Yamaha VL70-m User Manual
9
Virtual Acoustic Synthesis
The Controllers
The input to an acoustic wind instrument comes from the player’s lungs, tra-
chea, oral cavity, and lips. In a string instrument it comes from the player’s arm
movement, transmitted to the string via a bow. These elements actually form an
important part of the sound generating system and, in the VL70-m model, are
included in the controllers block. The player also influences the sound of the
instrument by playing the keys, tone holes, or frets, and this aspect of control
constitutes another part of the controllers block. These and other control param-
eters provided by the VL70-m are listed in the illustration below.
In essence, the controller parameters determine how the instrument “plays”. All
of these parameters can be assigned to any external controller that can be used
with the VL70-m: breath controller, foot controller, modulation wheel, etc. The
pressure parameter, for example, will normally be assigned to a breath controller
so the player can control the dynamics of the instrument by varying the breath
pressure applied to the controller — a natural, instinctive way to play wind-
instrument voices. At the same time the growl and throat parameters might also
be assigned to the breath controller in order to achieve life-like response and
effects.
chea, oral cavity, and lips. In a string instrument it comes from the player’s arm
movement, transmitted to the string via a bow. These elements actually form an
important part of the sound generating system and, in the VL70-m model, are
included in the controllers block. The player also influences the sound of the
instrument by playing the keys, tone holes, or frets, and this aspect of control
constitutes another part of the controllers block. These and other control param-
eters provided by the VL70-m are listed in the illustration below.
In essence, the controller parameters determine how the instrument “plays”. All
of these parameters can be assigned to any external controller that can be used
with the VL70-m: breath controller, foot controller, modulation wheel, etc. The
pressure parameter, for example, will normally be assigned to a breath controller
so the player can control the dynamics of the instrument by varying the breath
pressure applied to the controller — a natural, instinctive way to play wind-
instrument voices. At the same time the growl and throat parameters might also
be assigned to the breath controller in order to achieve life-like response and
effects.
Pitch
Changes the length of
the air column or
string, and thereby the
pitch of the sound.
Changes the length of
the air column or
string, and thereby the
pitch of the sound.
Damping & Absorption
Simulate the effects of
air friction in the pipe
or on the string, and of
high-frequency losses
at the end of the pipe
or string.
Simulate the effects of
air friction in the pipe
or on the string, and of
high-frequency losses
at the end of the pipe
or string.
Embouchure
The tightness of the
lips against the reed
or against each other,
or the force of the
bow against the
string.
The tightness of the
lips against the reed
or against each other,
or the force of the
bow against the
string.
Tonguing
Simulates the half-
tonguing technique
used by saxophone
players by changing
the “slit” of the reed.
Simulates the half-
tonguing technique
used by saxophone
players by changing
the “slit” of the reed.
Scream
Drives the entire system
into chaotic oscillation,
creating effects that can
only be achieved with
physical modelling
technology.
Drives the entire system
into chaotic oscillation,
creating effects that can
only be achieved with
physical modelling
technology.
Throat
Controls the characteris-
tics of the “player’s”
throat or bowing arm.
Controls the characteris-
tics of the “player’s”
throat or bowing arm.
Pressure
The amount of breath
pressure applied to the
reed or mouthpiece, or
bow velocity applied to
the string.
The amount of breath
pressure applied to the
reed or mouthpiece, or
bow velocity applied to
the string.
Growl
A periodic pressure (bow
velocity) modulation
which produces the
“growl” effect often
heard in wind instru-
ments.
A periodic pressure (bow
velocity) modulation
which produces the
“growl” effect often
heard in wind instru-
ments.