Casio VZ 8M Owners Manual

Casio VZ-8M Owners Manual Casio VZ-8M Owners Manual

User Manual: Casio VZ-8M Owners Manual

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niGITAL SYNTHESIZER
OPERATION MANUAL
MANUAL DE OPERACION

1
117

DIGITAL SYNTHESIZER

highly innovative digital

ition) Modular Sound Source sysim your new VZ-8M, be sure to read this

tern,

manual

often.

CAUTION
RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: to reduce the risk of electric

SHOCK, DO NOT REMOVE COVER (OR BACK). NO
USER-SERVICEABLE PARTS INSIDE. REFER SERVICING
TO QUALIFIED SERVICE PERSONNEL."

CONTENTS
4 Main Features

6 About this Manual
7 Important Terms
9 Theory: Flow of Operations
13 Theory: iPD Modular Sound System

17 Operating System Controls

19 Menus and Functions
20 About Function Indexes

21 Function Index Practice Exercise
25 Function Index
25
VOICE PARAMETER menu
45
EFFECT menu
67
OPERATION MEMORY EFFECT menu
69
TOTAL CONTROL menu

76 Performance/Editing in the Normal Mode

78 Performance/Editing in the Combination Mode
80 Performance/Editing in the Operation Memory Mode
82 Performance/Editing in the Multi Channel Mode

84 MIDI — Musical Instrument Digital Interface
86 Initializing the VZ-8M

87 VZ Sound Seminar: The elements of sound synthesis
93 Initialized Data
101 OPERATION MEMORY NAMES/VOICE NAMES
108 Care of Your Unit
109 Features and Functions

113 Specifications

ng flash with arrowhead symbol, within an equilateral
intended to alert the user to the presence of unin-

j'd^ngerous voltage" within the product's enclosure that

ipf sufficient magnitude to constitute a risk of electric
persons.

exclamation point within an equilateral triangle is intended
alert the user to the presence of important operating and

intenance (servicing) instructions in the literature accoming the product.

Main Features
A Amazing Synthesis Versatility Thanks to Casio's All-new iPD Sound Source
Casio's all-new "Interactive Phase Distortion" (iPD) sound source system actually consists of 8 independent "mod
ules" (Ml to M8). Each of these modules contains a DCO and a DCA, and is capable of generating independent
waveforms. In the iPD system, the wave generated by any module can be used in either of two ways; to produce
audible sounds or to modify waves generated by other modules.

The 8 iPD sound source modules work in associated pairs that are called "Internal Lines," or simply "lines." There
are 4 internal lines — A, B, C and D.
The waveforms generated by both modules in any line can be used together in three different ways. They can be mixed,

or one of the waveforms can be used to modulate the other for RING modulation or as the PHASE of a succeeding line.

Z* Instant Recall of up to 320 Sounds and 320 Operation Memories
128 presets give you a wide range of vocal versatility. And with the use of an optional ROM card, the VZ-8M gives
you incredible tonal expansion potential — up to 128 patches and 128 multi-patch setups are literally at your finger
tips. What's more, you can store up to 64 sounds and 64 operation memories on on-board memory or an optional
RAM card, for even greater freedom of timbral expression.

Player-selectable Keyboard, Guitar & Wind MIDI Performance Modes
The VZ-8M lets you select from 3 different MIDI performance modes, according to the type of MIDI controller you're

using. Just select a sound and choose the performance mode — the "K" performance mode arranges sounds in full
polyphony, for realistic keyboard performance. The "G" performance mode lets you play the same sound in mono,
emulating the individual strings of a guitar, while the "W" performance mode provides the natural after-touch charac
teristics necessary for playing with wind controllers.

Multi-Channel MIDI Performance
The VZ-8M features Casio's exclusive multi-channel mode which can accept up to 8 timbres from separate MIDI

sound sources. These can then be divided into constituent polyphonies and ensembled in any format you desire. Multitimbral MIDI expansion, monophonic MIDI performance, or total 8-note MIDI polyphony can be selected.

Built-in Panning Function
The VZ-8M's built-in panning function lets you choose from three different panning effects; Fixed panning, Con
trolled panning and Auto panning. Each panning effect adds spacial realism and ambience to your sound.

U "Player-friendly" Menus and Functions
Virtually all of the VZ-8M's editing and programming operations are organized into three basic menus — the VOICE
PARAMETER menu, EFFECT menu and TOTAL CONTROL menu — that feature a variety of "functions." Each

of these functions is further broken down into "parameters," which are constants that have changeable values or
settings. To alter sounds or programming, you simply alter the value of these parameters using value keys.

Jj^

/ Combination Mode Provides Layered and Split Voicing

Whil.

The VZ-8M's "Combination" mode lets you mix together up to 8 different patches in any of 9 different patch mix

tal sy

or patch split configurations. (1 + 2, 3 + 4, 1 + 2 + 3 + 4, 1+2+3 + 4 + 5 + 6+7 + 8, 1/3, 1 + 2/3, 1/3 + 4, 1+2/3+4,
1/2/3/4) You can set effect and amp levels independently for each patch.

a ref«

it do

Whei
to co

Velocity Split & Positional Cross Fade

The VZ-8M puts powerful multi-voice performance in your hands, with advanced features such as velocity split and
positional cross fade. Set up multi-layered voices with up to 3 split points, and "fade" the voices into one another
so there's no audible "split point" with the cross fade function, or control multiple voices through velocity message
using velocity split.

MID

Once
need
"The

with
Semi:
Next.

y Optional ROM & RAM Cards
Choose from optional ROM or RAM cards for expanded sound storage and recall capabilities. Each ROM card holds
an impressive 128 patches and 128 different operation memories. With a RAM card, you can store up to 64 patches
and 64 operation memories. What's more, VZ-8M patches can be used in a Casio PG series guitar synth.

throu

Whei
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Be su
will *

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Most

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own

About this Manual
While you may not realize it quite yet, this unit is an incredibly complex digi
tal synthesizer that has a lot more in common with a personal computer than
it does an "electronic" musical instrument. This manual is intended only as
a reference to provide instructions on the most basic operations.
When you take the unit out of its box for the first time, you'll probably want

to connect it to an external keyboard, guitar or wind controller equipped with
MIDI and plug it in immediately to see how it sounds.
Once you're ready to begin studying the true power of this synth module, you'll
need to have a basic knowledge of its iPD modular sound source system. Read

"Theory: iPD Modular Sound System" thoroughly — if you're not familiar
with basic sound synthesis terms and theory, be sure to study the "VZ Sound
Seminar" as well.

Next, you should familiarize yourself with the operating system controls. Read
through the "Operating System Controls" for an introduction to these controls.
When you're ready to start using the advanced editing and sound data storage
capabilities, you'll need to learn how to use the "FUNCTION INDEXES".

Be sure to work through the "Function Index Practice Exercise" as well. These

will give you a fairly solid understanding of basic synthesis operations.
The FUNCTION INDEXES will be an invaluable aid in all editing operations.
For this reason, be sure to keep this manual handy whenever editing sounds.

Most importantly, remember that this manual is meant as a reference only —
you'll only be able to realize the true power of this unit as you apply it to your
own musical performance.

Important Terms

Throughout this manual you will encounter terms (words) which you may — or may not

— be familiar with. Before jumping into the operations, it's important to make sure that
you understand the basic usage of these terms in this manual. Take a few moments to read
through these words and become familiar with them — you'll find it will enhance your over
all understanding of this unit.

A displayed list of the various FUNCTIONS you can use to edit sounds. There
are three basic Menus which can be selected; the VOICE PARAMETER menu
(VOICE menu), EFFECT menu, and TOTAL CONTROL menu (TOTAL menu).

FUNCTION

Any of the items listed on the menus. Each Function contains a variety of

PARAMETERS, and is identified by a two-digit number. For example, Function
02 in VOICE PARAMETER menu contains parameters related to detuning.

PARAMETER

A constant control which features variable levels. These parameters control not only
data that affects the various components of a sound, but also aspects of the overall
setup.

VALUE

The level or setting assigned to an individual parameter.

MODULE

The iPD sound source features 8 independent "modules." These can be thought
of as independent — but interrelated — oscillators with controls.

INTERNAL LINE

Sound source MODULES work together in "pairs." These pairs form what is known

as an INTERNAL LINE, or simply "line." For example, Module 1 and Module
2 (Ml and M2) form Internal Line A — known in this manual as LINE A. M3
and M4 form LINE B, etc.

EXTERNAL PHASE

In addition to using the output of any LINE to create audible sounds, you can uti
lize the output to modulate the succeeding line. For example, the output of LINE
A can be used to modulate LINE B. This configuration is known as "External
Phase." (Refer to "Theory: iPD Modular Sound System" for details.)

PATCH

With analog synthesizers, a "patch" literally referred to the way in which various

synthesizer blocks or modules were hard-wired (hooked up). With digital synthesizers,
this term has come to refer to completed sound data which can be output by the
synthesizer. In this manual, you can think of "patch" as referring to any complet
ed sound data coming from modules 1 through 8.

OPERATION MEMORY

An operation memory is literally a full "multi-timbral setup" or "performance

setup", complete with specifications for multiple patches (when desired), keyboard
and velocity split, MIDI settings, etc. The onboard memory allows storage of 128
preset operation memories.

ENVELOPE

A voltage which changes as a function of time. Envelopes are generally triggered
by controllers, and are used to shape the amplitude (volume) and pitch of a note.

MODE

A particular operational function or condition. In "VZ language", there are 4 bas
ic operational modes, including the NORMAL mode, the COMBINATION mode,
the OPERATION MEMORY mode, and the MULTI CHANNEL mode. Each of
these serves an independent purpose described later in this manual.

PERFORMANCE MODE There are 3 basic "MIDI Performance Modes", which should not be confused with
the basic operational "modes". The "Performance Modes" are actually preset
parameter setups programmed for each sound individually, which can be selected
to "match" the selected sound with the type of MIDI controller you are using. For
example, if you're using a MIDI keyboard, you'll want to select the "K" or key
board performance mode. In addition to "K", there are "G" (Guitar) and "W"
(Wind) MIDI performance modes.

KMODE

Short for "Keyboard Mode" — one of three VZ-8M MIDI performance modes.

GMODE

Short for "Guitar Mode" — one of three VZ-8M MIDI performance modes.

WMODE

Short for "Wind Mode" — one of three VZ-8M MIDI performance modes.

VOICE-09

Throughout this text, the names of each of the three main "menus" is listed in cap
ital letters. In this case, VOICE-09 indicates function "09" in the "Voice Parameter"
menu — the "AMP ENV" function.

EFFECT-05

Throughout this text, the names of each of the three main "menus" is listed in cap
ital letters. In this case, EFFECT-05 indicates function "05" in the "Effect" menu
— the "DEF CONTROL" function.

CONTROL-04

Throughout this text, the names of each of the three main "menus" is listed in cap

ital letters. In this case, CONTROL-04 indicates function "04" in the "Total Con
trol" menu — the "MIDI CHANNEL" function.

OPE EFFECT

Indicates the EFFECT menu in the OPERATION MEMORY mode. For example,
"OPE EFFECT-01" represents function "01" in the OPERATION MEMORY
mode's EFFECT menu — the "OP TUNE" function.

PROG NO KEYS

Short for "Program Number Keys". These keys are used in a variety of sound syn
thesis and editing operations.

MOD WHEEL

Short for "Modulation Wheel".

DEF CONTROL

Short for "Definable Control".

PAGE KEYS

Used to "scroll" or advance up and down the selected VZ menu.

COMBI MODE

Short for "Combination Mode" — one of the 4 basic operational modes used in
synthesis, editing and performance.

MULTI CH MODE

Short for "Multi Channel Mode" — another of the basic operational modes.

M ON/OFF KEY

Short for "Module ON/OFF Key" — keys used to turn the VZ's sound source mod
ules ON and OFF.

Theory: Flow of Operations

Although the VZ-8M features a complex operating system, it has been
designed so that actual operations are quite simple — after a few hours
you'll be amazed at how simple the unit is to operate, and how versatile it is.
In order to appreciate the beauty of the VZ, it's important to have a clear

initial understanding of its basic "flow of operations" — in other words
the basic order of operations you will probably want to follow to make
the most of this synthesizer.
Simply speaking, operations can be divided into four different types —
these correspond to the four basic operational "modes" — the NORMAL

mode, the COMBINATION mode, the OPERATION MEMORY mode
and the MULTI CHANNEL mode.

You can select any of these modes by pressing the corresponding key on
the front panel. After selecting the MODE, you can select any of the edit
ing modes. To select either the VOICE PARAMETER menu (VOICE
menu) or EFFECT menu, press the EDIT key so that the key's LED indi
cator lights. To select the TOTAL CONTROL menu (TOTAL menu), sim
ply press the TOTAL CONTROL key.
But before you start pressing keys, take a few moments to read through

WRITE

TOTAL

COPY/INIT CONTROL

EOIT

BANK

M ON/OFF

SHIFT

the following text. This should give you a clearer understanding of the
relationship between the different basic modes.

NORMAL MODE
The NORMAL mode is what you might think of if you've used a "nor

mal" single-patch synthesizer that does not feature the extensive sound
layering and memory capabilities of the VZ.

The NORMAL mode can be further broken down into two sub-modes

— the PLAY sub-mode and the MENU sub-mode. In other words, you
can "play" or perform normally in this mode, or use any of the three
editing MENUs to edit and create individual patches.
In the PLAY sub-mode, you can freely choose any of the sounds con
tained in the VZ's preset, internal or card-memories, and use it in perfor
mance. If you want to edit the sound, you simply select any of the editing
MENUs which contain a wide range of "FUNCTIONS" for sound edit
ing. Whenever you've selected any of the three editing MENUs, you're
working in the "MENU" sub-mode.
The NORMAL mode is the basic performance mode, where "patches"

created through the modular sound source system can be selected and out

put individually for 1-patch performance. You can make use of the wide
range of the sound effects in this mode, for expanded performance versa
tility.
You can also use the NORMAL mode to create new patches by altering
values for existing patches and writing them in either the internal or card

memory. Or create entirely new sounds by initializing a memory area and
programming values.

Once you've created sounds you want to save, you can write them to one
of 64 internal memory areas in the NORMAL mode, or to an optional
RAM card which holds as many as 64 sounds.

WRITING

PATCHES
TO MEMORY

One important thing to remember when you select the NORMAL mode
is that you're working with only 1 patch at a time — you can recall one

NORMAL MODE

patch at a time, edit one patch at a time, perform with one patch at a
time, and write an individual patch to memory.

One patch at a time !

f
COMBINATION MODE
The COMBINATION mode is a "buffer" (for those with computer ex
perience), or "work area" where you can "combine" the patches you've
created in the NORMAL mode to make detailed, multi-timbral setups
featuring keyboard split point, velocity split specifications, and individu

combination]
MODE

al effect specifications for each patch in the setup.
The COMBINATION mode can be further broken down into two submodes — the PLAY sub-mode and MENU sub-modes.

RE/
•LL

The PLAY sub-mode is selected for normal performance, while the MENU
sub-modes are selected for further editing of sound, effect, and multi-

timbral setup data.

Ii+2/3

PST1

H+2/3+4 K

PST1

R-l:UZ EP

In this work area, you can select up to 8 different patches created in the
NORMAL mode (preset, or those you've created), and arrange them freely

to create a multi-timbral setup. The "arrangement" of these sounds is ac
complished by choosing from any of 9 different KEY ASSIGN settings,
which feature both SPLIT and LAYERED patch arrangements (see "Per
formance/Editing in the Combination Mode").

A variety of the functions can be used to determine keyboard split points,
as well as velocity split for each patch in the sound.

JfPV

WRITING
PATCHES
0 MEMORY

fl-UUZ EP

Effects can also be set individually for each patch in this mode. What's
more, relative amplitude levels can be set for each patch, allowing total

control of "balance" within the multi-patch sound.

This unit is designed so that you can quickly and conveniently arrange
the patches you use in the multi-patch sound — if you don't like what
you hear, you can choose a replacement patch or delete it from the sound
altogether.

COMBINATION

MODE

1-8 patches at a time!

One important thing to remember when you select the COMBINATION

mode is that you're working with up to 8 patches at a time. Another im
portant point is that the COMBINATION mode is only a "work area,"
where you can "work" on one "combined" (multi-patch) sound at a time.

MULTI CHANNEL MODE
The MULTI CHANNEL mode is basically a performance mode, which
makes advanced use of MIDI — the Musical Instrument Digital Interface.

fl-l:UZ EP

PST1

The VZ is capable or receiving MIDI performance messages two basic ways;
(1) with 8-note polyphony wherein all notes and performance data trans

ferred uses the same MIDI channel (MIDI mode 3 — omni OFF/poly),
and (2) with 8-note polyphony, wherein each of the MIDI Multi Channel
Areas (1 —8) is assigned an individual timbre. In this status, each of the

8 areas is monophonic.

Each AREA can be assigned an independent sound, a polyphonic value
(maximum number of note which may sound at one time for the speci
fied area), output level, and the MIDI Receive channel number.

8 polyphonic

Area

MUM OUT

The MIDI "Pe

OPERATION MEMORY MODE

Once you've created a sound you want to save — whether it's an individual

programmed fo

patch in the NORMAL mode, a cpmbined sound in the COMBI mode
or a MIDI setting in the MULTI CH mode —• you can write it to one

the selected soi
example, if you

of 64 built-in Operation Memories.

or keyboard pei
tar) and "W" »

The OPERATION MEMORY mode is used to memorize and recall not

Keyboard Pc

only the individual patches and combined sounds created in the first two

modes and MIDI settings in the MULTI CH mode, it also holds sound-

formance mode

related details of effect and control panel settings. This is where you "store"

phonic perforr

the multi-patch setups and patches you've created, for instant recall dur

characteristics i

ing performance.
This mode is actually used in concurrence with the NORMAL and COM

BINATION and MULT CH modes, as it stores and recalls data which
have been created in them.

The OPERATION MEMORY mode can be further broken down into submodes - the PLAY sub-mode and MENU sub-modes. The PLAY mode

Guitar Perfo

is selected for normal performance, while the MENU modes are selected
for further editing of sound and effect data in the selected operation

mode, patches;
performance, rr

memory.

of MIDI Guitar,

string is assigne
received entireh
sounds are moi

Now that you understand the basic theory of VZ operations, the "BIG"

picture becomes clearer;
NOTE: When i

1 —Write, edit and recall individual patches using the NORMAL mode.

be set for MON
data for each s

2 — "Combine" patches to make multi-timbral setups (combined sounds)

in the COMBINATION mode.

3 — Create up to 8 MIDI "Multi Areas" in the MULTI CHANNEL mode.

| PATCH 1

Wind Perfor

| PATCH 8 |

mode, MIDI af
formance capab

the "K" and "(

0+2/3+4 K
R-isUZ EP

"W" mode, he

PST1

shows how the
set between val>

MIDI OUT

between values

CHn

CHn+l

controller, repr

with wind instr

CH n+2

4 —Write patches, combined sounds and multi-channel MIDI settings to
any of 64 operation memories and recall them for performance in
the OPERATION MEMORY mode.
| PATCH 1

11111111

fl-ls'JZ EP

| PATCH 8

PST1
NOTE: When

troller should b<

The MIDI "Performance Modes" are actually preset parameter setups,

programmed for each sound individually, which can be selected to "match"
the selected sound with the type of MIDI controller you are using. For
example, if you're using "a MIDI keyboard, you'll want to select the "K"
or keyboard performance mode. In addition to "K", there are "G" (Gui
tar) and "W" (Wind) MIDI performance modes.
[KEYBOARD MODE]

Keyboard Performance Mode — In the "K" or "Keyboard" per
formance mode, patches and multi-patch sounds are setup for MIDI poly

VZ-8M

phonic performance, matched to the performance capabilities and

MIDI KEYBOARD

characteristics of MIDI keyboards.

NORMflL
K
fl-lsUZ EP

PST1

1+2/3+4 K
R-isUZ EP

PST1

Guitar Performance Mode — In the "G" or "Guitar" performance
mode, patches and multi-patch sounds are setup for MIDI monophonic
performance, matched to the performance capabilities and characteristics
of MIDI Guitars, including Casio PG and MG series guitars. As each guitar
string is assigned an individual MIDI channel, MIDI bend messages are
received entirely independently for each string. In addition, string release

(GUITAR MODE]

VZ-8M

MIDI GUITAR

--1ststring \

--2nd string \

sounds are more natural than with poly performance.

• -3rd string
.-4th string

•-5th string

be set for MONO performance, allowing independent transmission of bend

PST1

1+2/3+4 G
R-inUZ EP

PST1

NORMflL

data for each string.

fi-lsUZ EP

/0^\

Wind Performance Mode — In the "W" or "Wind" performance

(WIND MODE]

mode, MIDI aftertouch data is automatically adapted to match the per
formance capabilities and characteristics of MIDI wind controllers. In both
the "K" and "G" modes, MIDI data changes as shown in FIG-A. In the

VZ-8M

"W" mode, however, this same data changes as shown in FIG-B. This
shows how the SENS parameter affects aftertouch characteristics when

set between values of "0" and "91". The changes in these characteristics

between values of "92" and "99" make it easier to perform using a wind
controller, reproducing the delicate dynamic changes which are possible
with wind instruments.

NORMflL
W
fl-l:UZ EP

PST1

1+2/3+4 W
fl-lsUZ EP

PST1

FIG-B

< NORMAL AFTER TOUCH >

XSENSITIVITY»O
MAX

-SENSmVITY»99

MIN

SENSITIVITY»92

„ SENSITMTYoO
MAX

MAX

AMP

''''/''<—[-SENSITMTY=91 AMP

AMP

•SENSITMTY=99

MIN
MIN

»MAX

MIDI DATA

MIN

-MAX

MIDI DATA

NOTE: When in "W" performance mode, the transmitting wind con

troller should be set so that after touch data can be used to affect volume.

■• -6th string /

NOTE: When in "G" performance mode, the transmitting guitar should

FIG-A

MIDI DATA

Theory: iPD Modular Sound System
At the heart of the VZ's amazing sound synthesis capabilities is an allnew "iPD" (interactive Phase Distortion) sound source. In order to get
the most out of your unit, it is vitally important that you understand at
least the basic theory behind this new sound source.

MODULES
The iPD sound source system actually consists of 8 independent modules
(Ml to M8).

Each module contains a DCO and a DCA, and is capable of generating

independent waveforms. (©) If you're familiar with analog synthesis, you
can think of the modules as oscillators with controls. In the iPD system,
the wave generated by any module can be used in either of two ways;
1 — to produce audible sounds

2 — to modify waves generated by other modules

LINES
Generally speaking, the 8 sound source modules work in associated pairs
that are called "Internal Lines," or simply "lines." There are 4 internal

lines — A, B, C and D, as shown to the right. (®)
The waveforms generated by both modules in any line can be used together
in three different ways. The waveforms can be mixed, or one of the wave

I;!'1

forms can be used to modulate the other for RING modulation or PHASE,

as diagrammed at the right. ((§))
To show how the modules in each line are interrelated, let's analyze the
relationship between the two modules which make up LINE A.

LINE A consists of two different modules — Ml and M2. While these

modules are entirely independent and generate totally independent wave
forms, they can be utilized together in any of three different output for
mats — MIX (mixed output), RING (ring modulation) and PHASE
(phase).

MIXED WAVEFORM OUTPUT
When MIX is selected, the waveforms generated by Ml and M2 are out

put together, according to the formula given below. (©)
MIX: Ml + M2

This may look a bit complex at first, but it's really not. It may be easiest
to think of Ml and M2 as individual oscillators (which they are). In the
MIX format, both of these oscillators sound together.

RING MODULATION
These same two waveforms can also be output using RING MODULA

TION, which is created according to the formula shown below. (®)
RING MOD: M2 + M2 x Ml

You've probably heard ring modulation — even if you don't recognize

the term. Typically, it creates a "clangorous" or metallic sound and is
often used in synthesizing gongs, bells and other ringing percussive sounds.

■»- A

PHASE

The 2 waveforms in LINE A (Ml and M2) can also be output using

\-*»\

PHASE, according to the formula shown below. ((§))
PHASE: M2(M1)

In this format, only one oscillator is heard, as one oscillator is used to
modulate the other. In this case, M2 is produced using Ml as the phase
to "read" the M2 waveform.

The degree of RING and PHASE effect is dependent on the amplifier
(DCA) envelope of related modules. (In addition, to amp envelope, the
degree of changes in sound (waveform) are affected by amp enveloperelated parameters such ,as key Follow, Velocity, etc.) (©)

(7)

Diagram of relationship between
DCA ENVELOPE and timbre.
M1 DCA ENVELOPE

LEVEL

(Ex. 1) RING

(Ex. 2) PHASE

a FREQUENCY
M1:M2«=1:16

▲ WAVEFORM
-SINE

Naturally, these same functions and formulas apply to all 4 internal lines
— LINE A, LINE B, LINE C and LINE D. And they can be used to
modify the other Internal Lines through External Phase processing.

External Phase
When the External Phase format is selected, the line output of the two
modules (Ml and M2 in our example) is used as the phase of the second

LINE A

module in the succeeding internal line — M4 in LINE B, in our example.

(MIX)

Now that you have a basic grasp of how the system is organized, you can
start to imagine just how versatile the VZ actually is. Because of the rela

tionships between the sound source modules, you can create patches which

contain independent sounds from each module, or use modules to modu

EXT.
PHASE

late other modules. Theoretically, you can actually use modules 1 through

■►LINEB

7 to modulate module 8, so that the only sound you actually hear is out

(PHASE)

put through module 8!

To illustrate this more closely, take a look at the following examples.

1+2 3H

(EXAMPLE 1)
In this state the internal line of both LINEs A and B are set to MIX —
i.e. the waveforms of both modules in each line are output "mixed"

Q@ LINE

together, as shown on the display. ((§)) (®)
Before actually experimenting with the modular sound system, be sure to

read through "Operating System Controls," the "Function Index Prac

tice Exercise" and the "VOICE-00" function index. Note also that the
illustration at the right is designed to help you understand the theory of
the modular sound system, shows only Ml through M4, In actuality, it
is possible to view M5 ~ M8 simultaneously with Ml ~ M4.

M1M2

INT LINE=MIX

) LINE
M3M4
INT LINE=MIX

If, in this state, EXTERNAL PHASE from LINE A is specified, the dis
play changes to that shown on the right, and the resulting waveform can

be output from LINE A. (©)

1+2 3+H

Remember that LINEs which are used as external phase do not sound —
they simply become the phase of the succeeding line. In our example, LINE
A does not sound, but becomes the phase of LINE B.

Notice that the modules which are producing audible sounds appear high

lighted on the display.

'14-

(EXAMPLE 2)
In this state, the internal line of LINE A is set to MIX, while LINE B

is set to PHASE — i.e. M3 becomes the phase of M4. (@)

09 LINE
M3M4
INT LINE=PHRSE

If, in this state, EXTERNAL PHASE from LINE A is specified, the
display changes to that shown on the right, and the resulting waveform
can be output through LINE B. Once again, LINE A does not sound,

but is used only as the phase of LINE B. (@)
With only one oscillator you can produce only one sound. But with 8 in
dependent oscillators, you can create patches with varying degrees of com
plexity — using the oscillators together to create a "fat" layered patch
consisting of sounds from all 8 modulators, or to create an individual sound
output from a single oscillator with a "chain" of modulation stretching

from M8 all the way back to Ml. (@)

The VZ lets you use all 8 modules entirely independently — using combi

nations of MIX, RING and PHASE output from each LINE to create
a complex sonic matrix which is called a "patch". Once again, remember
that a "patch" is simply the completed tone data coming from modules
1 through 8. Or, in simpler terms, an individual "sound" being output
from the unit.

•15-

1+2 3*H

The nui

mind, u
are usec

The number of possible combinations used to create a patch boggles the

mind, when you consider the versatility of the control parameters which
are used to shape the waveform being output from each module. (©)

16-

Operating System Controls.
In some ways, your VZ is very similar to a computer, as it is capable of

With
atth
whei
soun

simp

storing and generating a large amount of digital sound data. This "data

processing" is maintained by the "Operating System," which you can think
of as a collection of system programs that control the overall operation

To a

of the unit.

the (

left i

The main interface with the operating system can be found in the menu

functions. These functions contain a number of parameters, which deter
mine the various characteristics of the sounds. In fact, sound synthesis
on the unit basically consists of inputting values for these parameters.

Once

the c

With a computer, you generally execute a certain program, and use a cur

sor to move to different positions in the displayed page, and use the key

You

board to input commands, values, text, etc. (this is, of course a simplified

the v

explanation.)
Your unit works much in the same way, and it features a number of basic
"Operating System Controls" which are used to perform the same func
tions a computer keyboard or mouse would perform.

EFFECT

decre

NORMAL

MIDI CHANNEL

COMBI-.

PORTAMENTO/ SOLO

is ret

NATION

MULTI

CHANNEL

Look at the MENUs shown to the right; this list gives you a bird's-eye

PITCH BEND

AFTER TOUCH

MOD WHEEL

DEF CONTROL

FOOT VR

FOOTSW

(Note
as wt

is he

08 VEL TABLE SELECT

view of how the MENUs, and FUNCTIONS within the menus, are or

PAN

ganized. Notice that these menus are divided into sections, with the rela

LEVEL

PITCH

right. The MODE side shows in which modes the various functions are

SPLIT POINT

operative.

Whei

ply p
TRO

tive basic MODEs listed on the left, and the various FUNCTIONS on the

Notic

13 VELSPUT

select

VELINVERSE

15 POSCROSSFADE
16

DELAY TRIG

TOTAL VIBRATO

ation

18 VIBRATO INV

TOTAL TREMOLO

Diffn

20 TREMOLO INV
21

COMBI COPY

tion 1

ingS}
OPERATION
MEMORY

To work in the operating system, you first choose what MODE you want

with

00 OPMEM NAME
01

OPERATION
MEMORY NORMAL

OPMEM TUNE

COMBIMULTI COMPARE/
NATION CHANNEL RECALL

to work in, by pressing one of the MODE keys.

After you've selected the mode, you must specify what MENU you want
to enter, by pressing EDIT key or TOTAL CONTROL key.
WRITE
TOTAL
COPY/INIT CONTROL

EOIT

BANK
M ON/OFF

CURSOR

VALUE

Now that you've specified the MODE and MENU, choose the actual
FUNCTION containing the parameters you want to access by using the

PAGE keys. You can scroll continuously through the functions in any
selected menu with these keys. To scroll up (increment numbers), press

the PAGE [A] key. To scroll down (decrement numbers), press the PAGE

[▼] key.

PAGE

SHIFT

With some functions, you'll notice a module indicator (for example, "M2")

at the top right-hand corner of the display. These indicators appear only
when the selected function features a parameter which can be set for each

sound source module individually. To select the module you want to edit,
simply press the corresponding PROGRAM key (Al - H8).

To alter the various PARAMETERS contained in any function, you use

the CURSOR keys. These keys let you move up or down, and right or
left in the lower section of the menu.

CURSOR

Once you've moved to a parameter which you want to set or edit with

the cursor, you can use the VALUE keys to input values.
You can increment or decrement the value one step at a time by pressing
the value keys. If you hold a value key down, the values increment or

PAGE

decrement automatically at high speed. When the lowest or highest value

CURSOR

VALUE

is reached, scrolling stops automatically.

(Note that this works with the "function" list in each of the three menus,
as well, however scrolling continues in an endless loop as long as the key
is held down.)
When you want to exit from any function, menu or mode, you can sim

ply press any of the MODE keys, the EDIT key, or the TOTAL CON
TROL key.
Notice that when you reselect a particular MENU , the function you last
selected in that MENU is recalled. (Function "00" always selected in Oper
ation Effect mode, however.)

WRITE

TOTAL

COPY/INIT CONTROL

EOIT

BANK

M ON/OFF

SHIFT

Difficult? Not at all! If it's not entirely clear, try going through the "Func
tion Index Practice Exercise". This will familiarize you with the "Operat

ing System Controls" — the VZ controls which are used to "communicate"
with your VZ's operating system.

•18'

Menus and Functions
Within each Menu you will find a number of "Functions." Each of these

VOICE PARAMETER

functions is further broken down into "parameters," which are constants

LINE

that have changeable values or settings.

DETUNE

WAVE FORM
ENVELOPE
ENV DEPTH
KF LEVEL

For example, in VOICE menu, you can select from a variety of functions

VEL LEVEL

which affect the characteristics of the sound produced by each individual

VIBRATO

module (oscillator). To alter the characteristics of the sound, you simply

ENVELOPE

OCTAVE

alter the values of the various parameters contained in each VOICE menu

ENV DEPTH

function.

VEL LEVEL

KF LEVEL

TREMOLO
AMP SENS
TOTAL LEVEL
KF RATE

VEL RATE SENS
PITCH VEL RATE

AMP VEL RATE
VOICE NAME

INIT VOICE

When the EFFECT menu is chosen, you can select from a variety of func

tions which control built-in "sound effects". These can be used in the NOR
MAL, COMBI, and MULTI CH modes. In addition, 2 functions from

®—

the OPE EFFECT menu are used to make settings for Operation Memories
in the OPERATION MEMORY mode.

OPERATION
MEMORY

When the TOTAL CONTROL menu is chosen, you can select from func

include such parameters as tuning, MIDI settings, etc.

Take a look at the MENUs, this "menu hierarchy" gives you a clear view
of how MENUs and FUNCTIONS are organized.
VOICE (PARAMETER) menu — SOUND EDITING FUNCTIONS
EFFECT menu

— EFFECT-RELATED FUNCTIONS

TOTAL CONTROL menu

— TOTAL CONTROL FUNCTIONS

It's important to remember that not all FUNCTIONS can be accessed in
every MODE — notice that the menus are divided into sections, with the
relative MODEs listed on the left. Remember that when you choose a par
ticular function, the related operational mode must first be specified. You'll
also notice that each FUNCTION INDEX lists the operational modes in
which the function operates.

OPMEM TUNE

TOTAL CONTROL

tions which provide "overall" control over the VZ-8M's performance. They
*

00 OPMEM NAME

00 MASTER TUNE

01
COMBI
NATION
MULTI
CHANNEL

TRAN8POSE

MEMORY PROTECT

SAVE/LOAD

MIDI CHANNEL

MIDI DATA

06 CARD FORMAT

About Function Indexes

In the following section, you will find information on each "function" for all three
menus. The function "indexes" listed on the following pages contain a variety of im
portant information on the function and its parameters, as shown below;

MODULAR — In some functions, settings can be made

for each iPD module individually. In this case, the set
VEL RATE (DCO/DCA)

ting is said to be "modular."
LINE — In other functions, settings are made for each

module "LINE" (remember," this is a set of modules —
M1M2, for example).

PATCH — In the COMBI mode, some parameters af

fect each patch independently. In this case, the patch
presently being edited is shown highlighted on the dis
To ENABLE (nafct cflttM da VEL RATB to toy

RATE
to tadiacp is both cat 000 tad OCA

No. IT ("VEL RATi SENS"), tht SENSmviTY and CUKVE

Whtn SENSITIVITY It MiWiwtoa
At SENSHTVITYb railed, tat fa*-

Tte CURVE paTKMUt Ira you ctoow from eat of I
«r«r«» VELOCITY RATE cwxn»«^riow>«lbcto».
TW bortoatal sdi *f tht VELOCITV COR VE npratan
nha to tat ratt
tht rax of ttptta tat cawtoot (DCO/DCA) in

play. You can select a patch to edit with the PROG NO
keys.

lhiwfcidQr RATE Mains b (total (rftaid I cart-

8-PATCH MIX GLOBAL — When an 8-patch mix is
Within runoim No. It r"A VBL RATE"), you on ipajfy
whether or not tht VBL RATB cum wtt affM tht IndMdual itepi of tht AMP BNV {OCA
b M ulna VOICB4*. ThaM atunp can bt aiadt for atca
nodakt (Ml-Mt> iadMdMlh.
To BNASLB tht VBL RATB (ot any tup la tat amlopt.
ttapty mo*t Iht cunor to tat dnlnd iup potkloa aad
prat tht VES kty (~B" b dbplaytd). To dbaMt, dnpty
prat tat NO kay r** b tfbpkyai).

»tkt mp dt&tr.Nou. Aoavw. (Am Umt m

Whta fuocttoo No. II f"P VEL RATE"), you on
wbttho or ooi tht VEL RATB nm wU iffM tht b»
dMdttl wpt of tht PITCH BNV (DCO cowtopt) wtkh
b M mint VOICED.
TkU Kttlni b itoUI. tfftctini iU I nodufct (MI • Mil.

used in the COMBI mode, some parameters affect all
8 patches globally.
8-PATCH MIX COUPLE — When an 8-patch mix is

used in the COMBI mode, certain parameters affect the
patches in "couples". In this case, settings made for patch

1, for example, will also affect patch 5. The couple as

signments are; 1<*5, 2<-*6, 3<->7, 4<->8. Note that both
patches in each "couple" are highlighted on the display
when either is selected.
AREA — When parameters are displayed along with the

Area number in the MULTI CH mode, the data affects
each area independently. You can select an area to edit

©Function Number
This number corresponds to the number of the function
on the menu table on the preceding page.

©Function Name
This name corresponds to the name of the function as
it is listed the menu table on the preceding page.

©Individual parameters and value range
This list shows all the parameters contained in the selected
Function, as well as the range of values or settings which
can be made for each parameter. For example, the SEN
SITIVITY parameter in the VELOCITY RATE func
tion can be set at any level between 0 and 31.

©Explanation of function/parameters
This text provides a brief explanation of the purpose of
the function, as well as its individual parameters.

with the PROG NO keys.

©Related Functions
Lists the other editing functions that are closely inter
related with the selected function. In this case, the P VEL
RATE (VOICE-18) function is closely related to such
functions as VOICE-17 (the VEL RATE SENSITIVI
TY function), and VOICE-09 (the DCA ENVELOPE
function).

©Modes
Lists all of the "operational modes" — NORMAL,

COMBINATION, etc. — in which the function oper
ates. (See the menu table on the preceding page. The lefthand column of the menu hierarchy shows the MODEs

related to the FUNCTIONS on the right.)

©Menu
This "tab" at the edge of the page shows which "menu"

the function can be accessed in. In this case, "VOICE"

Indicates the basic keys and controls used to select the

indicates that the VELOCITY RATE SENSITIVITY

function and move through the display hierarchy to edit
settings for each parameter.

menu.

function can be accessed in the VOICE PARAMETER

©Domain

REMEMBER....

GLOBAL — In some functions, settings are "Global,"
which means the settings effect the entire operating sys
tem, and all the sounds in it.

These indexes provide only basic information on each

Reception in the COMBI mode is limited to KEY AS
SIGN 1 data.

volumes to provide a technical explanation of how they

Reception in the "G" performance mode is limited to
the primary channel set in EFFECT-00.

standing, be sure to go through the PRACTICE EXER

function and parameter. Many of these functions and
parameters are interrelated, and it would take literally
actually affect the sounds. To gain a practical under
CISE found on the next page.

•20-

Function Index Practice Exercise
About the Function Index Practice Exercise
The following is an example of how you can use the Function Indexes
as a guide to actual editing operations. Be sure to go through this exercise
carefully, executing the operations as you go. This will not only provide
you with an understanding of how you can utilize the indexes, but also
a basic understanding of the editing operations.
Practice Exercise: Using Function Indexes

How to use Function Indexes when editing the VELOCITY RATE-related
parameters in the VOICE PARAMETER menu.

For this example, let's assume that you want to "edit" the VELOCITY

RATE for the DCA envelope. Looking at the menu table, you'll find the
VEL RATE SENS function listed as function 17 on the VOICE
PARAMETER menu. Notice that this function affects both DCO and
DCA envelopes, as shown in the second column.

The Function Indexes are arranged in three main sections in this manual,
corresponding to the three editing MENUs. You'll notice a black "tab"

at the edge of the page (item ® on opposite page) which lists which "menu"
the function can be accessed in.

(D—kr

The related MODEs are listed at the bottom edge of the function index

page (item ® on opposite page). In this case, VOICE-17 (VOICE
PARAMETER menu, function # 17) can only be used when the NOR
MAL operating mode is selected (when the NORMAL key LED is lit).

Since the goal of our practice exercise is to edit the RATE-related
parameters for the DCA envelope, you'll want to choose a patch to edit
which is audibly "dependent" on these settings. This will make it easier
to actually hear how changes in the various parameters will influence the
sound.

Try choosing PRESET (1) patch number G-5 — "VZ TOUCH."

•To do this first select the PRESET (1) area by pressing the SHIFT key.
•Next, press the BANK key followed by the "G" program key (labelled
"G7"), and then the "5" key (labelled E5).
Now, play some notes with varying degrees of key velocity, and take note
of how velocity affects this sound. Once you've got it down, go on to
procedure 1 listed below.

For this example, we'll work in the NORMAL mode, so first press
the NORMAL key.

Take a look at item <§) on the function index. This lists the Operating
System controls that are used in editing the parameters contained in this
function. You'll find this handy when working in any function. (Be sure
to refer to this list as you work through this exercise as well.)

•21?

NORMflL
K PST1
G-5:UZ TOUCH
|O/S I EDIT-g^j-PAGE-CURSOR-VALUE

2 Next, specify that you want to work in the VOICE menu sub-mode by

pressing the EDIT key and the pressing PAGE DOWN key.

EFFECT+PflGE UP
UOICE +PRGE DOWN

If you've previously worked in the VOICE menu sub-mode, the function
you selected last will automatically be recalled at this point. For our ex
ample, let's assume you last worked in VOICE-00 (LINE).

98 LINE
M1M2
INT LINE=PHflSE

In this state, you can select function number with the PAGE keys.

Now take a look at item ® in the VELOCITY RATE SENS Function

Domain

Index. You'll notice that the "Domain" is listed as being "Global." This

Mode

means that settings made in this function affect all sounds (as opposed

Keyboard

to affecting only a single module, single line, etc.).

Guitar

Wind

Normal

\l} GLOBAL
19

MODULAR

Many functions feature a "modular" domain. In these cases, a MOD

ULE number will appear at the right of the display. This indicates the

module that is presently selected ("Ml "for example) — and any settings

that are made will affect only this module. You can select a different mod
ule by pressing any PROG NO key.
Use the PAGE keys to select VOICE-17 (VEL RATE SENS).

Look at item ® in the index. Here are listed all the parameters contained
in each function, as well as related information such as the range in which
values can be set. You'll find this comes in handy in VZ-8M editing, as
you can look up individual parameters easily without actually accessing
a function (Note that VOICE menu functions 17 through 19 are all listed
on the same index.)

4 Try changing the SENSITIVITY parameter value by using the
VALUE keys. As shown in the Function Index, this parameter can

be set between "0" and "31." Set it to a value of about "22."

17 UEL RflTE SENS
SENS= 0

Parameters
17 (VEL RATE SENS)
SENS (SENSITIVITY)=0-31
CURVE=1-8
18 (P VEL RATE)
ENA = E/»
19 (A VEL. RATE)
ENA E/

IT UEL RflTE SENS
SENS=22

, SENSITIVITY is set to a value of "0", velocity will be disabled
'i entirely. As SENSITIVITY is raised, the envelope rate becomes more acute

| when the controller is played with a strong (fast) attack (high "velocity").
|TThe CURVE parameter lets you choose from one of 8 different VELOC
ITY RATE curves, as shown on the function index.

r changing the CURVE parameter value by using the cursor key and
) VALUE keys. Set it at a value of "4".
6

ft..
j'Press the PAGE [A] key once again, and select VOICE-18

'(P VEL RATE).

\ the next function (VOICE-18, listed on the same index), you can

} whether or not the VEL RA TE curve will affect the individual steps

t PITCH ENV (DCO envelope). This setting is global, affecting all
(Ml ~ M8). Note that the PITCH envelope is set using

IT UEL RflTE SENS
CURUE=1

IT UEL RflTE SENS
CURUE=4
18 P UEL RflTE

ENfl=*****##*

1;!'

To ENABLE (make effective) the VEL RATE settings for any particular
step in the DCO envelope, simply move the cursor to the desired step po

A
YES/SUS

sition and press the YES key.

NO/ENO

Step numbers 1 through 8 are displayed from left to right.
To DISABLE the settings, simply press the NO key.
1

i .

For our example, however, skip this function (VOICE-18) and go to

VOICE-19 (remember, our goal is to alter only DCA-related settings...).

I
Using VOICE-19 "AMP ENVELOPE" function, you can specify whether
or not the VEL RA TE curve will affect the individual steps of the AMP
ENV (DCA envelope) which is set using VOICE-09. Note that here,
however, only 2 steps have been set, so only 2 are displayed.

19 fl UEL RflTE Ml
ENfl=:+:*

Notice that these settings can be made for each module (Ml - M8) individu
ally, as indicated by the module number which appears at the upper righthand corner of the display.
You can select any module with the PROG NO keys.

For our example, try selecting MODULE 8 by pressing the corresponding

PROG NO key. To turn OFF all other modules, press the M ON/OFF
key (BANK key) followed by the PROG NO keys Al through G7, leav
ing only H8 on. In this way, you can focus on the DCA envelope for this
individual module while editing, as others will not affect the sound.

□
H

6 To ENABLE the VEL RATE for any step in the DCA envelope of

the selected module (M8), turn OFF the M ON/OFF key and simply
move the cursor to the desired step position and press the YES key.
To disable, simply press the NO key.
For our example, try enabling the VEL RATE for all 4 active steps in

the envelope. Notice that there are no identifying "numbers" assigned to
the step display. Note, however, that there are asterisks ("#") which cor
respond to each active step position (4, in this case). When a step is ena
bled, an "E" replaces the asterisk.
Now, play a few notes and chords again. Notice how the changes in the
RATE curve and sensitivity have affected the sound.

Next, take a look at item ® in the function index. This section lists the
functions which are closely related to the VELOCITY RATE function.
In this case, both the DCO ENVELOPE (VOICE-03) and DCA ENVE

LOPE (VOICE-09) are listed. Naturally, the settings of these envelope func
tions will affect the VELOCITY RATE function, and vice-versa.

•23*

19 fl UEL RflTE
ENFNEEEE
Related Functions

17; VOICE-03, 09. 18, 19

18; VOICE-03, 17
19; VOICE-09, 17

Next, to turn ON all 8 modules, press the M ON/OFF key

followed by the PROG NO keys and ENABLE the curve and sen

sitivity,for all steps in each module's AMP envelope.

P
PY
1*2 3*4 56'

Again, play a few notes* and chords and observe the changes in the overall
sound.

•

If you want to hear the "original sound" (the sound as it was before you
edited), press the COMPARE/RECALL key. When the indicator is flash
ing, the original sound can be played. Press it once again to return to the

19 n UEL RRTE MS
ENfl=EEEE

edited version.

Since the domain of the settings made using these parameters is

"modular" (settings made for each module independently), you
may want to have a look at how the iPD modules are organized
for this particular sound. This modular LINE configuration has
a direct impact on the selected patch's sound, and you may often
want to look at the line configuration when making editing de
cisions.

To access the LINE configuration when making modular parameter set

tings, simply press the M ON/OFF (BANK) key.

Depending on how the INTERNAL LINE and EXTERNAL LINE set
tings are made in using the iPD sound source LINE function (VOICE-00),
►us symbols appear on the display. For example, "-*" indicates

1*2 3*4 5*6 H+B

^HASE, "*" indicates RING, " + " indicates MIX and "P" indicates EXT
HASE. The numbers corresponding to the modules which actually sound
highlighted on the display. (For details, refer to "Theory: iPD
Modular Sound System" in this manual.)

For this example, assume that you've now finished editing and

you want to move immediately to performance in the OPERATION MEMORY mode. To do so, simply press the OPERATION
MEMORY key.

I exit to another mode, simply press the MODE key.

£ MB

OPERATION
MEMORY NORMAL

COMBIMULTI
NATION CHANNEL

Now assume that, you want to go back and edit this same func

tion again (for some reason). To do so, simply press the NOR
MAL key followed by the EDIT key and PAGE DOWN key.

it-selected FUNCTION in each menu (with the execution of the 2
i in the OPE EFFECT menu) is held in memory and instantly
i Note that function VOICE-19 (VEL RATE AMP) is recalled as

gjts you press the EDIT key followed by the PAGE [T] key.
l this example only covers a single function, the basic operations
i same for all functions. If you have any difficulties when working

function, be sure to refer back to this example.

•24-

Function Index
Related Functions

LINE
Parameters

O/S

EDIT-^^-PAGE-CURSOR-VALUE
Domain

INT LINE = MIX/RING/PHASE
EXT PHASE = ON/OFF (for M3-M8)

Mode

Normal

Keyboard
Guitar

LINE

Wind

06 LINE
M1M2
INT LINE=RING

) LINE
M3M4
INT LINE=PHflSE

:i LINE
M3M4
EXT PHRSEON

1*2

Use this function to specify the line configuration for all

To view the overall line configuration, press the M

four Internal Lines, as well as External Phase relationships.

ON/OFF (BANK) key. As shown in FIG-D, LINEs used

The INT LINE parameter lets you choose from MIX,

as EXT PHASE as designated by a "P" symbol on the

RING, or PHASE settings, which determines how the

display. For example, notice that M1M2 is used as the EXT

waveforms produced by each module are output. Note that

PHASE of line M3M4. Also, note that " + " indicates

a diagram on the display shows the internal line configu

MIX, "*" indicates RING modulation, and "->" indicates

ration in modular form (FIG-A).

PHASE.

The modules which are actually producing audible sounds
When you want to view another line, press a PROG NO
key (C3~H8) of either module in the particular line you

are highlighted on the display.

want to view (for example, to view the next line, press either

(For more information on the modular sound source sys

the M3 or M4 selector).

tem, refer to "Theory: iPD Modular Sound System".)

In addition, this function features a "toggle" which lets

Note that when this function is initialized, data for all 8

you turn the EXTERNAL PHASE function ON or OFF

modules are reset to factory settings (mixed internal line).

h •: ■'.

for modules M3-M8. You can access this function by press
ing the cursor key.

When EXTERNAL PHASE is ON, the second module in
the specified LINE is modulated by the previous LINE
(FIG-C).

Related Functions

WAVEFORM
Parameters

O/S

EDIT-^^j-PAGE-CURSOR-VALUE ^
Domain

FORM = SINE/SAW1 /SAW2/SAW3/SAW4/
SAW5/NOISE1 /NOISE2

Mode

Normal

Keyboard

Guitar

MODULAR

Wind

01 WflUE FORM

' FORM=SINE

81 NflUE FORM
FORM=SflNl

01 CQPY+M-M8 Ml
INIT^ YES

With this function, you can choose the basic waveforms

To COPY the waveform of the selected module to another

* which are produced by each module. Waveforms determine

module, first select VOICE-01 and the module containing

the basic timbre — one of the three basic elements of any
i sound (pitch, timbre and volume). You can choose from

the waveform you want to copy from. Next, hold down
the WRITE key (FIG-C) and then press the PROG NO
key corresponding to the module you want to copy into.

8 basic waveforms. (See information below for details on
^various types of waveforms.)

$Note that waveforms can be selected for each module in

To INTIALIZE the selected module, first select VOICE-01

dependently.

and the module containing the waveform you want to in

Ik---

itialize. Next, hold down the WRITE key and then press

COPY/INITIALIZE

>This function features COPY and INITIALIZE functions
I which allow you to "copy" waveform specifications from

the YES key. A SINE wave (initialized setting) will be select
ed for the FORM parameter.

lone module to another, and to "initialize" the selected mod
ule to a SINE wave.

ft*

About Waveforms

You can choose from 8 different waveforms.

, These waveforms have the following types of characteristics.
Sine - the purest waveform possible with only the fundamental frequency and no other har
monics present. A "pure" whistling type of sound.

Saw 1-5 - A "buzzing" type of waveform with harmonics present from the fundamental on
higher in decreasing amplitude. (Saw 1 has the least amount of uppr harmonics and Saw 5 has
the most.)

Noise 1- A waveform consisting of all harmonics present, producing a non-pitched type of sound
resembling static.

Noise 2 -Anothr noise waveform which does have the fundamntal pitch present along with the
"static".

•26*

Related Functions

DETUNE
O/S

Parameters

EDIT—

—CURSOR—VALUE

Domain
PITCH FIX = ON/OFF

Mode

ON: RANGE= xl/xVi6
OFF: HARMONIC = V63 ~ 63

Normal

Keyboard

TUNE= + /- (POLARITY), 0-5 (OCT),
0-11 (NOTE), 0-63 (FINE)

Guitar

MODULAR

Wind

92 DETUNE
Ml
PITCH FIX=OFF

02 DETUNE
Mi
TUNE=+3?1@?56

2 DETUNE
Mi
HfiRMONIi>ilH

02 DETUNE

" RflNGE= *1/16

if:.

1 iill:

This function lets you establish the pitch independently for
each module. By detuning some modules, you can create a
"thick" sound, or emphasize certain "harmonic", etc.

PITCH (Fixed Frequency)

The PITCH FIX parameter can also be set in this function.
This lets you simulate the "attack" sound of certain instru
ments, by fixing the frequency of one module so that the same
pitch is produced by any note number.
Parameters with PITCH FIX set to OFF (normal detuning)
HARMONIC: Used to set the harmonic level at which the de

tuned module will sound in comparison with the standard fre
quency. When the harmonic level is set, other parameters are
adjusted to appropriate corresponding levels automatically.
At a value of "1," the standard frequency is specified and no

OCT-5

OCT-10

NOTE-4

NOTE-7

RNE-0

FINE-0

detuning is effected.
With PITCH FIX set to OFF, the TUNE parameter features
a total of four different settings; Polarity, Octave, Note and

Fine Tuning.
POLARITY (POL): Used to specify whether the module will
be tuned above (+) or below (-) the standard frequency.
OCTAVE (OCT): Used to raise pitch in 1-octave increments.
NOTE (NOTE): Used to raise or lower fixed pitch in half
tone (100-cent) increments.
FINE TUNING (FINE): Used to alter pitch in 1.6-cent incre
ments (approximate).

When detuning is effected with the NOTE and FINE
parameters, the resulting harmonic will not be an "exact" har
monic of the standard frequency. Because of this, "H" and

With PITCH FIX set to ON, the TUNE parameter features
a total of four different settings; Octave, Note and Fine
Tuning.
OCTAVE: Used to raise pitch in 1-octave increments. (When
the NOTE parameter is set to a value higher than "7", the
OCTAVE parameter can be set between "0" and "9".)

NOTE (NOTE): Used to raise or lower fixed pitch in half

tone (100-cent) increments. (When OCT is set to "10," this
range is limited to between "0" and "7.")
FINE TUNING (FINE): Used to alter pitch in 1.6-cent
increments.
COPY/INITIALIZE

"L" marks to the right of the HARMONIC indicate that the
harmonic is slightly higher or lower than the displayed har
monic value (differs with detuning).

This function features COPY and INITIALIZE functions
which allow you to "copy" detune specifications from one

(FIG-C)

module to another, and to "reset" the selected module to an

Parameters with PITCH FIX set to ON
RANGE (xl or 1/16): When set to "xl", the "octave
range" of the fixed-pitch sound will correspond to the MIDI
instrument pitch (and OCTAVE parameter setting), within

a range of approximately F# -1 to C# 10.
By selecting the " x 1/16" parameter (FIG-D), the fixed-pitch
sound will be shifted to a range is equal to F# -5 to approxi
mately C# 6. (In some cases, the sound will not be audible,

initialized setting (DETUNE OFF).
To COPY the detuning specifications of the selected module
to another module, first select VOICE-02 and the module con
taining the detune settings you want to copy from. Next, hold

down the WRITE key and then press the PROG NO key cor
responding to the module you want to copy into.
To INITIALIZE the selected module, first select VOICE-02

and the module containing the detuning specifications you want

as it's frequency is too low for the human ear. Try raising

to initialize. Next, hold down the WRITE key and then press
the YES key. Detuning settings will be reset to initialized values

the OCT value in this case.)

(DETUNE OFF).

•27-

Related Functions

PITCH ENV (DCO)
Parameters

O/S

VOICE—04, 05, 17, 18

EDIT-^^j-PAGE-CURSOR-VALUE
Domain

R1-R8 (RATE) = 0-99
L1-L8 (LEVEL)= -63- +63
SS=SUSTAIN STEP (YES key)
ED = END(NOkey)

Mode

Normal

Keyboard
Guitar

GLOBAL

Wind

93 PITCH ENU
Rl=99 Ll=+13

83 PITCH ENU
Rl=99 Ll=+13 SS

S3 PITCH ENU
R2=84 L2=+ 0 EC-

The DCO envelope determines the change in pitch over time

As there are up to 8 steps in the DCO envelope, the end

for all 8 modules. The unit features 8-step envelopes, which

point is initially set in step 8. The end point can be moved

means that RATEs and LEVELS can be set at up to 8 points

to any step, however subsequent steps will automatically

in the envelope.

be deleted.

A level value of "0" indicates no change in pitch, (stan

Note that ED points can be set for any step, regardless of

dard pitch played on keyboard). This means that positive

its LEVEL value.

values cause the pitch to rise, while negative values lower

the pitch.

•To delete the end point from any step (1 through 7), sim

ply move the cursor to the step and press the NO (VALUE

SS & ED POINTS
t In addition to RATE and LEVEL values, SS (Sustain, FIGjB) and ED (End, FIG-C) points can be specified at any
£step in the DCO envelope.
•To enter an SS point in any step, press the YES (VALUE

T) key once again. The end point returns to step 8 auto
matically.

Note that the actual change effected by the level parameter

depends on the setting of the envelope depth in VOICE-04.
When this depth is at its maximum, a value of -63 to + 63
represents more than a 5-octave change in pitch (up or
down).

||When a sustain point is inserted in the envelope, the PITCH

Frwill be sustained until a note off message is received. The

*; step immediately following the SS step then becomes the
e" point (as in ADSR type pitch envelopes).
'o delete a sustain point, press the YES (VALUE A) key

INITIALIZE

To INITIALIZE the patch, first select VOICE-03 and the
module containing the specifications you want to initial
ize. Next, hold down the WRITE key and then press the
YES key.
Note that when this function is initialized, the PITCH

To enter an ED point in any step, simply press the NO
£ALUE T) key.

ENVELOPE of the selected module as well as enabled steps
in the PITCH ENV of VOICE-18 are initialized.

•28-

Related Functions

PENV DEPTH (DCO)
Parameters

O/S

EDIT—

VOICE-03, 05

—CURSOR—VALUE

Domain
Mode

DEPTH = 0-63
RANGE = WIDE/NARROW

Normal

Keyboard
Guitar

GLOBAL

Wind
(Envelope set using VOICE-03 parameters)

04 P ENU DEPTH
DEPTH=53

84 P ENU DEPTH
RRNGE=WIDE
(Actual envelope level shifted down)

This function contains two parameters — DEPTH and

The RANGE parameter is a toggle which can be set to

RANGE. Both of these parameters affect the DCO ENVE

either WIDE or NARROW. When WIDE is selected, units

LOPE

used in setting the ENVELOPE LEVEL in VOICE-03 are

settings

which

are specified

function 03

(VOICE-03).

equal to 100 cents and the maximum setting range is + / -

The ENVELOPE DEPTH parameter can be used to

in 25-cent increments, and the maximum setting range is

"shift" the level of the entire envelope produced using the

decreased to approximately more than +/-1 octave.

5 octaves. When NARROW is selected, LEVEL is changed

DCO ENVELOPE parameters (03). At a value of "63",

the envelope is produced as set in VOICE-03. And at a

value of "0", the pitch is not changed by DCO ENVE
LOPE set in VOICE-03.

I I

l! !;

'.liii-rMi U.,.;.

Functions
:E-03, 05

05
Parameters

lal

Related Functions

P KF LEVEL (DCO)

VOICE-03, 04, 16

O/S
Domain
Mode

KEY l~KEY6 = C0~C9
LI~L6 (LEVEL) = 0-63

Normal

Keyboard

Guitar

1AL

GLOBAL

Wind

05 P KF LEUEL
KEY1=C2 Ll=5@

@5 P KF LEUEL
KEY2=C4 L2=25
B

an be set to

The parameters in this function are used to determine how

elected, units

Keyboard Follow (KF) affects the DCO envelope (pitch)

Range (CO - C9). In this state, each "POINT" in the KF

DICE-03 are

produced

curve can be moved in harf-tone increments. As the "LEV

nge is + / -

VOICE-04. The unit features 6-step keyboard follow, which

EL" parameter value is increased, the contour of the curve

L is changed

means that LEVELS can be set at 6 points in the KEY
BOARD FOLLOW CURVE.

is increased, while it is decreased as the value is decreased.

ting range is

using

the

parameters

VOICE-03

and

The key parameter represents positions in the Key Setting

-1 octave.

Pitch Envelope set

- KEY FOLLOW CURVE

In VOICE-03

Overall contour

r Contour disappears

L_,J

l__l±

Related Functions

P VEL LEVEL (DCO)
Parameters

VOICE—03, 04, 05

EDIT-g^^j-PAGE-CURSOR-VALUE

O/S

Domain
Mode

SENS (SENSITIVITY) = 0-31
CURVE=1~8

Normal

Keyboard

Guitar

GLOBAL

Wind
sens-3i (Envelope set using
curve-i VOICE-03 parameters)
l\S
with strong attack

06 P UEL LEUEL
SENS= 4

with weak attack

>«

•36-

Related Functions

VEL LEVEL (DCA)

O/S

Parameters

VOICE-09, 10, 11
EFFECT—14

—CURSOR—VALUE

EDIT—

Domain
Normal

Mode

SENS (SENSITIVITY) = 0-31
CURVE=1~8

Keyboard
MODULAR

Guitar

Wind
SENS-10

12 UEL LEUEL

SENS=15

Amp, envelope with weak attack

Amp. envelope
with strong attack

13 TRI
WflUI

Amp, envelope with weak attack

This function features 2 basic parameters which are used
to contour the key-touch control over the DCA (amplifi
er) envelope's level, for each module (Ml ~M8). In other

The CURVE parameter is used to select one of the 8

words, these settings — SENSITIVITY and CURVE —

with key velocity.

to create«

Notice that if you choose — for example — curve 7 for

settings fc
made ind<

determine how responsive the waveform produced by any
given module will be to key touch dynamics.
The CURVE parameter lets you choose from any of 8

velocity curves (contours) as shown in the figures below.
These curves determine how the amplitude actually changes

Tremolo
fects the
character!

one module and curve 8 for another, each will sound quite

control th<

differently according to the velocity message.

tings in th

different velocity curves, which determine the contour of

create anc

velocity control over time. The SENSITIVITY parameter

Note that the degree of this effect is dependent on settings

lets you select values between "0" and "31". At a setting

mode in VOICE-10 (AMP ENV) as well as in VOICE-11

of "0", the selected module will be totally unresponsive

(KF. ENV.)

to velocity control message. A setting of "31" indicates

The WAV
ofthetren
DOWN, S

|;low for de

maximum sensitivity.

<.volume ch

I You can us
|tremolo os<
|the value, t

[CURVES]

|issetto"0'
level b
SENS =

Pitch*

SENS =

3 t—/—,

SENS "31

SENS = 3!

Velocity

SENS = 31

SENS = 0

SENS = 3I

SENS MINi

~+ SENS MAX

SENS MIN -*-

—►SENS MAX

Functions

-09, 10, 11

FECT-14

Related Functions

TREMOLO
Parameters
WAVE = TRIANGLE/SAW UP/
SAW DOWN/SQUARE
DEPTH = 0-99
RATE = 0~99
DELAY = 0-99
MULTI = ON/OFF

O/S

VOICE—14

EDIT—^^—PAGE—CURSOR—VALUE |H
Domain
Mode

Normal

Keyboard
Guitar

GLOBAL

Wind

113 TREMOLO

WflUE=TRIflNGLE

13 TREMOLO
DEPTH*14
SQUARE

one of the 8
figures below. $
dually changes

— curve 7 for

viil sound quite

lent on set

tsinVOICE-1

>lo is a form of low-frequency oscillation which afthc DCA to produce cyclical changes in volume
The parameters in this function are used

The RATE parameter is used to set the "speed" of

tremolo oscillation. The higher the value, the faster the
tremolo effect.

ite a "tremolo" effect globally. Note, however, that

for parameters in VOICE-14 (AMP SENS) can be
independently for each module. This allows you to
the depth of each module independently, while seti* in the TREMOLO function (VOICE-13) are used to
and control the "actual" tremolo oscillation.

fAVE parameter lets you choose the basic waveform
tremolo oscillation. There are 4 — SQUARE, SAW
SAW UP, and TRIANGLE. (See information bedetails on how various types of waveforms affect
changes.)
use the DEPTH parameter to set the "depth" of
{.oscillation (how strong the tremolo is). The larger

"" the deeper the tremolo effect. (If this parameter

The DELAY parameter is used to set the period of time
from initial key depression until the point where tremolo
oscillation begins. The larger the value, the longer the de

lay before tremolo is applied.
The MULTI parameter features a toggle which can be set
to either ON or OFF. When MULTI is set to ON, the

tremolo effect is engaged independently as Note On mes
sages are received, so that each note's tremolo is indepen
dent (not synchronized with tremolo delay and oscillation
of messages received previously or subsequently). When this
parameter is set to OFF, tremolo oscillation is synched for
all keys, regardless of when the note on messages are
received (in unison or independently).

, no tremolo will be generated. Be sure to raise

'ore altering other parameter settings.)

REFORMS]

- produces a smooth "pulsating" volume shift.
Up - produces a repeating rise and then cutoff in volume.
r Down - produces a repeating "swoop" down in volume.
- produces an "on and off" volume characteristic.

•38-

Related Functions

AMP SENS (DCA)
Parameters

O/S

VOICE-13
EFFECT—03-06, 19

::•

—CURSOR-VALUE

EDIT—

Domain
Normal

Mode

SENS (SENSITIVITY) = 0-7

Keyboard
MODULAR

Guitar

Wind

14 flMP SENS
SENS=0

14 flMP SENS
SENS-7

15 TOTfit
LEUEU
B

This function features only one parameter, SENSITIVITY, which is set independently for each module. This "sensitivity" level determines how "sensitive" each module is
to the effects listed below. (Or, in simpler terms, SENSI
TIVITY determines the degree of "depth" or "strength"
the effects have in the specified module.)

When SENSITIVITY is set to a value of "0", the all effects listed below will not affect the specified module's
sound. At a value of "7", the effects will be strongest.

(Related Functions)
VOICE-13 TREMOLO DEPTH

EFFECT-03
EFFECT-04
EFFECT-05
EFFECT-06
EFFECT-03

TREMOLO DEPTH (After Touch)
TREMOLO DEPTH (Modulation Wheel)
TREMOLO DEPTH (Definable Control)
TREMOLO DEPTH (Foot VR)
DCA ENV BIAS (After Touch)

EFFECT-04 DCA ENV BIAS (Modulation Wheel)

EFFECT-05 DCA ENV BIAS (Definable Control)
EFFECT-06 DCA ENV BIAS (Foot VR)
EFFECT-19 DEPTH (Total Tremolo)

llji!;.'

llifi-hi

i ! !

•39-

' This functio

f which is usec
of the unit
I:

Functions
O1CE-13
03-06, 19

-VATUE

Related Functions

TOTAL LEVEL (DCA)

Parameters

O/S

EDIT—gg^j-PAGE—CURSOR—VALUE
Domain
Mode

lal
LEVEL = 0-99

Keyboard
Guitar

LAR

Normal

GLOBAL

Wind

15-TOTflL LEUEL
LEUEL=65

15 TOTflL LEUEL
LEUEL=99

",theallef-

This function features only one parameter, TOTAL LEV,

ed module's

which is used to control the overall amplitude (volume) level

imum possible volume level which can be attained with the

)e strongest.

of the unit (for all modules, M1~M8).

volume control. With a value of "0", no sound is output

This parameter acts as a "governer", controlling the max-

— even when the volume slider is set to MAX. The maxi

mum amplitude level can be selected by inputting a level
of "99".

•40«

Related Functions

KF RATE (DCO/DCA)

O/S

Parameters

VOICE-03, 05, 09, 11

—CURSOR—VALUE

EDIT—

Domain

KEY l~KEY6 = C0~C9
R1-R6 (RATE) = 0-99

Mode

Normal

Keyboard
Guitar

GLOBAL

Wind

16 KF RflTE
KEY6=F7
R6=99

16 KF RflTE
KEY1=C1
Rl=22

This function features a total of 6 "POINTs", which are
used to create a KEY FOLLOW CURVE. This function

In steps where the rate value is higher, a rapid "attack"

is directly related to the KF LEVEL functions (VOICE-05

is low, the rate of the envelope is equal to that set in

and VOICE-11). Notice that with the LEVEL functions,
you can set specify KEYs and LEVELs for each POINT
in the curve(s). The KF RATE function is used to specify
the RATE (remember, rate and level together determine

VOICE-03 and VOICE-09.

or "decay" is effected. In a position where the rate value

time) for each point in the curve.

These settings are global, affecting attDCO and DCA enve
lopes (VOICE-03 and VOICE-09).

(DCO)

(DCA)
KEY Setting Range

Related Functions

17, 18, 19

VEL RATE (DCO/DCA)
0/S

Parameters

EDIT—5£^j-PAGE—CURSOR—VALUE
Domain

17 (VEL RATE SENS)
SENS (SENSITIVITY) = :0~31
CURVE=1~8
18 (P VEL RATE)

Mode

Guitar

ENA=E/*

Wind

18 P UEL RflTE
ENfl=E*E

17
18 1J

GLOBAL

MODULAR

19 fl UEL RflTE Ml
ENR=E*E

Pitch envelope —\ / \ /
with strong attack V

This function features parameters which are used to con

To ENABLE (make effective) the VEL RATE for any step

trol velocity RATE, in correspondence with DCO and DCA

in the envelope, simply move the cursor to the desired step
position and press the YES key ("E" is displayed). To dis
able, simply press the NO key ("*" is displayed). (If you
set less than 8 steps, steps following END POINT are not
displayed.) If the parameter is set as in FIG-B, the enve
lope changes as illustrated in FIG-C, with a strong attack
(The rate of steps 1 and 4 become acute).

envelopes created using VOICE-03 and VOICE-09.

While the velocity RATE setting is global (affects all 8 mod
ules), you can choose whether RATE control is enabled
or disabled for each step in both the DCO and DCA
envelopes.

Normal

Keyboard

ENA=E/*

19 (A VEL RATE)

17 UEL RflTE SENS
SENS=15

17; VOICE—03, 09, 18, 19
18; VOICE-03, 17
19;>VOICE-09, 17

Within function No. 17 ("VEL RATE SENS"), the SEN
SITIVITY and CURVE parameters can be selected.

Within function No. 19 ("A VEL RATE"), you can specify
whether or not the VEL RATE curve will affect the in
dividual steps of the AMP ENV (DCA envelope) which

When SENSITIVITY is set to a value of "0", velocity will
be disabled entirely. As SENSITIVITY is raised, the enve
lope rate becomes more acute when the external keyboard
is played with a strong (fast) attack (high "velocity").

is set using VOICE-09. These settings can be made for each
module (M1-M8) individually.

The CURVE parameter lets you choose from one of 8

To ENABLE the VEL RATE for any step in the envelope,
simply move the cursor to the desired step position and
press the YES key ("E" is displayed). To disable, simply

different VELOCITY RATE curves, as diagrammed below.

press the NO key ("*" is displayed).

The horizontal axis of the VELOCITY CURVE represents
additive values to the rate parameter. As the value is in
creased, the rate of steps in the envelope (DCO/DCA) are
increased further.

Notice that there are no identifying "numbers" assigned
to the step display. Note, however, that there are '%" or

"E" which corresponds to each active step position.

Within function No. 18 ("P VEL RATE"), you can specify
whether or not the VEL RATE curve will affect the in
dividual steps of the PITCH ENV (DCO envelope) which
is set using VOICE-03.
This setting is global, affecting all 8 modules (Ml ~M8).

[CURVES]

SENS-31

SENS = 31

SENS-0

SENS«0

SENS = 31

SENS = 0

XSENS=O

SENS = 31

8
SENS«=0

SENS =

SENS MIN «"-->* SENS MAX

SENS

SENS MAX

•42-

Related Functions

VOICE NAME
Parameters

O/S

EDIT—DOWN~~ PAGE—CURSOR-VALUE
Domain

Alphabet = A~Z
Numeral = 0-9
Marks = " ♦ ", "-'

Mode

Normal

Keyboard

Guitar

GLOBAL

Wind

28 NfiME
fi-1:

PST1

20 NflME
PSTi
fl-l:SYNTH-UQICEl

21 INIT
* EXECU1
B

[Thisfunctio
This function is used to assign a name to the "patches"
created using other VOICE menu functions.

The names you choose may contain both letters and numbers, and may be up to 12 characters in length.
Character input is carried out using the VALUE keys, with
alphanumeric characters and marks being displayed cycli
cally by holding either VALUE key down.

I ijfy executing
■ internal men

t once initializ

key indicate

function ha.«
Respond to i

key and the:

I The display;
I tings will all

194, of this n

: ■■$!•:■ ■

•43-

Functions

Related Functions

INIT VOICE
Parameters

o/s

EDIT—DOWN"" PAGE—CURSOR—VALUE
Domain

EXECUTE? (YES)
PUSH YES KEY!

Mode

Normal

Keyboard
Guitar

GLOBAL

Wind

UOICE
EXECUTE? (YES)

21 INIT UOICE
PUSH YES KEY!

j function is used to intialize all VOICE MENU data.
rs and numgth.

E keys, with

played cycli-

>y, executing this function, initialized data is loaded to the

1 memory's COMPARE/RECALL area. (Note that

|once initialization is completed, the COMPARE/RECALL

^indicator comes ON, if the COMPARE/RECALL
on has not already been selected.)
1 to the [EXECUTE?] prompt by pressing the YES
j^and then press it once again to execute initialization.
3 display appears as in FIG-B. Parameter values and set-

5 will all be reset to the initialize^values shown on page
Lof this manual.

•44-

\\:\

Related Functions

MIDI CHANNEL

O/S

Parameters

TOTAL—04

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

CHANNEL=1~16

Normal

Combination
4 mix/split
8 mix

89 MIDI CHRNNEL
CHRNNEL= 1

MIDI Rl:8:
CHRNNEL= 1

The MIDI CHANNEL function is used to assign the MIDI

channel

GLOBAL

!$!

Multi

89 MIDI CHRNNEL
-TOTRL=ON CH 1-

GLOBAL

AREA

GLOBAL

MIDI CHRNNEL
CHRNNEL* 1- 6

It's important to remember that the channel set using this

receive channel for the basic operating modes — the NOR

function is held in Operation Memory along with other

MAL mode, COMBI mode and MULTI-CH mode.

parameter settings.

Note that if function 04 in the TOTAL CONTROL menu
(MIDI CHANNEL) is set to ON in either the NORMAL

Notice that in the "G" Performance Mode, the parameter!

or COMBI mode, it will be impossible to set the MIDI

is displayed as shown in FIG-D, however the cursor can

channel using TOTAL-04.

not be moved. Notice also that the number on the right j
changes automatically when the number on the left is al

tered (the number on the right being 5 "strings" higher than]
the number on the left).

In the MULTI CH mode, the Area Number, polyphony I
and MIDI channel are all shown on the display, as illus-1
trated in FIG-B.

To select the Area Number, use the PROG NO keys. The]

MIDI channel number on the upper right side changes au-|

tomatically when the Area Number is altered.

Functions

OTAL—04

PORTAMENTO/SOLO
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

PORTAMENTO = ON / OFF

PORTM TIME = 0-99
PORTM MODE=TIME CONST/
RATE CONST
SOLO = ON/OFF
[Guitar] POLY / MONO = POLY/MONO

Mode

Normal

GLOBAL
W

81 PORTM/SOLO
PORTRMEHTO=ON

HflNNEL
= 1- 6

Related Functions

01 PT/S

H+2

Combination
4 mix/split
8 mix
PATCH

GLOBAL

01 PORTM/SOLO
POLY/MOHO=MOHO

PORTflMENTO=ON

Multi
channel

AREA

91 PT/S fll:4: 1
PORTflMENTO=OH

D
it using this

with other

The parameters in this function are used to establish and

The SOLO parameter is a toggle which can be used to turn

control built-in portamento and "solo" effects.

the solo function ON or OFF. The solo function is a "last
note priority" effect. When this function is ON and more
than one note on message is received, the system will cause
the only the last one received to sound.
When the SOLO parameter is set to ON, Portamento ef
fect can only be attained by legato performance (notes
played without breaks in between).

The PORTAMENTO parameter is a "toggle" (or switch)
2 parameter
cursor can-

>n the right
le left is alhigher than

polyphony

ay, as illus-

Dkt

.he

changes aui.

which is used to turn the portamento effect simply ON or
OFF.
NOTE: The PORTAMENTO parameter must be set to
"ON", in order to control portamento time using AFTER
TOUCH, MOD WHEEL, DEF CONTROL or FOOT VR.

When the "G" performance mode is selected, the por
tamento function operates as follows;

The PORTM TIME parameter determines the "portamento

With SOLO parameter OFF: Portamento sweep executed

time" between notes — in other words, the time that it takes
the pitch to "glide" from one note to the next note mes
sage received. The higher the value of this parameter, the
longer the portamento time.
Note that even when the PORTM TIME is set to "0", the
portamento effect can affect the overall sound, depending

independently for each MIDI channel (each string).
With SOLO parameter ON: Portamento sweep executed
only when a NOTE ON message is generated while a previ
ous NOTE message is still ON Oegato play), regardless of

on the patch or sound which is being edited.

The POLY/MONO parameter can be set in the "G" Per
formance Mode. When set to POLY, the notes are sound
polyphonically through each MIDI channel (notes can be1

The PORTM MODE parameter determines whether the

"constant" which portamento is based on. When this
parameter is set to TIME CONST, the time required for

MIDI channel (string).

pitch to glide between notes is constant — regardless of

played during "release" time). When this parameter is set
to MONO, notes through each MIDI channel are sound

the distance between the notes. (FIG-E)

ed only monophonically.

,When the PORTM MODE parameter is set to RATE

POLY

| , CONST, the rate or "speed" of portamento glide becomes
.constant. (FIG-F)

FIG-E

MONO

FIG-F

OFF

f-fixedH

time

OFF

When PORTAMENTO-related MIDI mode messages are
received, operations automatically switch to this function.

•46-

Related Functions

PITCH BEND
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

BEND RANGE=0~48
RELEASE = ENA/DIS

Mode

Normal

@2 BEND U+2
BEND RflN6E=

PATCH

GLOBAL

K
GLOBAL

62 PITCH BEND
BEND RflNGE= 2

Combination
4 mix/split
8 mix

02 PITCH BEND
RELEflSE=ENfl

Multi
channel

AREA

02 BEND fil:4: 1
BEND RflNGE= 2

This function features two parameters — BEND RANGE

When this parameter is set to DIS (disable), you can bend

and RELEASE — which are used to determine how the
external MIDI instrument pitch bend wheel can be used

notes only before actually receiving note off message (be
fore the release point in DCA curve).

to raise or lower pitch.
When set to ENA (enable), you can also bend any note

CHANNEL
(COMBINAT
VIB DEPTH
VIBRATE = «

03 RFTER
SENS=2

This function
MIDI controll
is used to cor

TheSENSHT
sitive" the ext
is high (at a le

The BEND RANGE parameter can be used to raise or low

that is still sounding (portion of sound following the release

er the maximum limit that pitch can be bended by an ex

point in DCA curve) — even after releasing the correspond

ternal MIDI instrument, in half-step increments. At the

ing key on the external keyboard. (FIG-C)

ter touch func

fect on pitch, while at the maximum value of "48", you

In the "G" performance mode, parameters set for the

a range of - S

can bend notes a maximum of 48 half-steps (4 octaves),

sound programmed to MIDI Channel 1 affect the other

input, after to

up and down.

5 MIDI channels. The pitch bend message, however, can

minimum value of "0", the pitch bend wheel has no ef

SENSITIVIT
(NORMAL, \

amount of pn

are being com;

In the COMB!

The other pan

be received by each string independently.

I you determine

the external keyboard pitch bend wheel can be used to bend

When PITCH BEND-related MIDI mode messages are

sounds which are sustained after the keyboard is released.

received, operations automatically switch to this function.

;■ Note that these
using after touc

The RELEASE parameter lets you choose whether or not

I1 r

message (and

I the effects "de

which are alreac
already set a \
function), so vi
AFTER TOUC
vibrato depth v
ter touch.

|The following <
1 various so

1VIB DEPTH :
)N: Vibrato d
}FF: After toi

IB RATE =
DN: Vibrato ri
After toi

PITCH BEND
-ON: Pitch b(
"99")

DFF: After toi
Pitch be
i bend ran

RTM TIME
PORTM t
FF: PORTM

•47«

Related Functions

AFTER TOUCH
Parameters

SENSITIVITY
PITCH = + ON / - ON / OFF
(NORMAL, MULTIPORTM TIME=ON/OFF
CHANNEL)=0-99
TREM DEPTH = ON / OFF
(COMBINATION) = -99- +99 TREM RATE=ON/OFF
VIB DEPTH=ON/OFF
A ENV BIAS=ON/OFF
VIBRATE=ON/OFF

O/S

VOICE-14

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

Normal

GLOBAL

Combination
4 mix/split
8 mix

Multi

channel

PATCH
PATCH *2

AREA

PATOi*2
SENSITIVITY»O

83 flFTER TOUCH
SENS=28

63 flFTR H+2
SENS=+28

•SENSITIVITY
-99 (K, 6 mode)
-91 (W mode)
M1N

►MAX

MIDI DATA

This function is used to specify the sensitivity of an external
MIDI controller "after touch", and the effects that after touch
is used to control.

Note that PORTM TIME can only be set to "ON" when the
PORTM/SOLO function (EFFECT-01) "Portamento"
parameter is first set to "ON".

The SENSITIVITY parameter is used to determine how "sen

TREM DEPTH = ON/OFF

sitive" the external controller is to after touch. If sensitivity
is high (at a level of "99", for example), it only takes a small
amount of pressure on the key to engage the effect(s) which
are being controlled by after touch. At a level of "0", the af
ter touch function is totally non-operational.
In the COMBINATION mode, you can set this parameter in

ON: Tremolo depth set in VOICE-13 is increased

a range of -99 to +99 (FIG-Q. When negative values are
input, after touch is inversed.
The other parameters in this function are toggles, which let
you determine which effects will be controlled by after touch
message (and how they will be affected).

Note that these effects may already be engaged — even without
using after touch. In this case, after touch can be used to make
the effects "deeper" or "stronger" than the normal settings
which are already engaged. For example, let's assume you have
already set a VIB DEPTH value in VOICE-07 (VIBRATO
function), so vibrato is engaged in your patch. If you turn the

: AFTER TOUCH "VIB DEPTH" parameter ON, then the

| vibrato depth will be increased even further when you use af:ter touch.

OFF: Tremolo depth is not affected by after touch message
TREM RATE = ON/OFF

ON: Tremolo rate set in VOICE-13 is increased
OFF: Tremolo rate is not affected by after touch message
AMP ENV BIAS = ON/OFF

ON: Amplitude envelope bias increased by after touch mes
sage, with max. level as set in VOICE-09
OFF: Amplitude envelope bias is not affected by after touch
message

In the "W" Performance Mode, aftertouch reacts slightly
differently than with the other two performance modes. The
curve in FIG-D shows how the SENS parameter affects aftertouch characteristics when set between values of "0" and "91".

Notice the changes in these characteristics between values of

"92" and "99"(FIG-E). For further details, refer to page 12.

FIG-E
< SPECIAL AFTER TOUCH SENSITIVITY 92 - 99 >

SENSITIVITY-92

|The following chart lists how after touch can be used to con-

ftrol various sound effect functions.

•SENSITIVITY=:99

|VIB DEPTH = ON/OFF

|ON: Vibrato depth set in VOICE-07 increased
^OFF: After touch message does not control vibrato depth
RATE = ON/OFF

|>ON: Vibrato rate set in VOICE-07 increased
F: After touch message does not control vibrato rate
BEND = - ON/OFF/ + ON

-ON: Pitch bent down (max = 1 octave with sensitjvity of
"99")

F: After touch message does not affect pitch
jhON: Pitch bent up (max = 1 octave with sensitivity of "99")
l bend range does not correspond to EFFECT-02 setting.

DRTM TIME = ON/OFF
: PORTM time set in EFFECT-01 is increased
F: PORTM time is not affected by after touch message

MIDI DATA

Note that TREM DEPTH, TREM RATE and AMP ENV
BIAS levels can be set for each module (Ml ~M8) indepen

dently, in VOICE-14 (AMP SENS). Naturally, these indepen
dent settings also affect after touch message characteristics for
the above parameters.
♦1 In COMBI "K" mode, ON/OFF and SENSITIVITY of
only the PITCH (BEND) and A ENV BIAS parameter af

fect the patches (1~8) independently.
♦2 In COMBI "G" or "W" mode, ON/OFF and SENSITIV
ITY of only the PORTAMENTO TIME parameter affect
the patches (1-8) globally.

•48-

Related Functions

MOD WHEEL

O/S

Parameters

VOICE—14

EDIT—PAGE—CURSOR—VALUE

Domain
SENSITIVITY
(NORMAL, MULTICHANNEL)=0~99

PITCH= +ON/-ON/OFF
PORTM TIME=ON / OFF
TREM DEPTH=ON/OFF

(COMBINATION) = -99- +99 TREM RATE=ON/OFF
VIB DEPTH=ON/OF?
A ENV BIAS=ON/OFF

Mode

Normal

GLOBAL

VIB RATE=ON/OFF
W

84 MOD WHEEL
SEN§=50

Combination
4 mix/split
8 mix

PATCH

COUPLE*!

PATCH

COUPLER

PATCH

COUPLER

Mult!

channel I

AREA

84 MOD
i+2
SEHS=+50
B

The parameters in this function are used to specify the ef

vz-i
DEF WHEEL 1

Note that TREM DEPTH, TREM RATE and AMP ENV

fects that will be controlled by a modulation wheel or MIDI

BIAS levels can be set for each module (Ml ~ M8) indepen

control change No. 1 message (see accompanying MIDI

dently, in VOICE-14 (AMP SENS). As with after touch,

implementation chart) (or when connecting to VZ-1,

these independent settings also affect MIDI control change ]

DEFINABLE WHEEL 1 message).

No. 1 message control of the above parameters.

These parameters are exactly the same as those set in
EFFECT-03 (AFTER TOUCH) — the only difference be
ing that the effects are controlled during performance by
MIDI control change No. 1 message using a modulation
wheel, instead of After Touch (both can be used...).

For details on these parameters, see "EFFECT-03 AFTER
TOUCH".

.49.

♦1 In COMBI "K" mode, ON/OFF and SENSITIVITY ]
of only the PITCH and A ENV BIAS parameters af

fect to the patches in couples. (1&5, 2&6, 3&7, 4&8) I
♦2 In COMBI "G" or "WV mode, ON/OFF and SEN

SITIVITY of only the PORTAMENTO TIME]
parameter affect the patches (1-8) globally.

A Functio
voice-i;

DEF CONTROL
Parameters

Multi>$

Related Functions

, MULTIL)=0~99

PITCH= +ON/-ON/OFF
PORTM TIME=ON / OFF
TREM DEPTH=ON/OFF

\TION)= -99- +99 TREM RATE=ON/OFF
I=ON/OFF
A ENV BIAS = ON/OFF

O/S

VOICE—14

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

Combination
4 mix/split
8 mix

Normal

K
GLOBAL

\TE=ON/OFF
W

DEF CONTROL

PATCH

COUPLE*!

PATCH

COUPLE*2

PATCH

COUPLE*2

Multi
channel

AREA

05 DEF
0+2
SENS=+50
vz-i
DEF WHEEL 2

^parameters in this function are used to specify the ef-

Note that TREM DEPTH, TREM RATE and AMP ENV

Ithat will be controlled by MIDI Control change No.

BIAS levels can be set for each module (Ml ~M8) indepen
dently, in VOICE-14 (AMP SENS). As with after touch,
these independent settings also affect MIDI Control change

- 31 messages (for details see accompanying MIDI imchart), or when connecting to VZ-1,
BLE WHEEL 2 message.

No. 12-31 message control of the above parameters.

(The
parameters are exactly the same as those set in
T-03 (AFTER TOUCH) — the only difference be-

MIDI

control

change

number

can

using

TOTAL-05, the MIDI DATA function.)

\ that the effects are controlled during performance by

♦1 In COMBI "K" mode, ON/OFF and SENSITIVITY

{MIDI Control change No. 12-31 messages, instead

of only the PITCH and A ENV BIAS parameters af

' Touch message or modulation wheel message.

fect to the patches in couples. (1&5, 2&6, 3&7, 4&8)

♦2 In COMBI "G" or "W" mode, ON/OFF and SEN
r details on these parameters, see "EFFECT-03 AFTER

JCH".

SITIVITY

only

the

PORTAMENTO

TIME

parameter affect the patches (1-8) globally.

•50-

Related Functions

FOOT VR

O/S

Parameters

VOICE-14

EDIT—PAGE—CURSOR—VALUE

Domain
SENSITIVITY
PITCH= +ON/-ON/OFF
(NORMAL, MULTIPORTM TIME=ON/OFF
CHANNEL)=0~99
TREM DEPTH=ON/OFF
(COMBINATION) = -99- +99 TREM RATE=ON/OFF
AENVBIAS=ON/OFF
VIB DEPTH=ON/OFF
VIBRATE=ON/OFF

Mode

Normal

GLOBAL
W

66 FOOT UR
SENS=58

Combination
4 mix/split
8 mix
PATCH

COUPLE*!

PATCH

COUPLE*2

PATCH

COUPLE*2

Multi
channel

AREA

06 F UR 0+2
SENS=-20

07 FOOT SI
=SUSTF

VZ-1

vz-i
rear panel

optional VP-10/jj

The parameters in this function are used to specify the ef
fects that will be controlled by MIDI Control change No.
4 message (see accompanying MIDI implementation chart),
or when connecting to VZ-1, Foot Control ("foot varia

For details on these parameters, see "EFFECT-03 AFTER

ble resistor" — Foot VR) message.

BIAS levels can be set for each motiule (Ml - M8) indepen

TOUCH".

The parameters
fects that will be

Note that TREM DEPTH, TREM RATE and AMP ENV

implementation

dently, in VOICE-14 (AMP SENS). As with after touch,

sage

number

sustain-pedal ir

These parameters are exactly the same as those set in
EFFECT-03 (AFTER TOUCH) — the only difference be
ing that the effects are controlled by MIDI Control change

these independent settings also affect MIDI Control change
No. 4 message control of the above parameters.

keyboard.
The following ch
utilized;

No. 4 messages, instead of After Touch messages.

♦1 In COMBI "K" mode, ON/OFF and SENSITIVITY

SUSTAIN: Soui

of only the PITCH and A ENV BIAS parameters af
fect to the patches in couples. (1&5, 2&6, 3&7, 4&8)
♦2 In COMBI "G" or "W" mode, ON/OFF and SEN
SITIVITY of only the PORTAMENTO TIME
parameter affect the patches (1-8) globally.

FOC

recei

SOSTENUTO: I
: DISABLE: FOC

Functions
fOICE—14

Related Functions

FOOTSW

07
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain
FOOT SW = SUSTAIN
SOSTENUTO
DISABLE

Mode

Normal

GLOBAL

@7 F SW

07 FOOT SW
=SUSTflIN

U+2
29

Combination
4 mix/split
8 mix
PATCH

GLOBAL

PATCH

GLOBAL

PATCH

GLOBAL

Multi

channel
AREA

fl+2

=SOSTENUTO

VZ-1
optional SP-2

T-03 AFTER

dAMPENV
M8)indepen-

1 after touch,

The parameters in this function are used to specify the ef
fects that will be controlled by MIDI control change mes
sage number 64 (refer to accompanying MIDI
implementation chart). They are also used when sending
sustain-pedal messages to a connected Casio MIDI

ontrol change

keyboard.
The following chart lists what FOOT SW messages can be

teters.

utilized;

;

ENSITIVITY

SUSTAIN: Sound is sustained before or after receiving the

>arameters af-

FOOT SW ON message until OFF message is

:6, 3&7, 4&8)

FF and SEN-

SOSTENUTO: Sound is sustained only until FOOT SW

received.
ON data is received.

DISABLE: FOOT SW ON data cannot be received.

•52«

Related Functions

VEL TABLE SELECT

08
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

Combination
4 mix/split
8 mix

Normal

TABLE No. = 1-

GLOBAL
GLOBAL

GLOBAL

TfiBLE NO.1

AREA

GLOBAL

08 UEL TflBLE SEL

Multi
channel

@8 UEL
fil:
TflBLE HO.8

[VEL TABLES]

The parameter in this function is used to specify the ve

locity at which MIDI IN data is received. This is accom

plished by selecting one of 8 built-in "tables" (curves), using
the VALUE keys.

VELOCITY

By altering the MIDI IN velocity data, it is possible to ac

-> IN VELOCITY

tually "correct" or "modify" the velocity curve of the trans

mitting MIDI device, for use with the VZ-8M. Selection
can be made from the following 8 Velocity Tables;

NOTE;

4. With this table, you must play with a hard attack in ord- ]
er to produce sound.
7. Reversed curve

8. Velocity totally OFF (For use with "W" performance]
mode).

Related Functions

PAN

O/S

Parameters

EDIT—PAGE—CURSOR—VALUE

Domain

MODE = FIX/CONTROL/AUTO
FIX: PANPOT l/2=-15~0~ + 15
CONTROL:

I CONTROL 1/2 (CONTROLLER)

AREA

=AFTER/FT VR/MOD/DEF/
PAN
RANGE 1/2=L/R/C-L/R/C

AUTO:
PAN 1/2=ON/OFF
RATE=0~63
DEPTH=0~31
CONTROL (CONTROLLER)
=AFTER/FOOTVR/
MOD/DEF/OFF

Mode

Combination
4 mix/split
8 mix

Normal

Multi

channel

GLOBAL

AREA

GLOBAL
LEVEL

3 PflN
MODE=FIX

AUTO

@9 PflN

DEPTH

PRNP0T2=+15
TIME
- controlled by controller

The parameters in the PAN function are used to specify

Parameters with mode set to "FIX"

the "panning mode", as well as specify the actual L/R pan

PANPOT 1/2: Used to specify localization from OUTPUT

ning position for VZ-8M sound source outputs 1 and 2.

1 or 2. Note that "0" is equivalent to a "center" setting,

with negative values (up to -15) panning the sound to the
Output Channels

left, and positive values (up to +15) panning sounds to

Depending on the mode selected, sounds are output through

the right.

channel 1 or channel 2, as shown in the chart below;

Parameters with mode set to "CONTROL"

CONTROL 1/2: Allows selection of the external control

device to be assigned to PANPOTl (channel 1 sounds) with
the VALUE keys. There are 5 possible choices, AFTER
(aftertouch), FT VR, MOD (modulation wheel), DEF

(definable control) or PAN.

rff

RANGE 1/2: Establishes the "range" within which the con
troller will be able to pan the sound, as well as the pan

ice <:

ning direction. Note that the "C" stands for "center".
FIX

CONTROL

LSPEAKER

RSPEAKER

LSPEAKER

R SPEAKER

\
VZ-8M

§|1 Reception in "G" performance mode is limited to six
channels between MIDI CH and MIDI CH + 5.

|jJ2 Sounds are output through channel 1 and 2 separately
if areas 1 ~ 4 and areas 5 - 8 are set for 4-poly performance, respectively.

VZ-8M

Parameters with mode set to "AUTO" (FIG-C)

PAN 1/2: Allows selection of whether or not selected PAN
POT will pan automatically. This is a toggle switch which

simply turns the function ON or OFF for the selected PAN
POT (channel).

y, you must select one of three PAN "modes" —
C, CONTROL or AUTO,

RATE: Universal for both PANPOT channels. This
parameter is used to set panning "speed" — the higher the
value, the faster panning is performed.

l the FIX mode, the PAN function acts as a two-channel
sr, fixing the position of the "panpot" for each channel,
l the CONTROL mode, each of the two panpots can be

DEPTH: Universal for both channels. This parameter is
used to set panning "depth" — the higher the value, the
deeper the panning effect.

1 by an independent external controller, such as
[modulation wheel, foot VR, etc. This allows actual

nual" panning during performance. In the AUTO

both panpots can be programmed to "pan" the
1 of each channel over time — automatically.

CONTROL: Establishes the external controller which can
be used to manually adjust AUTO PAN depth.

In order to utilize and external controller to control pan
ning in the MULTI CH mode or to control auto-panning
depth, the MIDI channel of the controller must be the same
as that set in TOTAL-04.

•54<

Related Functions

LEVEL
Parameters

O/S

VOICE-15

EDIT—PAGE—CURSOR—VALUE

Domain
Mode
LEVEL = 0-99

Normal

Combination
4 mix/split
8 mix

PATCH

/ 3+4

19 LEU
Hls4s
LEUEL=85

channel I

PATCH

10 LEU
LEUEL=9'

Muiti

AREA

PATCH

H ■;■

The parameters in this function are used to set relative
volume levels of the patches "combined" in the Combi
nation Mode. Naturally, this function can only be accessed
after entering this Mode.

If minimum value of "0" is assigned, the corresponding
patch will not sound, while a value of "99" indicates a max
imum volume level. These settings can be used to "mix"
the relative volume levels of all patches making up the com
bined sound.

Up to 8 "levels" are set in this function, depending on the
number of patches which are combined (according to KEY
ASSIGN specifications).

will be raisei
The OCTAV

■il

bined pitch
increments.

■1
I1

The POLAR

•55«

Related Functions

PITCH
O/S

Parameters

EDIT—PAGE—CURSOR—VALUE

Domain
POLARITY= +
OCTAVE = 0-5
NOTE = 0-11
FINE = 0-63

Mode

Normal

Combination
4 mix/split
8 mix

PATCH

PATCH
W

Multi
channel

AREA

PATCH

11 PITCH fll:4: 1
TUNE=+2, 9, 0

11 PITCH 1 / H+4
MTUNE=+1, 0,7

^The parameters in this function are used to raise or lower

The NOTE parameter is used to raise or lower the com

the pitch of all patches used to create a "combined sound"

bined pitch by a maximum of 1100 cents, in 100-cent

in the Combination Mode. Naturally, this function can only

increments.

be accessed after entering this mode.

The FINE parameter is used to make "fine tuning" ad

The POLARITY parameter is used to specify whether pitch

justments in 1.6-cent increments (approximate). By mak

will be raised (+) or lowered (-).

ing "fine" tuning adjustments, a "thick" ensemble sound

K '

■•■-.

......■■

can be created.

The OCTAVE parameter is used to raise or lower the com
bined pitch by a maximum of 5 octaves, in 1-octave
increments. •

•56-

S12

Related Functions

SPLIT POINT
O/S

Parameters

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

POINT = CO ~C9

r
/

Normal

Combination
4 mix/split
8 mix

PATCH(Split) ;

—

PATCH(Split) i

—

PATCH(Split) i

—

Multi

channel]

MIDDLE SP

r-UPPERS?

12 SPLIT I/i/3/4
P0INT=E3

12 SPLIT POINT

CHECK KEYRSSIGN!

/ 4

The parameters in this function are used to specify "key

Key split ranges for these split points are as shown below; J

board split" points in the Combination Mode.
UPPER SPLIT POINT=DO - C9 (chromatic)

Depending on KEY ASSIGN specifications, either one or

MIDDLE SPLIT POINT = C#0~B8

three keyboard split points are assigned using this func

LOWER SPLIT POINT = CO ~Bb 8

tion.

If the parameters in this function are accessed when a KEY'
When only one split point is used, as in the KEY ASSIGN

ASSIGN configuration has been selected which does not

configurations in FIG-A, this function contains only one

contain any keyboard split point — when patches are

parameter — the SP POINT parameter.

"layered" without being split — the display appears as in
FIG-D.

When the KEY ASSIGN configuration in FIG-B is select

ed, the display appears as in FIG-C. In this case, there are
three split points. Notice that area numbers 1 and 2 are

To input a split point, you must first exit this function
(SPLIT POINT) by pressing the COMBINATION key or

highlighted. This indicates that the "POINT" parameter

the EDIT key. Next, choose a KEY ASSIGN configura

is to be set for the "LOWER" split point. For the MID

tion which contains a keyboard split point by pressing the
VALUE keys.

DLE split point, move the cursor so that "2" and "3" are
highlighted. Likewise, when 3 & 4 are highlighted, the UP
PER split point can be set.

Related Functions

13
Parameters

ALUE

Related Functions

VEL SPLIT
O/S

EDIT—PAGE—CURSOR—VALUE

Domain
Multi

ion
8 mix

Mode

channel

RANGE= 1-127

Normal

Combination
4 mix/split
8 mix

Multi
channel

PATCH(Layered); COUPLE
PATCH(Layered); COUPLE

SPLIT POINT

ECK KEYRSSIGN!

5 are as shown below;
(chromatic)
B8

13 U-SP 1+2+3+4
RflN6E= 1-127

13 U-SP l+B+3+4
RflNGE= 1-127

Jhe parameters in this function are used to specify VZ-8M
^■velocity split" characteristics in the Combination Mode.
Depending on KEY ASSIGN specifications, between one
and four velocity split "ranges" are assigned using these

PATCH(Layered) j COUPLE

13 U-SP 0234B678
RRN6E= 1-127

13 UEL SPLIT
CHECK KEYRSSIGN!

If the parameters in this function are accessed when a KEY
ASSIGN configuration has been selected which contains
only keyboard split points — without any "layered"
patches, the display appears as in FIG-D.

parameters.

j accessed when a KEY '
elected which does not
— when patches are

e display appears as in

| By assigning maximum and minimum "velocity" values
Ll ~ 127) to each patch in a combined sound, you can cre

ate a "velocity range" wherein the specified patch will
isound. If velocity message is transmitted at a velocity levlel that is outside this range, the specified patch will not

If you want to use velocity split and no layered patches
are specified in the present KEY ASSIGN configuration,
you must first exit this function (VEL SPLIT) by pressing
the COMBINATION key or the EDIT key. Next, choose

a KEY ASSIGN configuration which contains layered
patches (for example, "1 + 2") by pressing the VALUE
keys.

first exit this function
TION key or
N configura-i

it point by pressing the

that this function differs from the "KEYBOARD
PUT" function, as VEL SPLIT can only be used with

I KEY ASSIGN configurations containing "layered" ( + )

I patches (such as " 1 + 2" or " 1 / 3 + 4), as opposed to KEY
(ASSIGN configurations containing only "split" points

[(such as "1/3" or "1/2/3/4").

•58-

Related Functions

VEL INVERSE
Parameters

O/S

VOICE-12

EDIT—PAGE—CURSOR—VALUE

Domain
Mode
INVERSE = ON/OFF

Combination
4 mix/split
8 mix

Normal

Multi
channel

for:--'.

PATCH(Layered); COUPLE
PATCH(Layered); COUPLE

PATCH(Layered) ■ COUPLE
INVERSE = OFF

ii:

■

14 UEL
il+2/3+4
INUERSE=ON

14 UEL ||234|67£
INUERSE=OFF

Vol

INVERSE =
ON

14 UEL INUERSE
CHECK KEYflSSIGN!

15 POSX

X-FflDE

Velocity

The parameters in this function let you choose whether you

If the parameters in this function are accessed when a KEY

want to literally "invert" the velocity level curves created
in VOICE-12 for each patch in a combined sound. Depend

ASSIGN configuration has been selected which contains

ing on KEY ASSIGN specifications, between two and four

toggles are contained in this function, which turn the IN
VERSE function On or Off for each patch in the combined
sound.

By "inverting" the VELOCITY LEVEL curve for any given
patch, the velocity characteristics are actually "inverted"
so that modules in a patch previously "triggered" only by
receiving a fairly high velocity rate message (strong exter
IS' ■

only keyboard split points — without any "layered"
patches, the display appears as in FIG-D.

If you want to use the VEL INVERSE function, you must
first exit this function (VEL INVERSE) by pressing the

COMBINATION key or the EDIT key. Next, choose a
KEY ASSIGN configuration which contains layered
patches by pressing the VALUE keys.
NOTE: In the cases listed below, velocity curves of each

nal keyboard attack) are turned OFF by a high velocity
rate. In other words, the velocity characteristics for the
selected patch is virtually reversed, as illustrated in FIG-

module are not inverted — even when the INVERSE func

lar LINE.

Note that this function is similar to the VEL SPLIT func
tion, as it can only be used with KEY ASSIGN configura
tions containing "layered" (+) patches (such as "1+2"

or "1 /3+4"), as opposed to KEY ASSIGN configurations
containing

only

"1/2/3/4").

"split"

points. (such

"1/3"

tion is set to ON;

— When the INT LINE is set to PHASE for any particu

— When EXT PHASE is specified for a particular LINE.

Pie POS Cl
the Combin;
ration conta
as "1 + 2",

This functioj
tain point oj
determining i
in the patche
1 sition" or ")
As FIG-E ilk

i- one patch be<
becomes soft
ates a "fadin

point — one
up or down

] This function

|. — an EFFEC
(FADE effect
r cross posj
; cations, eithe

f Initially, you

^ you've set th
to the actuall

figuration fea

Is example) is s<

|v this case, then
: bers 1 and :

|"POINT" pa

|point. For th<
Ithat "2" and
| are highlighte
I Notice that w

Isor flashes be!

| selected positic
■•it again to sei

|Next, simply ]
[to the next ci

ted!
VOIC

Related Functions

POS CROSSFADE
O/S

Parameters

lit

EDIT—PAGE—CURSOR—VALUE

Domain
Mu

Mode

X-FADE = ON/OFF
POS = C0~C9

cha

1+2+3+4

INVERSE*
■YflSSK

rflDE=OFF

i when a ]

hich cont

ny "layered*

t pressing i

ext, choose^

tains lay

3+4

FIG-E

on Mode, when a KEY ASSIGN configu-

VOLUME

1+2", "3 + 4" and "1 + 2 + 3+4").

—

PATCH(Layered>;

—

PATCH(Layered);

—

15 POS X-FflDE

CHECK KEYflSSIGN!

MAX

i point on the scale (known as the "cross point")» by

ddd

fff

; the range on the external keyboard that wherej patches will fade together (known as the "cross po

urves ofeacfq
VERSEJ

S FIG-E illustrates, in the cross position range (aaa-bbb),

-3

PATCH(Layered);

Multi
channel

^function is used to "fade" together patches at a cer-

ll" or "POS").

icularLINE.%

Combination
4 mix/split
8 mix

15 POSX
l+B+B+4
P0S=C#4-fl4

ICROSSFADE function can only be utilized in

i containing only "layered" patches is selected (such
:(

ion, you mu

15 POSX
P0S=B62-F

Normal

■1

? patch becomes progressively more audible, as the other

If the parameters in this function are accessed when a KEY

nes softer and gradually fades out entirely. This crej a "fading" effect, so that there is no audible cutoff

ASSIGN configuration has been selected which contains

t — one patch simply fades into the other as you move

only "layered" patches, the display appears as in FIG-D.

keyboard split points or 8 patches mix — as opposed to

gup or down the external keyboard.

If you want to use the POSITIONAL CROSSFADE func

> function, then, features two basic types of parameters
• an EFFECT toggle, which is used to turn the CROSS-

FADE effect ON or OFF, and POS range settings for each

fCROSS POSITION. Depending on KEY ASSIGN specifions, either one or three POS ranges are set (FIG-B).

tion and a split KEY ASSIGN configuration is selected,
you must first exit this function (POSITIONAL CROSS
FADE) by pressing the COMBINATION key or the EDIT
key. Next, choose a KEY ASSIGN configuration which

contains only layered patches by pressing the VALUE keys.

^Initially, you must set the X-FADE ON/OFF toggle. Once

fyou've set this toggle, press the cursor [►] key to move
to the actually POS settings. When a KEY ASSIGN con
figuration featuring only layered patches (1 + 2+3 + 4, for
example) is selected, the display appears as in FIG-B. In

this case, there are three cross points. Notice that area num

bers 1 and 2 are highlighted. This indicates that the

(."POINT" parameter is to be set for the "LOWER" cross

point. For the MIDDLE cross point, move the cursor so
that "2" and "3" are highlighted. Likewise, when 3 & 4
are highlighted, the UPPER cross point can be set.
Notice that when the cursor [►] is first pressed, the cur
sor flashes below the lower limit of the cross range for the
selected position ([1] + [2]). After setting this position, press

it again to set the upper limit of cross range.
Next, simply press the cursor [►] key once again to move
to the next cross position.

•60-

Related Functions

DELAY TRIGGER
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

DELAY TRIG = 0-99

16 DLY
B+2+3+4
DELflY TRI6= 9

Normal

Combination
4 mix/split
8 mix

PATCH(Layered);

—

PATCH(Layered);

—

P ATCH(Layered) ■

—

Multi
channel

16 DELflY TRIG
CHECK KEYRSSIGN!

The delay trigger function can be used to "delay" the

If you want to use the DELAY TRIGGER function and

NOTE ON message for any layered patch(es) in a com
bined sound. Delay time is increased as the DELAY
parameter value is raised. At a value of "0", the patch is

a KEY assign function is selected which contains only split
patches (such as 1/3), or when an 8-patch mix is selected,
you must first exit this function by pressing the COMBI

sounded immediately after Note On message received, while

NATION key or the EDIT key. Next, choose a KEY AS

at a value of "99", there is a long delay before the patch

SIGN configuration which contains layered patches by

sounds.

pressing the VALUE keys.

Note that this function can only be used with KEY
ASSIGN configurations containing "layered" (+) patches
(such as "1+2" or "1/3+4"), as opposed to KEY AS

SIGN configurations containing only "split" points (such
as "1/3" or "1/2/3/4") and 8 patch-mix ("1 2 3 4 5 6

7 8").
If the parameters in this function are accessed when a KEY
ASSIGN configuration has been selected which contains
only keyboard split points — without any "layered"

patches, the display appears as in FIG-B.

-61

Related Functions

TOTAL VIBRATO
O/S

Parameters

VOICE-07

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

TOTAL = ON/OFF

Normal

Combination
4 mix/split
8 mix

Multi
channel

PATCH(Layered); GLOBAL
PATCH(Layered); GLOBAL

17 TOTflL UIBRflTO
TOTflL=OFF

17 TOTflL UIBRflTO
• MULTI=ON

PATCH(Uyered)i GLOBAL

17 TOTflL UIBRflTO
TOTflL=ON

17 TOTflL UIBRflTO
CHECK KEYflSSIGN!

The TOTAL VIBRATO function is a toggle switch which

If the parameters in this function are accessed when a KEY

can be used to turn the TOTAL VIBRATO function ON

ASSIGN configuration has been selected which contains
only keyboard split points — without any "layered"
patches, the display appears as in FIG-D.

or OFF, and contains parameters related to total-vibrato
control.
When this function is turned OFF, patches are affected by
the data programmed individually in VOICE-07 (VIBRA
TO function). When set to ON, COMBI sounds are af
fected globally — regardless of independent VOICE-07

If you want to use the TOTAL VIBRATO function when
this display appears, you must first exit this function
(TOTAL VIBRATO) by pressing the COMBINATION key

settings.

or the EDIT key. Next, choose a KEY ASSIGN configu

There are five basic parameters within this function —

ration which contains layered patches (" 1 + 2", for exam
ple) by pressing the VALUE key.v

WAVE, DEPTH, RATE, DELAY and MULTI. These

correspond to the parameters in VOICE-07 (VIBRATO

function). For details on operations, see page 32.
Note that when an 8-patch MIX is selected with the KEY

ASSIGN function, the TOTAL parameter is automatical
ly turned ON.

Related Functions

VIBRATO INVERSE
Parameters

o/s

VOICE-07

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

INVERSE = ON/OFF

Normal

Combination
4 mix/split
8 mix
PATCH(Uyered):

Multi

channel II

PATCH

PATCH(Layered)i PATCH
W

18 UIB

0+2/3+4

INUERSE=ON

(WAVE .TRIANGLE)

PATCH(Layered)i PATCH

* UIB B2345678
INUERSE=ON

18 UIB INUERSE
CHECK KEYflSSIGN!

^ INVERSE
OFF

The parameters in this function let you choose whether you

If the parameters in this function are accessed when a KEY

want to literally "invert" the phase of the vibrato effect

ASSIGN configuration has been selected which contains

for each patch in a combined sound. Depending on KEY
ASSIGN specifications, between two, four and eight tog

gles are contained in this function, which turn the IN
VERSE function On or Off for each patch in the combined
sound.

19 TO'
• TOTf

only keyboard split points — without any "layered" j
patches, the display appears as in FIG-D.

If you want to use the VIB INVERSE function when this I

display appears, you must first exit this function (VIB I
INVERSE) by pressing tlie COMBINATION key or the

By "inverting" the vibrato phase for any given patch, the

vibrato characteristics are actually reversed, so the vibrato
"cycle" becomes "inverted." In other words, by inverting
the vibrato phase, the pitch will rise in the part of the vibra
to cycle where it would normally fall, and fall where it
would normally rise, as illustrated in FIG-B.
As with the DELAY TRIGGER function, this function can
only be used with KEY ASSIGN configurations contain
ing "layered" (+) patches (such as "1 + 2" or "1/3 + 4"),
as opposed to KEY ASSIGN configurations containing
only "split" points (such as "1/3" or "1/2/3/4").

Note that this function can, however, be used when an
8-patch mix configuration (1+2 + 3 + 4 + 5 + 6 + 7 + 8) is
selected. (FIG-C)

• 63*

EDIT key. Next, choose a KEY ASSIGN configuration I
which contains layered patches ("1+2", for example) by]
pressing the VALUE keys.

STAVE,
on).

Related Functions

TOTAL TREMOLO
o/s

VOICE-13

EDIT—PAGE—CURSOR—VALUE

Domain
Mode

Normal

Combination
4 mix/split
8 mix

Multi
channel

PATCH(Layered); GLOBAL
PATCH(Layered); GLOBAL

19 TOTflL TREMOLO
MULTKFF

If the parameters in this function are accessed when a KEY

l be used to turn the TOTAL TREMQLO function ON

ASSIGN configuration has been selected which contains

[OFF, and contains parameters related to total-vibrato

only keyboard split points — without any "layered"

ol.
1 this function is turned OFF, patches are affected by
e data programmed individually in VOICE-13 (TREMO-

patches, the display appears as in FIG-C.

0 function). When set to ON, COMBI sounds are af-

this display appears, you must first exit this function
(TOTAL TREMOLO) by pressing the COMBINATION
key or the EDIT key. Next, choose a KEY ASSIGN con
figuration which contains layered patches ("1+2", for ex
ample) by pressing the VALUE key.

Iguration
unple) by

19 TOTflL TREMOLO
CHECK KEYfiSSIGN!

g.TOTAL TREMOLO function is a toggle switch which

: globally —. regardless of independent VOICE-13

ey or the

PATCH(Layered)! GLOBAL

i are five basic parameters within this function —

If you want to use the TOTAL TREMOLO function when

VAVE, DEPTH, RATE, DELAY and MULTI. These

icorrespond to the parameters in VOICE-13 (TREMOLO
gfunction). For details on operations, see page 38.

[Note that when an 8-patch MIX is selected with the KEY
|ASSIGN function, the TOTAL parameter is automatical

ly turned ON.

•64-

Related Functions

TREMOLO INVERSE

O/S

Parameters

VOICE—13

EDIT—PAGE—CURSOR—VALUE

Domain
Mode
INVERSE=ON/OFF

20 TREM 1+2/H+4
INUERSE=ON

\ /
V

\ A INVERSE
V

Normal

Combination
4 mix/split
8 mix

PATCH(Layered)!

PATCH

PATCH(Layered);

PATCH

Multi

channel I]

PATCH(Layered) | PATCH

} TREM B2345678
INUERSE=OFF

2@ TREM INUERSE
CHECK KEYflSSIQN!

-OFF

(WAVE-TRIANGLE)

The parameters in this function let you choose whether you

want to literally "invert" the phase of the tremolo effect
for each patch in a combined sound. Depending on KEY
ASSIGN specifications, between two, four and eight tog
gles are contained in this function, which turn the IN

: '■

If the parameters in this function are accessed when a KEY
ASSIGN configuration has been selected which contains

only keyboard split points — without any "layered"
patches, the display appears as in FIG-D.

VERSE function On or Off for each patch in the combined

If you want to use the TREMOLO INVERSE function and I

sound,

this display appears, you must first exit this function by

By "inverting" the tremolo phase for any given patch, the

pressing the COMBINATION key or the EDIT key. Next, I
choose a KEY ASSIGN configuration which contains |

tremolo characteristics are actually reversed, so the tremolo

layered patches by pressing the VALUE keys.

"cycle" becomes "inverted." In other words, by inverting
the tremolo phase, the volume will rise in the part of the
tremolo cycle where it would normally fall, and fall where
it would normally rise, as illustrated in FIG-B.
Note that this function is similar to the VIB INVERSE

function, as it can only be used with KEY ASSIGN con
figurations containing "layered" (+) patches (such as

" 1 + 2" or " 1 / 3 + 4"), as opposed to KEY ASSIGN con
figurations containing only "split" points (such as "1/3"

or "1/2/3/4"). Note that this function can, however, be
used when an 8-patch mix configuration (1+2+3 + 4 +
5 + 6+7 + 8) is selected. (FIG-C)

•65<

hy s, •,-

Related Functions
EFFECT-01-07.10.il.--13.

COPY

EDIT—PAGE—CURSOR—VALUE

O/S

Parameters

Domain
Mode

COPY=l-8-»l-8

Normal

Combination

4 mix/split

8 mix

Multi

channel

PATCH

ICOMBI COPY

21 COMBI COPY
COPY 1*| (YES)

JrY U"+^

22 COMBI COPY
COPY-1+2 OK!

i COMBI COPY function can be used to "copy" the

Copying can be executed by simply specifying the "source"

menu data of one patch in a combination to
patch position.

patch number (FIG-A), and the patch number of the "des
tination" patch by moving the cursor to the right and press

ing a PROG NO key (Al ~H8) (FIG-B). After this, just
example,

the

patch

number

and

effect

data

T-01 ~ 20) assigned to the Patch 1 position can be
I into any of the 3 or 7 remaining positions by using
i function.

press the YES key (FIG-C).

Data which is copied includes the source patch timbre, and
all effect data specified using EFFECT menu functions 01
through 20, with the exception of 8, 9,12,15,17 and 19.

The following data is copied using COMBI COPY func
tion (universal for K, G and W performance modes).

Setting example

3
2

"O" indicates that data is copied.

2 -> 8
5 -> 7

5 -> 4

This function is used to assign a name to the VZ-8M's

Note that this function can only be accessed when OPER-

Operation Memories.

ATION MEMORY is selected.

The names you choose may contain both letters and num
bers, and may be up to 12 characters in length.

Character input is carried out using the VALUE keys, with
alphanumeric characters and marks being displayed cycli
cally by holding either VALUE key down. The procedure
is.the same as for VOICE-20 ("VOICE NAME").

neparamett

he pitch of *
Naturally, th
the OPE
' setting thi
; the pitc

frhe TUNE p,

Jof all, the cur
feo set the ot
> POLAR!
be raised

11' i,

♦67«

OPERATION TUNE

Related Functions
TOTAL-00

Parameters

TUNE=+/- (POLARITY),
0-5 (OCTAVE),
0-11 (NOTE),
0-63 (FINE)

j 01 OP TUNE
TUNE=+1?

\ parameters in this function can be used to set or alter
! pitch of each operation memory,
iturally, this function can only be accessed after enter-

Rng the OPERATION MEMORY Mode.

The OCTAVE parameter is used to raise or lower the pitch
by a maximum of 5 octaves, in 1-octave increments.
The NOTE parameter is used to raise or lower the pitch
of the selected AREA by a maximum of 1100 cents, in

; By setting this parameter, it becomes possible to perform
using the pitch set for the selected operation memory.

100-cent increments.

iThe TUNE parameter consists of 4 basic data items. First

justments in 1.6-cent increments (approximate).

The FINE parameter is used to make "fine tuning" ad

| of all, the cursor flashes under the POLARITY parameter.
I: To set the other parameters, simply move the cursor.

|The POLARITY parameter is used to specify whether pitch

f will be raised (+) or lowered (-).

The actual pitch used in performance is raised or lowered

according to the values set using this function, using the
pitch set in the MASTER TUNE function (TOTAL
CONTROL-00) as a basis.

>68<

00, 01

Related Functions

MASTER TUNE/TRANSPOSE
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

TUNE=-64~0~+64

TRANSPOSE = G~F#

Mode

Normal

Operation Multi
Combination
memory
4 mix/split 8 mix
channel I

K
GLOBAL
W

60 MfiSTER TUNE

■TUNE*

01 TRfiNSPOSE=C

01 TRfiHSPOSE=F#

The parameters in this function can be used to set the over

The TRANSPOSE parameter lets you "transpose"

all "tuning", as well as alter the standard key by using a
built-in TRANSPOSE function.

standard pitch frequency to other key positions. In other
words, the pitch that would normally correspond to C can
be "shifted" chromatically to another key, within a range

The TUNE parameter allows you to set the standard A4
tuning within a range of 417.2 and 468.3 Hz (+ /-100
cents from standard), in approximately 1.6-cent increments.
(This setting is approximate — use it only as a guide.) The
initialized value for this parameter is "0". (FIG-A)

of G to F# . This effectually transposes the overall per-.;

The TUNE parameter can be reset to its initialized value
("0") by pressing both VALUE keys simultaneously.

formance key.

Functions

Related Functions

MEMORY PROTECT
Parameters

o/s

TOTAL-03, 06

EDIT—PAGE—CURSOR—VALUE

Domain
ion Multi
<
lory channel|

INTERNAL = ON/OFF
CARD = ON/OFF

Mode

Normal

Combination

4 mix/split

8 mix

Operation
memory

Multi
channel

K
GLOBAL

82 MEM PROTECT
INTERNflL=ON

anspose" the

ions. In other
pond toCcan
within a range

ie overall per-

»; The parameters in this function can be used to protect the
[ memory, so that data cannot be altered or erased.
s INTERNAL parameter features a toggle which can
) turned ON or OFF. When set to ON, the contents of

| the internal and operation memories will be protected.

@2 MEM PROTECT
CflRD=ON

The CARD parameter also features a toggle which can be
turned ON or OFF. When set to ON, the contents of sound
and operation memories on the RAM cards will be protected.

Both parameters are automatically set to "ON" each time
the unit's power is turned ON.

•70-

Related Functions

SAVE/LOAD
O/S

Parameters

EDIT—PAGE—CURSOR—VALUE

Domain
SAVE/LOAD = SAVE/LOAD
CARD/MIDI = CARD I/CARD 2/MIDI
DATA = VOICE/OPMEM/VC + OP/FULL

Mode

Normal

Combination
Operation
4 mix/split 8 mix
memory

GLOBAL

63 SflUE/LOflD
SflUE/LOflD=SRUE

93 SflUE
CflRD/MIDI=CflRDl

03 SflUE

—MIDI DISflBLE™
* TOTflL CONT 05!

--TRRNS ERROR—
CHECK SYSTEM!

I=FULL

EXECUTE? (YES)

A
'II

QZ SflUE
PUSH YES KEY!

PROTECT ON—
TOTflL CONT 02!

This function is essentially a "utility" function, which is

When "VC + OP" is selected, data from both the 64 in

used to control data SAVE and LOAD operations.

ternal sounds and the 64 operation memories can be trans
ferred.

The SAVE/LOAD parameter is used to specify the type

of operation you want to perform. When SAVE is select
ed, the onboard memory data will be "saved" to an exter
nal memory medium, while when LOAD is selected,
external data will be "loaded" into the onboard memory.

When "FULL" is selected, data from the "VC + OP"

parameter and TOTAL CONTROL menu functions 00,
01, 04 and 05 can be transferred to or from the unit.
Once you've specified the operation you want to perform,

The CARD I/CARD 2/MIDI parameter lets you choose

press the YES key. Respond to the menu prompt by press

the medium to/from which you will SAVE or LOAD data.

ing the YES key once again.

When CARD is selected, data will either be saved to, or

If you want to abort data transmission, simply press the

loaded from a RAM/ROM card inserted in the card slot.

cursor or NO (VALUE ▼) key of the transmitting or

If you want to SAVE the data, be sure to also set the

receiving device.

CARD parameter to "CARD 1". When MIDI is selected,

data will be transferred to or from another VZ series syn

Note that when an Operation Memory featuring INTER

thesizer.

NAL sounds is SA VED to a card, the sound specification

When using a new RAM card, you must first format it (see

on the display automatically changes to "CARD" for the

TOTAL-06).

formerly INTERNAL sounds.

The DATA parameter lets you choose the type or combi

Note that if the memory protect is set to ON (TOTAL-02),

nation of data which will be saved or loaded. You can

it will be impossible to LOAD data. (FIG-F)

choose from three different settings — VOICE, OP MEM

or VC+OP. Note, however, that when using two VZ units
connected by MIDI, this setting must be the same for both
units (except when executing SAVE or LOAD).

Note that if MIDI Exclusive is disabled (TOTAL-04) or
basic channels do not match, MIDISA VE/LOAD will be
impossible.

When "VOICE" is selected, all 64 internal sounds can be

If data is not transferred successfully for some reason,

transferred to or from the internal memory. When "OP

MIDI SA VE/LOAD will be impossible and display ap-

MEM" is selected, only data from the 64 operation

pears as in FIG-H.

memories can be transferred to or from the unit.

If an ERROR message appears, operations can be reset by
pressing the MODE, PAGE or CURSOR keys.

•71

Functions

VZ-8M Compatibility with VZ-1/VZ-10M
When transferring data between the VZ-8M and the VZ-1 or VZ-IOM with the VZ-8M as MASTER, data compatibili
ty is as follows;

MIDI IN
MIDI
OUT
VZ-8M

Multi

channel

VZ-10M

DATA — VOICE: Totally compatible operation
OP MEM: Compatible within limits of VZ-1 and VZ-IOM menu functions.
VC+OP: Treated separately, as listed above.
NOTE: Never attempt to transfer operation memory data which has been sent to the VZ-1 back to the VZ-IOM.

E? (YES)
l transferring data between the VZ-8M and the VZ-1 or VZ-IOM with the VZ-8M as SLAVE, data compatibility
jas follows;

ERROR-S
YSTEM!

., ■. ..
../♦

MIDI OUT

., fc--i
••' ". \'

MIDI
IN

VZ-8M

bth the 64 in- \

...*■{•_

VZ-10M

;s can be trans- \

ie "VC+OP"j

l functions 00,|
omtowpit

■ant to perform,*
rompt by ]

. — VOICE: Totally compatible operation
OP MEM: Compatible within limits of VZ-1 and VZ-IOM menu functions. Functions only available on

VZ-8M are set at initialized values.
VC+OP: Treated separately, as listed above.
E: The above is true for data saved/loaded using RAM cards as well.

imply press i

transmitting

ituring INTER§
nd specificatU
CARD" forth

W(TOTAL
rG-F)

(TOTAL-04)

E/LOAD mill

or some

> and display j

ns can be reset]

•72-

Related Functions

MIDI CHANNEL
Parameters

o/s

EDIT—PAGE—CURSOR—VALUE

Domain
CHANNEL =1-16
TOTAL = ON/OFF

Mode

Normal

Combination
Operation
4 mix/split 8 mix
memory

GLOBAL

MIDI CHRNNEL
CHflNHEL= 1

The MIDI CHANNEL parameter is used to specify the
MIDI channel on which the VZ will receive and transmit
MIDI messages.

\ MIDI CHRNNEL
TOTRL=OFF

When the TOTAL parameter is set to "ON", the MIDI |

receive channel in all modes are affected by the channel!
set in the "CHANNEL" parameter, with the exception of

the MULTI CH mode or pperation memories using the j

It is possible to program separate MIDI channels for each

MULTI CH mode.

operational mode (NORMAL, COMBI, OP MEM and

To switch between the two parameters, use the cursor keys. ]

MULTI CH). This is accomplished by first selecting the
desired mode, and then setting this parameter.

NEL number and change the TOTAL parameter setting. I

Notice that there are two parameters the "CHANNEL"
parameter and the "TOTAL" parameter.

The value keys can be used to raise or lower the CHAN- j

r05

d Functions^
f

F05

Related Functions

MIDI DATA
Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain
PROGRAM = 0- 127/0-63/DIS
EXCLUSIVE = ENA/DIS
'
DEF CONTROL = OFF/12-31
VOLUME = ENA/DIS
OVERFLOW = NORMAL 1 ~ 8

Mode

Normal

Combination
Operation Multi
4 mix/split 8 mix
memory
channel

K
GLOBAL
W

65 MIDI DflTfl
PRO6RflM=0-63

J>, the MIDI 1
' the channel]

exception ofj

ies using thel
i cursor keys,

the CHAN-]

neter setting.

iJhe parameters in this function are used to specify a vari

ety of MIDI-related data (with the exception of the MIDI
£ Channel).

@5 MIDI DflTfl
0UERFL0W=2

A Channel on which Master volume data is received in
respective performance modes is shown below.

The PROGRAM NO parameter lets you choose the MIDI
PROGRAM CHANGE message number. Note that mes
sages are distributed as shown in the chart below. You can

choose from DIS, 0~63, and 0~ 127 settings with the
VALUE controls.

0-63: The unit receives messages 0-63 in the selected
memory area (PRESET 1, PRESET 2, INTER
NAL, CARD 1 or CARD 2).
0-127: The unit receives messages 0-63 in INTERNAL

areas Al through H8. 64 ~ 127 are received as
CARD 1. However, if INTERNAL is selected on
the receiving unit, 64-127 are received in the

memory area which is selected in MIDI EXCLU
SIVE function.

When power is turned ON, memory area is set to

CARD 1 (set to "INTERNAL" when no card is
inserted).
DIS: Program data is not received.
The EXCLUSIVE parameter lets you choose whether or
not sound or operation data or multi-channel mode data
is transmitted/received according to MIDI System Exclu

sive messages. When it is set to ENA (enable), MIDI com
munication can be controlled through these messages.
The DEF CONTROL (control number) parameter is used
to specify the Control Change number of messages con
trolled by MIDI Control change No. 12-31 messages

(see EFFECT-05 "DEF CONTROL"). When set to OFF,
MIDI OUT /IN messages are not transmitted.
The VOLUME parameter can be used to specify whether

or not the unit will transmit and receive MIDI Volume mes

Overflow Mode — NORMAL 1-8

The overflow mode allows programming so that no sound
is produced until a specific MIDI IN NOTE ON message

number is received. When set to NORMAL, sound is
produced from the reception of the first NOTE ON mes
sage, with the last note played having priority.
When the OVERFLOW MODE is set to "1", sound is also
produced from the reception of the first NOTE ON mes
sage, with the note previously played having priority.
When set to "2", sound is produced only from the recep
tion of the first NOTE ON message which exceeds the poly
phonic limit of the device presently sounding.
When set to "3", sound is produced only from the recep

tion of the first NOTE ON message which exceeds a value
which is twice the polyphonic limit of the device presently
sounding.
In this way, multiple VZ-8M's can be linked to create up

to 64-note polyphony, with the first VZ-8M covering NOTE

ON messages 1 through 8, the second covering messages
9 through 16, etc., as shown below.
NOTE: The settings (MODE, operation data and voice data
etc.) must be the same for all VZ-8M units when used in
this configuration.

sages (control change 07). When set to ENA (enable), the

SETTING

Master volume level can be controlled by MIDI messages

from an1 external device. When set to DIS (disable), the
Master volume is independent of external control.
In addition, MIDI Volume messages are not output when
set to DIS.

NOTE ON
message
(NORMAL mode) ^

1st- 8th
9th ~ 16th

MIDI DATA

8poiyx8°64poly

17th-24th

(normal mode)

MIDI

BOX

8. VZ-8M

57th -64th

J
• 74.

Related Functions

CARD FORMAT

06
Parameters

O/S

TOTAL—01

EDIT—PAGE—CURSOR—VALUE

Domain
EXECUTE? (YES)
PUSH YES KEY

Mode

Normal

Combination
Operation Multi
4 mix/split 8 mix
memory
channel

GLOBAL
W

66 CflRD FQRMflT
EXECUTE? (YES)

—NOT REflDY—
INSERT CflRD!

PROTECT ON—
TOTflL CONT 62!

—NOT REflDYCHECK CflRD!

This is a utility function which is used to "FORMAT" the

If you try to execute formatting without first inserting a

accessory RAM card. Before you can store information in

RAM card, the display will appear as in FIG-B. First in

RAM cards, you must "initialize" them into a format that

sert the card and try again!

the VZ understands.

Ifyou try to execute formatting when the memory protect
By executing the FORMAT command, all former contents
are erased from the card, and it is prepared to receive fresh

function (TOTAL-02) is ON, the display will appear as in
FIG-C. First turn this function OFF, and try again!

sound data. When the RAM card is formatted, it is auto
matically programmed with the 64 preset (1) patches and

If you try to execute formatting when an optional ROM

64 preset (1) operation memories.

(not "RAM" but "ROM") card is inserted in the card slot,

After inserting the card you want to format in to the card
slot, you simply access this function's EXECUTE

format ROM cards.

the display will appear as in FIG-D. There is no need to

parameter. A "YES?" prompt will appear on the display

To abort execution of this function, press the MODE key

(FIG-A). To execute formatting, press the YES key.

or PAGE key.

•75-

d Functions,
TOTAL—01

Performance/Editing in the Normal Modejj
fo select sounds for performance in the normal mode
])Press the NORMAL mode key.

Dlf you want to choose a PRESET or an INTERNAL patch, select by

□

i using the SHIFT key.

... SHIFT

If you want to choose a CARD patch, first insert the RAM or ROM
card in the card slot and then select by using the SHIFT key.

Each bank holds up to 64 patches and 64 operation memories.
When using a new RAM card, you must first format it (see TOTAL-06).

A formatted RAM card is capable of storing up to 64 patches and 64

operation memories.

pSelect the patch you want to play.
I In order to change the BANK, first press the BANK key (indicator
lights). Next press the PROG NO key corresponding to the BANK "let

ter" you want to choose. (For example, the "B2" key corresponds to

the "B" bank.) Notice that the BANK key indicator goes out as soon
as you select a bank.

Finally, select the voice number by pressing a PROG NO key once again.
In this case, the keys correspond to the numbers digit. (For example,
the "B2" key would now correspond to voice number "2".)

ON/OFF
M ON/OFF

|®Select the performance mode (Keyboard, Guitar or Wind) by pressing
the value keys.

|To write a single patch to memory
|(pSelect the patch you want to write to memory (preset, internal or card

patch or Compare/Recall ON/OFF) and select one of the performance
modes (K, G, W).

*®Hold down the WRITE key.

□
WRITE
COPY/INIT

The LCD appears as shown at the right, and the INTERNAL/CARD

indicators go out. If you release the WRITE key, the LCD will return
to its normal status.
Ifyou've used the COMPARE/RECALL function when editing a patch
using VOICE PARAMETER menu functions, be sure that the COM

WRITE UOICE
INT
*-*
COMPARE/
RECALL

PARE/RECALL indicator is ON. If it is OFF, press the COMPARE/
RECALL key.

•76-

■»

s^;

{..

If the COMPARE/RECALL key is pressed in the NORMAL play sub-

I i"-i

mode, the EDIT key indicator also comes ON. If you want to enter

the play sub-mode once again to write sounds to memory, you must

first press either the NORMAL key or EDIT key so that the EDIT key
indicator goes out.

©While still holding down the WRITE key, select the memory to which
you want to write the patch. This is accomplished by pressing the SHIFT
key and PROG NO keys. Next, press the YES key.

WRITE UOICE
INT
fl-5 (YES)

When using the PROG NO keys, first press a key corresponding to the
bank (Al key for "A" bank, for example) and then press a key cor
responding to the voice number (F6 key for "6", for example).
When writing is completed successfully, an "OK!" message appears on
the display.

If the memory protect function (TOTAL-02) is ON, writing will be im

possible. In this case, you must first turn the protect function OFF by
accessing TOTAL-02, reenter the PLA Ymode and perform write oper

WRITE

UOICE
OK!

—PROTECT ON—
•* TOTflL COHT 92!

ations again.

For information on writing patch data to the OPERATION MEMORY,

see "Performance/Editing in the Operation Memory Mode."

1/3

62 MEM PROTECT
INTERNRL=OFF

To edit a single patch
To edit a single patch in the NORMAL mode, simply press the MENU
selector (EDIT/PAGE key or TOTAL CONTROL key) corresponding to
the function which you want to edit, and access the function. For further
data on MENUs, FUNCTIONS and PARAMETERS, refer to " Operat
ing System Controls".

•77'

3+4

rr
TOTAL
CONTROL

EOIT

Performance/Editingin the Combination Mode
Si;

specify KEY ASSIGN configurations
r entering the Combination PLAY sub-mode, you can select from

of 8 different "KEY ASSIGN" configurations by pressing the
VALUE keys. When the VALUE keys are pressed, key assign configu; change cyclically.

H+2/3+4 K

fl-UUZ EP

PST1

Note that when cross-fade is used, each sound features 4-note polyphony and you can use as
many as 8 notes simultaneously.

Note that when cross-fade is used, each sound features 2-note polyphony and you can use as
many as 8 notes simultaneously.
LINE OUT 1/2 is set for the time being according to EFFECT-09 setting.

| To select patches in a combined sound
[©After entering the Combination PLAY sub-mode, move the CURSOR
to any patch position.

(2)In order to choose a PRESET or INTERNAL patch, you must first

press the SHIFT key.

□

If you want to choose a CARD patch, first insert the RAM or ROM
fed

card in the card slot and then select by using the SHIFT key.

©Select the patch you want to play.
In order to change the BANK, first press the BANK key (indicator
lights). Next press the PROG NO key corresponding to the BANK "let

ter" you want to choose. (For example, the "B2" key corresponds to
the "B" bank.) Notice that the BANK key indicator goes out as soon
as you select a bank.

Finally, select the voice number by pressing a PROG NO key once again.
In this case, the keys correspond to the numbers digit. (For example,

the "Al" key would now correspond to voice number "1".)
You can view the patch name by moving the KEY ASSIGN position
using the cursor keys.

BANK
M ON/OFF

141/3+4 K PST1

B-l:R/B BRflSS

®Move the cursor to the right to select the performance mode (Keyboard,

Guitar or Wind). Performance mode can be selected by pressing the
VALUE keys.

■MM

To write Combination data to the OPERATION MEMORY
©Select the COMBINATION mode and edit your combined sound until
you are satisfied. Then press the COMBINATION key to enter the
PLAY sub-mode and select one of the performance modes (K, G, W).

©Hold down the WRITE key.

□
WRITE

COPY/INIT

©While still holding down the WRITE key, select the memory to which
you want to write the patch (the SHIFT key, followed by PROG NO
keys), then, press the YES key.

SHIFT

III
It

When writing is completed successfully, an "OK!" message appears on
the display.

If the memory protect function (TOTAL-02) is ON, writing will be im
possible. In this case, you must first turn the protect function OFF by
accessing TOTAL-02, reenter the PLAY mode and perform write oper
ations again. Also, it is impossible to write to the Operation Memory
when the COMPARE/RECALL function is ON, regardless of the select
ed key assign setting. For example, if COMPARE/RECALL function
is set to ON for key assignment "3+4", it will be impossible to write
when 1+2 is selected as well. If "C/R ON CHECK VOICE NO.!"
messages are displayed, be sure to turn the COMPARE/RECALL func

WRITE

OPMEM

82 MEM PROTECT
IHTERNflL=OFF

tion OFF for all patches.

Note that writing to the operation memory must be performed in the
PLAY sub-mode.

®Once you've completed writing combined sound data to the operation
memory, you can give it a name by using the OPERATION NAME

function in OPE EFFECT-00. (After assigning a name, you must re
write the sound again to the Operation Memory.)

•79'

88 OP NflME

INT

Performance/Editing in the Operation Memory Mode

//■

| The OPERATION MEMORY mode can be used to store effect and sound

f data from up to 64 sounds (patches or combined sounds) from the VZ-8M
| internal memory or card memory.

. .

| To copy data from the Normal Mode memory into the Oper
ation Memory

I ©After entering the Normal Mode, select the Play sub-mode by pressing

|i the NORMAL key.

|®Select the patch you want to use, as well as the desired performance

I mode (K, G, or W).

[©Hold down the WRITE key. The display appears as shown on the right.

□
WRITE
COPV/INIT

WRITE UOICE
INT •*-*

©Press the OPERATION MEMORY key.

OPERATION
MEMORY

j)While still holding down the WRITE key, select the patch you want
\ to WRITE by first pressing the SHIFT key, and then pressing the PROG

f NO key. Finally, press the YES key.

SHIFT

i writing is completed successfully, an "OK !" message appears

WRITE

|bh the display..

; you've completed writing combined sound data to the operation

OPMEM

nc i

OP NflME

y, you can give it a name by using the OPERATION NAME

INT

stion in OPE EFFECT-00. (After assigning a name, you must re\ the sound again to the Operation Memory. The OPERATION
I function can only be set while in the OPERATION MEMORY

*■)

[write operation memory data from one operation memory

[another

: entering the Operation Memory Mode, select the operation you
; to transfer by pressing the BANK key and a PROG NO key.
BANK

M ON/OFF

•80'

□

down the WRITE key.

WRITE
COPY/INIT

)Select the operation memory you want to transfer the selected opera
tion memory to by pressing the PROG NO keys, then, press the YES
key.

When writing is completed successfully, an "OK !" message appears

on the display.

0Once you've completed transferring the operation memory data, you
can give it another name by using the OPERATION NAME function
in OPE EFFECT-00. (After assigning a name, you must re-write the

.MIDI

□
SHIFT

08 OP NflME
fl-9:

INT

sound again to the Operation Memory).
If the memory protect function (TOTAL-02) is ON, writing will be im

possible. In this case, you must first turn the protect function OFF by
accessing TOTAL-02, reenter the PLAY mode and perform write oper

02 MEM PROTECT
INTERNflL=OFF

ations again.

Note that writing to the operation memory must be performed in the
PLAY sub-mode.

To edit sound, effect data and MIDI setting data you've
already written, preset sounds or sounds from RAM or ROM
cards
You must first move the sounds of the selected Operation Memory back
to the COMBINATION, NORMAL or MULTI CH MODE memory.

©While in the Operation Memory mode, select the patch that you wish
to edit;

©Hold down the WRITE key and press the COMBINATION key, NOR
MAL key or MULTI CH key (whichever indicator is lit).
This will write the Operation back into the combination buffer so you

OPMEM
R-l:SEE

after you originally created it!

©When you've finished editing the sound, re-write it using normal write
operations.

•81 <

PST1

□
WRITE
COPY/INIT

can access all of the functions (except for OPE EFFECT-00 and 01)

to re-edit your combination or normal sound — months or even years

NORMAL

C0M8I-

MULTI

NATION CHANNEL

ffomance/Editing in the Multi Channel Mode.
f Multi channel mode can be used to receive or send through up to
)I channels.

MULTI

CHANNEL

^MULTI CHANNEL mode differs from the normal MIDI Perfori MODEs (MIDI mode 4 (OMNI/OFF, MONO), etc.).

» assign a patch to a specific AREA
r entering the Multi Channel mode by pressing the Multi Channel
y, specify the AREA in which you want to assign a patch by pressing
i cursor and VALUE keys.

21131090
fl-lsUZ EP

PST1

21131006
fl-lsi,JZ EP

PST1

iNote there are 8 digits at the top left-hand corner of the display. These
Uigits correspond to memory AREAs 1 through 8, from left to right.

| The value of each digit indicates the polyphony of the corresponding
| area. Note that as the VZ-8M features 8-note polyphonic performance,

|the sum of these digits can be no higher than 8.

ify the patch to be assigned by pressing the SHIFT key, the BANK
' and the PROG NO key.

|To specify polyphony for a specific AREA
►After entering the Multi Channel mode by pressing the Multi Channel
key, specify the AREA in which you want to specify polyphony by press
ing the cursor keys.
w

|@Specify polyphony for the selected AREA with the value controls. (Note
that if this value does not change, you may have to lower the polypho
ny level for another area, as the maximum sum polyphony totals 8 notes
for AREA 1-8.)

A
YES/SUS

NO/END

I To alter volume level for a specific AREA

[ ©After entering the Multi Channel mode by pressing the Multi Channel

key, specify the AREA for which you want to alter the output volume

level by accessing EFFECT-10.

©Lower or raise the relative volume level with the value controls. (Note
that at a maximum level of "99," the volume is equal to that as con
trolled with the master volume on the front panel.)

3 LEUEL fll:2:
LEUEL=85

A
YES/SUS
■MMH

NO/END

•82-

To specify a MIDI channel for a specific AREA
©After entering the Multi Channel mode by pressing the Multi Channel
key, specify the AREA for which you want to set the MIDI channel
number by accessing EFFECT-00.

©Specify the MIDI channel with the value controls.

68 MIDI

Rl:2s

CHflNNEL= 1

Note that these settings are made for each AREA individually. You can

change the selected AREA number at any point in editing by pressing
the Multi Area keys.

To write MULTI CH data to the OPERATION MEMORY
MULTI

©Select the MULTI CH mode and edit multi-channel data until you are
satisfied. When you're finished editing, press the MULTI CH mode

CHANNEL

key to enter the PLAY mode.

D
WRITE
COPY/INIT

\wBANK

M ON/OFF

©Hold down the WRITE key.

SHIFT

WRITE

INT
©While holding down the WRITE key, select the memory to which you
want to write the patch (SHIFT key, followed by PROG NO keys Al
~ H8). Then, press the YES key.

WRITE

OPMEM

*-*

OPMEM
OK!

When writing is completed successfully, an "OK!" message appears on
the display.

If the memory protect function (TOTAL-02) is ON, writing will be im
possible. In this case, you must first turn the protect function OFF by

accessing TOTAL-02, reenter the PLAY mode and perform write oper

62 MEM PROTECT

INTERNRL=OFF

ations again.

©Once you've completed writing the MULTI CH data to the operation
memory, you can give it a name by using the OPERATION NAME
function (OPE EFFECT-00). After assigning a name you must re-write
the data again to the Operation Memory.

•88-

OP NflME
fl-9:

INT

)/ — Musical Instrument Digital Interface

his Digital Synthesizer module is equipped with MIDI — the Musical In-

ent Digital Interface. To play using the module's sounds, you must
: the unit to other MIDI-equipped electronic musical instruments,
n, rhythm machines, sequencers or even personal computers through
DI terminals.

[KEYBOARD MODE]
MIDI

MIDI

VZ-8M
MIDI KEYBOARD

[GUITAR MODE]

MIDI GUITAR

-t—1st string \

1ch

2ch

- - 2nd string
string \

3ch
4ch

--4th string

5ch

• — 5th string

6ch

6th string

•-3rd string

[WIND MODE]
MIDI
IN

VZ-8M

MIDI WIND
CONTROLLER

MIDI instrument

VZ-8M

MIDI

OUT

INv

Ijn.

OUT

Drum machine

Sequencer

VZ-8M

MIDI

MIDI
OUT

Sequencer

'IN

VZ-8M

THRU

In.
Drum machine

I MIDI-related settings are made using the MIDI CHANNEL and MIDI

|DATA functions found in TOTAL-04,05. For details on how to set MIDIi related parameters, refer to the corresponding function indexes.

•84-

STANDARD COMMUNICATION DATA
MODES

MIDI MESSAGES"
Key pitch; Note
Velocity

OP. MEM
SEND

RECEIVE

NORMAL
SEND

RECEIVE

MUL. CH

COMBI
SEND

RECEIVE

SEND

RECEIVE

ON/OFF,

After touch
Pitch bend

Definable wheel
Modulation wheel
FootVR

Main volume

Portamento time
Portamento

ON/OFF

Sustain pedal

Bend range

Program change

(*1)

INITIALL
To initialize a
ed MODULE

Mono mode (SOLO » ON)
Poly mode (SOLO - OFF)

*1: When PROG CHANGE »DIS is set in TOTAL-04, program change data is not transmitted/received.

SYSTEM EXCLUSIVE MESSAGES

use the PAG

i WRITE (CO

■ing the YES
The values of
initialized su
however, ren
VOICE-00L

When this pa,
are initialized
VOICE-09 E
When this pa
AMP VEL R

VOICE-03 Ei
When this pa
PITCH VEL

EFFECT IN

PRESET 1 oj

for the EFFE(
(*1) Single patch data sent when sound number is changed using VZ-8M controls in NORMAL PLAY MODE,
or when SEND REQUEST MESSAGE is received.
Single operation data sent when operation number is changed using VZ-8M controls in OP MEM PLAY

MODE, or when SEND REQUEST MESSAGE is received. In individual modes, operation data created in
corresponding mode is received; when set to NORMAL MODE, operation data created in NORMAL
MODE is received. When set to COMBI MODE, operation data created in COMBI MODE is received,
etc.

Above data transmission/reception is impossible if TOTAL CONTROL "EXCLUSIVE" parameter
(TOTAL-05) is disabled (set to DIS).

(♦2) Transmission/reception is impossible if TOTAL CONTROL "EXCLUSIVE" parameter (TOTAL-05) is dis
abled (set to DIS).

(♦3) Can only be executed in TOTAL CONTROL MODE. Transmission/reception is impossible if TOTAL
CONTROL "EXCLUSIVE" parameter (TOTAL-05) is disabled (set to DIS).
(•4) MODE CHANGE-1 is used to switch between NORMAL, COMBI, MULTI CH, and OP MEM modes.
(*5) MODE CHANOE-2 is used to switch between K (Keyboard), Q (Guitar), and W (Wind) performance
modes.

(•6) Transmission/reception is impossible if TOTAL CONTROL "PRG NO" parameter (TOTAL-05) is disa
bled (set to DIS).

•85-

CH mode, re

Initializing the VZ-8M.
} VZ-8M can be "initialized" in a number of ways, allowing you to
/sic

t the entire unit to its initial factory settings or initialize only the data
fa specific MODE or FUNCTION, for example. The following describes
s various initializing procedures.

ALL INITIALIZE

OFFM

—.ON

) initialize all internal operation memory, voice and effect data to facr preset values, hold down the WRITE key and turn the unit power
tf. All internal data is reset to its original state as listed on page 93.

POWER

SYSTEM FILL
INITIRLIZE OK!

SING VOICE menu FUNCTIONS
) initialize all parameters in any single VOICE menu function for a selecti MODULE, simply press the EDIT key and the PAGE DOWN key and

fuse the PAGE keys to select the desired function. Then hold down the

fWRITE (COPY/INITIALIZE) key and respond to the prompt by pressling the YES key.

|The values of all parameters in the selected function are then reset to their

finitialized state (see page 94). Parameter values in other functions,
^however, remain unaffected.
W01CE-00 LINE (MIM2-M7M8)

[When this parameter is initialized, LINE DA TA of all modules (M1-M8)
gore initialized automatically.

yOICE-09 ENVELOPE (DCA)

\when this parameter is initialized, the data of not only VOICE-09 but

"i INITIRLIZE
PUSH YES KEY!

tAMP VEL RATE in VOICE-19 is automatically initialized.
VOICE-03 ENVELOPE (DCO)

When this parameter is initialized, the data of not only VOICE-03 but
iPITCH VEL RATE in VOICE-18 is automatically initialized.

^EFFECT MENU INITIALIZED DATA
| PRESET 1 operation memories H-6 throgh H-8 contain initialized data

] for the EFFECT MENU NORMAL mode, COMBI MODE and MULTI
ICH mode, respectively. (See page 96-98.)

INITIRLIZE
OK!

VI Sound Seminar: The elements of sound synthesis
As a "sound synthesizer/' your synth module is a device used to create
"sounds". You probably use this word — sound — quite frequently, but
did you ever actually think about nature of "sound" — what it is and

how it is generated?

Before diving into operations, you may want to read through this section
carefully — after all, there's no point in studying how to operate a tool

without first understanding what it was designed to do!

I|*H"l>|l'||tl«{*J( I I I | r- -i I

SOUND: A product of air?
Each day, we hear a great variety of sounds — music, human voices, rain
drops — even our own footsteps. In other words, we live our lives literal
ly surrounded by sound. Naturally, we can't see sound — so how can we

describe it?
Technically speaking, sound is the sensation that we experience when move

ment or vibrations in the air are detected by our ears.
As a practical example, let's see how the "sound" of a bell is produced,
and how it is sensed by our ears.

If we were to examine a mass of air where no sound is being carried, we
would find that air particle density is relatively uniform. Naturally, there
would be some movement of air particles, but there wouldn't be enough
to generate an audible "sound". For this example, we will strike a bell
with a hammer, in such a "sound-free" environment.
When kinetic (motive) energy is applied to a bell with a hammer, the bell
surface is temporarily "deformed" — in other words, the shape of the

bell structure is temporarily changed. Energy then goes to work to restore

the bell to its original shape — this is called vibration. When the bell sur
face vibrates, two different — but interrelated — phenomena occur.

When the surface of the bell is "stretched in" (as bell is struck), random
air particles surrounding the bell suddenly occupy a much larger air space
than normal — in other words, the air suddenly becomes less dense im
mediately around the bell's surface. This is known as "rarefaction." In
simple terms, rarefied air is air with low atmospheric pressure, or less den
sity than the surrounding air mass.
Immediately after the bell's surface is "stretched" by the hammer, the ten

sion of the bell's surface causes it to spring outwards. This causes the same

air particles which were just rarefied to become compressed. In simple

terms, the air mass around the bell which was low in atmospheric pres
sure suddenly becomes high in atmospheric pressure.
The surface of the bell will then continue to oscillate back and forth until
it settles back into its original shape.
CO)

condensed

rarefied

•87-

rarefied

; you might imagine, the cyclical changes in air pressure caused by the

Vibrational

(Eardrym) s

^oscillation of the bell's surface produced what are known as "compres-

Air

fsfonaJ waves." These waves of air pressure cause our eardrums to vibrate,
f nerves in the inner ear translate these vibrations into "sound."

Waves of condensation
and rarefaction

Kinetic

aturally, the type of vibration produced is dependent on a great number

energy

|6f factors — as the vibrating body differs so will the vibrations, and so

Iwill the sound.

peeing Sounds With Our Eyes: Waveforms
> we discussed in the introduction to this sound seminar, sounds cannot

(high atmospheric pressure)

factually be seen with the human eye. However you've probably heard such
sions as "the waveform is different" "this is almost a pure sine
rave," with regards to sound. But what exactly is meant by these terms

- waveform and wave — and how can they be observed?

condensed

rarefied

„

Rarefied ■►©
(low atmospheric
pressure)

f For a moment, let's consider the how a microphone works. As you prob-

I ably already know, a microphone converts compressional waves into elec{trical signals, which can then be transmitted to an amplifier and speakers

| for output as sound. As shown in the illustration, these electrical signals
| are simple conversions of compressional waves — with condensed air be
ting output as positive (+) electrical charges and rarefied air being output
I as negative (-) charges. The compressional waves of air are, then, trans

Oscilloscope

it formed into electrical "waves", which can be viewed on electronic devices
|-such as oscilloscopes. These waves are cyclical, and their form over time
pproduces a visible shape or form which is called — you-guessed it, a

: waveform.

I The Three Basic Elements of Sound
When we hear an individual sound, it can be defined by considering three
different parameters; Pitch, Timbre and Amplitude (loudness).

ormf

ELEMENT 1: PITCH
Vibrational
energy

Pitch is the quality of a sound which makes it seem higher or lower than
other sounds. For example, the notes at the top or right-hand end of a
keyboard are "higher in pitch" than those at the left-hand end.

IWllBlHlHJfflffl
-Low sounds

High sounds -

The pitch of a note is determined by the rate at which vibrations are set

up in the air particles — i.e. the rate at which cyclical compression and
rarefaction takes place.

arefied air

If we convert sounds into electrical signals and look at them on an oscil

(low register)

(high register)

Few waves

Many waves

loscope, we can see that the number of waves per time unit differ between
"high-pitched" and "low-pitched" sounds.

jndensed air

For a moment, let's go back to our bell example. As the bell produces

compressions and rarefactions at a fixed rate, waves of particle vibrations

are generated in the air surrounding the bell. These waves move away from

the fork at a fixed rate — the speed of sound. As waves move away from
our sound source (the bell) at a fixed rate, the length of each wave de

condensed
led

v^^v

pends on the rate at which the bell's surface vibrates. A single cycle of
a sine wave is shown on the right.

*-1 cycle —!

-Time

The distance that a wave covers in the time it takes to complete one cycle

is known as the "wavelength," while the number of cycles that are made

istht

each second is known as the "frequency."

anothe

by
How does all this relate to pitch? Very simple — the higher the frequency
of a sound, the higher the pitch. A low frequency sound will have a long
waveform and a low pitch, while a high frequency sound will have a shorter

440Hz

•& 880Hz

inedl
vibrati

waveform and a higher pitch. In the world of science (and music!), fre

quency is measured in units called "Hertz" (Hz). For example, lOOHz in
dicates that vibrations occur at the frequency of 100 times per second.
Also, it's interesting to note that doubling the frequency of a sound will
raise it by one octave.

ucans

to a
an equa

Well, that explains the length and speed of our "wave", but what about

its height? Aha! The next element of sound — amplitude....

ELEMENT 2: Amplitude
Compared with pitch, amplitude (loudness) is very easy to understand.
If we consider the sine wave produced by our bell again, the harder the
bell is hit by the hammer, the larger the bell vibrations and the more the
air particles are compressed and rarefied. As a result, the peaks and troughs

of the sound wave will be larger, and our ears will detect that the sound

being produced is much louder. The vertical "height" of the wave, or the
distance from the top of a peak to the bottom of a trough in a single cycle
is known as amplitude. Simply speaking, we perceive amplitude as loudness — the higher the amplitude, the louder the sound.

ember

our sine \
pitch as
a different \

When we consider the loudness of a sound, the dynamics (changes in loud-

ness) are a vital aspect. For example, listen to the sound produced by play
ing a single note on a piano. As the hammer strikes the strings (attack),
the output of the piano rises from total silence to a maximum level almost

instantly. The sound then starts to die away, or "decay", as the vibration

of the strings is damped by the surrounding air. When you release the
key, the piano dampers deaden the string vibration and the note dies away
relatively quickly.
Note that all through this process, the loudness, or amplitude, has been

changing. If we were to view these changes in volume over time graphi
cally, we could see that amplitude takes a "shape" over time. This "shape"
is known as the note's amplitude envelope.

The VZ-8N

tremely far.

Fundamc
Now that y

you would

But even if you play, for example, a flute and a clarinet at the exactly
the same pitch and at exactly the same volume level, you won't hear the

a wave (=

First, take

same sound.

Which brings us to the third element of sound — timbre.

This figure
to form a

which is os
in pitch), i

When we c

feet saw-tc

shape as a

damental

lELEMENT 3: Timbre

Timbre is the quality of a sound that enables us to distinguish the sound
from another of the same pitch. If we look once again at the waveform
produced by our bell, it's easy to see that the shape of the waveform is
k determined by the compressions and rarefactions of air produced by the

I bell's vibration.

jb" ..• ■ ■

■"' :

'■■"■ ' ■■

CNow look at the particles shown on the right.
£ As you can see, the source of the sound is such that the particles are com-

| pressed to a certain pressure for a fixed period of time and then rarefied

Ifor an equal period.

•"•"•"•

•

f If we view this graphically, the resulting waveform is "square". This is,
i of course, what is known as a "square wave".

•>

One Cycle
Increase in Aij: Particle Density

Decrease in Air Particle Density

^Remember though, that the square wave still travels at the same speed
as our sine wave, so, if it is of the same wavelength, our ears will interpret
its pitch as being the same. But because the air particles are vibrating in

I a different way, we will hear the sound as an entirely different "timbre".
Waves are lowl

| Very basically, we can divide waveforms into three types, shown below.
|lWAVEFORM|

ITYPE I

[INSTRUMENTS I

Sine wave
Saw-tooth wave
r,

l~1 p Square wave

Flute, whistle

Bright

Violin, trumpet

Simple

Clarinet, oboe

|The VZ-8M offers a total of 8 different waveforms. You'll become ex-

|tremely familiar with the characteristics of each as you use the VZ-8M.

[Fundamental Waves and Harmonics — Shaping the Timbre
f that you have a basic idea of what sound is and how it is generated,

VA=B+C

i would probably like to know how you can determine the shape of

|a wave (=timbre) in order to create the kind of sound you want,
it, take a look at this diagram.

i figure illustrates the process of combining two sine waves in order
i form a saw-tooth wave. B is the basic sine wave, while C is a wave

|which is oscillating at twice the frequency of B (making it one octave higher
| in pitch), and at only half the amplitude (volume) of B.

i we combine B and C, the result is waveform A. A is still not a per: saw-tooth wave, but it will gradually approach a perfect saw-tooth

5 as additional sine waves at 1/3, 1/4, 1/5, etc. the level of the funnental wave are added.

•90-

In this manner, any waveform can be created by adding a number of sine

waves to a basic sine wave. Waves such as C with frequencies that are

i Saw-tooth wave

integral multiples of the frequency of the fundamental wave are known
as "harmonics."
Harmonic

The waveform, and thus the timbre are actually determined by the kind

components o.l

of harmonics added to the basic sine wave. In simple terms, almost all
sounds with, their different timbres that reach our ears include a variety

(f)

of different harmonics, and it is these harmonics which are responsible
for the countless characteristic timbres.
i Square wave

UUl

Harmonic

components

(I)

•Graphs such as the ones above which show!

the harmonic components of a wave form are j
called "harmonic spectrums".

ENVELOPES: Sound over time
The word "envelope" may be new to you — but it's an extremely impor
tant term in understanding sound, and especially important in sound syn
thesis.
Literally speaking, an "envelope" is a voltage that changes as a function

Envelope Curves of Various L
(Sound Volume)

Volume

of time. In the VZ-8M, envelopes are used to shape both the amplitude,
pitch and timbre of a sound over time.
To understand envelopes more clearly, think of the sound of a violin. When
the violinist bows a string, the volume, pitch and even timbre change slightly
over time. If there were no changes over time, the sound would have no
beginning, no pitch variance, and no end!
Volume

Think now of a piano. If a piano note were to sound continuously without

decaying, it would be very difficult to distinguish it from the sound of
a flute.

Envelopes, then, are what determine the overall "shape" of the sound over

time — including the variations in pitch, volume and timbre.

The VZ-8M lets you create envelope contours in up to 8 steps by making
RATE and LEVEL specifications at up to 8 points in the envelope.

Volume

AS.

piano

RATE
The RATE indicates the slope (interior angle in relation to horizontal axis)

of each step in the envelope. A RATE value of "99" indicates a slope
of nearly 90°, while a RATE value of "0" indicates nearly 0°. Since the
value used is an absolute value, the slope increases and decreases in direct

if 7f 8! 9f 101 1

proportion with the RATE value, regarless of whether the pattern shows
a rise or fall. This means that a steep incline results in a quick level change,
while a gentle incline results in a slow level change.

L
(level
i LEVEL parameter indicates up to what point the envelope rises or
s at each step. For the DCO envelope, LEVEL means pitch height,
\ for the DCA envelope, LEVEL is equal to the amplitude (volume)
>ve which show |
i wave form are 1

low RATEs and LEVELS Interact
1*0 understand the relationship between RATEs and LEVEls, take a close

DUS

ok at a typical amplitude envelope shown on the right.

Violin

Tin

iical Sounds vs. Noise
; on the type of characteristic vibrations it is based on, a sound
f be classified as being either "musical" or "noise". Sounds with regular
1 vibrations (i.e. sound in which components other than harmonics

| very few) are considered to be musical, while sounds caused by comI irregular vibrations (i.e. sounds with many components that are
Lharmonics) whose pitch can therefore not be measured are classified

Flute

SYSTEM INITIALIZED DATA

•94«

[NORMAL

PORTAMENTO/SOLC

PITCH BEND

MOD WHEEL

DEF CONTROL

FOOTVR

FOOTSW
VEL TABLE
VEL SPLIT

VELINV

DELAY TRIG

EFFECT MENU INITIALIZED DATA
lINORMAL MODE]

(OPERATION MEMORY

OPERATION No.
VOICE No.

OPERATION NAME
PST1

A-1

[NIT NORMAL

OPERATION

H-6)

•-,0,0,0

TUNE

VOICE No.

NAME

VOICE No.

NAME

MODE

PST 2

NORMAL

K.G.W

KEY ASSIGN
PAN

MODE

FIX

PAN1

O(OFF)

PAN 2

O(OFF)

CONTROL 1

Value with MODE set to
AUTO in parentheses.

MOD

CONTROL 2

MOD

RANGE 1

L-R

RANGE 2

R-L

RATE
DEPTH

CONTROL
SPLIT POINT

OFF

SP POINT

LOWER SP

MIDDLE SP
UPPER SP

POS X-FADE

EFFECT

POS (FROM)

POS (TO)
L POS (FROM)
L POS (TO)
M POS (FROM)

M POS (TO)
U POS (FROM)
U POS (TO)

AFTER TOUCH

SENSITIVITY

VIB DEPTH

OFF

VIBRATE

OFF

PITCH

OFF

PORTM TIME

OFF

TREM DEPTH

OFF

TREM RATE

OFF

A ENV BIAS

OFF

LEVEL

PITCH

POLARITY

zz z

z
y

OCTAVE

z z zz z
zzz
z

NOTE

FINE

VIBRATO INV

INVERSE

TREMOLO INV

INVERSE

ON/OFF

WAVE

zzz z
zz

y
DEPTH

RATE

DELAY

MULTI

TOTAL
VIBRATO
TOTAL
TREMOLO

•96-

EFFECT MENU INITIALIZED DATA
(OPERATION MEMORY

[COMBINATION MODE]
OPERATION NAME

OPERATION No.
VOICE No.

PST 1. A-1

PST1

E-1

VOICE No.
NAME

NAME

MODE

PST1

B-1

INIT COMB!

VOICE No.

PST1

C-1

PST1

F-1

VOICE No.

+ .0,0.0
VOICE No.

PST1

D-1

PST 1

H-1

NAME

NAME
VOICE No.

VOICE No.

OPERATION
HJNE

PST 1

6-1

VOICE No.

PST 2

H-7)

J
OPERATION I

NAME

COMBI

K.G.W
KEY ASSIGN

1+2

PAN

I'M-

.97.

EFFECT MENU INITIALIZED DATA
T 2

H-7)

(OPERATION MEMORY

PST 2

H-8)

lue with MODE set to
HO in parentheses.

•98-

[NORMAL/COMBINATION MODE]
OPERATION
TUNE

OPERATION NAME

OPERATION No.

VOICE No.

NAME

VOICE No.

VOICE NO.

NAME

MODE

K.G.W
KEY ASSIGN

MODE

LTI CH MODE]
I No.

^operation name

["operation tune

I MODE

PAN

MODE

CONTROL

'100<

OPERATION MEMORY NAMES

♦You can shift between PRESET banks (1) and (2) by pressing the SHIFT key once again.

About Operation Memory Preset Sounds
Each VZ operation memory has been programmed for use with a specific type of MIDI controller in mind. Normally,
these OP MEMs are programmed for use with keyboard controllers — for example, PST 1 "A-6:PEACE TREATY"
is designed for use with keyboards.

When OP MEMs are programmed for use with MIDI guitar or woodwind controllers, the performance mode is indi
cated in the first digit of the OP MEM name.
For example; [G-6:G.BS/TRUMPET]. In this case, the "G." indicates that the sound is best suited for use with a
MIDI guitar controller. For woodwind controllers, a "W" appears as the first digit.

Also, when the sound has been programmed for multi-channel use, an "M" appears as the first digit.

OP MEM MIDI Guitar Applications
When an OP MEM is programmed for use with a MIDI guitar controller, MIDI CHANNELS 1 through 6 are as

signed independently to each guitar string (MONO MODE). In addition, the bend range is set to 12. (In this case,
the TOTAL parameter CTOTAL-04) must be set to OFF on the VZ-8M. If set to ON, the MIDI CH should be set to "1").

Woodwind Controllers
When using another manufacturer's woodwind controller or wind synthesizer, the controller should be set for after-

touch control. (Note that as OP MEMs programmed for use with wind controllers vary in volume and timbre through
aftertouch control, some OP MEMs may not sound when played using a keyboard.)

■101'

VOICE NAMES

A/.BK
W.SAX

W.PAN FLUTE
W.OBOE

W.CLARINET
W.RECORDER

W.SYNTH STR
W.POWER 5TH

H
MJAZZ BAND

M.FUNK BAND
M.ROCK BAND
M.CHAMBER

M.NEW WAVE

INIT

INIT MULTI
♦You can shift between PRESET banks (1) and (2) by pressing the SHIFT key once again.

and. Normally,
.CE TREATY"

You can change the performance mode that is preset for any operation memory by using the following procedure:

1. Select the operation memory for which you wish to change the performance mode.
2. Hold down the WRITE key and press either the COMBINATION key or NORMAL key. Press the key (COMBI

:e mode is indi-

NATION or NORMAL) whose indicator is lit.
3. Set the performance mode to K, G, or W using the cursor keys and VALUE keys.

i for use with a
igit.

rough 6 are as-

2. (In this case,
d be set to "1").

be set for after-

timbre through

•102-

C-4

OPERATION MEMORIES
A-l

A-2

A-3

CCLEAD

Thick lead sound with sharp, metallic attack.

•PRESET 1

SEE GOD
Unique synthetic sound with a bell-like attack and
thick sustain sound.
SEE GOD 2
Another variation of the "SEE GOD" sound;
slightly lighter than A-l. Sounds good when
played legato.

C-5

YES I GOT

Lead sound with electric piano attack, perfect for
"fusion" sound. Aftertouch control of vibrato.
C-6

VZ SOLO LEAD

Percussive lead sound. Aftertouch control of
vibrato.

C-7

VZ PERC PAD

VIB/STR SOFT

Lead sound with sharp, metallic attack; lower end

Vibe sound on attack with sustained strings un

emulates "slap" style electric bass. Aftertouch

derneath; best suited to backing layers.

control of vibrato.

A-4

ICE AGE

C-8

"Cool" crystalline sound changes to voice timbre
with velocity.
A-5

lazy sound;

D-l

best

suited

A-8

Split setup featuring flute and strings. Note in

teresting flute attack sound. Split at F# 4.

B-l

Split setup featuring electric piano and bass gui

Mixed sound featuring electric piano and strings.

tar. Aftertouch control of note bend for bass

DIGIVOICES

sound only. Split at C4.

B-4

B-5

D-5

Split setup featuring percussive bass sound and

a vibes/strings layered sound. Split at C4.
D-6

Velocity

COPPERFUNK

AVANALOCH patches. Aftertouch control of

Funky brass mix featuring 4 different sounds.

bending with VZ-MONICA patch; sustain pedal
D-7

LOW BRASS patches. Aftertouch control of

bending with VZ-TRUMPET patch; sustain pe
D-8

DOUBLEGUITAR

E-l

R/B BRASS

(Normal) Powerful brass sound. Modulation con

"Clear", crystal-like vibes sound. Delay trigger
E-2

trols fast panning effect.
CZ BRASS

HEAVY METAL

(Normal) Synthesized brass with "wide" effect

Distortion guitar mixed sound with one sound

created through panning.

(Normal) Analog style synth brass; modulation

SLAP BASS

control of panning effect.
E-4

VELO ORCH

percussive touch for best effect.

(Normal) Orchestra sound with panning effect;

PICK BASS

timbral changes through velocity.

Emulates electric bass played with pick. Note that

E-5

ORCHESTRA

octave of one sound changes with modulation.

(Normal) Orchestra sound with panning effect;

FRETLESS BS

panning changes through modulation.

Smooth, fretless electric bass; aftertouch control
of bend.

•103-

ANALOG BRASS

tain for "feedback".
Heavy duty "slap" style electric bass. Play with

C-3

dal controls only MELLOW BRASS.
HARP ROLL
Produce diminished chord arpeggio by holding
down just one key!

VZ VIBES

E-3

F-8

G-l

TRUMPOCITY

VIOLINT ATCK

shifted to 5th. Use aftertouch to bend down; sus-

C-2

and

Velocity split featuring VZ-TRUMPET and MEL

used to produce stereo effect.

C-l

VZ-MONICA

lation.

changes with velocity.

B-8

featuring

5th. Pitch of one sound can be altered with modu

Emulates acoustic guitar; panning localization
B-7

split

controls only AVANALOCH.

BRASS DETUNE

F-7

VELOMONICA

pet sounds.

Violin sound with a sharp attack; sounds best
B-6

BS/VBNO-SRNE

BRASS QUART

when played percussively.

F-6

timbre. Split at C4.

"classical" mood.

Mixed brass sounds with second sound shifted to

F-5

BASS/VIBES

Split setup featuring vibes and percussive bass

BRASS CHORUS

Emulates brass quartet featuring sax and trumB-3

D-4

F-4

BASS/EP

PIANO/LOCH

Cross-breed of brass and chorus sounds with a
B-2

D-3

F-3

STRING/FLUTE

Tonic sound mixed with 5 th. Note that one pitch

Spacial bell chorus sound which emulates female
chorus.

D-2

PEACE TREATY

of one sound changes with modulation.
A-7

HEAVY SPLIT

Split setup featuring distorted sound and heavyduty, dirty bass. Split at F#3.

slower

passages.
A-6

F-2

Tasty synth reed; aftertouch control of vibrato.

MELLOW PAD

Mellow,

TAKE A

F-l

G-2

G-8

G.MULTI

Designed for use with MIDI guitar controller;
Different sound for each string, including vibes,
synth bass and bell timbres. Play all strings in a
high-range chord for interesting effect.
H-l

W.BRASS

Designed for use with MIDI wind controller; fea
tures funky brass sound with sharp attack. Play

percussively for best results.
H-2

W.SAX

Designed for use with MIDI wind controller; note
the changes in sound with stronger attack.
H-3

W.PAN FLUTE

Designed for use with MIDI wind controller; pan
flute sound. Note louder attack noise with stronger
attack.
H-4

W.OBOE

Designed for use with MIDI wind controller; oboe-

H-5

like synthetic sound is especially realistic from midrange down.
W.CLARINET
Clarinet-like synth sound designed for use with
MIDI wind controller.

H-6

W.RECORDER
"Woody" recorder sound designed for use with
MIDI wind controller.

H-7

W.SYNTH STR

Synthesizer strings featuring panning effect for

ambience; play harder for brighter strings sound.
Designed for use with MIDI wind controller.
H-8

W.POWER 5TH

Thick 8-sound mix with 5th added; designed for
use with MIDI wind controller.

►104-

•PRESET 2
A-l

C-5

Analog style synthetic sound emulates thick, belllike timbre.
A-2

sound; 4-sound mix.

C-7

for timbral variations.
C-8

as single notes or in unison.

tack sound with velocity.

D-l

Mix of human voice and bells; useful in chords
or in counter melodies.

"RICH ORCH"; split at C4.
D-2

Another interesting split setup featuring velocity-

Mix featuring flute sound and strings with a slow

controlled brass and a percussive bass sound. Split
at D4.

PEACEFUL

D-3

Metallic, percussive sound features timbral
changes with alterations in velocity.
GEN PURPOSE

and a heavy-duty bass sound. Split at D4.
D-4

touch control of bend. Split at D4.

ACOUSTAR

D-5

Mix of PASTORALE and CLAVI sounds with

tar arpeggios or in clavi-like "chops".

timbral

TOY PIANO

function.

D-6

DELAY VIBES

B-4

chord work.
OCTAVEMALLET
Percussive "mallet" sound in octave mix setup.

B-5

STR QUARTET

D-7

D-8

types of brass — one left, one right.
RECORDERS
Interesting recorder "ensemble".
PIPEONMONDAY

FLANGE BASS

featuring a number of different synth sounds.
E-2

SWIRLING STR

Strings with slow attack; "swirling" effect through
panning.

E-3

HORN/STRINGS

String-like sound with wide ambience through

panning effect.
E-4

Sax-liek synth lead sound; aftertouch control of

VIB/PAN STR

Mixed sound featuring vibes and strings with

vibrato.

C-4

BEGINNING

Modulation alters R/L assignment.

sounds and "flanger" effect.
SAXY LEAD

SOUND OF FUN

Huge ensemble sound emulates mixed sound

Mixed arrangement featuring 4 different bass

C-3

SAXOPHOCITY

gio (C, D, E, F,...O; features bell-like sound.
E-l

from high range to lower range.

C-2

VELOFLUTE

Play a single key for an automatic 4-note arpeg

STEREO BRASS

Slightly rough pipe organ sound; note changes
C-l

inverse

HORN SWELL part only.

modulation adds

Interesting "stereo" setup featuring two different

B-8

velocity

Velocity split featuring HORN SWELL and
JAZZ SAX timbres. JAZZ SAX timbre feature
aftertouch control of bend; sustain pedal controls

vibrato.

B-7

through

timbre.

Vibe sound with short delay effect; nice for slower

Lightweight string quartet;

variations

Velocity split featuring synthetic sound and flute

mid and upper ranges.

B-6

PASTOR/CLAVI

Acoustic guitar sound; useful when played in gui

Huge "toy piano" sound; extremely realistic in
B-3

EASTERN SPLT

Split setup with 2 different ethnic sounds; after

backing chords, etc.

B-2

TXTURL SPL 2

Another split setup with a gorgeous synth sound

Multi-purpose percussive sound; good for leads,
B-l

TXTURL SPL

FLUTE/STRING
attack.

A-8

BS/GTNO-RICH

Heavy-duty bass split featuring "GITIANO" and

MELLIFLUENCE

A-7

FEMALE VOICE

Realistic, female vocal sound; note changes in at

FESTIVAL

A-6

OVERSEAS

4-sound ethnic mix with 5th added; play staccato

TWINKY
Synthethic timbre; note timbral changes when

Interesting synthetic sound; useful when played
A-5

GAMELAN BELZ

Emulates ethnic Indonesian "gamelan" bell-like

VOCAL BELLS

played staccato.

A-4

added; aftertouch control of bend.
C-6

Mix of human voice and bells using velocity in
verse; play softly for best results.
A-3

VANUGENT 5TH

Another heavy distortion lead sound with a 5th

ICE HORNS

panning.

RING FLUTE
Flute-like synthetic sound with metallic attack

E-5

noise.

E-6

FESTIVAL 2

Synth ensemble featuring panning.
SOFT ORCHEST

LIVE LEAD

Lightweight bells and strings; modulation controls

Heavy-duty synth lead sound; aftertouch control

panning effect.

of heavy vibrato.

E-7

EP SERENE

Mixed sound featuring electric piano sound and
synth timbre with panning.

•105«

E-8

H-2

HEADBANGER

with a 5th

Multi Channel setup; CH1:VZ BASS/2-note

effect; second sound raised an octave through

poly; CH2:GITIANO/3-note poly; CH3:R/B

modulation.
F-l

BRASS/3-note poly.
H-3

WARMEP

(Normal) Orthodox electric piano sound; modu

TORTER/3-note poly.

DYN VZ PIANO

(Normal) Standard electric piano with panning
F-3

H-4

Multi Channel setup; CHl:CELLO/2-note poly;

DREAMY EP

CH2:BRASS CHORUS/2-note poly; CH3:VI0-

F-5

sound. Split
F6

LIN/2-note poly; CH4:FLUTE/2-note poly.
H-5

panning effect.

ng velocity-

M.CHAMBER

effect.

(Normal) Dream-like electric piano sound with
F-4

M.ROCK BAND

Multi Channel setup; CH1:PIANO BASS/2-note
poly; CH2:ORGAN/3-note poly; CH3:DIS-

lation controls PAN effect.
F-2

M.FUNK BAND

Distorted sound made "wider" through panning

M.NEW WAVE

DIGIPIANO .

Multi Channel setup; CH1:SEQ BASS/2-note

(Normal) Big electric piano sound; muse modu
lation for "thrilling" effect.

poly; CH2:DIGI VOICE/4-note poly; CH3:VZ
MARIMBA/2-note poly.

CLAVI PIANO

H-6

(Normal) Clavi sound; sound moves from left to
right each time a key is pressed.

H-7

INIT NORMAL

Features initialized data for NORMAL mode.

ORGAN

INIT COMBI

Features initialized data for COMBI mode.

;ynth sound

(Normal) Rockin' organ sound; modulation con

atD4.

trols rotating speaker effect.

Features initialized data for MULTI CHANNEL

CHURCH ORGAN

mode.

" I

H-8

INIT MULTI

(Normal) Big church pipe organ; modulation con

unds; after-

trols panning effect.
4

F-8

CAR HORN

sounds with

(Normal) Realistic "European" auto horn; modu

:ity inverse

lation changes panning localization.
i

G-l

G.JAZZ GTR
Designed for use with MIDI guitar controller;
realistic jazz guitar with independent panning for

nd and flute

each string.
G-2

G.WARM EP

Designed for use with MIDI guitar controller;

nbre featureedal controls

vibes sound with panning effect.
G-3

G.DISTORTAR

Designed for use with MIDI guitar controller; mix

featuring twin distortion guitar sounds.
i-note arpeg-

IG-4

G.LEAD 2
Designed for use with MIDI guitar controller;

ike sound.

mixed sound featuring distorted synth lead sound

with reverb.

nixed sound
/nth sounds.

G-5

G.LEAD 3
Designed for use with MIDI guitar controller; mix
sound featuring twin lead synth guitars; play up
to 4 notes for effective cutting.

fleet through
G-6

G.EL BASS

Designed fpr use with MIDI guitar controller;
mce through)';

mixed sound featuring twin electric bass sounds.

'G-7

G.BASS/SAX

Designed for use with MIDI guitar controller; sax
sound on strings 1 through 4, bass sound on

strings with>|

strings 5 and 6.
!

ation controls

G.MULTI GTR
Designed for use with MIDI guitar controller;
slightly different acoustic guitar timbres on each
string.
M.JAZZ BAND

Multi Channel setup; CHI:WOOD BASS/2-note
10 sound and

poly;

CH2:VZ

EP/4-note

poly;

CH3:THE

SAX/3-note poly.

106-

Care of Your Unit

1. Avoid heat, humidity and direct sunlight.
Do not overexpose your unit to direct sunlight, place it near a heater, or in any area are subject to high
temperatures.

2. Severe impact can result in malfunction.
This digital synthesizer is composed of precision electronic components which can be damaged when sub
jected to severe impacts. Be sure to pack it carefully when transporting, using a case whenever possible.

3. Avoid direct contact with liquids, dirt, dust, etc.
Never allow foreign matter to enter this product. Also, be especially careful of metallic objects such as
hairpins, sewing needles or coins. Do not allow the unit to get wet.

4. Never attempt to modify any part of the unit.
Any modification of, or tampering with the unit internal components can cause trouble or malfunction.
If your unit is not operating properly, be sure to take it to an authorized Casio service center.

5. Do not use caustic cleaning agents.
Clean your unit with a soft cloth dampened with a mild detergent solution. Use of thinner, alcohol, ben
zene and similar chemicals should be avoided under all circumstances.
•

6. Avoid using this unit near televisions, radios, etc.
Because this unit uses digital circuitry, it may cause interference with other electronic devices such as tele

visions, radios, etc.

Care of Your Optional ROM or RAM Card
1.

Take care not to bend or drop your memory cards. Never carry a card in your back pocket or leave
it in other areas where it may be damaged.

When not in use, be sure to store your card in its custom case to prevent damage due to dust etc.

Your card contains precision electronic components. Never try to take it apart for any reason.

Casio claims no responsibility whatsoever for damages due to losses of card data.

108-

Features and Functions

T)Master volume

®Liquid crystal display

PROFESSIONAL
DIGITAL SYNTHSIZER

PHONES

HIM * ^^^^^^ * UAX

VOLUME

CARO

©Card slot

©Master volume

Used to adjust the overall output volume.

Used to select the COMBINATION operational mode.

Backlit liquid crystal graphic display is used to display

Used to select the MULTI CHANNEL operational

all menu functions.

mode.

Used to select the OPERATION MEMORY operation

Used during editing to "recall" the original sound (sound

al mode.

before editing) and "compare" it with the edited version.

0 Normal mode key
Used to select the NORMAL operational mode.

•109*

When the indicator is OFF, the original sound is out

put. When the indicator is ON, the edited version is
output.

ation memory mode key

(4) Normal mode key

(f) Combination mode key
(6)Multi Channel mode key
(7)Compare/Recall key

©Cursor key

OFF A

—.ON

LJI
WRITE
TOTAL
COPY/INIT CONTROL

EDIT

BANK
M ON/OFF

SHIFT

PAGE

CURSOR

VALUE

©Value keys

®Page keys

POWER

©Shift key

EL operational

jUsed to move the "cursor" within the various menu
? functions.

|®Headphone jack

|£onnect headphones for "private" performance.

Used to access the TOTAL CONTROL editing menu.

|®Card slot
ilnsert ROM or RAM cards for save/load of sound data.

Used to access the VOICE PARAMETER and EFFECT

|With a ROM card, up to 128 individual patches and 128

foperation memories can be stored. RAM cards allow
ge of up to 64 patches and 64 operation memories.

editing menus.

©Value keys

Used to begin bank selection process. After pressing this
key, you can select BANKs A through H using the PROG
NO keys. This key is also used to turn iPD sound source

Used to raise or lower values of various VZ-8M
parameters.

modules ON and OFF when editing sounds using VOICE

PARAMETER menu functions.

The Program Number keys are used to select iPD sound
source modules (Ml - M8), and also to specify the sound
bank (A—H) as well as sound number (1~8).

Used to select the memory area (PRESET 1 or 2, IN

©Power switch

TERNAL, CARD 1 or 2).

Switches unit ON and OFF.

©Page keys
Used when accessing various editing functions. The
PAGE [A] key increments function numbers, while the
PAGE [T] key decrements these numbers.

REAR PANEL CONNECTIONS

CAUTION

[ATTENTION : risque de choc electrique-ne pas ouvrir,]
WARNING : to reduce the risk of fire or electric shock,
DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

DPower terminal
For connection of accessory AC power cord

3) Line out jacks (R/L)
In the Combination mode or Multi-Channel mode, up
to 4 patches or up to 8 areas are separated and assigned
automatically into Line Out R or Line Out L. Mixed
(mono) sound is output through the "R" jack.

T (IN/OUT/THRU)

Specifications.

Programmer:

128 preset voices, 64 internal voices, 128 card voices (with ROM card), 64 card
voices (with RAM card RA-500), 1 compare/recall voice, 128 preset operation
memory, 64 internal operation memory, 128 card operation memory (with ROM
card), 64 card operation memory (with RAM card RA-500)

Modules:
Voice parameters:

8 X (DCO + DCA), ON/OFF

INT LINE (MIX/RING/PHASE), EXT PHASE(ON/OFF), WAVE FORM: 8, DE
TUNE (PITCH FIX, RANGE, HARMONIC, TUNE)
< DCO > ENVELOPE(STEP = 1-8, RATE = 0-99, LEVEL = - 63 - + 63, SUS,

END), ENV DEPTH (RANGE = WIDE/NARROW, DEPvTH = 0~63), KF LEVEL
(POINT=1~6, KEY= C0-C9, LEVEL = 0~63), VEL LEVEL (SENS = 0-31,
CURVE=l-8), VIBRATO (WAVE: 4, DEPTH = 0-99, RATE = 0-99, DELAY =
0-99, MULTI = ON/OFF), OCTAVE (-2- +2)

ENVELOPE (STEP=l-8, RATE = 0-99, LEVEL = 0-99, SUS,

END), ENV DEPTH (0-99), KF LEVEL (POINT=l-6, KEY = C0-C9,
LEVEL = 0-99), VEL LEVEL (SENS = 0-31, CURVE=l-8), TREMOLO(WAVE:
4, DEPTH = 0-99, RATE = 0-99, DELAY = 0-99, MULTI = ON/OFF), AMP
SENS (0-7), TOTAL LEVEL (0-99)

KF RATE (POINT=l-6, KEY = C0-C9, RATE=0-99), VEL
RATE (SENS = 0-31, CURVE=l-8), P VEL RATE (ENA/DIS), A VEL RATE
(ENA/DIS), VOICE NAME, INIT VOICE
Effect parameters:

MIDI CHANNEL (1-16), PORTAMENTO/SOLO(PORTM = ON/OFF, PORTM

TIME = 0-99, PORTM MODE = TIME CONST/RATE CONST, SOLO = ON/OFF,

POLY/MONO), PITCH BEND(RANGE = 0-48, RELEASE = ENA/DIS), AFTER
TOUCH/MOD WHEEL/DEF CONTROL/FOOT VR (SENS = 0-99, -99- +99,
VIB DEPTH = ON/OFF, VIB RATE = ON/OFF, PITCH = + ON/ - ON/OFF,
PORTM TIME = ON/OFF, TREM DEPTH = ON/OFF, TREM RATE = ON/OFF,
A ENV BIAS = ON/OFF), FOOT SW (SUSTAIN/SOSTENUTO/DISABLE), VEL
TABLE SELECT (TABLE NO. = 1 -8), PAN(MODE = FIX/CONTROL/AUTO,
FIX: PANPOTl/2= -15-0- +15, CONTROL: CONTROL 1/2 = AFTER/FOOT

VR/MOD/DEF/PAN, RANGE1/2 = L/R/C-L/R/C, AUTO:PANl/2 = ON/OFF,
RATE = 0-63, DEPTH = 0-31, CONTROL = AFTER/FOOT VR/MOD/DEF/

OFF), LEVEL (0-99), PITCH (POLARITY= +/-, OCTAVE = 0-5, NOTE = 011, FINE = 0-63), SPLIT POINT (C0-C9), VEL SPLIT (RANGE = 1- 127), VEL

INVERSE (ON/OFF), POS CROSSFADE (X-FADE = ON/OFF, POS = C0-C9),
DELAY TRIGGER (0-99), TOTAL .VIBRATO (ON/OFF), VIBRATO INVERSE

(ON/OFF), TOTAL TREMOLO (ON/OFF), TREMOLO INVERSE (ON/OFF),
COMBI COPY (1-8), OPERATION NAME, OPERATION TUNE

Jfotal control parameters:

MASTER TUNE (- 64 ~ + 64), TRANSPOSE (G ~ F#), MEMORY PROTECT

;

(INTERNAL = ON/OFF, CARD = ON/OFF), SAVE/LOAD (SAVE/LOAD,

CARD1/CARD2/MIDI, DATA=VOICE/OPMEM/VC +OP/FULL), MIDI CHAN- I

NEL (CHANNEL=1~16, TOTAL =ON/OFF), MIDI DATA (PROGRAM=

0~ 127/0-63/DIS, EXCLUSIVE=ENA/DIS, DEF CONTROL=OFF/12-^31,
VOLUME = ENA/DIS, OVERFLOW = NORMAL/1 ~ 8, CARD FORMAT

j
\
!

strument),

ATION

64 card
nation

ith ROM

>RM: 8, DE-63, SUS,

^Design and specifications are subject to change without notice.

KF LEVEL
= 0-31,
9, DELAY =
SUS,
olq:

.ve:

F), AMP
99), VEL

1ELRATE

,PORTM
) = ON/OFF,
S), AFTER

-99-+99,
/OFF,

ON/OFF,
JLE), VEL

/AUTO,

iR/FOOT
ON/OFF,
)/DEF/
-127), VEL

C0-C9),
INVERSE
J/OFF),

GUIDELINES LAID DOWN BY FCC RULES FOR USE OF THE UNIT IN THE U.S.A.
(not applicable to other areas).

This equipment generates and uses radio frequency energy and if not installed and used properly,
that is, in strict accordance with the manufacturer's instructions, may cause interference to
radio and television reception. It has been type tested and found to comply with the limits
for a Class B computing device in accordance with the specifications in Subpart J of Part 15
of FCC Rules, which are designed to provide reasonable protection against such interference
in a residential installation. However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause interference to radio or television recep
tion, which can be determined by turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the following measures:
..... reorient the receiving antenna
..... relocate the equipment with respect to the receiver
move the equipment away from the receiver
plug the equipment into a different outlet so that equipment and receiver are on different
branch circuits.
If necessary, the user should consult the dealer or an experienced radio/television technician
for additional suggestions. The user may find the following booklet prepared by the Federal
Communications Commission helpful: "How to Identify and Resolve Radio-TV Interference
Problems". This booklet is available from the US Government Printing Office; Washington,
D.C., 20402, Stock No. 004-000-00345-4.
WARNING:

CHANGING THE VOLTAGE SELECTOR MAY REQUIRE THE USE OF A DIFFERENT LINE
CORD OR ATTACHMENT PLUG, OR BOTH. TO REDUCE THE RISK OF FIRE OR ELEC
TRIC SHOCK, REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

'114'

IMPORTANT SAFETY INSTRUCTIONS
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS"
WARNING —When using elec

tric products, basic precautions should
always be followed, including the
following:
1. Read all the instructions before us
ing the product.
2. Do not use this product near water
- for example, near a bathtub, wash
bowl, kitchen sink, in a wet basement,
or near a swimming pool, or the like.

3. This product should be used only
with a stand that is recommended by
the manufacturer.

4. This product, either alone or in com
bination with an amplifier and head
phones or speakers, may be capable

of producing sound levels that could
cause permanent hearing loss. Do not
operate for a long period of time at a
high volume level or at a level that is
uncomfortable. If you experience any
hearing loss or ringing in the ears, you
should consult an audiologist.
5. The product should be located so
that its location or position does not in
terfere with its proper ventilation.
6. The product should be located away
from heat sources such as radiators,

heat registers, or other products that
produce heat.
7. The product should be connected
to a power supply only of the type
described in the operating instructions
or as marked on the product.

8. This product may be equipped with
a polarized line plug. This is a safety
feature. If you are unable to insert the
plug into the outlet, contact an electri
cian to replace your obsolete outlet. Do
not defeat the safety purpose of the

plug.

9. The power-supply cord of the
product should be unplugged from the
outlet when left unused for a long peri
od of time.

10. Care should be taken so that ob
jects do not fall and liquids are not
spilled into the enclosure through
openings.

11. The product should be serviced by
qualified service personnel when:
A. The power-supply cord or the
plug has been damaged; or
B. Objects have fallen, or liquid has
been spilled into the product; or

C. The product has been exposed
to rain; or
D. The product does not appear to
operate normally or exhibits a
marked change in performance; or
E. The product has been dropped,

or the enclosure damaged.

12. Do not attempt to service the

product beyond that described in the
user-maintenance instructions. All
other servicing should be referred to
qualified service personnel.

SAVE THESE INSTRUCTIONS
•115-

GROUNDING INSTRUCTIONS
This product must be grounded. If it should malfunction or break
down, grounding provides a path of least resistance for electric

current to reduce the risk of electric shock. This product is equipped

with a cord having an equipment-grounding conductor and a ground

ing plug. The plug must be plugged into an appropriate outlet that
is properly installed and grounded in accordance with all local codes
and ordinances.

DANGER — Improper connection of the equipment-grounding
conductor can result in a risk of electric shock. Check with a qualified
electrician or serviceman if you are in doubt as to whether the product
is properly grounded. Do not modify the plug provided with the

product — if it will not fit the outlet, have a proper outlet installed
by a qualified electrician.

•116-

CASIO DIGITAL SYNTHESIZER
Model VZ-8M

MIDI Implementation Chart

'«

CASIO DIGITAL SYNTHESIZER
-1

MIDI SYSTEM EXCLUSIVE

VZ-8M MIDI SYSTEM EXCLUSIVE

m--

System Exclusive Message Transmit / Receive

II.

Message formats

1. Voice Data

2. SEND REQUEST for Single Voice Data

3. Operation Data

4. SEND REQUEST for Single Operation Data

5. Multi Channel Mode Data

6. SAVE / LOAD

7. Master Tune

8. Key Transpose

9. Mode Change-1

10. ModeChange-2

11. Shift Change (including Card Bank Change)

j. 12

12. CZ Bend Range

III. Internal Format of Data

1. Transmission Format

2. Voice Data

3. Single Operation Data

4. Multi Channel Mode Data

5. TOTAL CONTROL Data

VZ-8M MIDI System Exclusive
The VZ-8M is capable of transmitting and receiving MIDI system exclusive message as listed below. The trans
mit/receive status of each message is also noted.

(*1) Single voice data sent when sound number is changed using VZ-8M controls in NORMAL PLAY MODE, or
when SEND REQUEST message is received.

Single operation data sent when operation number is changed using VZ-8M controls in OP MEM PLAY MODE,
or when SEND REQUEST message is received. In individual modes, operation data created in corresponding

mode is received; when set to NORMAL MODE, operation data created in NORMAL MODE is received. When
set to COMBI ( COMBINATION ) MODE, operation data created in COMBI MODE is received, etc.
Above data transmission/reception is impossible if TOTAL CONTROL "EXCLUSIVE" parameter (TOTAL-05)
is disabled (set to DIS).

(*2) Transmission/reception is impossible if TOTAL CONTROL "EXCLUSIVE" parameter (TOTAL-05) is disa
bled (set to DIS).
(♦3) Can only be executed in TOTAL CONTROL MODE. Transmission/reception is impossible if TOTAL CON
TROL "EXCLUSIVE" parameter (TOTAL-05) is disabled (set to DIS).
(*4) MODE CHANGE-1 is used to switch between NORMAL, COMBI, MULTI CH (MULTI CHANNEL), and
OP MEM (OPERATION MEMORY) MODES.
(*5) Mode Change-1 is used to switch between K (Keyboard), G (Guitar), and W (Wind) performance modes.

(♦6) Transmission/reception is impossible if TOTAL CONTROL "PRG NO" parameter (TOTAL-05) is disabled
(set to DIS).

II. Message Formats
1. Voice Data
A single Voice Data in NORMAL MODE is transmitted/ received.
(1) Data format
F0

7N|

100|—| III

Voice Data

N(HEX): Basic Channel

♦Basic channel is the MIDI channel that set in TOTAL-04 (TOTAL CONTROL menu No.05).
N = Display data - 1 ( N = O-F(HEX))
II(HEX): Data receive area

♦II indicates range in which data is received by receiving device. Received with II = 40 in NORMAL MODE
C/R (COMPARE/RECALL) area.

CS(HEX) : Check Sum (7bit)

♦Refer to page 14 for information on internal format of single voice data.

(2) Transmit/Receive status

r
(3) Transmit/Receive Operations

TRANSMIT: When voice selection is made on NORMAL PLAY MODE or when C/R key is pressed, select
ed tone data is transmitted to receiving device.

RECEIVE:

When voice details received in NORMAL PLAY MODE, C/R LED lights and LCD point in
dicates C/R. Name of received voice is displayed and received voice is sounded.

(4) Data transmission/reception to & from VZ-1, VZ-IOM.

♦11=40 (HEX) (NORMAL C/R area) data from voice data is transmitted/received to or from VZ-1 or VZ-IOM
as described above.

2. SEND REQUEST for Single Voice Data
When a SEND REQUEST is received, voice data for a single NORMAL MODE voice is transmitted.
(1) Data Format
F0

44 | 03 | 02 | 7N |

1 10 |

1 F7

N(HEX): Basic Channel
♦Basic channel is that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))

(2) Transmit/Receive Status

mi'

(3) Receive Operations

RECEIVE: When SEND REQUEST is received in the NORMAL PLAY MODE, voice data for a single voice
is transmitted through MIDI OUT to the C/R (or sound area) of the receiving device.

fcT

♦Refer to page 14 for information on the internal format of single voice data.

3. Operation Data
A single Operation Memory Data in OP MEM MODE is transmitted/received.
(1) Data format

81:-.■>.:..'

A: Data common to VZ-1/10M

| F0 | 44 | 03 | 00 | 7N |—| 0 1 |—| II |—| Operation Data (VZ-1) | C S
B: Data unique to VZ-8M

F0 | 44 | 03 | 02

0 1

Operation Data (VZ-8M)

CS |—|

N(HEX): Basic Channel

♦Basic channel is the MIDI channel that set in TOTAL-04 (TOTAL CONTROL menu No.04).
N = Display data - 1 ( N = O-F(HEX))

II(HEX) : Data receive area

*II indicates range in which data is received by receiving device. Received with II=40 in OP MEM MODE
sound area.
CS(HEX) : Check Sum (7bit)
♦Refer to page 24 for information on internal format of single operation data.

-2-

(2) Transmit/Receive status

•Receiving Operation Data in each mode.
Only Operation Memory Data created in NORMAL MODE can be received the NORMAL MODE.
Only Operation Memory Data created in COMBI MODE can be received in the COMBI MODE.
Only Operation Memory Data created in MULTI CH MODE can be received in the MULTI CH MODE.

All Operation Memory Data can be received in the OP MEM MODE.
(3) Transmit/Receive Operations
TRANSMIT: When Operation memory numbers are made using the program keys (or other controllers) in

the OP MEM PLAY MODE, the Operation Data called up (VZ-1/VZ-10M format and VZ-8M

format data) is transmitted to the sound area of the receiving device.

RECEIVE:

When Operation data is received in OP MEM PLAY MODE, Operation data is received in
Operation Memory sound area. The LCD shows the program number selected before the data

is received, however the Operation name and internal Operation Data correspond to the received
data. In addition, Operation Memories created in the NORMAL, COMBI and MULTI CH
MODES can also be received.
Note, however.that the contents of Operation Memory Data include pointers for the voices
to be used as well as effects, so the voices data of the receiving device.
(4) Data transmission/reception to & from VZ-1, VZ-10M.

•Reception of single operation data from VZ-1, VZ-10M.
Operation data from VZ-1 or VZ-10M can also be received. Only portions of data common to VZ-1/10M

(data "A") are received at this time. Data parameters unique to VZ-8M are loaded with initialized value.

•VZ-1/10M reception of VZ-8M single operation data.
Operation data from VZ-8M is comprised of portions common to VZ-1/10M (data "A") and data unique
to VZ-8M (data "B"). Because of this, only portions of data common to VZ-1/10M (data "A") can be
received.

Note, however, that data which has once been received by a VZ-1 or VZ-10M cannot be transmitted back
for reuse in the VZ-8M.

4. SEND REQUEST for Single Operation Data
When a SEND REQUEST is received, a single OP MEM MODE operation memory is transmitted.

(1) Data Format

F0 I 44 | 03 | 02 | 7N |

1 1 1 |

1 F7

N(HEX) : BASIC CHANNEL

Basic channel is the MIDI channel that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When SEND REQUEST is received in the OP MEM PLAY MODE, voice data for a single oper

ation memory is transmitted through MIDI OUT to the sound area of the receiving device.
♦Refer to page 24 for information on the internal formal of voice data for a single operation memory. In

addition, for information on operations when receiving operation memory data, refer to page 2.
q

5. Multi Channel Mode Data
A single Multi Channel Mode Data is received.
/*im\

(1) Data Format
FO

Multi Channel Data

n-un

N(HEX); BASIC CHANNEL

♦Basic channel is the MIDI channel that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))

CS(HEX): Check Sum (7bit)

♦Refer to page 47 for information on the internal format of Multi Channel Data.
(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: Although MULTI CH data is received in the MULTI CH PLAY MODE, the cursor will re
main in the position of the previously selected area. The contents of the MULTI CH data in

clude a pointer for voices used in each area as well as effect data. The voices which actually
sound in each voice area will depend on the voice data of the receiving device. MULTI CH
data is in VZ-1/10M format, so data parameters unique to the VZ-8M are loaded with initial
ized values.

(4) Reception of VZ-1/10M data
♦Refer to "(3) Transmit/Receive Operations" above.

6. SAVE/LOAD
Voice Data for all 64 internal voices, Operation Memory Data for 64 internal Operation Memories and TOTAL
CONTROL Data is transmitted/received.
(1) Data Format

i) Data common to VZ-1/10M

HUD

OPEN: I FO I 44 I 03 I 00 I 7N

CLOSE: | F0 | 44 | 03 | 00 | 7N |—| 7 1 |

OK:

"""

1 72

ERROR:|f 0 | 44 | 03 | 00J7N |—| 73 |—| F7
Data ■

DATA: | F0 | 44 | 03 | 00 | 7N |—| 74 |—| Data |cs| Data |cs|

| Data |cs|

Voice data or Operation data (VZ-1)
ii) Data unique to VZ-8M
OPEN:

CLOSE: | F0 | 44 | 03 | 02 | 7N |

OK:

-4-

1 7 1 |

[f 7

F0 | 44 | 03 ~^2 | 7N — 72 |

1 F7

Data
74

—

Data

Operation data (VZ-8M) or TOTAL CONTROL data

♦"(VZ-1)" indicates VZ-1/10M format data, while "(VZ-8M)" indicates data format unique to VZ-8M.
N(HEX): Basic Channel

♦Basic channel is the MIDI channel that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))
KK(HEX): Transmitted data

♦KK indicated contents of transmitted data.

The internal format of transmitted data is identical to Voice Data & Operation Memory Data for both VZ-1
and VZ-8M formats. This transmission is repeated a total of 64 times, or a single TOTAL CONTROL mes

sage is transmitted. In addition, a CS(Check Sum) message is transmitted along with each data type of data
refer to the following pages: Voice Data: page 14 ; Operation Memory Data : page 24 ; TOTAL CONTROL
Data : page 51.

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

When SAVE/LOAD operations are carried out between 2 VZ-8M units, a "handshake" is created by con
necting MIDI cables as shown in the figure below.

For this example, the transmitting device (SAVE side) is unit "A", while the receiving device (LOAD side)
is unit "B".

Also, we will assume that respective TOTAL CONTROL settings are as shown in the chart below.

VZ-8M Unit A

VZ-8M Unit B

Operations with a handshake set up through the above connection and settings are as follows.

-5-

SAVE/LOAD of Voice Data
VZ-8M Unit B

VZ-8M Unit A
OPEN (VZ-1) TRANS

OK (VZ-1) TRANS

r 1 VC data + CS TRANS
OK (VZ-1) TRANS

1 VC data + CS TRANS
OK (VZ-1) TRANS

EOX TRANS
CLOSE (VZ-1) TRANS

OK (VZ-1) TRANS
TRANS = transmission
VC data = Voice data

When a unit-A SAVE is executed, an OPEN request is first transmitted. This OPEN request contains information
which determines exactly what data is to be saved. When unit B receives this request, a confirmation of the data

which is to be loaded is made, after which B transmits an OK message back to A. If data which is to be loaded
does not match the request, an ERROR message is transmitted.
When unit A receives the OK message, voice data for a single voice is transmitted along with a CS (check sum)
message. After confirming that the check sum calculation is correct, B transmits an "OK" message to the internal

area (starting with "A-l") of A. If the CS calculation is not correct, B transmits an ERROR message.
This process is repeated a total of 64 times, after which A transmits an EOX (F7) message followed by a CLOSE

request. After confirming that the handshake is completed, B transmits an OK message.

SAVE/LOAD of Operation Memory Data
VZ-8M Unit A

VZ-8M Unit B

OPEN (VZ-1) TRANS

OK (VZ-1) TRANS
1 OP data (VZ-1) + CS TRANS

OK (VZ-1) TRANS
64

> 64

L 1 OP data (VZ-1) + CS TRANS
OK (VZ-1) TRANS

EOX TRANS
CLOSE (VZ-1) TRANS
OK (VZ-1) TRANS.

Common with the VZ-1, 10M

-6-

OPEN (VZ-8M) TRANS
OK (VZ-8M) TRANS

1 OP data (VZ-8M) + CS TRANS
OK (VZ-8M) TRANS

1 OP data (VZ-8M) + CS TRANS

OK (VZ-8M) TRANS J
EOX TRANS

CLOSE (VZ-8M) TRANS
OK (VZ-8M) TRANS

OP data = Operation data

SAVE/LOAD of Voice + Operation Memory Data
VZ-8M Unit A

VZ-8M Unit B

OPEN (VZ-1) TRANS
- OK (VZ-1) TRANS

1 VC data + CS TRANS
- OK (VZ-1) TRANS ^
64

► 64

1 VC data + CS TRANS
OK (VZ-1) TRANS ^

1 OP data (VZ-1) + CS TRANS

OK (VZ-1) TRANS ~
64
64

L 1 OP data (VZ-1) + CS TRANS
OK (VZ-1) TRANS

Common with the
VZ-1, 10M

EOX TRANS
CLOSE (VZ-1) TRANS
OK (VZ-1) TRANS.

OPEN (VZ-8M) TRANS
OK (VZ-8M) TRANS

1 OP data (VZ-8M) + CS TRANS
OK (VZ-8M) TRANS

64^
64

1 OP data (VZ-8M) + CS TRANS
OK (VZ-8M) TRANS
EOX TRANS

CLOSE (VZ-8M) TRANS
OK (VZ-8M) TRANS

-7-

SAVE/LOAD of FULL Data
VZ-8M Unit A

VZ-8M Unit B

OPEN (VZ-1) TRANS
OK (VZ-1) TRANS

1 VC data + CS TRANS
OK (VZ-1) TRANS
64 «

^64
1 VC data + CS TRANS
OK (VZ-1) TRANS
1 OP data (VZ-1) + CS TRANS

OK (VZ-1) TRANS
64

L 1 OP data (VZ-1) + CS TRANS
OK (VZ-1) TRANS

Common with the
VZ-1, 10M

EOX TRANS
CLOSE (VZ-1) TRANS

OK (VZ-1) TRANS.

OPEN (VZ-8M) TRANS
OK (VZ-8M) TRANS
1 OP data (VZ-8M) + CS TRANS
OK (VZ-8M) TRANS

64
64

1 OP data (VZ-8M) + CS TRANS
OK (VZ-8M) TRANS
TOTAL CONTROL data
(VZ-8M) + CS TRANS

OK (VZ-8M) TRANS
EOX TRANS
CLOSE (VZ-8M) TRANS
OK (VZ-8M) TRANS

Related SAVE/LOAD information
•If an ERROR occurs at the unit-B side, (CS does not coincide, etc.), an ERROR message appears on the display
of unit B and an ERROR message is transmitted. Upon receiving this message, unit A also displays an ERROR
message and transmission is interrupted.
•Data is loaded in the internal memory on the unit-B side after the CS is confirm, however data is not loaded of
errors occur. Consequently, there is no chance that incomplete voice data, operation memory data or total control
data will be loaded.

•When executing a SAVE/LOAD with only one MIDI cable, (Unit A -> Unit B), OK and ERROR messages cannot
be received from unit B. Unit A, however, transmits messages in fixed time intervals. Because of this, all unit
A data is transmitted and an "OK" message appears, even if an ERROR occurs at unit B.
•Data SAVE/LOAD with VZ-l/lOM

Initially, the VZ-8M transmits/receives all data which is common with the VZ-l/lOM (VZ-1 format). After this,
JPK

data peculiar to the VZ-8M (VZ-8M format) is transmitted/received.

-8-

•VZ-8M (SAVE side) -♦ VZ-1/10M (LOAD side)

When loading to a VZ-1/10M, the VZ-8M continues to send VZ-8M format data even after the "OK" message
appears on the VZ-1 or VZ-10M. Because of this, the VZ-8M "OK" message appears slightly after that of the
connected device.

•VZ-1/10M (SAVE side) -> VZ-8M (LOAD side)
When loading from a VZ-1/10M to a VZ-8M, VZ-1 format data is initially received. If, after a specified amount
of time, VZ-8M format data is not received, the VZ-8M determines that data is from a VZ-1/10M, and an "OK"
message appears. Data parameters unique to the VZ-8M are loaded with initialized values.

7. Master Tune
Master Tune Data is received.
(1) Data Format
FO

7N |

—| 00

0 Dl[

N(HEX): Basic Channel
♦Basic channel is the MIDI channel that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))
u, DL:

-»DATA: 00~40(H)
-» POLARITY

(2) Transmit/Receive Status

{?=:

(3) Transmit/Receive Operations
RECEIVE: When Master Tune data is received from a personal computer or other device on the OP MEM,

NORMAL, COMBI or MULTI CH PLAY, EDIT or TOTAL CONTROL MODES, the display
shifts to TOTAL-00 (MASTER TUNE) and shows the received data.
(4) Data reception from VZ-1/VZ-10M

The Master tune Data format of the VZ-8M is the same as that used in the VZ-1 and VZ-10M. Consequently,
this data can be received as described above.

8. Key Transpose
Key Transpose Data is received.

(1) Data Format'
FO

0 Do [ 0 DL I

1 F7

N(HEX): Basic Channel

♦Basic channel is the MIDI channel that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))

-Dl—v

->DATA: 00 - f 06 (UP)

\05 (Down)

-> POLARITY

(0: +

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When Key Transpose data is received from a personal computer or other device on the OP MEM,

NORMAL, COMBI or MULTI CH PLAY, EDIT or TOTAL CONTROL MODES, the display
shifts to TOTAL-01 (KEY TRANSPOSE) and shows the received data.

(4) Data reception from VZ-1/VZ-10M

The Key Transpose Data format of the VZ-8M is the same as that used in the VZ-1 and VZ-10M. Conse
quently, this data can be received as described above.

9. Mode Change-1
Altering NORMAL, COMBI, MULTI CH, OP MEM MODE.
(1) Data Format

"" 5 0
L_

N(HEX): BASIC CHANNEL

♦Basic channel is that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))
DD(HEX): Mode Change-1 Data

-10-

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When a Mode Change-1 message is received from a personal computer or other device in the
OP MEM, NORMAL, COMBI, MULTI CH PLAY, EDIT or TOTAL CONTROL MODES,
the display shows the corresponding MODE. The displayed voice name and sounding voice cor
respond to that last used in the MODE which is specified.
(4) Transmission/Reception of VZ-1/10M Data

The Mode Change-1 data format of the VZ-8M is the same as that used in the VZ-1 and VZ-IOM. Conse
quently, this data can be received as described above.
Note, however, as with DD = 3, when DD = 4 or 5, data is only shifted to MULTI CH MODE.

10. Mode Change-2
Altering MIDI performance mode (K, G, W) in NORMAL & COMBI MODES.
(1) Data Format
FO

03 | 02 | 7N |

1 SO

N(HEX): BASIC CHANNEL

♦Basic channel is that set in TOTAL-04.
N a Display data - 1 (N = O ~ F (HEX))
DD(HEX): MODE CHANGE-2 Data

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When a Mode Change-2 message is received from a personal computer or other device in the
NORMAL or COMBI PLAY, EDIT or TOTAL CONTROL MODES, the display shows the
corresponding performance mode. The displayed voice name and sounding voice correspond to
that last used in the performance mode which is specified.

-11-

11. Shift Change (including Card Bank Change)
Through Shift Change messages, MIDI can be used to alter the card banks for voice number and Operation Memory
number selection.
(1) Data Format.

N(HEX): Basic Channel

♦Basic channel is that set in TOTAL-04.

N = Display data - 1 (N = O - F (HEX))
DD(HEX): Shift Change Data (DD = 0 ~7F(HEX))

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When Shift Change data is received from a personal computer or other device in the NORMAL,
COMBI or MULTICH PLAY, EDIT or TOTAL CONTROL MODES, the specified PST, INT
or CARD banks are selected.

(4) Reception of VZ-1/10M Data

The CARD BANK portion of Shift Change data for the VZ-1/10M features the same data format as that
of the VZ-8M. Consequently, this data can be received as described above.

12. CZ Bend Range
CZ Bend Series Bend Range Data is received.
(1) Data Format
F0

N(HEX): Basic Channel

♦Basic channel is that set in TOTAL-04.
N = Display data - 1 (N = O ~ F (HEX))

DD(HEX): CZ Bend Range Data (DD = 0 - 7F(HEX))

-12-

(2) Transmit/Receive Status

(3) Transmit/Receive Operations

RECEIVE: When CZ Bend Range data is received from a personal computer or other device in the NOR
MAL, COMBI, MULTI CH PLAY, EDIT or TOTAL CONTROL MODES, the display indi
cates the value of the received Bend Range Data for the specified EDIT MODE. In the OP MEM
MODE, the Bend Range of the selected sound area is displayed.

III. Internal Format of Data
1. Transmission Format

The VZ-8M transmits data in an 8-bit transmission format. This data is actually divided into 4 bits of high order
data and 4 bits of low order data.
(1) 8 bit data:

~°u

I OP

°L

(1 Byte)

(2) Transmitted Data:

The internal format of various message data is shown as in (1) above. In order to analyze'parameter data accord
ing to transmitted MIDI data, it is necessary to convert from the format in (2) into the format as shown in (1).
From the following page, the internal format of this data is listed.

This format shows a single byte data....

...while this shows two continuous bytes.

-13-

2. Voice Data
Voice Data is composed of 336 bytes of data and is transmitted in the following order.

Byte No.

DATA

EXT. PHASE (VOICE-00 (VOICE PARAMETER menu No. 00))
MSB

LSB

M4 EXT. PHASE

0: off, l:on

M6 EXT. PHASE

0: off, Iron

M8 EXT. PHASE

0: off, l:on

LINE, WAVE FORM (VOICE-00,01)
Ml, M2

M3, M4

M5, M6
M7, M8

WAVE FORM

0(H): SINE, 1 -5(H): SAW1 -5, 6~7(H): NOISE 1-2

WAVE FORM

0(H): SINE, 1 -5(H): SAW1 -5, 6-7(H): NOISE 1-2

LINE 0(H): MIX, I(H): PHASE, 2(H): RING

5-20

DETUNE (VOICE-02)

Ml
M2

M3
M4
M5

M6
M7
M8

OCT. & NOTE (Note 1)
POL

0:-,l: +

RANGE

0: * 1, 1: 1/16

PITCH FIX

FINE

-14-

0: OFF, 1: ON

0~3F(H): 0-63

DATA

ENVELOPE (PITCH, AMP), VEL RATE (VOICE-03, 09, 17-19)

RATE 1

0~7F(H): 0-99 (Note 2)

VEL RATE

LEVEL 1

0: DIS, 1: ENA

0 - 7F(h>: 0 ~ 99 (M1 - M8) (Note 3)
01~40~7F(H): ~63~0~ + 63 (Note 4)
1: SUS

PITCH

LEVEL 8
SUSTAIN STEP

Byte No.

DATA

165-172

A ENV END STEP, AMP SENS (VOICE-09, 14)

J0*\

Ml
M2
M3
M4

M6
M7

173

P ENV END STEP (VOICE-03)

\Z
174

PITCH

TOTAL LEVEL (VOICE-15)

7
-TOTAL LEVEL

175-182

0-7F(H): 99-0 (Note 5)

A ENV ENV DEPTH, MODULE ON/OFF (VOICE-10)

Ml
M2
M3
M4

M5
M6
M7

ENV DEPTH

0~7F(H): 99-0 (Note 5)

MODULE ON/OFF

183

P ENV ENV DEPTH, RANGE (VOICE-04)

PITCH

ENV DEPTH
RANGE

-16-

0: ON, 1: OFF

0-3F(H): 63-0 (Note 6)

0: NARROW, 1: WIDE

DATA

Byte No.
184-279

LEVEL KF (AMP) (VOICE-11)

-Ml

LEVEL
KEY

280-291

0~7F(H):99~0(Note5)

0C~78(H):C0~C9(Note7)

LEVEL KF (PITCH) (VOICE-05)
Pi

PITCH

P5
P6

- LEVEL
-KEY

292-303

0 ~ 3F(H): 63-0 (Note 6)

0C-78(H): C0-C9 (Note 7)

RATE KF (VOICE-16)

Pi
P2

P3
P4

P5
P6

- RATE
-KEY

0 - 7F(H): 0-99 (Note 2)
0C~78(H): C0-C9 (Note 7)

-17-

DATA

Byte No.

304-313

VEL SENS (VOICE-06, 12, 17, 18, 19)

0\
Ml
M2

M3
M4

M6
M7

M8
PITCH
RATE

SENSITIVITY
CURVE

314

0~lF(H):0~31

0~7(H): CURVE 1-8

VIBRATO (WAVE, MULTI), OCTAVE (VOICE-07, 08)

VIB WAVE 0: TRIANGLE, 1: SAW UP, 2: SAW DOWN, 3: SQUARE
VIB MULTI

315

0: OFF, 1: ON

OCTAVE

0~2{H): 0-2

OCTAVE

0: -, 1: +

VIB (DEPTH) (VOICE-07)

\Z
-DEPTH

316

0~63(H):0~99

VIB (RATE) (VOICE-07)

ZL
-RATE

317

VIB (DELAY) (VOICE-07)

\ZL
318

0~63(H):0~99

-DELAY

0~63(H):0~99

TREMOLO (WAVE, MULTI) (VOICE-13)

-WAVE 0: TRI^IGLE, 1: SAW UP, 2: SAW DOWN, 3: SQUARE

-MULTI* 0: OFF, 1: ON

jpk

-18-

Byte No.
319

DATA
TREM (DEPTH) (VOICE-13)

-DEPTH

320

TREM (RATE) (VOICE-13)

•RATE

321

0~63{H):0~99

0~63(H):0~99

TREM (DELAY) (VOICE-13)

\A
DELAY

322-335

0~63(H): 0-99

VOICE NAME (VOICE-20)

1st character

2nd character
3rd character

10th character
1 lth character

12th character

VOICE NAME (ASCII CODE)

-19-

NOTE 1)

MIDI Transmission Data
(HEX)

LCD Display Data
OCT
NOTE

00
01

s
OB

0C
OD

PITCH FIX

OFF

s
2F

s
3B

s
77
78

s
7F

-20-

NOTE 2)

-21-

NOTE 3)

NOTE 4)

-22-

NOTE 6)

Exceptions:

i) Display data note name is "C2" (lowest key note on VZ-1).

ii) With regard to LEV KF (AMP, PITCH) and RATE KF, ranges within which data may be set varies
for PI-P6 as shown below.

♦ Transmission data ranges for PI -P6 do not match;
PKP2: 0 - 15 (0 is center)
•POL: 1: +,0: - (+ is R, - is L)

] PAN2
- Same format as PANl

21-22

PAN (EXT-CONTROLLER)
21

PANl
CONTROLLER'

0(H) OFF
1(H) AFTER TOUCH
2(H)FOOTVR

3(H) MODULATION WHEEL
4(H) DEFINABLE CONTROLLER
5(h) MIDI PAN
PAN2

Same format as PANl

-35-

DATA

Byte No.
• 23-24

PAN (EXT-CTRL. RANGE)
23

PANl

RANGE

0(h) L-*R (0-7F

i-1 • i

5(H) R-»C (0-7F(H))

•PAN2

Same format as PANl

:'!

PAN (AUTO-RATE)

-RATE 0~3F(H): 0-63

PAN (AUTO-DEPTH)

-DEPTH O~1F(H): 0-31

PAN (AUTO-CONTROLLER)

CONTROLLER

0(H) OFF
1(H) AFTER TOUCH
2: INT

3-2-3, NORMAL OPERATION DATA (VZ-8M format)

Data unique to the VZ-8M comprises a total of 75 bytes, which are transmitted in sequence shown below.
Byte No.
0

DATA

MODE, ASSIGN

MODE & ASSIGN: 0(H)
KEYBOARD MODE: 1

GUITAR MODE: 1
WIND MODE: 1

1-2

OPERATION TUNE

LOW

FINE DATA (100/64-cent increments), 0~FC(H)

TUNE DATA (half-tone increments) (NOTE 10)
POL: 1: +,0: -

3-74

Not used

1 ! .'

■■' :.: V";

-39-

3-3-1, MULTI OPERATION DATA
MULTI OPERATION DATA comprises a total of 175 bytes, which are transmitted in sequence shown below.5
Byte No.

DATA
VIODE, ASSIGN

- MODE & ASSIGN 0(H)

1-14

OPERATION NAME1
1st

Character

2nd Character

12th Character

03(H)
02(H,

I VZ-8M Code
-OPERATION NAME (ASCII CODE)

15-17
!

Not used

(

PAN (MODE)

ii ■■•!|
-FIX MODE: 1
-EXTMODE: 1
-AUTO MODE: 1

-PAN1-AUTO 0: OFF, 1: ON

-PAN2-AUTO 0: OFF, 1: ON

19-20

PAN (FIX-PLACE)

19 r

PANl

■ Bias 0~F(h>: 0 - 15 (0 is center)
• POL: 1: +, 0: - (+ is R, - is L)

PAN2

Same format as PANl

21-22

PAN (EXT-CONTROLLER)
21

PANl

CONTROLLER

0(H) OFF
1(H) AFTER TOUCH
2(H) FOOT VR
3(H) MODULATION WHEEL

4(H) DEFINABLE CONTROLLER

5(H) MIDI PAN

| PAN2
-Same format as PANl

-40-

Byte No.
23-24

DATA
PAN (EXT-CTRL. RANGE)
.23

PAN1
-RANGE

0(H) L-R (0-7F(H))

1(H) R-L (0-7F(H))
2(H) C-L (0-7F(H))

3(H) L-C (0->7F(H))
4(H) C-R (0-7F(H))
5(H) R-C (0-7F(H))
PAN2

lil

Same format as PAN1

PAN (AUTO-RATE)

L
26

-RATE0-3F(H): 0-63

PAN (AUTO-DEPTH)

-DEPTH 0~1F(h): 0-31

PAN (AUTO-CONTROLLER)

CONTROLLER

0(H) OFF

1(H) AFTER TOUCH
2(H)FOOTVR

3(H) MODULATION WHEEL
4(H) DEFINABLE CONTROLLER
5(H) MIDI PAN

28-99

MULTI SOUND DATA
28

-AREA 1

•AREA 2
63

-AREA 3
81
82

-AREA 4

-(See page 43 for contents.)

-41-

DATA

Byte No.

100

MODE, ASSIGN

- MODE & ASSIGN

101-102

0(H)

OPERATION TUNE

101

LOW

FINE DATA (100/64-cent increments), 0~FC(H)

102

TUNE DATA (half-tone increments) (NOTE 10)
POL: 1: +.0: -

! |.

103-174

;

MULTI SOUND DATA

103

* AREA 5

120
i

121

-AREA 6
138
i

139

- AREA 7
156
157

■AREA 8

(See next page for contents.)

-42-

3-3-2. MULTI OPERATION SOUND DATA:;,-,
The contents of the "SOUND DATA" previously described are shown below. This SOUND DATA, for Areas 1 ~ 4

and 5-8, comprises the following 18 bytes x4. Note that byte numbers contain a relative "0".
DATA

Byte No.
VOICE NO.

-VOICE NO. 0~3F(H): A-l-H-8

0: INT, 1: CARD1, 2, PST1, 2

EFFECT

-FOOT SOSTENUTO 0: ENA, 1: DIS
-SOLO0: OFF, 1: ON

-FOOT SUSTAIN 0: ENA, 1: DIS

-VEL. INV0:OFF, 1: ON
-VIB. INV0:OFF, 1: ON

-TREM INV 0: OFF, 1: ON

PORTAMENTO

-TIME 0~63(H): 0-99
- MODE: 0: TIME CONST, 1: RATE CONST

PITCH BEND

\ZL
-RANGE 0~30(H), 0-48
-RELEASE 0: ENA, 1: DIS

4-11

EFFECT SENSE, PATCH
AFT^R TOUCH
DEF WHEEL 1
DEF WHEEL 2
FOOT VR

VIB DEPTH 0: OFF, 1: ON

VIB RATE 0: OFF, i: ON
PITCH + 0: OFF, 1: ON
PITCH - 0: OFF, 1: ON
PRTM TIME 0: OFF, 1: ON

TREM DEPTH 0: OFF, 1: ON
TREM RATE 0: OFF, 1: ON
AMP. ENV. BIAS 0: OFF, 1: ON

-43-

Ji
jP;

-44-

NOTE 8)
MIDI Transmission

LCD Display Data

Data (HEX)

Exceptions:

i) Display data note name is "C2" (lowest key note on VZ-1).
ii) Range in which 3 Point Split data may be set varies as shown below.

♦ Transmission data ranges for LOW, MID & UPPER do not match; LOW < MID < UPPER

NOTE 9)

Exceptions:

i) Display data note name is "C2" (lowest key note on VZ-1).
ii) Range in which 2 Tone Mix data may be set varies as shown below.

'Minimum g Maximum

-45-

iii) Range in which 4 Tone Mix data may be set varies as shown below.

* LOW Min g LOW Max s MID Min g MID Max g UPPER Min g UPPER Max

NOTE 10)

MIDI Transmission Data
(HEX)

LCD Display Data
OCT

NOTE

S
0B

I!!!1...- i

NOTE 11) VEL SPLIT Min ^ VEL SPLIT Max

-46-

4. Multi Channel Mode Data
Multi Channel Mode data is composed of 144 bytes of data and is transmitted in the following order.
Byte No.

0-143

DATA
MULTI SOUND DATA
o

-AREA 1
17

18
-AREA 2

36
-AREA 3
S3
54

-AREA 4
71

72
- AREA 5
89
90

-AREA 6
107

108
-AREA 7

125
126
-AREA 8
143

- (See next page for contents.)

-47-

4-1. MULTI SOUND DATA
\.u..:Uri ; j|f:iM .
The contents of previous MULTI SOUND DATA are shown below. Multi Channel mode data is composed of ]
bytes X 8 ares.

0^"-

Note that byte No. has been reset to "0" for simplifiction.
: ;
Byte No.

DATA

i M -0

VOICE No.

\ZL
-VOICE No.

0~3F(H): A-l-H-8

-VOICE No.

0: INTERNAL, 1: CARD

SOLO (EFFECT-01)

-SOLO

0:OFF, 1: ON

■TIME

0~63(H): 0-99

PORTAMENTO (EFFECT-01)

MODE

.....

0: TIME CONST

1: RATE CONST

PITCH BEND (EFFECT-02)

-RANGE

0-.30(h):0-48

-RELEASE

4-11

0: ENA, 1: DIS

AFTER TOUCH ~FOOT VR (EFFECT-03, 04, 05, 06)

AFTER TOUCH
DEF WHEEL 1

DEFWHEEL2
FOOT VR

I—VIB DEPTH 0: OFF, 1: ON
VIB RATE

0: OFF, 1: ON

-jT-PITCH +

0: OFF, 1: ON

PITCH -

0: OFF, 1: ON

PRTM TIME

0: OFF, 1: ON

TREM DEPTH

0: OFF, 1: ON

TREM RATfi 0: OFF, 1: ON
A ENV BIAS

-■48-

-SENSITIVITY

O~63(H): 0-99

-SENSITIVITY

0: +, 1: -

0: OFF, 1: ON

Byte No.*;,
12 _

DATA
LEVEL (2-07)

z
•LEVEL

13-14

MULTI PITCH (2-18)
0

■

-OCT. FINE (NOTE 12)

-POL

■

-FINE

POLY

0-8(H): 0-8 (NOTE 13)

AREA CH.

CH.

0: -, 1: +

O~3F(H):O~63

POLY

0~63(H):0-99

0~F(H): l~16ch

Not used

♦ Maximum polyphony for Area 1 - Area 8 is 8.
If this value is exceeded, data must be corrected to bring total poly value within this range.

-49-

NOTE 12)

MIDI Transmission Data
(HEX)

LCD Display Data
OCT

NOTE

s
OB

.1.

s
47

! i'

-50-

5. TOTAL CONTROL Data
TOTAL CONTROL Data comprises a total of 8 bytes, which are transmitted in sequence shown below.
Byte No.
0-1

DATA

*'.; :!U

MASTER TUNE
oho

lower

;

-,:•....

;..

-FINE DATA (100/64-cent increments), 0-FQH): 0-63

]UPPER

;.-

;•.

]

;

-TUNE DATA (halftone increments) (NOTE 13)
-POL: 1: +,0: -

2-3

TRANSPOSE
LOWER

FINE DATA (100/64^cent increments), 0(H)

TRANSPOSE DATA (half-tone increments) (NOTE 14)
POL: 1: +,0: -

- BASIC CHANNEL 0-F(H): 1 -16

TOTAL CONT. FLAGS

INT. MEMORY PROTECT 0: OFF 1: ON

CARD MEMORY PROTECT 0: OFF 1: ONV
PROGRAM NO. 0: 0-63, 1: 0-127
PROGRAM CHANGE 0: ENA, 1: DIS
EXCLUSIVE 0: ENA, 1: DIS
MIDI VOL. 0: ENA, 1: DIS
DEF. CONTROLLER 0: ENA, 1: DIS

BAISC CHANNEL TOTAL 0: ON, 1: OFF

DEFINABLE CONTROLLER

- CONTROL NO. 0C~ 1F(H): 12-31

OVERFLOW

-OVERFLOW NO. 0~7(H): 1-8
-MODE: OVERFLOW: 1, NORMAL: 0

-51-

m^v-

(NOTE 13)

(NOTE 14)

-52-

VOLTAGE SELECTOR
r

Before connecting the AC cord to the AC source, be sure to check whether the voltage indi
cation on the bottom of the unit fits your local supply rating. If not, contact the original
retailer or nearby dealer.

Bevor das Netzkabel an einen NetzanschluS angeschlossen wird, muB unbedingt geprUft
werden, ob die auf dem Boden des Instruments angegebene Spahnung mit lhrer Stromnetzspannung ubereinstimmt. Sollte dies nicht der Fall sein, so wenden Sie sic(i bitte an das
Fachgeschaft, in dem Sie das Instrument gekauft haben, Oder an Ihren nachsteh Kundendienst.

Avant de brancher le cordon CA a la prise CA, ne pas oublier de contrdler si la tension
indiqu6e au bas de Tappareil correspond a la tension de votre secteur. Si ce n'est pas le cas,
contacter le revendeur chez qui vous avez effected votre achat ou le distributeur le plus
proche.

Antes de conectar el cordon de CA en el tomacorriente, asegurarse de verificar si el voltaje
indicado en la parte inferior de la unidad, coincide con el voltaje de la local id ad. De lo con
trario, ponerse en contacto con el distribuidor original o concesionario mas cercano.

Prima di collegare il cordone con la presa di corrente a disposizione, controllare che
voltaggio scritto sul fondo dell'unita corrisponda col voltaggio della rete a disposizione.
In caso contrario prendere contatto col rivenditore autorizzato oppure col dettagliante piCi
vicino.

a::£fc£-*ffS
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Casio VZ 8M Owners Manual

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