks caused by dropping, bumping, or placing heavy objects on the instrument can result in scratches and more serious damage.

The VL70-m Model

The overall VL70-m model or algorithm consists of three main blocks: the instrument, controllers, and modifiers. In schematic form these blocks are arranged as follows:
Controllers (also envelopes)

Instrument

Modifiers

Sound out

The Instrument
The key block in this algorithm is the instrument, since it is here that the fundamental tone or timbre of the sound is defined. The instrument model consists primarily of a driver the reed/mouthpiece, lip/mouthpiece, or bow/ string system and a resonant system corresponding to the tube and air column or string.
In all these instruments pressure applied here (the driving point) causes vibration which results in sound.
s NOTES The sound thus produced is amplified and sustained by the body of the instrument.
The pitch of the sound is determined by the length of the air column or string, and the timbre is a complex product of the driving source (reed, lip, air, string), the shape of the resonant cavity, the materials from which the instrument is made, etc.

Reed vibration

Lip vibration

Air vibration

String vibration
One of the remarkable features of the VL70-ms Virtual Acoustic Synthesis system is that just about any driver can be used with any type of pipe or string.

Drivers Pipes/String

The Controllers
The input to an acoustic wind instrument comes from the players lungs, trachea, oral cavity, and lips. In a string instrument it comes from the players arm movement, transmitted to the string via a bow. These elements actually form an important part of the sound generating system and, in the VL70-m model, are included in the controllers block. The player also influences the sound of the instrument by playing the keys, tone holes, or frets, and this aspect of control constitutes another part of the controllers block. These and other control parameters provided by the VL70-m are listed in the illustration below. In essence, the controller parameters determine how the instrument plays. All of these parameters can be assigned to any external controller that can be used with the VL70-m: breath controller, foot controller, modulation wheel, etc. The pressure parameter, for example, will normally be assigned to a breath controller so the player can control the dynamics of the instrument by varying the breath pressure applied to the controller a natural, instinctive way to play windinstrument voices. At the same time the growl and throat parameters might also be assigned to the breath controller in order to achieve life-like response and effects.
Embouchure The tightness of the lips against the reed or against each other, or the force of the bow against the string. Tonguing Simulates the halftonguing technique used by saxophone players by changing the slit of the reed. Throat Controls the characteristics of the players throat or bowing arm. Pressure The amount of breath pressure applied to the reed or mouthpiece, or bow velocity applied to the string. Growl A periodic pressure (bow velocity) modulation which produces the growl effect often heard in wind instruments.

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.

CUSTOM

INTERNAL
Banks 112 through 119 become available when the VL70-m is set to the VL-XG sound module mode (page 29). In the VL-XG sound module mode some voices from the PRESET 1 and PRESET 2 banks are assigned MIDI bank and program change numbers conforming to the Yamaha XG format. Since the VL70-m does not have a full set of XG-compatible voices, however, some voice numbers will be skipped (e.g. 23, 24, 27, etc.).
s NOTES PRESET 1, PRESET 2, and CUSTOM voices can be edited via the VL70-m panel controls, but the edited voices cannot be stored to the PRESET 1, PRESET 2, or CUSTOM bank. Edited voices can only be stored to the INTERNAL bank, and only when the VL70-m is set to the VOICE sound module mode (page 29).
The factory preset CUSTOM and INTERNAL voices can be restored by using the Factory Set Initialize function described on page 102. Refer to the separate List Book for a complete listing of the VL70-m voices. Use the MIDI bank MSB (control number 00) and LSB (control number 32) numbers listed at right to select VL70-m banks from an external MIDI device. In the VOICE sound module mode, the MSB is ignored (recognized as 33) and only LSB numbers 0 through 3 are recognized. BANK PRESET 1 PRESET 2 CUSTOM INTERNAL BANK 112 BANK 113 BANK 114 BANK 115 BANK 116 BANK 117 BANK 118 BANK 119 MSB 97 or 97 or 97 or 97 or 97 or 97 or 97 or 97 or LSB 118 119
26 Voice Organization and Sound Module Modes
The VL70-m Sound Module Modes
The VL70-m has two main Sound Module Modes: VOICE and VL-XG. It is important to understand the difference between these modes because they determine how the VL70-m responds to MIDI program change and bank numbers received from a MIDI keyboard or other controller, and how the internal effects relate to the individual voices.

The VOICE Mode

In this mode the VL70-m functions as a standard tone generator module. The VOICE mode should be used when the VL70-m is being used alone or with other non-XG tone generators/synthesizers (see VL Extension for XG, page 30). q Voice Selection The PRESET 1, PRESET 2, CUSTOM, and INTERNAL voices can be individually selected by the VL70-m panel VALUE [-] and [+] buttons, or appropriate MIDI program change numbers and bank numbers received from your keyboard or controller (see the Voice Organization section, above). q Voice Editing In the VOICE mode the INTERNAL voices can be individually edited via the VL70-m panel controls. Each voice has its own edit parameters which can be stored with the voice are recalled whenever the voice is selected. In fact, the edited data must be stored with the voice before a new voice is selected otherwise the edited data will be lost. q Effects Each voice has its own effect settings which are recalled whenever the voice is selected, so that effects become an important part of the individual sound of each voice. As with edited voice data, edited effect data must be stored with the voice before a new voice is selected otherwise the edited effects data will be lost. q MIDI Output Normally, MIDI data received at the VL70-m MIDI IN connector is re-transmitted as is via the MIDI OUT connector. The Note Filter function described on page 99 can be used to filter out (i.e. block) note data transmission on specified channels.

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).

Controllers & Control Editing 65
The VL70-m has two envelope generators which can be independently programmed to produce time-based variations in the sound.
q Amplitude & Filter EG
The Amplitude & Filter Envelope Generator controls both the amplitude of the sound and the cutoff frequency of the VL70-m filter from note attack to release. This envelope generator has three parameters which can be edited via the VL70m panel: attack time, decay time, and release time. Amplitude control defines the basic shape of the notes produced, while filter control makes it possible to create a variety of dynamic timbral sweeps.
s NOTES Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band eliminate types. The filter type cannot be edited via the VL70-m panel controls. For detailed filter parameter programming use the VL70-m Expert Editor software (page 25).
Very little filter processing is used on some voices. In such cases, the effect of the filter may be barely noticeable. The effect of editing the Amplitude & Filter envelope generator parameters may not always be as expected particularly with plucked string instrument voices such as guitar or bass. This is because the VL70-m actually simulates the plucking, free oscillation, and muting of the strings rather than simply using an EG to approximate these events.
q Pitch & Embouchre EG
The Pitch EG controls both the pitch of the note and the embouchre applied to the note from attack to release. Initial level, attack time, release level, and release time parameters make it possible to produce a wide range of pitch variations at note attack and release.
s NOTES Pitch control alone may not always produce the expected result with voices in which the internal parameters emphasize embouchure rather than pitch. For detailed editing of all VL70-m parameters use the VL70-m Expert Editor software (page 25).
66 Filter & Envelope Generator Editing
Accessing & Editing the Filter & EG Parameters
The FILTER & EG EDIT mode can be accessed from the PLAY mode as follows: 1. Press [EDIT] Press the [EDIT] button to go to the EDIT sub-mode menu.
2. Select the FIL&EG Sub-mode Use the SELECT [<] and [>] buttons to select the FIL&EG sub-mode, if necessary. The icon to the left of FIL&EG on the display will flash when the FIL&EG sub-mode is selected. 3. Press [ENTER] Press the [ENTER] button to go to the FILTER & EG EDIT mode. FIL&EG EDIT will appear at the top of the display along with the number of the currently selected control parameter.
4. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see The Filter & EG Edit Parameters, below). The name of the currently selected parameter and its current setting appear on the second line of the display. An arrow to the left and/or right of the parameter name/value indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction.

VarConnect

Variation Connection Mode Settings: INS, SYS

SendVarCho

Variation-to-Chorus Send Level Settings: 000 127
Determines whether the variation effects stage functions as an insertion effect (INS) or as a system effect (SYS). See the diagrams and explanations on pages 86 and 87 for the difference between these connection modes. Sets the amount of signal sent from the output of the variation effect stage back to the input of the chorus effect stage (see diagram on page 87). The
Effects & Effect Editing 93
The Distortion Parameters
Distortion is an excellent way to drastically change a sound although subtle distortion settings can produce surprisingly delicate variations.
Distortion Type Settings: THRU, DISTORTION, OVERDRIVE, 3-BAND EQ
example, if the OVERDRIVE effect is selected aftertouch controls the Drive parameter. In this case higher positive AT DstCtrl values cause increased aftertouch pressure to increase the amount of drive, while higher negative values cause increased aftertouch pressure to decrease the amount of drive. If this parameter is set to +00 aftertouch control has no effect.
Selects the distortion type, or THRU if no distortion effect is required. Refer to the separate List Book for brief descriptions of each of the distortion types.

AC1DstCtrl

Assignable Controller 1 Distortion Control Settings: -64 +63
Type-Specific Distortion Parameters
Each of the distortion types, selected via the Type parameter, above, has a different set of parameters that specify the actual distortion sound. Refer to the separate List Book for information on the individual parameters for each distortion type.

AT DstCtrl

Aftertouch Distortion Control Settings: -64 +63
Assignable Controller variation control allows one of the selected distortion 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 distortion effect type (see the separate List Book). The AC1DstCtrl parameter determines to what degree the effect parameter is affected by the controller. For example, if the OVERDRIVE effect is selected the controller affects the Drive parameter. In this case higher positive AC1DstCtrl values cause increased controller settings to increase the amount of drive, while higher negative values cause increased controller settings to decrease the amount of drive. If this parameter is set to +00 assignable controller 1 has no effect.

Dist Part

Aftertouch distortion control allows one of the selected distortion effect parameters to be controlled in real time via keyboard aftertouch pressure. The parameter which can be controlled is individually preset for each distortion effect type (see the separate List Book). The AT DstCtrl parameter determines to what degree the effect parameter is affected by aftertouch pressure. For
Distortion Part Settings: off, on
Turns the distortion effect stage on or off.
94 Effects & Effect Editing
The Breath Setting includes a number of setting that determine how the VL70m responds to breath control from a breath controller, a Yamaha WX-series Wind MIDI controller, or MIDI.
Accessing & Editing the Breath Parameters
The BREATH parameters can be accessed and edited from the PLAY mode as follows: 1. Press [BREATH] Press the [BREATH] button to go to the Breath Setting.
2. Select a Parameter Use the SELECT [<] and [>] buttons to select the parameter you want to edit (see The Breath Parameters, below). The name of the currently selected parameter and its current setting will appear on the top line of the display while the parameters current setting appears on the second line. An arrow to the left and/or right of the parameter name indicates that the SELECT [<] and/or [>] buttons can be used to select more parameters in the indicated direction.
3. Edit the Selected Parameter Use the VALUE [-] and [+] buttons to set the value of the selected parameter as required. 4. Repeat As Necessary Repeat steps 2 and 3 to edit as many parameters as required. 5. Exit When Done Press ther [EXIT] or [PLAY] button to return to the PLAY mode when youre finished editing.

Breath Settings 95

The Breath Parameters

Breath Mode

Settings: BC/WX, Velocity, Touch EG

Breath Curve

Settings: -16 +16
Sets the control source to be used for breath control. This parameter should be set to BC/WX when a breath controller or Yamaha WX-series Wind MIDI Controller is being used (page 18). When set to Velocity, breath variation is controlled by keyboard initial touch response. When Touch EG is selected breath variation is controlled by a combination if initial keyboard touch response and aftertouch pressure. Initial key velocity sets the initial breath level, then aftertouch pressure determines the shape of the subsequent breath envelope. The icon of the Breath Mode, Breath Control and Breath Setting Lock parameters indicates which Breath Mode parameter setting is selected.

INITIAL

The Utility Mode 97

The System Parameters

The UTILITY SYSTEM sub-mode includes parameters that affect overall operation of the VL70m. M.Tune
Master Tuning Settings: -102.4c +102.3c

WX Lip

WX Lip Mode Settings: Norm, Expd
Fine tunes the overall pitch of the VL70-m in 0.1cent steps (a cent is 1/100th of a semitone). The maximum minus and plus settings produce a downward or upward pitch shift of just over a semitone. A setting of +000.0 produces no pitch change.

RcvSysExcl

System Exclusive Receive Settings: off, on
WX-series Wind MIDI Controllers produce pitch bend data ranging from -16 to +32 in response to lip (reed) pressure. The WX Lip parameter determines whether these values are used as is (Norm), or expanded to a full -64 through +63 range (Expd). When the Expd mode is selected, the expanded pitch bend data is also transmitted via the MIDI OUT and TO HOST connector. The Expd setting is recommended when using a WX controller in the tight lip mode. The Norm setting is recommended when using the WX controller loose lip mode.

WX LipLock

This parameter determines whether or not the VL70-m will receive MIDI system exclusive messages. System exclusive data is received when this parameter is on, and ignored when this parameter is off.
WX Lip Lock Settings: off, on

TransmitCH

MIDI Transmit Channel Settings: 1 16
When this parameters is off the VL70-m WX Lip parameter (above) will be automatically set to Norm whenever a MIDI XG SYSTEM ON or VOICE MODE ON message is received. Turn this parameter on if you do not want received MIDI messages to affect the WX Lip setting.
Selects the MIDI channel via which data corresponding to operation of a breath controller connected to the VL70-m will be transmitted.

98 The Utility Mode

Contrast
Display Contrast Settings: 1 8
Sets the contrast of the VL70-m display for optimum visibility. The best setting will depend on your viewing angle and the ambient lighting conditions. A setting of 1 produces the strongest contrast, while a setting of 8 produces the softest contrast.
When the VL-XG sound module mode is selected and a program change number corresponding to a VL70-m voice is received, the NoteFilter parameter is automatically set to the channel on which the program change number was received. This does not occur in the VOICE sound module mode. When the VL70-m MIDI receive channel is changed via the panel controls (pages 34 and 38), the NoteFilter parameter is automatically set to the same channel if it is initially set to 01 16, but not when it is set to Thru. This does not occur when the MIDI receive channel is changed via a MIDI system exclusive message.

DumpIntrval

MIDI Bulk Dump Interval Settings: 50, 100, 150, 200, 300
Sets the length of time intervals to be inserted between data blocks during a Dump Out operation (page 100). The required interval will depend on the receiving MIDI device. The settings are in milliseconds: i.e. 50 milliseconds, 100 milliseconds, etc. Try adjusting this parameter if the receiving MIDI device generates an error message while receiving a bulk dump from the VL70-m.

pipe or string. Simply stated, the harmonic balance of the voice when played in the normal octave is retained even when the voice is shifted down an octave. The change in timbre can be greater or less, depending on the selected voice. 4. Why does portamento produce more of a glissando effect on some voices? Trumpets and some other brass instruments tend to exhibit this phenomenon more than others. In a S/VA tone generator portamento is produced by lengthening or shortening the instruments pipe or string and changing the Embouchure. A trumpet is designed to emphasize the modes of the pipe(s) to produce notes over a wide range using only three valves. When portameto is applied to a trumpet voice, the pitch tends to jump from mode to mode, thus producing the observed glissando effect. The same effect occurs with some flute voices. Saxophone modes are not nearly as strong as trumpet modes, but some sax voices do have two definite modes which, when spanned by a portamento slide, can produce irregularities. 5. Why do the filter, EG, and other parameters have more effect on some voices than others? Most voices use the low-pass filter type, but some use the bandpass, high-pass, or band eliminate types. Some voices use very little filter processing at all. Changing the filter settings may not produce a particularly noticeable effect. Also the internal Breath Noise, Throat Formant, Growl, Harmonic Enhancer and Pitch EG parameter settings can have a significant effect on how much the parameters accessible via the VL70-m controls actually affect the sound. For detailed programming of all S/VA parameters, use the VL70-m Expert Editor software(page 25).

110 Appendix

6. Why do some bowed string instrument voices tend to squeek? As anyone who has played (or tried to play) a real violin knows, these instruments naturally tend to squeek if not properly controlled. The same occurs with S/VA synthesis. As with a real bowed string instrument, bow speed and pressure must be properly controlled in the VL70-m to produce the desired sound. Bow speed is usually controlled either via breath control or an expression pedal. Bow pressure is controlled via control number 13: 64 is medium pressure, lower values produced reduced bow pressure, and higher values produce increased bow pressure. 7. Why are pitch bends produced by a pitch bend wheel not always accurate? Natural acoustic musical instruments have no pitch parameter. Pitch is determined by the properties of the instruments resonant body as well as the condition of the instruments driver. The same applies to Virtual Acoustic Synthesis: in the VL70-m pitch bend is simulated by manipulating the appropriate pipe/string length and driver characteristics. As a result, the pitch bend range may not always be mathematically accurate. With reed instruments such as saxophone or clarinet, highly realistic pitch bends are produced by controlling both pitch and embouchure at the same time. Since the embouchure component of the pitch bend behaves with characteristics acoustic unpredictability, precise pitch bends are not always produced. If you want the kind of pitch-bend precision produced by conventional synthesizers, select the VOICE sound module mode, go to the CONTROL EDIT mode, and set the Embouchure Depth and Embouchure Depth parameters to +00. Then set the pitch bend range to the desired value. Other controller parameers assigned to pitch bend can affect pitch bend accuracy, so check to make sure that none are assigned.

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.