Yamaha VL70-m User Manual
110
Answers to Some Com-
mon Questions
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?
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.
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.
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?
an octave?
This is because Virtual Acoustic synthesis
accurately simulates the acoustic behaviour of a
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.
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.
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?
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).
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