Yamaha VL Version2 Le manuel du propriétaire

VL Version2
Yamaha
Marque
Yamaha
Modèle
VL Version2
Catégorie
Synthétiseur
Taper
Le manuel du propriétaire

Ce manuel convient également à

Contents
■ VL1/VL1-m Version 2 Voices . . . . . . . . . . . . . . . 2
■ VL1/VL1-m Version 2 WX Voices . . . . . . . . . . . 6
■ VL7 Version 2 Voices . . . . . . . . . . . . . . . . . . . . . 8
■ VL7 Version 2 WX Voices . . . . . . . . . . . . . . . . 10
■ Additional Version 2 Voices . . . . . . . . . . . . . . . 11
■ MDI Data Format . . . . . . . . . . . . . . . . . . . . . . . 12
■ MIDI Implementation Chart
VL1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
VL1-m . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
VL7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Voice Lists & MIDI Data
Voice Lists
2
■ VL1/VL1-m Version 2 Voices
● File name: VL1_VER2.ALL
Loading this file with the “ALL” load option restores the VL1 Version 2 to its initial state as shipped from the factory.
The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/WX” the breath controller or a
WX wind controller cannot be used. Many voices can be played more expressively with a breath controller, so for the notes, below, we
assume that the “Breath Mode” parameter is set to “BC/WX”.
Many of these voices can also be used on the VL7 Version 2, so load them and give them a try.
●Voice number
Voice name Voice explanation
A01 (001) Vintage VL Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position
or at minimum position for darker sound.
A02 (002) Jazz Sax Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about
Ab5.
A03 (003) AnaBottle This voice is a combination of an analog sounding square wave with breath noise. It uses new kind
of breath noise and has a very speedy response which is fun for solos.
A04 (004) JazzTrumpt A jazz-oriented trumpet with a wide dynamic range.
A05 (005) Stick A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.
A06 (006) Violin The breath controller controls both bow pressure and speed on this violin voice. Can also be used in
the cello and viola ranges.
A07 (007) Wet Mini Powerfull synth-bass with a lot of resonance.
A08 (008) Pastorale A mysterious reed/pipe timbre, quite unlike any existing instrument.
A09 (009) Warm Dist Distorted amplified electric guitar.
A10 (010) Super Jam A trumpet and trombone horn section with wide dynamics.
A11 (011) Shakuhachi An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.
A12 (012) DeepThroat Strange organ using lots of throat formant.
A13 (013) XtraX Acid rave lead string sound.
A14 (014) EnglishHrn The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.
A15 (015) MuteCone Simulation of the muted trumpet.
A16 (016) Acid Bass A perfect bass sound for “acid” basslines.
●Voice number
Voice name Voice explanation
B01 (017) Brassyn Bright analog synth-brass.
B02 (018) Tenor Sub Sax with a strong sub-tone content. A good choice for jazzy phrases.
B03 (019) SaxyTrump A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath
pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.
B04 (020) Trumpet Bright trumpet. Suitable for a wide range of styles.
B05 (021) FingerBass A fingered bass simulation.
B06 (022) Cello A natural-sounding cello simulation.
B07 (023) Soft Mini An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth
are on the continuous sliders (CC16, CC17).
B08 (024) Thai Reed Simulation of a South East Asian (mainly Thailand) reed instrument.
B09 (025) GuitarHero A distortion guitar. Controlling the feedback with aftertouch is particularly effective.
B10 (026) DynaTp&Sx A trumpet and sax ensemble using the new dynamic split capabilities of Version 2. The split point is
C4 when the voice is initially selected, but will shift dynamically according to what you play. Add
vibrato with aftertouch.
B11 (027) C Flute Flute for a wide range of musical styles.
B12 (028) Moby Mysterious sound in which the basic sound components increase successively as the key is
gradually pressed. Best features brought out with aftertouch.
B13 (029) MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.
B14 (030) Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5.
B15 (031) Mute Boyz Unison layered muted trumpets. PB controls embouchure to create parallel tuned intervals. PB at
minimum transposes element 1 down a 4th, 3rd or minor 3rd, and PB at maximum transposes
element 2 up a 4th, 3rd or minor 3rd (key range dependenent) .
B16 (032) Wah Man Cry-baby wah-pedal effect on the BC.
VL1/VL1-m Version 2 Voices
3
Voice Lists
●Voice number
Voice name Voice explanation
C01 (033) Ossyncro An analog synthesizer, oscillator-sync, cross-modulation sound.
C02 (034) SopranoSax Try using after touch.
C03 (035) FlutoPhone Flute/Sax hybrid. Velocity is assigned to Embouchure, producing an interesting unstable attack in
the upper registers for fast staccato trills in intervals a fifth or more.
C04 (036) FlugelHorn A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.
C05 (037) Fretless Fretless bass … this one is ideal for melodic lines.
C06 (038) JetLipBow A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.
C07 (039) OldMini Solo sound typical of saw-tooth waveforms in analog synthesizers. You can control the balance
using CS1 (CC16) and CS2 (CC17) .
C08 (040) Japanesque Another Shakuhachi with breath noise.
C09 (041) JazzGuitar Electric guitar-like timbre. An obvious choice for jazz.
C10 (042) 40’sSaxes A sax ensemble with that ’40’s jazz feel.
C11 (043) Tull Flute A noisy flute. MW2 (CC13) adjusts growl . Aftertouch is recommended.
C12 (044) Mad Tube An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.
C13 (045) HydroStorm MW1 and Velocity are important controlers for this voice … but try them all.
C14 (046) Jazz Clari Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to
soften the tonguing transient.
C15 (047) Croma Harp A chromatic harmonica simulation
C16 (048) JungleBass Sliding bass for jungle music.
●Voice number
Voice name Voice explanation
D01 (049) SynthSplit Dual Oscillator synth lead with slow attack swell filter EG. Play with MW2 (CC13) at center position
or at minimum position for darker sound.
D02 (050) BaritonSax Baritone sax suitable for lead lines.
D03 (051) RoundBreth An ethnic flute sound in octaves.
D04 (052) JazzBone A trombone simulation.
D05 (053) Tube Bass Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.
Vary the velocity for dynamic timbre changes.
D06 (054) Viol Outt Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for
bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.
D07 (055) Mr. Mogue Synthesized bass in octaves.
D08 (056) Bagpipes Sounds below Bb2 are drones. Scottish folk songs are often performed with drones on Bb, and
playing in Bb Mixolydian mode in the right hand.
D09 (057) Cruncher Distortion guitar. Subtle picking nuances can be controlled via velocity.
D10 (058) Mrs.Yang Combination of Chinese violin and violin.
D11 (059) Piccolo Simulation of the piccolo.
D12 (060) No Harm AT Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for
a unique ‘car horn’ style effect.
D13 (061) Crystal ME type pad effect.
D14 (062) Clarinet A light clarinet sound useful for classical music. Range is Db2 to about Ab5.
D15 (063) Blues Harp A miked harmonica, played through a guitar amplifier.
D16 (064) PowerBass Big rave bass sound.
VL1/VL1-m Version 2 Voices
Voice Lists
4
●Voice number
Voice name Voice explanation
E01 (065) AnorakSyn Unstable oscillator analog synth.
E02 (066) Bell Miked A simulation of saxophone miked close to the bell.
E03 (067) Taped Jet Analog tape sampler type sound. Could be flute or recorder.
E04 (068) MelTrump Mellow trumpet.
E05 (069) Birdland A sound somewhere between an analog synthesizer and electric bass. The bass harmonics are
emphasized in the high range.
E06 (070) DoubleBow A bass with strong “stringed instrument” characteristics. CS2 varies the timbre.
E07 (071) Igneous Feedback synthesized lead. A simulation of an analog-synthesized distortion guitar.
E08 (072) Solitude A delicate wind sound.
E09 (073) IndoPluck A Mideastern plucked sound.
E10 (074) Elec Lips Combination of lead voice, synth lead & shakuhachi. Shakuhachi mode changes produced by MW2
(CC13).
E11 (075) Pan Pipes Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.
E12 (076) PlastiSax An alto sax … sounding the way it might if played through a plastic body.
E13 (077) Black Hole Try every controller.
E14 (078) BassClari The sound of the Bb bass clarinet. Range is D2 to F5.
E15 (079) Lead Bows A new violin-like instrument that happens to sound like detuned sawtooth waves layered in octaves.
Try BC tonguing for a nice hard bowed attack. Range C2-C6.
E16 (080) Sub Bass A bass sound for the subsonic range.
●Voice number
Voice name Voice explanation
F01 (081) Funny Cat Filter-sweep synth sound.
F02 (082) Old Tenor A dry, jazzy tenor sax.
F03 (083) SteamLead Soft lead w/hard attack. Velocity controls the brigtness of the “steam.” MW2 (CC13) brings the
sound up an octave and changes the timbre.
F04 (084) Horn A poly-mode horn voice.
F05 (085) ThumBass Thumped Bass.
F06 (086) Viowind A new type of sound, not belonging to any existing instrumental group. Play using MW2 (CC13),
BC, and aftertouch.
F07 (087) 50 / 50 Solo sound using simple analog synthesizer square waves.
F08 (088) Digeritek Includes elements of distorted guitar, sax, and bowed strings. Use of the breath controller is
recommended.
F09 (089) Sitar Simulation of a sitar. Effective if you play the bass in the left hand and the melody in the right. Use
of aftertouch and pitch bend is very effective. Velocity controls dynamic timbral effects.
F10 (090) The Cool Combination of Flugelhorn & AltoSax. Good for the melody in 4-beat jazz styles.
F11 (091) BassFlute The sound of the rarely heard bass flute, extending an octave below the C flute. Range: C3 to C6.
F12 (092) BuzzSax A bright, buzzy tenor sax that is very responsive to breath pressure. Try aftertouch for various
squeaks and growls.
F13 (093) Freezing Experiment with all controllers.
F14 (094) Dubble New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.
MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.
F15 (095) BowByBlow Hard bowed flute/wind hybrid. Very slowly blowing BC pressure sounds octave overtone during
attack before stabilizing at fundamental.
F16 (096) Outback A sound incorporating two types of ethnic timbres. Dynamic timbre change is possible using the
aftertouch from the lowest note to D2.
VL1/VL1-m Version 2 Voices
5
Voice Lists
●Voice number
Voice name Voice explanation
G01 (097) AirSqeezer Simple octave analog synth.
G02 (098) Nat Tenor Tenor sax with a unique attack.
G03 (099) Sarangi Traditional Indian string instrument. Use aftertouch vibrato and pitch bend for microtonal ornaments,
and for timbral variation.
G04 (100) Cornet A cornet for easy-listening styles.
G05 (101) Square Synth bass with emphasized filter.
G06 (102) Nu Viola Mellow, woody viola. Range C2-G6. MW2 (CC13) for tremolo. Vary BC pressure for bowing … try
tonguing BC for hard bowed attack.
G07 (103) MoreGrunge A new type of deep synthesized lead.
G08 (104) Aerophone Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to
Embouchure for alternate bend effect. Aftertouch for growl.
G09 (105) Spanish Spanish type acoustic guitar.
G10 (106) FluBassoon A classical woodwind ensemble.
G11 (107) Floboe A combination of properties of several different woodwind instruments.
G12 (108) PlastcReed The sound of a plastic reed instrument that is warm at low pressures but thin at higher pressures.
Growl on aftertouch.
G13 (109) Mu Noise produced by MW1. The tone is controlled by MW2 (CC13).
G14 (110) DarkBasoon A dark, but lighter bassoon voice than the original VL bassoon. Range is Bb1 (oct down) to Eb5.
G15 (111) Faerie Bow A new “violin” instrument that happens to sound like a bright, vocal, “gizmo” motorized synth. Try BC
tonguing for a nice hard bowed attack. MW2 (CC13) controls attack tightness. Range C2-C6.
G16 (112) Yamasteel A steel drum-like percussion sound. MW2 (CC13) changes the timbre.
●Voice number
Voice name Voice explanation
H01 (113) Afterwork This voice benefits from extensive use of aftertouch.
H02 (114) Alto Sax Bright alto sax simulation.
H03 (115) Tenor Air Unique tenor lead tone. MW2 (CC13) controls Embouchure for subtle pitch bend effects.
H04 (116) Lite Tuba A “light” tuba simulation.
H05 (117) Brite Bass Artifical slap-bass. Low velocity for thumped notes; high velocity for slapped notes.
H06 (118) Lite Cello A “light” cello simulation.
H07 (119) FunkyLead Funky wah synth for percussive riffs. Very velocity sensitive.
H08 (120) Syraphone Unique transient attack response when playing intervals over a fifth with fast, staccato articulation …
gives a nice tongued/bowed attack to the sound. Plays very smoothly with legato articulations and
BC tonguing.
H09 (121) AsianPlck Oriental plucked sound.
H10 (122) BaroqeDuet A dynamic split with a recorder sound on top and baroque sounding cello on the bottom. Velocity
controls the volume of the cello; breath controls the volume of the recorder. Vibrato for both voices
is on aftertouch.
H11 (123) GrassHarp A harmonica type sound with grass reeds. Use a sustain pedal to switch to the mono mode for an
ethnic sounding woodwind solo.
H12 (124) CombMute Imaginary trumpet type instrument with a very strange mute. Try moving MW2 (CC13) for a more
natural vibrato.
H13 (125) Haze A psychedelic fuzzy organ in fifths, with breath control routed to the filter.
H14 (126) AltoRecrdr A duophonic alto recorder for imitating renaissance recorder duets. Range is F3 to F5.
H15 (127) Bowed Saw Sound of a bowed saw. Has the character of Ondes Martenot or Theremin (pioneer electronic
instruments).
H16 (128) Waterphone Mysterious percussion instrument. Attack is softened with MW1. Squeakiness (embouchure) on
MW2 (CC13). Violent SCRAPE sound with aftertouch.
VL1/VL1-m Version 2 Voices
Voice Lists
6
■ VL1/VL1-m Version 2 WX Voices
● File name: VL1V2_WX.ALL
The 32 voices included in this file have been programmed specifically for optimum playability with a Yamaha WX-series wind controller
(WX7/WX11). It is assumed that you will be using the WX Tight Lip mode (see Note 1, below). Also, make sure that the VL1 Version 2 or
VL1-m Version 2 UTILITY/SYSTEM/TG SETTING “WX Lip” parameter is set to “Expand” (see Note 2).
If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.
Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for
details.
Note 2: When the VL1V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to
“Expand”.
In order to produce the correct pitch with a WX-series controller when the “Tight Lip” mode is selected, it is necessary to apply the
right amount of pressure to the WX reed (i.e. sax-type embouchure). Adjust the WX controller so that a Pitch Bend value of “0” appears in
the VL1-m monitor display screen (Press [F7] in the PLAY mode to see this display — see Note 3). The VL1 does not have a monitor
display.
Note 3: When the WX controller is set to the “Tight Lip” mode and the VL “WX Lip” parameter is set to “Expand”, the Pitch Bend
value in the monitor display should vary from “-64” to “63” in response to variations in lip pressure.
This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable
for the rock and pop genres, so don’t overlook them for keyboard control.
The A01, A06, A10, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually after a note
is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/E1/ENV/VIBRATO parameter page to “0”.
●Voice number
Voice name Voice explanation
A01 (001) Hey! Kenny A soprano sax simulation with delayed vibrato.
A02 (002) AcoEkoSyn A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the
light portamento effect.
A03 (003) BrassSectn An ensemble with different voices assigned to the two elements. Timing, pitch, and timbre can be
effectively controlled via breath and reed (pitch bend).
A04 (004) MutedLipWX A muted trumpet suitable for “old” jazz styles.
A05 (005) GlassAlto Bright alto sax, suitable for pop styles. Wide variation with breath pressure.
A06 (006) C Flute 2 Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise
pitch an octave.
A07 (007) WXTenorSax Use lower breath pressures to produce a “gravelly” sound with more subtones. Higher pressure
produces a tone that is ideal for jazz and fusion styles.
A08 (008) WahUpHarp Use breath control the wah effect.
A09 (009) C Trumpet Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;
tighten for lip slur.
A10 (010) Shakuhachi Use lip pressure to shift the fundamental tone.
A11 (011) WX Bariton A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.
A12 (012) AnaEkoSyn An analog synth with phaser effect. Good for long-tone solos.
A13 (013) GuitarHero Reed and breath control can produce some remarkable effects with a distortion guitar voice.
A14 (014) LonelyPhone Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching
melodies.
A15 (015) MoreGrunge An analog type voice with a long delay. Use over about a 5-octave range.
A16 (016) Horn 2 Simulates the long tube — and hard-to-play pitch characteristics — of a real horn. You might want
to keep an eye on the monitor display while playing this one.
VL1/VL1-m Version 2 WX Voices
7
Voice Lists
●Voice number
Voice name Voice explanation
B01 (017) MildAltSax Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.
B02 (018) JazzBone Soft timbre on soft passages; brighter when played fortissimo.
B03 (019) BrightTenr Tenor sax with a solid attack.
B04 (020) Clarinet 2 A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very
expressive.
B05 (021) Blues Harp A blues harp suitable for punchy lines.
B06 (022) PanPicol Somewhere between pan pipes and piccolo.
B07 (023) OldMini Analog synth. Breath control produces cutoff resonance type effects. Useful over an extremely wide
range.
B08 (024) HarpSoprn A combination of soprano sax and harp.
B09 (025) WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual
upward pitch bend.
B10 (026) Andean Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can
also be played as a pan pipe.
B11 (027) Air Saxes A dry sax sound.
B12 (028) Marsaloboe Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.
B13 (029) JazzGuitar Where else can you play jazz guitar with tonguing? Very expressive.
B14 (030) DoubleBow Breath control produces effects like bowing a cello. Breath is assigned to bow speed.
B15 (031) Nz Piccolo Ebony piccolo with outstanding breath noise at low pressures.
B16 (032) LM AltoSax Alto sax for pops or fusion styles.
VL1/VL1-m Version 2 WX Voices
Voice Lists
8
■ VL7 Version 2 Voices
● File name: VL7_VER2.ALL
Loading this file with the “ALL” load option restores the VL7 Version 2 to its initial state as shipped from the factory.
The UTILITY/SYSTEM/BREATH MODE parameter is set to “Touch EG”, so until this is changed to “BC/WX” the breath controller or a
WX wind controller cannot be used. Many voices can be played more expressively with a breath controller, so for the notes, below, we
assume that the “Breath Mode” parameter is set to “BC/WX”.
●Voice number
Voice name Voice explanation
A01 (001) Brassyn Bright analog synth-brass.
A02 (002) Jazz Sax Sweet tenor sax sound with some bite when blown hard. Growl on AT. VL range is Db3 to about
Ab5.
A03 (003) AnaBottle This voice is a combination of an analog sounding square wave type sound with breath noise. It
uses the straight horn algorithm and new fricative waves. It has a very speedy response which is
fun for solos.
A04 (004) JazzTrumpt A jazz-oriented trumpet with a wide dynamic range.
A05 (005) Stick A “hard and sticky” bass sound … similar to one often used by Peter Gabriel.
A06 (006) Violin The breath controller controls both bow pressure and speed on this violin voice. Can also be used in
the cello and viola ranges.
A07 (007) Wet Mini Powerfull synth-bass with a lot of resonance.
A08 (008) Pastorale A mysterious reed/pipe timbre, quite unlike any existing instrument.
A09 (009) Warm Dist Distorted amplified electric guitar.
A10 (010) IndoPluck A Mideastern plucked sound.
A11 (011) Shakuhachi An excellent Shakuhachi simulation. Best features brought out with breath variations and pitch bend.
A12 (012) DeepThroat Strange organ using lots of throat formant.
A13 (013) Freezing Experiment with all the controllers.
A14 (014) EnglishHrn The sound of the oboe’s bigger brother, the english horn. The range is F2 to about A4.
A15 (015) MuteCone Simulation of the muted trumpet.
A16 (016) Acid Bass A perfect bass sound for “acid” basslines.
●Voice number
Voice name Voice explanation
B01 (017) AnorakSyn Unstable oscillator analog synth.
B02 (018) Tenor Sub Sax with a strong sub-tone content. A good choice for jazzy phrases.
B03 (019) SaxyTrump A strange combination of a trumpet-like sound mixed with a saxophone sound. Higher breath
pressure adds more beat to the sax element. Throat is controlled by aftertouch for a sax type growl.
B04 (020) Trumpet Bright trumpet. Suitable for a wide range of styles.
B05 (021) FingerBass A fingered bass simulation.
B06 (022) Cello A natural-sounding cello simulation.
B07 (023) Soft Mini An emulation of the classic moog bass sound. The filter resonance and the filter envelope depth
are on the continuous sliders (CC16, CC17).
B08 (024) Thai Reed Simulation of a South East Asian (mainly Thailand) reed instrument.
B09 (025) GuitarHero A distortion guitar. Controlling the feedback with aftertouch is particularly effective.
B10 (026) Spanish Spanish type acoustic guitar.
B11 (027) C Flute Flute for a wide range of musical styles.
B12 (028) Moby Mysterious sound in which the basic sound components increase successively as the key is
gradually pressed. Best features brought out with aftertouch.
B13 (029) MechaHorse Aftertouch and MW2 (CC13) are the key controllers for this voice … but don’t neglect the others.
B14 (030) Oboe An oboe sound which is somewhat darker than the original VL oboe. The range is Bb2 to about G5.
B15 (031) Cornet A cornet for easy-listening styles.
B16 (032) Wah Man Cry-baby wah-pedal effect on the BC.
VL7 Version 2 Voices
9
Voice Lists
●Voice number
Voice name Voice explanation
C01 (033) Ossyncro An analog synthesizer, oscillator-sync, cross-modulation sound.
C02 (034) SopranoSax Try using after touch.
C03 (035) FlutoPhone Flute/Sax hybrid. Velocity is assigned to Embouchure, producing an interesting unstable attack in
the upper registers for fast staccato trills in intervals a fifth or more.
C04 (036) FlugelHorn A flugelhorn simulation with outstanding expressive characteristics in the low-pressure range.
C05 (037) Fretless Fretless bass … this one is ideal for melodic lines.
C06 (038) JetLipBow A delicate sound combining reed (oboe type) and flute sounds … with a violin-like attack.
C07 (039) Solitude A delicate wind sound.
C08 (040) Floboe A combination of properties of several different woodwind instruments.
C09 (041) JazzGuitar Electric guitar-like timbre. An obvious choice for jazz.
C10 (042) Sitar Simulation of the sitar.
C11 (043) Pan Pipes Pan flute simulation. Be sure to use MW2 (CC13). Aftertouch is extremely effective.
C12 (044) Mad Tube An extremely aggressive sound that lies somewhere between synth lead and distortion guitar.
C13 (045) Mu Noise produced by MW1. The tone is controlled by MW2 (CC13).
C14 (046) Jazz Clari Bright clarinet for jazz/big band solos. MW2 (CC13) controls tonguing: move towards maximum to
soften the tonguing transient.
C15 (047) Croma Harp A chromatic harmonica simulation.
C16 (048) Dubble New acoustic double reed. Wide dynamic range with BC. Warm reedy timbre at low pressure.
MW2 (CC13) controls tonguing: move towards maximum to soften the tonguing transient.
●Voice number
Voice name Voice explanation
D01 (049) AirSqeezer Simple octave analog synth.
D02 (050) BaritonSax Baritone sax suitable for lead lines.
D03 (051) Aerophone Hollow, breathy, new woodwind instrument. Play in tenor and alto ranges. MW2 (CC13) to
Embouchure for alternate bend effect. Aftertouch for growl.
D04 (052) JazzBone A trombone simulation.
D05 (053) Tube Bass Similar to the sound produced by striking the tops of cylindrical plastic pipes of differing lengths.
Vary the velocity for dynamic timbre changes.
D06 (054) Viol Outt Bright violin. Full bodied, especially above G3. MW2 (CC13) for tremolo. Vary BC pressure for
bowing effects. Tonguing of the BC produces a good hard bowed attack. Try the poly mode.
D07 (055) Mr. Mogue Synthesized bass in octaves.
D08 (056) Old Tenor A dry, jazzy tenor sax.
D09 (057) Cruncher Distortion guitar. Subtle picking nuances can be controlled via velocity.
D10 (058) AsianPlck Oriental plucked sound.
D11 (059) Piccolo Simulation of the piccolo.
D12 (060) No Harm AT Synthetic pipe instrument with Aftertouch control of Embouchure and Pitch Change effect depth for
a unique ‘car horn’ style effect.
D13 (061) Crystal ME type pad effect.
D14 (062) Clarinet A light clarinet sound useful for classical music. Range is Db2 to about Ab5.
D15 (063) Blues Harp A miked harmonica, played through a guitar amplifier.
D16 (064) Waterphone Mysterious percussion instrument. Attack is softened with MW1. Squeakiness (embouchure) on
MW2 (CC13). Violent SCRAPE sound with aftertouch.
VL7 Version 2 Voices
Voice Lists
10
■ VL7 Version 2 WX Voices
● File name: VL7V2_WX.ALL
The 32 voices included in this file have been programmed specifically for optimum playability with a Yamaha WX-series wind controller
(WX7/WX11). It is assumed that you will be using the WX Tight Lip mode (see Note 1, below). Also, make sure that the VL1 Version 2 or
VL1-m Version 2 UTILITY/SYSTEM/TG SETTING “WX Lip” parameter is set to “Expand” (see Note 2).
If playing is too difficult with these settings, try the Loose Lip mode and set the VL “WX Lip” parameter to “Normal”.
Note 1: The WX-series wind controllers have “Tight Lip” and “Loose Lip” modes. Refer to the WX7 or WX11 owner’s manual for
details.
Note 2: When the VL7V2_WX.ALL file is loading using the “ALL” load option, the “WX Lip” parameter is automatically set to
“Expand”.
In order to produce the correct pitch with a WX-series controller when the “Tight Lip” mode is selected, it is necessary to apply the
right amount of pressure to the WX reed (i.e. sax-type embouchure). Adjust the WX controller for optimum response.
This selection also includes many voices which can be effectively played via a keyboard with breath control. Many voices are suitable
for the rock and pop genres, so don’t overlook them for keyboard control.
The A01, A06, A08, A10, B07, and B14 voices are programmed with a delay vibrato effect (i.e. the vibrato effect comes in gradually
after a note is played). To turn this effect off, set the “Sustain Lvl” parameter in the EDIT/EL/ENV/VIBRATO parameter page to “0”.
VL7 Version 2 WX Voices
●Voice number
Voice name Voice explanation
A01 (001) Hey! Kenny A soprano sax simulation with delayed vibrato.
A02 (002) AcoEkoSyn A grass-reed type synth voice that takes full advantage of VL technology. Take advantage of the
light portamento effect.
A03 (003) PanPicol Somewhere between pan pipes and piccolo.
A04 (004) MutedLipWX A muted trumpet suitable for “old” jazz styles.
A05 (005) GlassAlto Bright alto sax, suitable for pop styles. Wide variation with breath pressure.
A06 (006) C Flute 2 Attack and light pressure produce the sound of air flowing through the tube. Lip pressure can raise
pitch an octave.
A07 (007) Bassoon 2 An extraordinarily realistic bassoon simulation. Applying reed pressure above F4 shifts the funda-
mental.
A08 (008) BreathBow A bowed string instrument with breath noise.
A09 (009) C Trumpet Trumpet for a wide range of styles … from classic to rock. Loosen lip pressure to bend down;
tighten for lip slur.
A10 (010) Shakuhachi Use lip pressure to shift the fundamental tone.
A11 (011) WX Bariton A baritone sax that can be used for bass lines or solos. Best played with a distinct rhythm.
A12 (012) AnaEkoSyn An analog synth with phaser effect. Good for long-tone solos.
A13 (013) GuitarHero Reed and breath control can produce some remarkable effects with a distortion guitar voice.
A14 (014) LonelyPhone Pitch variations from pianissimo to fortissimo. Use this characteristics to play soul-searching
melodies.
A15 (015) Ophelia Synth lead with a soft, comfortable delay.
A16 (016) Horn 2 Simulates the long tube — and hard-to-play pitch characteristics — of a real horn.
●Voice number
Voice name Voice explanation
B01 (017) MildAltSax Alto sax with excellent mid- to high-range projection. Ideal for rock and pop styles.
B02 (018) JazzBone Soft timbre on soft passages; brighter when played fortissimo.
B03 (019) BrightTenr Tenor sax with a solid attack.
11
Voice Lists
B04 (020) Clarinet A clarinet simulation with realistic pitch and timbre variation in response to lip pressure. Very
expressive.
B05 (021) Blues Harp A blues harp suitable for punchy lines.
B06 (022) Ocarina Somehow more “intimate” than a real ocarina. Make good use of the portamento effect.
B07 (023) Oboe 2 An oboe simulation with delayed vibrato.
B08 (024) HarpSoprn A combination of soprano sax and harp.
B09 (025) WX Trumpet Tonguing can produce sounds ranging from flugelhorn to bright trumpet. Try applying gradual
upward pitch bend.
B10 (026) Andean Andean flute. Use the WX controller to apply breath and pitch variations to each individual note. Can
also be played as a pan pipe.
B11 (027) Air Saxes A dry sax sound.
B12 (028) Marsaloboe Somewhere between sax, flute, and oboe. Use lip pressure for wide-range pitch control.
B13 (029) Alto Oboe A somewhat “sweet” oboe simulation that sounds a bit like a clarinet. Middle register ideal for soft
melodies.
B14 (030) DoubleBow Breath control produces effects like bowing a cello. Breath is assigned to bow speed.
B15 (031) Nz Piccolo Ebony piccolo with outstanding breath noise at low pressures.
B16 (032) LM AltoSax Alto sax for pops or fusion styles.
Additional Version 2 Voices
■ Additional Version 2 Voices
● File name: ADDITION.ALL
This file includes some excellent voices that are not in the VL1_VER2.ALL or VL7_VER2.ALL files. Most are single-element voices, so
the VL1 voices can be used effectively on the VL7.
In all these voices the BREATH MODE is set to “BC/WX”.
●Voice number
Voice name Voice explanation
A01 (001) GlassTenor Tenor sax with a glass-like resonance.
A02 (002) Old Tenor2 Tenor sax suited for “old” jazz styles.
A03 (003) FunkyTenor Good with heavy backing. Use aftertouch.
A04 (004) Nat Alto A natural-sounding alto sax for pops styles. Edit the Modifiers to create your own sound.
A05 (005) HarpAlto A blend of harp and alto sax — or a heavily-processed sax, depending on how you play.
A06 (006) HarpSoprn Somewhere between soprano and alto sax. Unique sound in the high register.
A07 (007) SharpTrmp Bright trumpet with a distinctive upper register.
A08 (008) MuteLipJaz Muted trumpet for a wide range of styles.
A09 (009) Lite Horn A solo voice with a brass-like harmonic structure.
A10 (010) DubleDuble A variation of the Duble voice.
A11 (011) Floboe 2 A variation of the Floboe voice.
A12 (012) Cello 2 A variation of the Cello voice.
A13 (013) JetLipBow2 A variation of the JetLipBow voice.
A14 (014) LiteViolin This strings voice is suited for delicate phrases.
A15 (015) CelleSynth Anal strings with the Celeste effect.
A16 (016) WahGtr BC Wah guitar with the Distortion+Wah effect.
Voice Lists
12
MIDI Data Format
■ MIDI Data Format for VL1, VL1-m, VL7 Version 2
1 MIDI receive
MIDI
<Rch> $8n ... Note Off
<Rch> $9n ... None On
<Rch> $Bn $01~$1F ... Control Change
$Bn $21~$77 ...
<Rch> $Bn $79 $00 Reset All Controllers
<Rch> $Cn ... Program Change
<Rch> $Dn ... Channel Aftertouch
<Rch> $En ... Pitch Bend
<Dev No> $F0 $43 $0m $7A ... Universal Bulk Dump With Additional Header
<Dev No> $F0 $43 $1m... Parameter Change
<Dev No> $F0 $43 $2m... Bulk Dump Request
$FE Active Sensing
Note : <Rch> : MIDI receive channel switch
<Dev No> : Device number switch
n : MIDI channel
m : Device number
Ignores the third byte of Note Off.
Ignores the second byte of Pitch Bend.
No incoming MIDI signals will be recognized in Demo mode.
The Voice number changes according to received Program Changes.
Program Change data Voice number
VL1,1-m : $00 ~ $7F A01(001) ~ H16(128)
VL7 : $00 ~ $3F A01(001) ~ D16(064)
$40 ~ $7F A01(001) ~ D16(064)
Reception may not be possible if Memory protect is ON in Bulk Dump.
Details of System Exclusive Messages are given later.
While Active Sensing is on, if no MIDI Active Sensing signals are received for
more than around 330 msec, the MIDI receive buffer will be cleared, and any
sound being generated will be cut off.
2 MIDI transmit
[for VL1, VL7]
MIDI
Note On/Off $9n ... <Tch>
Modulation Wheel 1 $Bn $01 ... <Tch>
Continuous Slider 1 $Bn $10 ... <Tch>
Continuous Slider 2 $Bn $11 ... <Tch>
Breath Controller $Bn $01~$1F, $21~$77 ... <on/off> <Tch>
Modulation Wheel 2
and Foot Controller 1,2
Foot Switch 1,2 $Bn $01~$1F, $21~$77 ... <on/off> <Tch>
$Cn ...
Program Change $Cn ... <Tch>
Aftertouch $Dn ... <Tch>
Pitch Bend Wheel $En ... <Tch>
and Octave Switch
Universal Bulk Dump $F0 $43 $0m $7A ... <Dev No>
With Additional Header
Parameter Change $F0 $43 $1m ... <Dev No>
Active Sensing $FE
13
Voice ListsMIDI Data Format
Note : <Tch> : MIDI transmit channel switch
<Dev No> : Device number switch
n : MIDI channel
m : Device number
The normal transmitted note numbers corresponding to the keyboard are $30
~ $60.
Use of Keyboard Transpose can shift these values by -$0C ~ +$0C, and use
of Octave Switch can shift them a further -$0C ~ +$0C.
Pitch Bend has 7 bit resolution.
In Demo mode, only Demo sequence data will be transmitted (not keyboard
data).
If the unit is in Play mode, or if Footswitches 1 or 2 are assigned to Program
Increment in any mode, then Program Increments of any type will cause a
Program Change message corresponding to the Voice number after the
change to be transmitted.
Voice number Program Change data
VL1 : A01(001) ~ H16(128) $00 ~ $7F
VL7 : A01(001) ~ D16(064) $00 ~ $3F
Details of System Exclusive Message are given later.
Active Sensing will be transmitted every 270 msec approximately.
Keyboards
(Octave Switch)
(Transpose)
(Note Shift)
Tone Generator
Controllers
Local on/offRch
WX Lip
Breath Mode
MIDI IN
Tch MIDI OUT
3 Keyboard and Tone Generator Configuration
[for VL1-m]
Note : <Tch> : MIDI transmit channel switch
<Dev No> : Device number switch
n : MIDI channel
m : Device number
In Demo mode, only Demo sequence data will be transmitted.
Details of System Exclusive Message are given later.
Note : Note On/Off messages received
from the keyboard and from
MIDI are indistinguishable. This
also applies to controller data.
Local keyboard and controller
data will always be received,
irrespective of the Transmit and
Receive channel settings.
VL1-m does not have Keyboards and
only have Breath Controller as a
controller.
MIDI
Breath Controller $Bn $02 ... <Tch>
Universal Bulk Dump $F0
$43 $0m $7A ... <Dev No>
With Additional Header
Parameter Change $F0 $43 $1m ... <Dev No>
Voice Lists
14
MIDI Data Format
4 System Exclusive Message
The following Bulk Dump Data will be transmitted on the Utility/Bulk screen.
System
Program Change Table Bulk refer to 4.1(VL1-m only)
Micro Tuning Bulk,memory no.=0,1 refer to 4.5.1
System Bulk refer to 4.1
All Voice
Voice Bulk,memory type=0,memory no.=
$00~$7F VL1,1-m refer to 4.1
$00~$3F VL7 refer to 4.1
Current Voice
Voice Bulk,memory type=$7F refer to 4.1
When Voice Data is changed in Edit Mode or System Data is changed in
Utility Mode,a Parameter Change formatted as described in the separate
tables,4.2,4.4,4.5.2 will be transmitted.
4.1 Bulk Dump
Both transmitted and received. Universal Bulk Dump With Additional Header
is used.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0000nnnn n = device number
3 01111010 7A
4 0bbbbbbb b = MSB of byte count
5 0bbbbbbb b = LSB of byte count
Byte count is from count 6 to the beginning of check
sum.
6 01001100 4C ascii”L”
7 01001101 4D ascii”M”
8 00100000 20 ascii” “
9 00100000 20 ascii”2"
10 00110000 30 ascii”0"
11 00110001 31 ascii”1"
12 00110001 31 ascii”1"
13 00110111 37 ascii”7"
14 0aaaaaaa a = data type
15 0aaaaaaa a = data type
56,43(ascii”V”,”C”) : Voice
53,59(ascii”S”,”Y”) : System
50,52(ascii”P”,”R”) : Program Change Table (VL1-m
only)
16 0ttttttt t = memory type
0 : Memory, 7F : Edit Buffer
17 0uuuuuuu u = memory number
Ignored when memory type = 7F.
When memory type = 0, indicates the voice number.
0 ~ 7F : A01(001) ~ H16(128) VL1,1-m
0 ~ 3F : A01(001) ~ D16(064) VL7
18 00000000 00
Ø
31 00000000 00
32 0ddddddd d = data
ØØ
0sssssss s = check sum (The 2’s complement of the 7 bit sum of
the data)
11110111 F7 EOX
Counts 16 and 17 ignored when receiving “SY” and “PR” data.
On reception, counts 18 ~ 31 are ignored as they are sent as 0’s.
Data for “VC” is
nos.32 ~ 139 Common Data Separate table 5.1,nos.0 ~ 107
nos.140 ~ 1619 Element 1 Data Separate table 5.2,nos.0 ~ 1479
nos.1620 ~ 3099 Element 2 Data Separate table 5.2,nos.0 ~ 1479
(VL1,1-m only)
Data for “SY” is
nos.32 ~ 95 System Data Separate table 5.3,nos.0 ~ 63
Data for “PR” is
nos.32 ~ 159 Program Change Table Data Separate table 5.6,
nos.0 ~ 127
4.2 Parameter Change
Both transmitted and received.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0001nnnn n = device number
3 01010100 54
4 0000tttt t = parameter type
0 : Common parameter
1 : Element parameter
2 : System parameter
5 : Remote Switch(device number is ignored)
7 : Program Change Table parameter (VL1-m only)
8 : Element,Effect and Modifier on/off
Element, Effect and Modifier on/off is effective in Edit
Mode only. Element on/off is ineffective for VL7.
5 0000000e e = element number
0 : element 1
1 : element 2
When parameter type = 1, the element number is
effective, otherwise ignored.
Ignored on VL7.
6 000000cc c = data count
1 : 1byte parameter
2 : 2byte parameter
When parameter type=2,5,7,8, data count=1.
7 0ppppppp p = MSB of parameter offset
8 0ppppppp p = LSB of parameter offset
Taken as the offset of the leading parameter when
data count is 2.
9 0vvvvvvv v = parameter value
(10 0vvvvvvv v = parameter value when data count is 2)
11110111 F7 EOX
Master Tuning of System Parameters can only be performed during reception.
Transmission will be performed using the 4.4 DX1 Master Tuning Compatibil-
ity format. In addition, Device Number Parameter Change cannot be received
or transmission.
Refer to 5 Appended Tables regarding the parameter offset.
4.3 Bulk Dump Request
Performed only during receive.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0010nnnn n = device number
3 01111010 7A
4 01001100 4C ascii”L”
5 01001101 4D ascii”M”
6 00100000 20 ascii” “
7 00100000 20 ascii”2"
15
Voice ListsMIDI Data Format
8 00110000 30 ascii”0"
9 00110001 31 ascii”1"
10 00110001 31 ascii”1"
11 00110111 37 ascii”7"
12 0aaaaaaa a = data type
13 0aaaaaaa a = data type
56,43(ascii”V”,”C”) : Voice
53,59(ascii”S”,”Y”) : System
50,52(ascii”P”,”R”) : Program Change Table (VL1-m
only)
14 0ttttttt t = memory type
0 : Memory, 7F : Edit Buffer
15 0uuuuuuu u = memory number
Ignored when memory type = 7F
When memory type = 0, indicates the voice number.
0 ~ 7F : A01(001) ~ H16(128) VL1,1-m
0 ~ 3F : A01(001) ~ D16(064) VL7
16 00000000 00
Ø
29 00000000 00
30 11110111 F7 EOX
Counts 14 and 15 ignored when receiving “SY” and “PR” data.
On reception, counts 16 ~ 29 are ignored as they are sent as 0’s.
4.4 DX1 Master Tuning Compatibility
The System Master Tuning Parameter Change is transmitted / received in
DX1 compatible format.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0001nnnn n = device number
3 00000100 04
4 01000000 40
5 0vvvvvvv v = parameter value
-64 ~ +63 (o/b)
6 11110111 F7 EOX
(o/b): offset binary (The 2’s complement sign bit reversed.)
4.5 SY77/99 Micro Tuning Compatibility
The Bulk Dump, Bulk Dump Request, and Parameter Change messages for
Micro Tuning are in SY77/99 compatible format.
4.5.1 Bulk Dump
Transmit / receive
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0000nnnn n = device number
3 01111010 7A
4 0bbbbbbb b = MSB of byte count
5 0bbbbbbb b = LSB of byte count
Byte count is from count 6 to the beginning of check
sum.
6 01001100 4C ascii”L”
7 01001101 4D ascii”M”
8 00100000 20 ascii” “
9 00100000 20 ascii” “
10 00111000 38 ascii”8"
11 00110001 31 ascii”1"
12 00110000 30 ascii”0"
13 00110001 31 ascii”1"
14 01001101 4D ascii”M”
15 01010100 54 ascii”T”
16 00000000 00
Ø
30 00000000 00
31 0uuuuuuu u = memory number
0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84
32 0vvvvvvv v = data
Ø
297 0vvvvvvv v
298 0sssssss s = check sum
299 11110111 F7 EOX
On reception, memory number 2~:P-1~ is received as 1:I-2.
Data is
nos.32 ~ 297 Separate table 5.4 Micro Tuning Parameters,
nos.0 ~ 265
4.5.2 Parameter Change
Performed only during receive.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0001nnnn n = device number
3 00110100 34
4 00001011 0B
5 0000000u u = memory number
0 : I-1 , 1 : I-2
6 000000pp p = MSB of parameter offset
7 0ppppppp p = LSB of parameter offset
8 0vvvvvvv v = parameter value
9 0vvvvvvv v = parameter value
10 11110111 F7 EOX
Refer to the separate table 5.4 Micro Tuning Parameters of the values of p
and v.
4.5.3 Bulk Dump Request
Performed only during receive.
Count
Value $ Description
0 11110000 F0
1 01000011 43
2 0010nnnn n = device number
3 01111010 7A
4 01001100 4C ascii”L”
5 01001101 4D ascii”M”
6 00100000 20 ascii” “
7 00100000 20 ascii” “
8 00111000 38 ascii”8"
9 00110001 31 ascii”1"
10 00110000 30 ascii”0"
11 00110001 31 ascii”1"
12 01001101 4D ascii”M”
13 01010100 54 ascii”T”
14 00000000 00
Ø
28 00000000 00
29 0uuuuuuu u = memory number
0,1,2 ~ 55 : I-1,I-2,P-1 ~ P-84
30 11110111 F7 EOX
Voice Lists
16
MIDI Data Format
5 Appended Tables
In this table -
no. is the parameter number (decimal)
c is the data count (decimal)
p is the offset (MSB, LSB) (hexadecimal)
v is the value (decimal)
Values may be of four types given below, depending on the range of the
values. These values are expressed in MIDI data in hexadecimal.
0 ~ 127 : 00 ~ 7F
0 ~ 127 , 128 ~ 16383 : 00 00 ~ 00 7F , 01 00 ~ 7F 7F
-64 ~ -1 , 0 , 1 ~ 63 : 40 ~ 7F , 00 , 01 ~ 3F
(2’s compliment)
-128 ~ -1 , 0 , 1 ~ 127 : 01 00 ~ 01 7F , 00 00 , 00 01 ~ 00 7F
(2’s compliment)
Table 5.1 Common Parameters
no. c p v name
0~9 1 00 00 ~ 00 09 32 ~ 126 Voice Name 1~10
10~15 00 0A ~ 00 0F 0 reserve
16 1 00 10 0 ~ 3 Key Mode VL1,1-m only
17 1 00 11 0 ~ 1 Voice Mode VL1,1-m only
18 1 00 12 0 ~ 2 Split Mode VL1,1-m only
19 1 00 13 0 ~ 127 Split Point VL1,1-m only
20 1 00 14 0 ~ 24 Split Interval VL1,1-m only
21 1 00 15 0 ~ 15 Elem1 MIDI Rch VL1,1-m only
22 1 00 16 0 ~ 15 Elem2 MIDI Rch VL1,1-m only
23 1 00 17 0 ~ 31 Poly Expand Mode VL1,1-m only
24 1 00 18 0 ~ 31 Poly Expand No. VL1,1-m only
25 1 00 19 0 ~ 2 PB,AT&MOD Mode VL1,1-m only
26 1 00 1A 0 ~ 119 Polyphony Control VL1,1-m only
27 1 00 1B 0 ~ 1 Sustain
28 1 00 1C 0 ~ 2 Pitch Bend Mode VL1,1-m only
29 1 00 1D 0 ~ 2 Assign Mode
30 1 00 1E 0 ~ 127 Brth Atck Time
31 1 00 1F 0 ~ 127 Brth Atck Gain
32 1 00 20 0 ~ 127 Touch EG Time
33 1 00 21 0 ~ 127 Touch EG Gain
34 1 00 22 0 ~ 1 Portamento Time MIDI Control
35 1 00 23 0 ~ 1 Portamento Mode
36 1 00 24 0 ~ 127 Portamento Time
37 1 00 25 0 ~ 1 Elem1 Portamento
38 1 00 26 0 ~ 1 Elem2 Portamento VL1,1-m only
39 1 00 27 -7 ~ 7 Elem1 Detune
40 1 00 28 -7 ~ 7 Elem2 Detune VL1,1-m only
41 1 00 29 -64 ~ 63 Elem1 Note Shift
42 1 00 2A -64 ~ 63 Elem2 Note Shift VL1,1-m only
43 1 00 2B 0 ~ 7 Elem1 Rand Pitch
44 1 00 2C 0 ~ 7 Elem2 Rand Pitch VL1,1-m only
45 1 00 2D 0 ~ 86 Elem1 MicroTuning
46 1 00 2E 0 ~ 86 Elem2 MicroTuning VL1,1-m only
47 1 00 2F 0 ~ 127 Elem1 Level
48 1 00 30 0 ~ 127 Elem2 Level VL1,1-m only
49 1 00 31 -64 ~ 63 Elem1 Pan L
50 1 00 32 -64 ~ 63 Elem1 Pan R
51 1 00 33 -64 ~ 63 Elem2 Pan L VL1,1-m only
52 1 00 34 -64 ~ 63 Elem2 Pan R VL1,1-m only
53 1 00 35 0 ~ 4 ( 0 ~ 2) CS1 Class (Voice Mode=0 or VL7)
54 2 00 36 0 ~ 150 (0 ~ 47) CS1 Assign (CS1 Class=1)
56 1 00 38 0 ~ 4 (0 ~ 2) CS2 Class (Voice Mode=0 or VL7)
57 2 00 39 0 ~ 150 (0 ~ 47) CS2 Assign (CS2 Class=1)
59 1 00 3B 0 ~ 3 Destination Effect
60 1 00 3C 0 ~ 122 Effect Controller
61 1 00 3D 0 ~ 9 Mod Effect Type
62 1 00 3E 0 ~ 1 Elem1 on/off VL1,1-m only
63 1 00 3F 0 ~ 1 Elem2 on/off VL1,1-m only
64~73 00 40 ~ 00 49
Refer to Table 5.1.1 Mod Effect no.0 ~ 9.
74 1 00 4A 0 ~ 1 FBD/Reverb Mode
75 1 00 4B 0 ~ 3 FBD Type
76 1 00 4C 0 ~ 100 FBD Return
77~94 00 4D ~ 00 5E Refer to Table 5.1.2 FBD no.0 ~ 17.
95 1 00 5F 0 ~ 8 Reverb Type
96~105 00 60 ~ 00 69 Refer to Table 5.1.3 Reverb no.0 ~ 9.
106~107 00 6A ~ 00 6B reserve
Table 5.1.1 Modulation Effect
Flanger
no. c v name
0 1 0 ~ 2 Wave
1 1 0 ~ 127 Freq
2 1 0 ~ 100 Depth
3 1 0 ~ 126 Delay
4 1 -8 ~ 8 Phase
5 2 -100 ~ 100 FB Gain
7 1 0 ~ 9 High
8 1 0 ~ 10 Analog Feel
9 1 0 ~ 100 Wet/Dry Balance
Pitch Change
no. c v name
0 1 0 ~ 1 Mode
1 1 -12 ~ 12 Pitch 1
2 2 -100 ~ 100 Fine 1
4 1 0 ~ 100 Out 1
5 1 -12 ~ 12 Pitch 2
6 2 -100 ~ 100 Fine 2
8 1 0 ~ 100 Out 2
9 1 0 ~ 100 Wet/Dry Balance
Distortion
no. c v name
0 1 0 ~ 100 Overdrive
1~2 reserve
3 1 0 ~ 4 Device
4 1 0 ~ 5 Speaker
5 1 -10 ~ 10 Presence
6 1 0 ~ 100 Output Level
7~9 reserve
Chorus
no. c v name
0 1 0 ~ 1 Mode
1 1 0 ~ 127 Freq
2 1 0 ~ 100 Depth
3 1 0 ~ 126 Delay
4 2 -100 ~ 100 FB Gain
6 1 0 ~ 9 High
7 1 0 ~ 100 Wet/Dry Balance
8~9 reserve
Phaser
no. c v name
0 1 0 ~ 1 Mode
1 1 0 ~ 1 ( 0 ~ 3 ) Stage (Mode=0)
2 1 0 ~ 127 Freq
3 1 0 ~ 100 Depth
4 1 0 ~ 100 Offset
5 1 -8 ~ 8 ( 0 ~ 1 ) Phase (Diffusion when Mode=0)
6 2 -100 ~ 100 FB Gain
8 1 0 ~ 100 Wet/Dry Balance
9 reserve
17
Voice ListsMIDI Data Format
Symphonic
no. c v name
0 1 0 ~ 1 Mode
1 1 0 ~ 127 Freq
2 1 0 ~ 100 Depth
3 1 0 ~ 10 Diffusion
4 1 0 ~ 12 Lo-Fi
5 1 0 ~ 100 Wet/Dry Balance
6~9 reserve
Celeste
no. c v name
0 1 0 ~ 1 Mode
1 1 0 ~ 127 Freq
2 1 0 ~ 100 Depth
3 1 0 ~ 126 Delay
4 2 -100 ~ 100 FB Gain
6 1 0 ~ 12 Lo-Fi
7 1 0 ~ 100 Wet/Dry Balance
8~9 reserve
Distortion+Flanger
no. c v name
0 1 0 ~ 100 Overdrive
1 1 0 ~ 5 Speaker
2 1 0 ~ 100 Output Level
3 1 0 ~ 127 Freq
4 1 0 ~ 100 Depth
5 1 0 ~ 126 Delay
6 1 -8 ~ 8 Phase
7 1 0 ~ 100 FB Gain
8 1 0 ~ 9 High
9 1 0 ~ 100 Flanger Balance
Distortion+Wah
no. c v name
0 1 0 ~ 100 Overdrive
1 1 0 ~ 5 Speaker
2 1 0 ~ 100 Output Level
3 1 0 ~ 3 Mode
4 1 0 ~ 1 Wah Pre/Post
5 1 0 ~ 127 Cutoff Freq
6 1 0 ~ 127 Resonance
7 1 0 ~ 100 Sens
8~9 reserve
Table 5.1.2 Feedback Delay
Mono
no. c v name
0~5 reserve
6 2 0 ~1024 Delay Time
8 1 0 ~ 100 Level
9 2 0 ~1024 FB Delay Time
11 1 0 ~ 100 FB Gain
12 1 0 ~ 9 High
13~17 reserve
L/R
no. c v name
0 2 0 ~ 512 Lch Delay Time
2 1 0 ~ 100 Lch FB Gain
3 1 0 ~ 9 Lch High
4 1 0 ~ 100 Lch Level
5 2 0 ~ 512 Rch Delay Time
7 1 0 ~ 100 Rch FB Gain
8 1 0 ~ 9 Rch High
9 1 0 ~ 100 Rch Level
10~17 reserve
L/C/R
no. c v name
0 2 0 ~1024 Lch Delay Time
2 1 0 ~ 100 Lch Level
3 2 0 ~1024 Rch Delay Time
5 1 0 ~ 100 Rch Level
6 2 0 ~1024 Cch Delay Time
8 1 0 ~ 100 Cch Level
9 2 0 ~1024 FB Delay Time
11 1 0 ~ 100 FB Gain
12 1 0 ~ 9 High
13~17 reserve
Table 5.1.3 Reverberation
no. c v name
0 1 0 ~ 100 Return
1 1 0 ~ 95 Reverb Time
2 1 0 ~ 9 High Control
3 1 0 ~ 10 Diffusion
4 2 0 ~ 405 Initial Delay
6 1 -21 ~ 12 Treble
7 1 -21 ~ 12 Bass
8 1 0 ~ 3 Feel
9 1 0 ~ 10 Reverb Time Boost
Table 5.2 Element Parameters
no. c p v name
0 1 00 00 0 ~ 124 Pressure Control
1 1 00 01 -16 ~ 16 Pressure Curve
2 2 00 02 -127 ~ 127 Pressure Depth
4 1 00 04 0 ~ 124 Embouchure Control
5 1 00 05 0 ~ 1 Embouchure Mode
6 2 00 06 -127 ~ 127 Embouchure Upper Depth
8 2 00 08 -127 ~ 127 Embouchure Lower Depth
10 1 00 0A 0 ~ 124 Pitch Control
11 1 00 0B 0 ~ 1 Pitch Mode
12 1 00 0C -12 ~ 12 Pitch Upper Depth
13 1 00 0D -12 ~ 12 Pitch Lower Depth
14 1 00 0E 0 ~ 124 Vibrato Control
15 reserve
16 2 00 10 -127 ~ 127 Vibrato Depth
18 1 00 12 0 ~ 124 Tonguing Control
19 1 00 13 -16 ~ 16 Tonguing Curve
20 2 00 14 -127 ~ 127 Tonguing Depth
22 1 00 16 0 ~ 124 Amplitude Control
23 1 00 17 -16 ~ 16 Amplitude Curve
24 2 00 18 -127 ~ 127 Amplitude Depth
26 1 00 1A 0 ~ 124 Scream Control
27 1 00 1B 0 ~ 127 Scream Value
28 1 00 1C -16 ~ 16 Scream Curve
29 2 00 1D -127 ~ 127 Scream Depth
31 1 00 1F 0 ~ 124 B.Noise Control
32 1 00 20 0 ~ 127 B.Noise Value
33 1 00 21 -16 ~ 16 B.Noise Curve
34 2 00 22 -127 ~ 127 B.Noise Depth
36 1 00 24 0 ~ 124 Growl Control
37 1 00 25 0 ~ 127 Growl Value
38 1 00 26 -16 ~ 16 Growl Curve
39 2 00 27 -127 ~ 127 Growl Depth
41 1 00 29 0 ~ 124 T.Formant Control
42 1 00 2A 0 ~ 127 T.Formant Value
43 1 00 2B -16 ~ 16 T.Formant Curve
44 2 00 2C -127 ~ 127 T.Formant Depth
46 1 00 2E 0 ~ 124 D.Filter Control
47 1 00 2F -16 ~ 16 D.Filter Curve
Voice Lists
18
48 2 00 30 -127 ~ 127 D.Filter Depth
50 1 00 32 0 ~ 124 H.Enhancer Control
51 1 00 33 -16 ~ 16 H.Enhancer Curve
52 2 00 34 -127 ~ 127 H.Enhancer Depth
54 1 00 36 0 ~ 124 Damping Control
55 1 00 37 -16 ~ 16 Damping Curve
56 2 00 38 -127 ~ 127 Damping Depth
58 1 00 3A 0 ~ 124 Absorption Control
59 1 00 3B -16 ~ 16 Absorption Curve
60 2 00 3C -127 ~ 127 Absorption Depth
62 1 00 3E 0 ~ 1 Trigger Mode
63 1 00 3F 0 ~ 96 Xfade Speed
64 1 00 40 0 ~ 50 Interpolate Speed
65 1 00 41 0 ~ 127 B.Noise Level
66 1 00 42 0 ~ 127 Break Point 1
67 1 00 43 -64 ~ 63 Offset 1
68~77 00 44 ~ 00 4D Break Point/Offset 2~6
78 1 00 4E 0 ~ 125 B.Noise HPF
79 1 00 4F 0 ~ 127 Break Point 1
80 1 00 50 -64 ~ 63 Offset 1
81~82 00 51 ~ 00 52 Break Point/Offset 2
83 1 00 53 0 ~ 127 B.Noise LPF
84 1 00 54 0 ~ 127 Break Point 1
85 1 00 55 -64 ~ 63 Offset 1
86~87 00 56 ~ 00 57 Break Point/Offset 2
88 1 00 58 0 ~ 22 B.Noise Noise
89 1 00 59 0 ~ 1 B.Noise Key On Reset
90 1 00 5A 0 ~ 32 B.Noise Slit Drive
91 1 00 5B -64 ~ 63 B.Noise Control Balance
92 1 00 5C 0 ~ 1 T.Formant Pitch Tracking
93 2 00 5D 0~176(-128~127)
T.Formant Pitch (Tracking=1)
95 1 00 5F 0 ~ 127 Break Point 1
96 2 00 60 -127 ~ 127 Offset 1
98~118 00 62 ~ 00 76 Break Point/Offset 2~8
119 2 00 77 -127 ~ 127 T.Formant Intens
121 1 00 79 0 ~ 127 Break Point 1
122 2 00 7A -127 ~ 127 Offset 1
124~132 00 7C ~ 01 04 Break Point/Offset 2~4
133 1 01 05 -64 ~ 63 T.Formant Amount
134 1 01 06 0 ~ 127 Break Point 1
135 1 01 07 -64 ~ 63 Offset 1
136~141 01 08 ~ 01 0D Break Point/Offset 2~4
142 1 01 0E 0 ~ 125 T.Formant HPF
143 1 01 0F 0 ~ 127 Break Point 1
144 1 01 10 -64 ~ 63 Offset 1
145~148 01 11 ~ 01 14 Break Point/Offset 2~3
149 1 01 15 0 ~ 127 T.Formant LPF
150 1 01 16 0 ~ 127 Break Point 1
151 1 01 17 -64 ~ 63 Offset 1
152~155 01 18 ~ 01 1D Break Point/Offset 2~3
156 1 01 1C 0 ~ 127 Driver Output
157 1 01 1D 0 ~ 127 Break Point 1
158 1 01 1E -64 ~ 63 Offset 1
159~168 01 1F ~ 01 28 Break Point/Offset 2~6
169 1 01 29 0 ~ 127 Pipe/String Output
170 1 01 2A 0 ~ 127 Break Point 1
171 1 01 2B -64 ~ 63 Offset 1
172~181 01 2C ~ 01 35 Break Point/Offset 2~6
182 1 01 36 0 ~ 127 Tap Output
183 1 01 37 0 ~ 127 Break Point 1
184 1 01 38 -64 ~ 63 Offset 1
185~194 01 39 ~ 01 42 Break Point/Offset 2~6
195 1 01 43 0 ~ 1 Tap Sign
196 1 01 44 0 ~ 4 Tap Setting
197 1 01 45 0 ~ 127 Tap Location
198 1 01 46 0 ~ 127 Break Point 1
199 1 01 47 -64 ~ 63 Offset 1
200~213 01 48 ~ 01 55 Break Point/Offset 2~8
214 1 01 56 0 ~ 127 Amplitude Level
215 1 01 57 0 ~ 127 Break Point 1
216 1 01 58 -64 ~ 63 Offset 1
217~230 01 59 ~ 01 66 Break Point/Offset 2~8
231~240 01 67 ~ 01 70 32 ~ 126 Element Name 1~10
241~707 01 71 ~ 05 43 reserve
708 2 05 44 -127 ~ 127 Excitation Level To Pipe/String
710 1 05 46 0 ~ 127 Break Point 1
711 2 05 47 -127 ~ 127 Offset 1
713~718 05 49 ~ 05 4E Break Point/Offset 2~3
719~725 05 4F ~ 05 55 reserve
726 2 05 56 -127 ~ 127 Excitation Level To Driver
728 1 05 58 0 ~ 127 Break Point 1
729 2 05 59 -127 ~ 127 Offset 1
731~736 05 5B ~ 05 60 Break Point/Offset 2~3
737 1 05 61 0 ~ 127 Excitation LPF Cutoff Freq
738 1 05 62 0 ~ 127 Break Point 1
739 1 05 63 -64 ~ 63 Offset 1
740~743 05 64 ~ 05 67 Break Point/Offset 2~3
744 1 05 68 0 ~ 16 Excitation Velo Sens To Level
745 1 05 69 0 ~ 16 Excitation Velo Sens To LPF
746 1 05 6A -16 ~ 16 Excitation Velo Sens To
P.Width
747 1 05 6B 0 ~ 127 Excitation Pulse Width
748 1 05 6C 0 ~ 127 Break Point 1
749 1 05 6D -64 ~ 63 Offset 1
750~753 05 6E ~ 05 71 Break Point/Offset 2~3
754 05 72 reserve
755 1 05 73 0 ~ 5 HE Carrier Signal
756 1 05 74 0 ~ 127 HE Carrier HPF
757 1 05 75 0 ~ 127 Break Point 1
758 1 05 76 -64 ~ 63 Offset 1
759~764 05 77 ~ 05 7C Break Point/Offset 2~4
765 1 05 7D -64 ~ 63 HE Carrier Overdrive
766 1 05 7E 0 ~ 127 Break Point 1
767 1 05 7F -64 ~ 63 Offset 1
768~773 06 00 ~ 06 05 Break Point/Offset 2~4
774 1 06 06 0 ~ 127 HE Carrier Level
775 1 06 07 0 ~ 127 Break Point 1
776 1 06 08 -64 ~ 63 Offset 1
777~786 06 09 ~ 06 12 Break Point/Offset 2~6
787 1 06 13 0 ~ 5 HE Modulator Signal
788 1 06 14 0 ~ 127 HE Modulator HPF
789 1 06 15 0 ~ 127 Break Point 1
790 1 06 16 -64 ~ 63 Offset 1
791~792 06 17 ~ 06 18 Break Point/Offset 2
793 1 06 19 -64 ~ 63 HE Modulator Overdrive
794 1 06 1A 0 ~ 127 Break Point 1
795 1 06 1B -64 ~ 63 Offset 1
796~797 06 1C ~ 06 1D Break Point/Offset 2
798 1 06 1E 0 ~ 127 HE Modulator Phase
799 1 06 1F 0 ~ 127 HE Modulator Index
800 1 06 20 0 ~ 127 Break Point 1
801 1 06 21 -64 ~ 63 Offset 1
802~807 06 22 ~ 06 27 Break Point/Offset 2~4
808 1 06 28 -64 ~ 63 HE Balance
809 1 06 29 0 ~ 127 Break Point 1
810 1 06 2A -64 ~ 63 Offset 1
811~816 06 2B ~ 06 30 Break Point/Offset 2~4
817 1 06 31 0 ~ 3 DF Filter Mode
818 1 06 32 0 ~ 127 DF Input Gain
819 1 06 33 0 ~ 1 DF Cutoff Tracking
820 1 06 34 0~127(-64~63)DF Cutoff Freq (Tracking=1)
821 1 06 35 0 ~ 127 Break Point 1
822 1 06 36 -64 ~ 63 Offset 1
MIDI Data Format
19
Voice Lists
823~826 06 37 ~ 06 3A Break Point/Offset 2~3
827 1 06 3B 0 ~ 127 DF Resonance
828 1 06 3C 0 ~ 127 Break Point 1
829 1 06 3D -64 ~ 63 Offset 1
830~833 06 3E ~ 06 41 Break Point/Offset 2~3
834 1 06 42 -64 ~ 63 DF Balance
835 1 06 43 0 ~ 127 EQ Input Gain
836 1 06 44 0 ~ 127 EQ HPF
837 1 06 45 0 ~ 127 Break Point 1
838 1 06 46 -64 ~ 63 Offset 1
839~844 06 47 ~ 06 4C Break Point/Offset 2~4
845 1 06 4D 0 ~ 127 EQ LPF
846 1 06 4E 0 ~ 127 Break Point 1
847 1 06 4F -64 ~ 63 Offset 1
848~853 06 50 ~ 06 55 Break Point/Offset 2~4
854 1 06 56 -8 ~ 8 EQ Post EQ Boost
855 1 06 57 0 ~ 48 EQ Band1 Freq
856 1 06 58 0 ~ 127 Q
857 1 06 59 -64 ~ 63 Level
858 1 06 5A 22 ~ 70 EQ Band2 Freq
859~860 06 5B ~ 06 5C Q and Level
861 1 06 5D 42 ~ 90 EQ Band3 Freq
862~863 06 5E ~ 06 5F Q and Level
864 1 06 60 64 ~ 112 EQ Band4 Freq
865~866 06 61 ~ 06 62 Q and Level
867 1 06 63 84 ~ 127 EQ Band5 Freq
868~869 06 64 ~ 06 65 Q and Level
870 1 06 66 0 ~ 1 IE on/off
871 1 06 67 0 ~ 127 IE Density
872 1 06 68 0 ~ 127 IE Dispersion
873 1 06 69 0 ~ 16 IE Roughness
874 1 06 6A 0 ~ 127 IE Wet Level
875 1 06 6B -64 ~ 63 IE Level Balance
876 1 06 6C 0 ~ 1 RSN on/off
877 1 06 6D 0 ~ 127 RSN Input Gain
878~887 2 06 6E ~ 06 77 0 ~ 1023 RSN Delay Time 1~5
888 1 06 78 0 ~ 127 RSN Decay Time
889 1 06 79 0 ~ 127 RSN LPF
890 1 06 7A -64 ~ 63 RSN Conjunction
891 1 06 7B 0 ~ 16 RSN Diffusion
892 1 06 7C -16 ~ 16 RSN Phase
893 1 06 7D 0 ~ 127 RSN Wet Level
894 1 06 7E -64 ~ 63 RSN Level Balance
895 1 06 7F 0 ~ 127 IE&RSN Dry Level
896 1 07 00 -16 ~ 16 Pres EG Attack Rate Offset
897 1 07 01 -16 ~ 16 Pres EG Release Rate Offset
898 1 07 02 0 ~ 16 Pres EG Velocity Sens To
Level
899 1 07 03 0 ~ 16 Pres EG Velocity Sens To
Rate
900~953 07 04 ~ 07 39 reserve
954 1 07 3A 0 ~ 2 Pres EG Mode
955 1 07 3B 0 ~ 16 E&P EG Velocity Sens To
Level
956 1 07 3C -16 ~ 16 E&P EG Velocity Sens To
Rate
957 1 07 3D 0 ~ 127 E&P EG Hold Time
958 1 07 3E 0 ~ 127 Break Point 1
959 1 07 3F -64 ~ 63 Offset 1
960~961 07 40 ~ 07 41 Break Point/Offset 2
962 1 07 42 -64 ~ 63 E&P EG Initial Level
963 1 07 43 0 ~ 127 Break Point 1
964 1 07 44 -64 ~ 63 Offset 1
965~966 07 45 ~ 07 46 Break Point/Offset 2
967 1 07 47 0 ~ 127 E&P EG Attack Rate
968 1 07 48 0 ~ 127 Break Point 1
969 1 07 49 -64 ~ 63 Offset 1
970~971 07 4A ~ 07 4B Break Point/Offset 2
972 1 07 4C 0 ~ 127 E&P EG Attack Level
973 1 07 4D 0 ~ 127 Break Point 1
974 1 07 4E -64 ~ 63 Offset 1
975~976 07 4F ~ 07 50 Break Point/Offset 2
977 1 07 51 0 ~ 127 E&P EG Decay Rate
978 1 07 52 0 ~ 127 Break Point 1
979 1 07 53 -64 ~ 63 Offset 1
980~981 07 54 ~ 07 55 Break Point/Offset 2
982 1 07 56 0 ~ 64 E&P EG Depth To
Embouchure
983 1 07 57 0 ~ 64 E&P EG Depth To Pitch
984 1 07 58 0 ~ 127 Vibrato Delay Time
985 1 07 59 0 ~ 127 Break Point 1
986 1 07 5A -64 ~ 63 Offset 1
987~988 07 5B ~ 07 5C Break Point/Offset 2
989 1 07 5D 0 ~ 127 Vibrato Attack Rate
990 1 07 5E 0 ~ 127 Break Point 1
991 1 07 5F -64 ~ 63 Offset 1
992~993 07 60 ~ 07 61 Break Point/Offset 2
994 1 07 62 0 ~ 127 Vibrato Sustain Level
995 1 07 63 0 ~ 127 Vibrato Depth
996 1 07 64 0 ~ 127 Break Point 1
997 1 07 65 -64 ~ 63 Offset 1
998~999 07 66 ~ 07 67 Break Point/Offset 2
1000 1 07 68 0 ~ 127 Vibrato Depth To Embouchure
1001 1 07 69 0 ~ 127 Vibrato Depth To Pitch
1002 2 07 6A -127 ~ 127 Vibrato Offset
1004 1 07 6C 0 ~ 127 Vibrato Speed
1005 1 07 6D 0 ~ 127 Break Point 1
1006 1 07 6E -64 ~ 63 Offset 1
1007~1008 07 6F ~ 07 70 Break Point/Offset 2
1009 1 07 71 0 ~ 16 Vibrato Speed Shift
1010 1 07 72 0 ~ 10 Vibrato Randomness
1011 1 07 73 0 ~ 127 Growl Depth To Pressure
1012 1 07 74 0 ~ 127 Growl Depth To B.Noise
1013 2 07 75 -127 ~ 127 Growl Offset
1015 1 07 77 0 ~ 127 Growl Speed
1016 1 07 78 0 ~ 127 Break Point 1
1017 1 07 79 -64 ~ 63 Offset 1
1018~1019 07 7A ~ 07 7B Break Point/Offset 2
1020 1 07 7C 0 ~ 10 Growl Randomns
1021 1 07 7D 0 ~ 16 Growl Speed Shift
1022 1 07 7E 0 ~ 1 Growl Vibrato Sync
1023 1 07 7F 0 ~ 16 A&F EG Velocity Sens To
Level
1024 1 08 00 0 ~ 16 A&F EG Velocity Sens To
Rate
1025 1 08 01 0 ~ 127 A&F EG Attack Rate 1
1026 1 08 02 0 ~ 127 Break Point 1
1027 1 08 03 -64 ~ 63 Offset 1
1028~1029 08 04 ~ 08 05 Break Point/Offset 2
1030 1 08 06 0 ~ 127 A&F EG Attack Level 1
1031~1034 08 07 ~ 08 0A Break Point/Offset 1~2
1035 1 08 0B 0 ~ 127 A&F EG Attack Rate 2
1036~1039 08 0C ~ 08 0F Break Point/Offset 1~2
1040 1 08 10 0 ~ 127 A&F EG Decay Rate
1041~1044 08 11 ~ 08 14 Break Point/Offset 1~2
1045 1 08 15 0 ~ 127 A&F EG Sustain Level
1046~1049 08 16 ~ 08 19 Break Point/Offset 1~2
1050 1 08 1A 0 ~ 127 A&F EG Release Rate
1051~1054 08 1B ~ 08 1E Break Point/Offset 1~2
1055 1 08 1F 0 ~ 127 A&F EG Depth To Amplitude
1056 2 08 20 -127 ~ 127 A&F EG Depth To Filter
1058~1479 08 22 ~ 0B 47 reserve
MIDI Data Format
Voice Lists
20
Table 5.3 System Parameters
no. c p v name
0~19 1 00 00 ~ 00 13 32 ~ 126 Greeting Message 1~20
20 1 00 14 -12 ~ 12 Keyboard Transpose VL1,7 only
21 1 00 15 0 ~ 1 Local on/off
22 1 00 16 0 ~ 3 Octave Switch Hold VL1,7 only
23 1 00 17 -64 ~ 63 Master Tuning
24 1 00 18 0 ~ 1 Memory Protect
25 1 00 19 0 ~ 1 Reverb
26 1 00 1A 0 ~ 1 Output
27 1 00 1B 0 ~ 127 Velocity Curve VL1,7 only
28 1 00 1C -16 ~ 17 After Touch Curve VL1,7 only
29 1 00 1D -16 ~ 17 Breath Control Curve
30 1 00 1E 0 ~ 119 Modulation Wheel 2 VL1,7 only
31 1 00 1F 0 ~ 120 Foot Switch 1 VL1,7 only
32 1 00 20 0 ~ 120 Foot Switch 2 VL1,7 only
33 1 00 21 0 ~ 119 Foot Controller 1 VL1,7 only
34 1 00 22 0 ~ 119 Foot Controller 2 VL1,7 only
35 1 00 23 0 ~ 119 Breath Controller VL1,7 only
36 1 00 24 0 ~ 15 Transmit Channel
37 1 00 25 0 ~ 16 Receive Channel
38 1 00 26 0 ~ 17 Device Number
39 1 00 27 0 reserve
40 1 00 28 0 ~ 1 Display
41 1 00 29 0 ~ 1 Confirm
42 1 00 2A 0 ~ 1 WX Lip
43 1 00 2B 0 ~ 2 Breath Mode
44 1 00 2C 0 ~ 127 Touch EG Time
45 1 00 2D 0 ~ 127 After Touch High Offset
46 1 00 2E -7 ~ 7 After Touch High Gain
47 1 00 2F 0 ~ 127 After Touch Low Offset
48 1 00 30 -7 ~ 7 After Touch Low Gain
49 1 00 31 0 ~ 127 Velocity Offset
50 1 00 32 -7 ~ 7 Velocity Gain
51~63 00 33 ~ 00 3F 0 reserve
Master Tuning of System Parameters can only be performed during reception.
Transmission will be performed using the 4.4 DX1 Master Tuning Compatibil-
ity format. In addition, Device Number Parameter Change cannot be received
or transmission.
Table 5.4 Micro Tuning Parameters
no. c p v name
0~254 2 00 00 ~ 01 7E 0 ~ 10794 C-2~G8
256~265 1 02 00 ~ 02 09 32 ~ 126 Table Name 1~10
Table 5.5 Remote Switch
no. c p name
0 1 00 00 PLAY
1 1 00 01 EDIT
2 1 00 02 UTILITY
3 1 00 03 COPY
4 1 00 04 STORE
5 1 00 05 Data Dial -1
6 1 00 06 Data Dial +1
7 1 00 07 Data Dial -16
8 1 00 08 Data Dial +16
9 1 00 09 DEC
10 1 00 0A CURSOR UP
11 1 00 0B INC
12 1 00 0C CURSOR LEFT
13 1 00 0D CURSOR DOWN
14 1 00 0E CURSOR RIGHT
15 1 00 0F EXIT
16 1 00 10 ENTER
17~24 1 00 11~18 F1~F8
25~28 1 00 19~1C A~D VL1,7 only
29~32 1 00 1D~20 E~H VL1 only
33~48 1 00 21~30 1~16 VL1,7 only
value 0 ~ 63 : off
value 64 ~ 127 : on
Table 5.6 Program Change Table Parameters
(VL1-m only)
no. c p v name
0~127 1 00 00~7F 0 ~ 127 001~128
Table 5.7 Element, Effect and Modifier on/off
no. c p name
0 1 00 00 Element 1 on/off VL1,1-m only
1 1 00 01 Element 2 on/off VL1,1-m only
2 1 00 02 Modulation Effect on/off
3 1 00 03 Feedback Delay on/off
4 1 00 04 Reverberation on/off
5 1 00 05 Harmonic Enhancer on/off
6 1 00 06 Dynamic Filter on/off
7 1 00 07 Equalizer on/off
8 1 00 08 Impulse Expander on/off
9 1 00 09 Resonator on/off
value 0 ~ 63 : off
value 64 ~ 127 : on
MIDI Data Format
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Yamaha VL Version2 Le manuel du propriétaire

VL Version2
Yamaha
Marque
Yamaha
Modèle
VL Version2
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Synthétiseur
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