Owner`s manual

ManualsBrandsYamaha ManualsComputer equipmentVL Visual Editor

(1) Important Notice

The VL v2 Visual Editor/Beta 1.0 (VL Visual Editor : VVE) is a Beta test version of the

program which has been released for use free of charge.

Yamaha cannot provide technical support for this software, so please read the manual

carefully before use. Also please be sure to make regular backups of important data to

minimize the possibility of accidental data loss. The VL Visual Editor is designed to run on a

Macintosh computer, but has not been fully tested with all machine/operating system

combinations. It may not function properly with some combinations. Since AppleTalk conflicts

with MIDI processing in many cases, it is a good idea to turn AppleTalk off when using the VL

Visual Editor.

The VL Visual Editor provides an easy, intuitive way to create, edit, and save basic voices for

Yamaha VL Version 2: specifically the VL1 Version 2, VL1-m Version 2, and VL7 Version 2. The

full potential of VL Version 2 can only be realized, however, with a thorough understanding of

the VL system. We therefore recommend that users who want to create high-quality voices

carefully read the manuals provided with the VL Version 2 instruments themselves.

reproduced or altered by any means without prior written permission from Yamaha

Corporation.

* The name "Apple", the Apple logo, "Macintosh", "AppleTalk", and "PatchBay" are either

registered trademarks or trademarks of Apple Computer.

* "MS-DOS" is a registered trademark of Microsoft Corporation.

(2) System Requirements

• Macintosh system 7.1 or higher.

• At least 3 megabytes of free RAM.

• At least 3 megabytes of free hard disk space.

• A MIDI interface.

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Summary of content (16 pages)

PAGE 1
(1) Important Notice The VL v2 Visual Editor/Beta 1.0 (VL Visual Editor : VVE) is a Beta test version of the program which has been released for use free of charge. Yamaha cannot provide technical support for this software, so please read the manual carefully before use. Also please be sure to make regular backups of important data to minimize the possibility of accidental data loss.
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The VL Visual Editor has not been tested on all Macintosh models and system combinations. The software may not run properly on some machines and machine/system combinations. This software can be used on a black & white display system, but 256 or more greys or colors is preferable. At least 16 colors or greys is recommended.
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2. PatchBay Settings If you're using the MIDI Manager, open PatchBay and check the VVE and Macintosh serial output connections. These settings are normally saved and will be automatically recalled the next time you start the VL Visual Editor. The PatchBay parameters may have to be reset if one of your MIDI applications is aborted abnormally or any other MIDI setting is changed.
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If one of the "VARIATION" buttons in the lower part of the window is now clicked, the corresponding voice data will be transmitted to, and can be played via, the connected VL instrument. The transmitted voice will sound briefly when the data has been successfully transmitted. If the "Voice List" window (described later) is open and you want to access the "Synthesis" window, select the "Synthesis" item from the "Window" menu to open the "Synthesis" window or bring it to the front.
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• Lip Reed In a trumpet, the player's lips are pressed against a specially-shaped mouthpiece and forced to vibrate in response to the player's breath pressure. The trombone, horn, tuba, and most other brass instruments work on this principle. • Jet Reed The flute, pan pipes and shakuhachi all work on the "jet reed" principle: i.e. sound is generated by the air turbulence produced by blowing across a solid edge.
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characteristics to the sound energy generated by the driver. • Conical (large) This option simulates the type of conical horn used in instruments like the saxophone — a small entrance aperture, gradually expanding to a relatively large bell. • Conical (small) This conical pipe has a much smaller taper than the above, more like the type of pipe used in an oboe. • Straight (single-ended) Similar to a clarinet pipe — driven from one end and essentially straight right up to the flare at the other end.
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his lips). • String A taught string, like the type used on a violin or guitar. The final result depends on the driver selected, but the string generally has a relatively long decay. (c) The VARIATION Options Depending on the DRIVER and PIPE/STRINGS combination selected, two or more VARIATIONs corresponding to different instrument sizes and characteristics may be available. If the DRIVER and PIPE/STRINGS combination is a standard one (e.g.
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If the "Patch Palette" or "Voice List" window (described later) is open and you want to access the "Edit" window, select the "Edit" item from the "Window" menu to open the "Edit" window or bring it to the front. The labelled "menu tabs" in the lower section of the "Edit" window provide access to corresponding edit pages. Before describing these pages let's take a look at the "Patch Palette".
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If one or more icons already exist in the patch holder, subsequent additions will be placed in the next unoccupied position to the right. The only exceptions are the Pickup icons, which will always be placed in the leftmost position. A Filter icon will appear to the right of a Pickup icon, unless no Pickup icon is selected, in which case the Filter icon will appear in the leftmost position. Multiple Pickup, Filter, or Resonator icons cannot be selected.
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• Humbucking A simulation of a "double-coil" humbucking electric guitar pickup. • Mouthpiece The effect produced by attaching a pickup to the mouthpiece of a wind instrument. • BreathNoiseAmp This pickup picks up the amplitude of the noise components of the breath noise. • FlowRate The saturation component of the air-flow within the instrument's mouthpiece is converted to sound and amplified. • Beatin' The beating or "buzzing" of the mouthpiece reed is selectively amplified.
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• Reed Aperture The flexing of the reed is converted to sound and amplified. <2> Filter The sound can be shaped with basic low-pass filters. The frequency and resonance of the filter can be adjusted via the "Tweak" edit page, described later. <3> Resonator These patches add, for example, the resonance of a violin or guitar body to the sound. <4> Modulation FX As the name implies, these patches produce modulation type effects such as phasing, vibrato, and distortion.
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<5> Delay FX The Delay FX patches provide a range of delay effects. <6> Reverberation The Reverberation effect patches provide a range of ambience-enhancing reverberation effects. <7> Combination A range of effect combinations are provided for use with different types of music. (b) The Suggestion Page Clicking on the "Suggestion" tab in the lower part of the "Edit" window will bring the Suggestion page to the front. The Suggestion page provides notes on the current voice and the selected patches.
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Click on the "Envelope" tab to access the Attack Rate, Delay, and Release envelope parameters. The Decay parameter is only available when the Pluck driver is selected. Each of these parameters can be adjusted from -16 to +16 (33 steps). The higher the value the faster the rate. A value other than "0" must be selected to produce any effect. With some DRIVER and PIPE/STRINGS combinations, however, only positive or negative values can be selected.
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NOTE • In some cases you might want to change the DRIVER, PIPE/STRINGS and/or VARIATION settings without affecting the "Edit" page settings. If you switch from the "Edit" window to the "Synthesis" window to do this, and then return to the "Edit" window, the patch settings will be retained but the "Envelope", "Controller", and "Tweak" settings will be initialized. If you want to start again from scratch all patch settings can also be cleared by clicking the "Clear" button. 7.
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the paste area will be copied. On the other hand, if the number of items copied is smaller than the selected paste area, the copied items will all be pasted and the extra paste locations will remain unaffected. (c) File Management The Voice List can be saved in the same way as any other Macintosh file. Select "Save" from the "File" menu to save the current Voice List. Select "Save as …" to specify a different save file name.
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The Comment window can be selected by double-clicking on a voice in the Voice List while holding the [control] and [command] keys. The total number of characters that can be entered in the Comment window is shown next to "Capacity" in the lower left corner of the window. 8. Quitting the Application Select "Quit" from the "File" menu to quit the VL Visual Editor application.