Yamaha Vl70m User Manual

							107
2. Add all the converted numbers.
3. Divide the total by 128 and note the remain-
der.
4. Subtract the remainder from 128. The result
is the checksum.
5. Convert the decimal checksum back to
hexadecimal format using the above chart.Troubleshooting
The VL70-m is a very versatile tone generator
with many features and functions that affect
operation. In many cases, what appears to be a
fault with the VL70-m can actually be traced to an
improperly set parameter or something as simple as
a bad connection.
Here’s how to determine if the problem is internal
(e.g. parameter settings) or external (e.g. connec-
tions, amplifier, etc.):
Listen via headphones. Plug a pair of head-
phones into the VL70-m and play. If the
headphone sound is OK, then the problem is
most likely in the amplifier or mixer you are
using, or the audio connection cables.
Try adjusting all operational controllers —
modulation wheels, foot controllers, etc. In
some cases extreme controller settings can
cause unexpected sound or pitch … or even no
sound at all.
Try selecting different voices. If the problem
occurs only on one voice then the voice param-
eters are most likely at fault. If the problem
occurs on all voices then a utility parameter
should be suspected.
The following are some common problems and
probable causes:
Symptom
• No power.
Possible Causes
• Is the AC adaptor properly connected to both
the VL70-m and an AC wall outlet (page 15)?
• If the AC apaptor is connected to a switched
AC outlet on another piece of equipment (an
amplifier, for example) is that devide switched
on?
HEX DEC
40 64
41 65
42 66
43 67
44 68
45 69
46 70
47 71
48 72
49 73
4A 74
4B 75
4C 76
4D 77
4E 78
4F 79HEX DEC
50 80
51 81
52 82
53 83
54 84
55 85
56 86
57 87
58 88
59 89
5A 90
5B 91
5C 92
5D 93
5E 94
5F 95HEX DEC
60 96
61 97
62 98
63 99
64 100
65 101
66 102
67 103
68 104
69 105
6A 106
6B 107
6C 108
6D 109
6E 110
6F 111HEX DEC
70 112
71 113
72 114
73 115
74 116
75 117
76 118
77 119
78 120
79 121
7A 122
7B 123
7C 124
7D 125
7E 126
7F 127
Appendix 
						

							108
Symptom
• No sound.
Possible Causes
• Is the amplifier/mixer power turned on?
• Is the amplifier/mixer volume set to an appro-
priate level?
• Is the VL70-m volume control set to an appro-
priate level?
• Are the VL70-m outputs properly connected to
the amplifier/mixer inputs?
• Are the connection cables shorted, open, or
otherwise faulty?
• Is the HOST SELECT switch set appropriately
for your system (page 20)?
• Is the echo back (or MIDI THRU) function on
your computer or sequencer set properly?
• Is the VL70-m MIDI receive channel set
properly (pages 34 and 38)?
• Is the PLAY mode Volume parameter set
properly (pages 32 and 38)?
• Is the PLAY mode Master Volume parameter
set properly (page 41)?
• Is the PLAY mode Expression parameter set
properly (page 38)?
• Are the filter and EG attack times set to
unusually long values (page 72)?
• Are the high and low note limit parameters in
the “Others” edit mode set to appropriate values
(page 81)?
• Is the Voice Level parameter in the “Others”
edit mode set to an appropriate value (page
79)?
• Is the Breath Mode parameter set properly
(page 96)?
• If a WX-series Wind MIDI Controller is
unplugged from the VL70-m while no breath is
applied to the controller, the breath value can
get “stuck” at “0”, resulting in no sound output.
Symptom
• Volume too low.
Possible Causes
• Is the PLAY mode Volume parameter set
properly (pages 32 and 38)?
• Is the PLAY mode Expression parameter set
properly (page 38)?• Is the PLAY mode Master Volume parameter
set properly (page 41)?
• Is the Voice Level parameter in the “Others”
edit mode set to an appropriate value (page
79)?
• Are the “Others” edit mode Velocity Depth and
Velocity Offset parameters set to appropriate
values (page 81)?
Symptom
• Distorted sound.
Possible Causes
• Is the VL70-m connected to a high-sensitivity
microphone or instrument input on your
amplifier or mixer? Try turning the VL70-m
DOWN controls down to avoid overloading the
amplifier/mixer inputs.
• Is a distortion-type effect being used (page 94)?
Symptom
• Wrong pitch.
Possible Causes
• Is the master tune parameter set properly (page
98)?
• Is the transpose or system transpose parameter
set properly (pages 33 and 41)?
• Is the note shift parameter set properly (page
35)?
• Is the “Others” edit mode Detune parameter set
properly (page 79)?
• Are inappropriate RPN Fine Tune or RPN
Coarse Tune MIDI message being received
from an external MIDI device?
Symptom
• Can only play one note at a time (i.e. no
polyphony).
Possible Causes
• The VL70-m is a monophonic tone generator
which is capable of producing only one note at
a time.
Appendix 
						

							109
Symptom
• No effects.
Possible Causes
• Are the effect send levels set properly (pages
35 and 39)?
• Are the effect return levels set properly (pages
32, 33 and 41)?
• Is “NO EFFECT” or “THRU” selected as the
effect type (pages 90 – 92 and 94)?
• If distortion is being used, is the distortion part
turned “off” (page 94)?
Symptom
• A connected breath controller has no effect.
Possible Causes
• Is the Breath Mode parameter set properly
(page 96)?
• Is the breath control number set properly  (page
96)?
• Are the parameters to be controlled by the
breath controller set properly  (page 48)?
• If the VL70-m is connected to a computer via
the TO HOST connector, is the computer “echo
back” function set properly (page 20)?
• Is the receive channel parameter set properly
(pages 34 and 38)?
Symptom
• A connected WX-series controller has no effect.
Possible Causes
• If the VL70-m is connected to a computer via
the TO HOST connector, make sure that the
“WX”  is selected via the [MIDI/WX] button
(page 18).
• If the VL70-m is connected to a computer via
the TO HOST connector, is the computer “echo
back” function set properly (page 20)?
• Is the Breath Mode parameter set properly
(page 96)?
• Is the breath control number set properly  (page
96)?
• Are the parameters to be controlled by breath
data from the WX-series controller set properly
(page 48)?
• Is the receive channel parameter set properly
(pages 34 and 38)?Symptom
• Cannot receive MIDI bulk data.
Possible Causes
• Is the Receive System Exclusive parameter
turned “on” (page 98)?
• Is the Device Number parameter set properly
(pages 32 and 41)?
Symptom
• Song data is not played properly.
Possible Causes
• Is the WX Lip Lock parameter set properly
(page 98)?
• Is the Breath Setting Lock parameter set
properly (page 96)?
• In some cases song data which has not been
specifically created for playback via the VL70-
m, or song data which does not bear the “VL
Extension for XG” logo, will not play back
properly on the VL70-m.
Appendix 
						

							110
Answers to Some Com-
mon Questions
1. The VL70-m is a monophonic tone generator.
Why is the “poly” mode initialy selected
when the VL-XG sound module mode is
engaged?
This is to provide compatibility between the
currrent XG format and future polyphonic VL-
series tone generators. It also provides a certain
degree of compatibility to allow playback of
VL-XG song data on existing tone generators
which do not feature the VL-XG extension.
Specifically, to switch the VL70-m to the mono
mode a “mono mode” command (control
change no.126, value 0-16) is embedded in the
song data which, when received by a 32-note or
64-note polyphonic XG tone generator,
switches the appropriate parts to the mono
mode. The same will apply to future polyphonic
VL-series tone generators, so no changes will
be required. The VL70-m therefore has a
“poly” which is automatically selected when a
MIDI “XG on” system exclusive message is
received.
2. Can the Treble and Bass parameters be edit
during performance or playback?
In fact, they are a valuable expressive tool.
Although the Treble and Bass parameters are
basically similar in effect to the corresponding
controls on an amplifier, for example, their
actual effect varies slightly from voice to voice.
In many cases they also affect the critical mid-
frequency range, making it possible to give a
voice extra “presence”, as required. The Bass
parameter, in particular, can be used to bring a
voice “forward” in an ensemble.
3. Why do some voices sound as if they are in
the original octave even when shifted down
an octave?
This is because Virtual Acoustic synthesis
accurately simulates the acoustic behaviour of a
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 se-
lected 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
instrument’s pipe or string and changing the
Embouchure. A trumpet is designed to empha-
size 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 oth-
ers?
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 notice-
able 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).
Appendix 
						

							111
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 instrument’s resonant body as
well as the condition of the instrument’s 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 “mathemati-
cally” accurate.
With reed instruments such as saxophone or
clarinet, highly realistic pitch bends are pro-
duced by controlling both pitch and embou-
chure 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.8. Why do some voices not respond as expected
to EG edits?
The effect of editing 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. If the sound of a string voice decays
naturally, for example, setting a long release
time will have little or no effect on the actual
sound of the voice. Since the attack and decay
portions of the voice also have natural timbre
variations, these can be unnaturally altered by
inappropriate EG settings — which is OK if
you’re trying to produce an unnatural effect.
Trial and experimentation and the only sure
ways to determine how the EG parameters are
going to affect a particular voice.
Appendix 
						

							112
Error Messages
When an operational error or other problem
occurs, the VL70-m will display one of the
following error messages to inform you of the
problem.
Battery Low!
The internal backup battery needs to be replaced.
Have the battery replaced by qualified Yamaha
service personnel.
Illegal Data!
A data error has occurred durinng MIDI data
reception. Try receiving the data again.
MIDI Buffer Full!
The MIDI receive buffer is full. Reduce the
amount of data being transmitted to the VL70-m.
HOST is Offline!
The cable connection to the host computer has
been broken, or the computer power is off. Also
check for proper operation of the computer driver
and MIDI application software.
SysEx Adrs ERROR!
The received system exclusive message address is
wrong.
SysEx Data ERROR!
The received system exclusive message data is
wrong.
SysEx Size ERROR!
The received system exclusive message size is
wrong.
Check Sum ERROR!
An error has been detected in the received MIDI
data. Check the transmitting device, MIDI cables,
MIDI data and Check Sum,  and try again.
This Parameter isn’t Excl Data
The parameter selected for viewing using the Show
Exclusive function can not be controlled via
system exclusive data.
No Parameter
The parameter selected for viewing using the Show
Exclusive or Show Control Change function is not
available.
Rcv CH is OFF!
Since the part receive channel for the parameter
selected via the Show Control Change function is
turned off, the corresponding MIDI data could not
be received. Set an appropriate receive channel.
Appendix 
						

							113
Specifications

 Tone  Generator
Type S/VA (Self-oscillating Virtual
Acoustic Synthesis: VLR Algo-
rithm)
Modifiers Harmonic Enhancer
Dynamic Filter
Equalizer
Resonator
Effects Reverb: 12 types
Chorus: 10 types
Variation: 44 types
Distortion: 3 types
Polyphony 1 note (monophonic)
Sound Module Modes
Voice Mode
VL-XG Mode
(VL extension for XG)

 Memory
Preset 256 voices (including 137 VL-XG
voices)
Custom 6 voices
Internal 64 voices

 Panel Switches
PLAY
EDIT
UTIL
EFFECT
MODE
BREATH
MIDI/WX
ENTER
EXIT
PART [-], [+]
SELECT []
VALUE [-], [+]
HOST SELECT (rear panel)
 Display
Custom backlit liquid crystal
display
6 LED indicators

 Connectors
Front Panel PHONES (stereo mini-jack)
WX IN (WX11, WX7)
BREATH (BC3, BC2, BC1)
Rear Panel OUTPUT X 2 (L/MONO, R)
MIDI IN
MIDI OUT
MIDI THRU
TO HOST
DC IN

 Output Level
Line +5.5 dBm into 10 kΩ.
Headphones -2.0 dBm into 33 Ω.

 Power Requirements
PA-3B AC  Power Adaptor
(supplied).

 General
Dimensions (W x D x H)
220 x 212 x 46 mm.
(8-11/16 x 8-3/8 x 1-13/16)
Weight 1.3 kg (2 lbs., 14 oz.)

 Accessories
Owner’s Manual
List Book
PA-3B AC  Power Adaptor
Demonstration Disk
Demonstration Disk Song List
* Specifications subject to change without notice.
Appendix 
						

							114
AAbsorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Absorption  Control  Change  Number . . . . . . . . . . . .  64
Absorption  Control  Depth . . . . . . . . . . . . . . . . . . . . .  64
Absorption  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . .  65
Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  43
Aftertouch  Filter  Control . . . . . . . . . . . . . . . . . . . . . .  53
Aftertouch  LFO  Pitch  Modulation . . . . . . . . . . . . . . .  53
Amplitude  &  Filter  Envelope  Attack  Time . . . . . . . .  72
Amplitude  &  Filter  Envelope  Decay  Time . . . . . . . . .  72
Amplitude  &  Filter  Envelope  Release  Time . . . . . . .  73
Amplitude  &  filter  EG . . . . . . . . . . . . . . . . . . . . . . . . .  66
Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Amplitude  Control  Change  Number . . . . . . . . . . . . .  56
Amplitude  Control  Depth . . . . . . . . . . . . . . . . . . . . .  56
Amplitude  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  57
Amplitude  Level  Scaling  Breakpoint . . . . . . . . . . . . .  73
Amplitude  Level  Scaling  Depth . . . . . . . . . . . . . . . . .  73
Answers  to  some  common  questions . . . . . . . . . . .  110
Assign  Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  80
Assignable  Controller  1  Amplitude  Control . . . . . . .  54
Assignable Controller 1 Control Change Number . .  54
Assignable  Controller  1  Filter  Control . . . . . . . . . . .  54
Assignable Controller 1 LFO Pitch Modulation . . . .  54
Assignable  Controller  1  Variation  control . . . . . . . .  92
Audio  connections . . . . . . . . . . . . . . . . . . . . . . . . . . .  22
BBank  number . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  38
Bank  pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35
Bass  Tone  Control . . . . . . . . . . . . . . . . . . . . . . . . . . . .  72
Bitmap  window . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  105
BREATH  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Breath  control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  96
Breath  controller . . . . . . . . . . . . . . . . . . . . . . . . . .  17,  43
Breath  controller  jack . . . . . . . . . . . . . . . . . . . . . . . . .  12
Breath  curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  96
Breath  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  18,  96
Breath  Noise  Control  Change  Number . . . . . . . . . . .  60
Breath  Noise  Control  Depth . . . . . . . . . . . . . . . . . . . .  60
Breath  Noise  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . .  60
Breath  noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Breath  setting  lock . . . . . . . . . . . . . . . . . . . . . . . . . . .  96
Breath  settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  95
CChecksum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  106
Chorus  pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  91
Chorus  parameters,  type  specific . . . . . . . . . . . . . . . .  91
Chorus  return . . . . . . . . . . . . . . . . . . . . . . . . . . . .  33,  41
Chorus  send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35,  39
Chorus  type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  91
Chorus-to-reverb  send  level . . . . . . . . . . . . . . . . . . . .  91
Control  change  number  assignments . . . . . . . . . . . .  43
Control  editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  42
Control  parameters,  accessing  and  editing . . . . . . .  46
Controller  parameters . . . . . . . . . . . . . . . . . . . . . . . .  45
Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  9,  42
Index
Custom  voice  bank . . . . . . . . . . . . . . . . . . . . . . . . . . .  26
Cutoff  Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  71
Cutoff  Scaling  Breakpoint . . . . . . . . . . . . . . . . . . . . .  71
Cutoff  Scaling  Depth . . . . . . . . . . . . . . . . . . . . . . . . .  71
D
Damping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Damping  Control  Change  Number . . . . . . . . . . . . . .  63
Damping  Control  Depth . . . . . . . . . . . . . . . . . . . . . . .  63
Damping  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  64
DC  IN  connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  14
Demo  disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  25
Demo  playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  24
Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Device  number . . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  41
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Display  contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  99
Distortion  control,  aftertouch . . . . . . . . . . . . . . . . . .  94
Distortion  control,  assignable  controller  1 . . . . . . . .  94
Distortion  parameters,  type  specific . . . . . . . . . . . . .  94
Distortion  part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  94
Distortion  type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  94
Dry  Output  Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  82
Dump  out  function . . . . . . . . . . . . . . . . . . . . . . . . . .  100
EEDIT  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Editing  software . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  25
EFFECT  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Effect  editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  86
Effect  signal  flow . . . . . . . . . . . . . . . . . . . . . . . . . . . .  86
Embouchure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Embouchure  Control  Change  Number . . . . . . . . . . .  57
Embouchure  Lower  Control  Depth . . . . . . . . . . . . . .  58
Embouchure  Mode . . . . . . . . . . . . . . . . . . . . . . . . . . .  58
Embouchure  Upper  Control  Depth . . . . . . . . . . . . . .  57
ENTER  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  13
Error  messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  112
EXIT  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  13
Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  38
Expression  Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  54
FFilter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Filter  and  envelope  generator  editing . . . . . . . . . . .  66
Filter  Control  Change  Number . . . . . . . . . . . . . . . . .  55
Filter  Control  Depth . . . . . . . . . . . . . . . . . . . . . . . . . .  56
Filter  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  56
Filter  Envelope  Generator  Depth . . . . . . . . . . . . . . .  71
G
G50  MIDI  Guitar  Converter . . . . . . . . . . . . . . . . . . . .  19
Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Growl  Control  Change  Number . . . . . . . . . . . . . . . . .  61
Growl  Control  Depth . . . . . . . . . . . . . . . . . . . . . . . . .  61
Growl  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  61
Index 
						

							115
HHarmonic Enhancer Control Change Number . . . . .  62
Harmonic  Enhancer  Control  Depth . . . . . . . . . . . . . .  63
Harmonic  Enhancer  Curve . . . . . . . . . . . . . . . . . . . . .  63
Harmonic  enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  22
High  Note  Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  81
HOST  SELECT  switch . . . . . . . . . . . . . . . . . . . . . . . . . .  14
IIBM  PC,  connecting  to . . . . . . . . . . . . . . . . . . . . . . . .  21
Initialize  function . . . . . . . . . . . . . . . . . . . . . . . . . . .  102
Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  8
Internal  voice  bank . . . . . . . . . . . . . . . . . . . . . . . . . . .  26
LLip  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  18
Low  Note  Limit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  81
MMacintosh,  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
NNEC  PC-9801/9821,  connecting  to . . . . . . . . . . . . . . .  21
Note  shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35,  39
OOther  Edit  Parameters . . . . . . . . . . . . . . . . . . . . . . . .  75
OUTPUT  L/MONO  and  R  jacks . . . . . . . . . . . . . . . . . .  14
P
Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  38
PART  buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  13
Personal  computer,  connecting  to . . . . . . . . . . . . . . .  20
PHONES  jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Pitch  &  Embouchure  Envelope  Attack  Time . . . . . . .  74
Pitch  &  Embouchure  Envelope  Initial  Level . . . . . . .  73
Pitch & Embouchure Envelope Release Level . . . . . .  74
Pitch & Embouchure Envelope Release Time . . . . . .  74
Pitch  &  embouchure  EG . . . . . . . . . . . . . . . . . . . . . . .  66
Pitch  Bend  Control . . . . . . . . . . . . . . . . . . . . . . . . . . .  52Pitch  Bend  LFO  Pitch  Modulation . . . . . . . . . . . . . . .  52
Pitch  Bend  Low  Control . . . . . . . . . . . . . . . . . . . . . . .  52
Pitch  bend  wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . .  43
PLAY  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Polyphonic  Expansion . . . . . . . . . . . . . . . . . . . . . . . . .  80
Portamento  Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . .  82
Portamento  Switch . . . . . . . . . . . . . . . . . . . . . . . . . . .  82
Portamento  Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  82
Power  supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  15
Power-on  procedure . . . . . . . . . . . . . . . . . . . . . . . . . .  23
POWER/VOL  control . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  4
Preset  voice  banks . . . . . . . . . . . . . . . . . . . . . . . . . . . .  26
Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Pressure  Control  Change  Number . . . . . . . . . . . . . . .  55
Pressure  Control  Depth . . . . . . . . . . . . . . . . . . . . . . .  55
Pressure  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  55
Program  number . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  38
Program  pointer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35
R
Receive  channel . . . . . . . . . . . . . . . . . . . . . . . . . . .  34,  38
Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  71
Reverb  pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  90
Reverb  parameters,  type  specific . . . . . . . . . . . . . . . .  90
Reverb  return . . . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  41
Reverb  send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35,  39
Reverb  type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  90
S
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
TThroat  Formant  Control  Change  Number . . . . . . . .  62
Throat  Formant  Control  Depth . . . . . . . . . . . . . . . . .  62
Throat  Formant  Curve . . . . . . . . . . . . . . . . . . . . . . . .  62
Throat  formant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
TO  HOST  connectors . . . . . . . . . . . . . . . . . . . . . . . . . .  14
Tonguing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Tonguing  Control  Change  Number . . . . . . . . . . . . . .  58
Tonguing  Control  Depth . . . . . . . . . . . . . . . . . . . . . .  59
Tonguing  Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  59
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  41
Treble  Tone  Control . . . . . . . . . . . . . . . . . . . . . . . . . .  72
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . .  107
Index 
						

							116
UUTIL  button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
Utility  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  97
VVALUE  buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  13
Variation  connection  mode . . . . . . . . . . . . . . . . . . . .  93
Variation  pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  93
Variation  parameters,  type  specific . . . . . . . . . . . . . .  92
Variation  return . . . . . . . . . . . . . . . . . . . . . . . . . . .  33,  41
Variation  send . . . . . . . . . . . . . . . . . . . . . . . . . . . .  35,  39
Variation  stage  as  insertion  effect . . . . . . . . . . . . . .  86
Variation  stage  as  system  effect . . . . . . . . . . . . . . . .  87
Variation  type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  92
Variation-to-chorus  send  level . . . . . . . . . . . . . . . . . .  93
Variation-to-reverb  send  level . . . . . . . . . . . . . . . . . .  93
Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  43
Velocity  Sensitivity  Depth . . . . . . . . . . . . . . . . . . . . . .  81
Velocity  Sensitivity  Offset . . . . . . . . . . . . . . . . . . . . . .  81
Vibrato  Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Vibrato  Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Vibrato  Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Virtual  Acoustic  Synthesis . . . . . . . . . . . . . . . . . . . . . . .  6
VL  Extension  for  XG . . . . . . . . . . . . . . . . . . . . . . . . . .  30
VL-XG  play  main  control  mode . . . . . . . . . . . . . . . . .  37
VL-XG  play  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . .  36
VL-XG  play  sub-control  mode . . . . . . . . . . . . . . . . . .  40
VL-XG  sound  module  mode . . . . . . . . . . . . . . . . . . . .  28
VL70-m  model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  7
Voice  Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Voice  Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  83
Voice  organization . . . . . . . . . . . . . . . . . . . . . . . . . . .  26
Voice  play  main  control  mode . . . . . . . . . . . . . . . . . .  31
Voice  play  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  31
Voice  play  sub-control  mode . . . . . . . . . . . . . . . . . . .  34
Voice  sound  module  mode . . . . . . . . . . . . . . . . . . . .  27
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  32,  38
W
WX  IN  jack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  12
WX  lip  lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  98
WX  lip  mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  98
WX  wind  MIDI  controller . . . . . . . . . . . . . . . . . . . . . .  18
Index