Casio VZ 8M Owners Manual

niGITAL

SYNTHESIZER

OPERATION

MANUAL

1

MANUAL

DE

OPERACION

117

r

DIGITAL

SYNTHESIZER

tern,

manual

highly

innovative

digital

ition)

Modular

Sound

Source

sys-

im

your

new

VZ-8M,

be

sure

to

read

this

often.

r

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

accom-

ing

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.

Multi-

timbral

MIDI

expansion,

monophonic

MIDI

performance,

or

total

8-note

MIDI

polyphony

can

be

selected.

Jj^

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.

/

Combination

Mode

Provides

Layered

and

Split

Voicing

The

VZ-8M's

"Combination"

mode

lets

you

mix

together

up

to

8

different

patches

in

any

of

9

different

patch

mix

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.

8

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.

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.

Whil.

tal

sy

it

do

a

ref«

Whei

to

co

MID

Once

need

"The

with

Semi:

Next.

throu

Whei

capal

Be

su

will

*

The!

Fort

Most

you'l

own

About

this

Manual

H

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.

Jl

MENU

FUNCTION

PARAMETER

VALUE

MODULE

INTERNAL

LINE

EXTERNAL

PHASE

PATCH

OPERATION

MEMORY

ENVELOPE

MODE

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).

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

detuning.

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.

The

level

or

setting

assigned

to

an

individual

parameter.

The

iPD

sound

source

features

8

independent

"modules."

These

can

be

thought

of

as

independent

—

but

interrelated

—

oscillators

with

controls.

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.

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.)

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.

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.

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.

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

KMODE

GMODE

WMODE

VOICE-09

EFFECT-05

CONTROL-04

OPE

EFFECT

PROG

NO

KEYS

MOD

WHEEL

DEF

CONTROL

PAGE

KEYS

COMBI

MODE

MULTI

CH

MODE

M

ON/OFF

KEY

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.

Short

for

"Keyboard

Mode"

—

one

of

three

VZ-8M

MIDI

performance

modes.

Short

for

"Guitar

Mode"

—

one

of

three

VZ-8M

MIDI

performance

modes.

Short

for

"Wind

Mode"

—

one

of

three

VZ-8M

MIDI

performance

modes.

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.

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.

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.

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.

Short

for

"Program

Number

Keys".

These

keys

are

used

in

a

variety

of

sound

syn

thesis

and

editing

operations.

Short

for

"Modulation

Wheel".

Short

for

"Definable

Control".

Used

to

"scroll"

or

advance

up

and

down

the

selected

VZ

menu.

Short

for

"Combination

Mode"

—

one

of

the

4

basic

operational

modes

used

in

synthesis,

editing

and

performance.

Short

for

"Multi

Channel

Mode"

—

another

of

the

basic

operational

modes.

Short

for

"Module

ON/OFF

Key"

—

keys

used

to

turn

the

VZ's

sound

source

mod

ules

ON

and

OFF.

Theory:

Flow

of

Operations

ji

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

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.

WRITE

TOTAL

EOIT

BANK

SHIFT

COPY/INIT

CONTROL

M

ON/OFF

WRITING

PATCHES

TO

MEMORY

f

RE/

•LL

JfPV

f

WRITING

PATCHES

0

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

patch

at

a

time,

edit

one

patch

at

a

time,

perform

with

one

patch

at

a

time,

and

write

an

individual

patch

to

memory.

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

al

effect

specifications

for

each

patch

in

the

setup.

The

COMBINATION

mode

can

be

further

broken

down

into

two

sub-

modes

—

the

PLAY

sub-mode

and

MENU

sub-modes.

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.

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.

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.

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.

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.

NORMAL

MODE

One

patch

at

a

time

!

combination]

MODE

I

Ii+2/3

K

PST1

R-l:UZ

EP

H+2/3+4

K

PST1

fl-UUZ

EP

COMBINATION

MODE

1-8

patches

at

a

time!

fl-l:UZ

EP

PST1

8

polyphonic

Area

MUM

OUT

r

OPERATION

MEMORY

MODE

Once

you've

created

a

sound

you

want

to

save

—

whether

it's

an

individual

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

of

64

built-in

Operation

Memories.

The

OPERATION

MEMORY

mode

is

used

to

memorize

and

recall

not

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-

of

effect

and

control

panel

settings.

This

is

where

you

"store"

the

multi-patch

setups

and

patches

you've

created,

for

instant

recall

dur

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

sub-

modes

-

the

PLAY

sub-mode

and

MENU

sub-modes.

The

PLAY

mode

is

selected

for

normal

performance,

while

the

MENU

modes

are

selected

for

further

editing

of

sound

and

effect

data

in

the

selected

operation

memory.

Now

that

you

understand

the

basic

theory

of

VZ

operations,

the

"BIG"

picture

becomes

clearer;

1

—Write,

edit

and

recall

individual

patches

using

the

NORMAL

mode.

r

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

| |

PATCH

2

|

PATCH

3

|

PATCH

4

. | |

PATCH

8

|

0+2/3+4

K

PST1

R-isUZ

EP

MIDI

OUT

/

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.

CHn

CHn+l

CH

n+2

|

PATCH

1

|

PATCH

2

|

PATCH

3

| |

PATCH

4

|

PATCH

8

11111111

PST1

fl-ls'JZ

EP

The

MIDI

"Pe

programmed

fo

the

selected

soi

example,

if

you

or

keyboard

pei

tar)

and

"W"

»

Keyboard

Pc

formance

mode

phonic

perforr

characteristics

i

Guitar

Perf

o

mode,

patches;

performance,

rr

of

MIDI

Guitar,

string

is

assigne

received

entireh

sounds

are

moi

NOTE:

When

i

be

set

for

MON

data

for

each

s

Wind

Perfor

mode,

MIDI

af

formance

capab

the

"K"

and

"(

"W"

mode,

he

shows

how

the

set

between

val>

between

values

controller,

repr

with

wind

instr

NOTE:

When

troller

should

b<

/0^\

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

Performance

Mode

—

In

the

"K"

or

"Keyboard"

per

formance

mode,

patches

and

multi-patch

sounds

are

setup

for

MIDI

poly

phonic

performance,

matched

to

the

performance

capabilities

and

characteristics

of

MIDI

keyboards.

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

sounds

are

more

natural

than

with

poly

performance.

NOTE:

When

in

"G"

performance

mode,

the

transmitting

guitar

should

be

set

for

MONO

performance,

allowing

independent

transmission

of

bend

data

for

each

string.

Wind

Performance

Mode

—

In

the

"W"

or

"Wind"

performance

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

"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.

FIG-A

<

NORMAL

AFTER

TOUCH

>

FIG-B

[KEYBOARD

MODE]

VZ-8M

MIDI

KEYBOARD

NORMflL

K

PST1

fl-lsUZ

EP

1+2/3+4

K

R-isUZ

EP

PST1

(GUITAR

MODE]

VZ-8M

MIDI

GUITAR

--1ststring

\

--2nd

string

\

•

-3rd

string

|

.-4th

string

•-5th

string

/

■•

-6th

string

/

NORMflL

fi-lsUZ

EP

8

PST1

1+2/3+4

G

R-inUZ

EP

PST1

(WIND

MODE]

VZ-8M

NORMflL

W

fl-l:UZ

EP

PST1

1+2/3+4

W

fl-lsUZ

EP

PST1

MAX

AMP

MIN

XSENSITIVITY»O

-SENSmVITY»99

<WIND

MODE

AFTER

TOUCH

>

„

SENSITMTYoO

MAX

AMP

MIN

''''/''<—[-SENSITMTY=91

AMP

MIN

»MAX

MIDI

DATA

MAX

MIN

-MAX

MIDI

DATA

SENSITIVITY»92

•SENSITMTY=99

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.

Theory:

iPD

Modular

Sound

System

l

I;!'1

At

the

heart

of

the

VZ's

amazing

sound

synthesis

capabilities

is

an

all-

new

"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

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

(In

addition,

to

amp

envelope,

the

degree

of

changes

in

sound

(waveform)

are

affected

by

amp

envelope-

,as

key

Follow,

Velocity,

etc.)

(©)

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

module

in

the

succeeding

internal

line

—

M4

in

LINE

B,

in

our

example.

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

late

other

modules.

Theoretically,

you

can

actually

use

modules

1

through

7

to

modulate

module

8,

so

that

the

only

sound

you

actually

hear

is

out

put

through

module

8!

To

illustrate

this

more

closely,

take

a

look

at

the following

examples.

(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"

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.

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.

(©)

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.

Ml

\-*»\

M2

(7)

Diagram

of

relationship

between

DCA

ENVELOPE

and

timbre.

LEVEL

M1

DCA

ENVELOPE

(Ex.

1)

RING

(Ex.

2)

PHASE

a

FREQUENCY

M1:M2«=1:16

▲

WAVEFORM

-SINE

LINE

A

(MIX)

EXT.

PHASE

■►LINEB

(PHASE)

1+2

3H

P

Q@

LINE

M1M2

INT

LINE=MIX

)

LINE

M3M4

INT

LINE=MIX

1+2

3+H

'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.

(@)

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.

(@)

09

LINE

M3M4

INT

LINE=PHRSE

The

nui

mind,

u

are

usec

1+2

3*H

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-

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.

jj

In

some

ways,

your

VZ

is

very

similar

to

a

computer,

as

it

is

capable

of

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

of

the

unit.

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.

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

board

to

input

commands,

values,

text,

etc. (this

is,

of

course

a

simplified

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.

Look

at

the

MENUs

shown

to

the

right;

this

list

gives

you

a

bird's-eye

view

of

how

the

MENUs,

and

FUNCTIONS

within

the

menus,

are

or

ganized.

Notice

that

these

menus

are

divided

into

sections,

with

the

rela

tive

basic

MODEs

listed

on

the

left,

and

the

various

FUNCTIONS

on

the

right.

The

MODE

side

shows

in

which

modes

the

various

functions

are

operative.

To

work

in

the

operating

system,

you

first

choose

what

MODE

you

want

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.

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.

EFFECT

NORMAL

COMBI-.

NATION

MULTI

CHANNEL

00

MIDI

CHANNEL

01

PORTAMENTO/

SOLO

02

PITCH

BEND

03

AFTER

TOUCH

04

MOD

WHEEL

05

DEF

CONTROL

06

FOOT

VR

07

FOOTSW

08

VEL

TABLE

SELECT

09

PAN

10

LEVEL

11

PITCH

12

SPLIT

POINT

13

VELSPUT

14

VELINVERSE

15

POSCROSSFADE

16

DELAY

TRIG

17

TOTAL

VIBRATO

18

VIBRATO

INV

19

TOTAL

TREMOLO

20

TREMOLO

INV

21

COMBI

COPY

OPERATION

MEMORY

00

OPMEM

NAME

01

OPMEM

TUNE

With

atth

whei

soun

simp

To

a

the

(

left

i

Once

the

c

You

the

v

decre

is

ret

(Note

as

wt

is

he

Whei

ply

p

TRO

Notic

select

ation

Diffn

tion

1

ingS}

with

OPERATION

COMBI-

MULTI

COMPARE/

MEMORY

NORMAL

NATION

CHANNEL

RECALL

WRITE

TOTAL

EOIT

BANK

SHIFT

COPY/INIT

CONTROL

M

ON/OFF

PAGE

CURSOR

VALUE

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.

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

decrement

automatically

at

high

speed.

When

the

lowest or

highest

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.)

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.

CURSOR

PAGE

CURSOR

VALUE

WRITE

TOTAL

EOIT

BANK

SHIFT

COPY/INIT

CONTROL

M

ON/OFF

•18'

Menus

and

Functions

jj

Within

each

Menu

you

will

find

a

number

of

"Functions."

Each

of

these

functions

is

further

broken

down

into

"parameters,"

which

are

constants

that

have

changeable

values

or

settings.

For

example,

in

VOICE

menu,

you

can

select

from

a

variety

of

functions

which

affect

the

characteristics

of

the

sound

produced

by

each

individual

module

(oscillator).

To

alter

the

characteristics

of

the

sound,

you

simply

alter

the

values

of

the

various

parameters

contained

in

each

VOICE

menu

function.

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.

When

the

TOTAL

CONTROL

menu

is

chosen,

you

can

select

from

func

tions

which

provide

"overall"

control

over

the

VZ-8M's

performance.

They

*

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

mode

must

first

be

specified.

You'll

also

notice

that

each

FUNCTION

INDEX

lists

the

operational

modes

in

which

the

function

operates.

VOICE

PARAMETER

LINE

WAVE

FORM

DETUNE

ENVELOPE

ENV

DEPTH

KF

LEVEL

VEL

LEVEL

VIBRATO

OCTAVE

ENVELOPE

ENV

DEPTH

KF

LEVEL

VEL

LEVEL

TREMOLO

AMP

SENS

TOTAL

LEVEL

KF

RATE

VEL

RATE

SENS

PITCH

VEL

RATE

AMP

VEL

RATE

VOICE

NAME

INIT

VOICE

OPERATION

MEMORY

00

OPMEM

NAME

01

OPMEM

TUNE

TOTAL

CONTROL

COMBI

NATION

MULTI

CHANNEL

00

MASTER

TUNE

01

TRAN8POSE

02

MEMORY

PROTECT

03

SAVE/LOAD

04

MIDI

CHANNEL

05

MIDI

DATA

06

CARD

FORMAT

®—

About

Function

Indexes

ji

^

r

VEL

RATE

(DCO/DCA)

To

ENABLE

(nafct

cflttM

da

VEL

RATB

to

toy

lhiwfcidQr

RATE

Mains

b

(total

(rftaid

I

cart-

RATE

to

tadiacp

is

both

cat

000

tad

OCA

No.

IT

("VEL

RATi

SENS"),

tht

SEN-

SmviTY

and

CUKVE

Within

runoim

No.

It

r"A

VBL

RATE"),

you

on

ipajfy

whether

or

not

tht

VBL

RATB

cum

wtt

affM

tht

In-

dMdual

itepi

of

tht

AMP

BNV

{OCA

b

M

ulna

VOICB4*.

ThaM

atunp

can

bt

aiadt

for

atca

nodakt

(Ml-Mt>

iadMdMlh.

Whtn

SENSITIVITY

It

MiWiwtoa

At

SENSHTVITYb

railed,

tat

fa*-

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).

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

»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.

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

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

play.

You

can

select

a

patch

to

edit

with

the

PROG

NO

keys.

8-PATCH

MIX

GLOBAL

—

When

an

8-patch

mix

is

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

with

the

PROG

NO

keys.

©Related

Functions

Lists

the

other

editing

functions

that

are

closely

inter

the

selected

function.

In

this

case,

the

P

VEL

RATE

(VOICE-18)

function

is

closely

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

left-

hand

column

of

the

menu

hierarchy

shows

the

MODEs

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

that

the

VELOCITY

RATE

SENSITIVITY

function

can

be

accessed

in

the

VOICE

PARAMETER

menu.

REMEMBER....

These

indexes

provide

only

basic

information

on

each

function

and

parameter.

Many

of

these

functions

and

parameters

are

interrelated,

and

it

would

take

literally

volumes

to

provide

a

technical

explanation

of

how

they

actually

affect

the

sounds.

To

gain

a

practical

under

standing,

be

sure

to

go

through

the

PRACTICE

EXER

CISE

found

on

the

•20-

©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.

©0/S

(Operating

System)

control

operation

Indicates

the

basic

keys

and

controls

used

to

select

the

function

and

move

through

the

display

hierarchy

to

edit

settings

for

each

parameter.

©Domain

GLOBAL

—

In

some

functions,

settings

are

"Global,"

which

means

the

settings

effect

the

entire

operating

sys

tem,

and

all

the

sounds

in

it.

Reception

in

the

COMBI

mode

is

limited

to

KEY

AS

SIGN

1

data.

Reception

in

the

"G"

performance

mode

is

limited

to

the

primary

channel

set

in

EFFECT-00.

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.

The

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.

i

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?

(D—kr

NORMflL

K

PST1

G-5:UZ

TOUCH

|O/S

I

EDIT-g^j-PAGE-CURSOR-VALUE

6 7

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.

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).

In

this

state,

you

can

select

function

number

with

the

PAGE

keys.

Now

take

a

look

at

item

®

in

the

VELOCITY

RATE

SENS

Function

Index.

You'll

notice

that

the

"Domain"

is

listed

as

being

"Global."

This

means

that

settings

made

in

this

function

affect

all

sounds

(as

opposed

to

affecting

only

a

single

module,

single

line,

etc.).

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

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."

,

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".

ft..

j'Press

the

PAGE

[A]

key

once

again,

and

select

VOICE-18

'(P

VEL

RATE).

\

the

(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

EFFECT+PflGE

UP

UOICE

+PRGE

DOWN

98

LINE

M1M2

INT

LINE=PHflSE

Domain

Mode

Keyboard

Guitar

Wind

Normal

\l}

GLOBAL

19

MODULAR

Ml

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

IT

UEL

RflTE

SENS

CURUE=1

IT

UEL

RflTE

SENS

CURUE=4

18

P

UEL

RflTE

ENfl=*****##*

1;!'

1

i

.

I

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

sition

and

press

the

YES

key.

Step

numbers

1

through

8

are

displayed

from

left

to

right.

To

DISABLE

the

settings,

simply

press

the

NO

key.

For

our

example,

however,

skip

this

function

(VOICE-18)

and

go

to

VOICE-19

(remember,

our

goal

is

to

alter

only

DCA-related

settings...).

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.

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

right-

hand

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.

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

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*

A

YES/SUS

V

NO/ENO

19

fl

UEL

RflTE

Ml

ENfl=:+:*

E

5

F

8

6

7

H

8

□

H

S

P

P P

19

fl

UEL

RflTE

ENFNEEEE

17;

VOICE-03,

09.

18,

19

18;

VOICE-03,

17

19;

VOICE-09,

17

8

7

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.

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

edited

version.

8

£

MB

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

^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

OPERA-

TION

MEMORY

mode.

To

do

so,

simply

press

the

OPERATION

MEMORY

key.

I

exit

to

another

mode,

simply

press

the

MODE

key.

LO

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.

P

PY

1*2

3*4

56'

19 n

UEL

RRTE

MS

ENfl=EEEE

P P

£

1*2

3*4

5*6

H+B

OPERATION

COMBI-

MULTI

MEMORY

NORMAL

NATION

CHANNEL

•24-

h

•:

■'.

i

,;

Function

Index

LINE

Parameters

INT

LINE

=

MIX/RING/PHASE

EXT

PHASE

=

ON/OFF

(for

M3-M8)

06

LINE

M1M2

INT

LINE=RING

)

LINE

M3M4

INT

LINE=PHflSE

O/S

EDIT-^^-PAGE-CURSOR-VALUE

Domain

Mode

Keyboard

Guitar

Wind

:i

LINE

M3M4

EXT

PHRSEON

Normal

LINE

1*2

A

Use

this

function

to

specify

the

line

configuration

for

all

four

Internal

Lines,

as

well

as

External

Phase

relationships.

The

INT

LINE

parameter

lets

you

choose

from

MIX,

RING,

or

PHASE

settings,

which

determines

how

the

waveforms

produced

by

each

module

are

output.

Note

that

a

diagram

on

the

display

shows

the

internal

line

configu

ration

in

modular

form

(FIG-A).

When

you

want

to

view

another

line,

press

a

PROG

NO

key

(C3~H8)

of

either

module

in

the

particular

line

you

want

to

view

(for

example,

to

view

the

press

either

the

M3

or

M4

selector).

In

addition,

this

function

features

a

"toggle"

which

lets

you

turn

the

EXTERNAL

PHASE

function

ON

or

OFF

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

(FIG-C).

To

view

the

overall

line

configuration,

press

the

M

ON/OFF

(BANK)

key.

As

shown

in

FIG-D,

LINEs

used

as

EXT

PHASE

as

designated

by

a

"P"

symbol

on

the

display.

For

example,

notice

that

M1M2

is

used

as

the

EXT

PHASE

of

line

M3M4.

Also,

note

that

"

+

"

indicates

MIX,

"*"

indicates

RING

modulation,

and

"->"

indicates

PHASE.

The

modules

which

are

actually

producing

audible

sounds

are

highlighted

on

the

display.

(For

more

information

on

the

modular

sound

source

sys

tem,

refer

to

"Theory:

iPD

Modular

Sound

System".)

Note

that

when

this

function

is

initialized,

data

for

all

8

modules

are

reset

to

factory

settings

(mixed

internal

line).

f:

01

WAVEFORM

Parameters

O/S

EDIT-^^j-PAGE-CURSOR-VALUE

^

Domain

FORM

=

SINE/SAW1

/SAW2/SAW3/SAW4/

SAW5/NOISE1

/NOISE2

Mode

Keyboard

Guitar

Wind

01

WflUE

FORM

Ml

'

FORM=SINE

81

NflUE

FORM

M2

FORM=SflNl

01

CQPY+M-M8

Ml

INIT^

YES

Normal

MODULAR

With

this

function,

you

can

choose

the

basic

waveforms

*

which

are

produced

by

each

module.

Waveforms

determine

the

basic

timbre

—

one

of

the

three

basic

elements

of

any

i

sound

(pitch,

timbre

and

volume).

You

can

choose

from

8

basic

waveforms.

(See

information

below

for

details

on

^various

types

of

waveforms.)

$Note

that

waveforms

can

be

selected

for

each

module

in

dependently.

Ik---

COPY/INITIALIZE

>This

function

features

COPY

and

INITIALIZE

functions

I

which

allow

you

to

"copy"

waveform

specifications

from

lone

module

to

another,

and

to

"initialize"

the

selected

mod

ule

to

a

SINE

wave.

To

COPY

the

waveform

of

the

selected

module

to

another

module,

first

select

VOICE-01

and

the

module

containing

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.

To

INTIALIZE

the

selected

module,

first

select

VOICE-01

and

the

module

containing

the

waveform

you

want

to

in

itialize.

Next,

hold

down

the

WRITE

key

and

then

press

the

YES

key.

A

SINE

wave

(initialized

setting)

will

be

select

ed

for

the

FORM

parameter.

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*

DETUNE

Parameters

O/S

EDIT—

—CURSOR—VALUE

Domain

PITCH

FIX

=

ON/OFF

ON:

RANGE=

xl/xVi6

OFF:

HARMONIC

=

V63

~

63

TUNE=

+

/-

(POLARITY),

0-5

(OCT),

0-11

(NOTE),

0-63

(FINE)

Mode

Keyboard

Guitar

Wind

Normal

MODULAR

92

DETUNE

Ml

PITCH

FIX=OFF

02

DETUNE

Mi

TUNE=+3?1@?56

2

DETUNE

Mi

HfiRMONIi>ilH

02

DETUNE

Ml

"

RflNGE=

*1/16

B

D

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.

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

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

"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).

(FIG-C)

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,

as

it's

frequency

is

too

low

for

the

human

ear.

Try

raising

the

OCT

value

in

this

case.)

•27-

PITCH

(Fixed

Frequency)

OCT-5

NOTE-4

RNE-0

OCT-10

NOTE-7

FINE-0

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

This

function

features

COPY

and

INITIALIZE

functions

which

allow

you

to

"copy"

detune

specifications

from

one

module

to

another,

and

to

"reset"

the

selected

module

to

an

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

to

initialize.

Next,

hold

down

the

WRITE

key

and

then

press

the

YES

key.

Detuning

settings

will

be

reset

to

initialized

values

(DETUNE

OFF).

03

PITCH

ENV

(DCO)

VOICE—04,

05,

17,

18

Parameters

R1-R8

(RATE)

=

0-99

L1-L8

(LEVEL)=

-63-

+63

SS=SUSTAIN

STEP

(YES

key)

ED

=

END(NOkey)

93

PITCH

ENU

Rl=99

Ll=+13

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

dard

pitch

played

on

keyboard).

This

means

that

positive

values

cause

the

pitch

to

rise,

while

negative

values

lower

the

pitch.

SS

& ED

POINTS

t

In

addition

to

RATE

and

LEVEL

values,

SS

(Sustain,

FIG-

jB)

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

83

PITCH

ENU

Rl=99

Ll=+13

SS

O/S

EDIT-^^j-PAGE-CURSOR-VALUE

Domain

Mode

Keyboard

Guitar

Wind

S3

PITCH

ENU

R2=84

L2=+

0

EC-

Normal

GLOBAL

||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

Note

that

ED

points

can

be

set

for

any

step,

regardless

of

its

LEVEL

value.

•To

delete

the

end

point

from

any

step

(1

through

7),

sim

ply

move

the

cursor

to

the

step

and

press

the

NO

(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).

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

ENVELOPE

of

the

selected

module

as

well

as

enabled

steps

£ALUE

T)

key.

in

the

PITCH

ENV

of

VOICE-18

are

initialized.

•28-

PENV

DEPTH

(DCO)

VOICE-03,

05

Parameters

O/S

EDIT—

—CURSOR—VALUE

Domain

DEPTH

= 0-63

RANGE

=

WIDE/NARROW

Mode

Keyboard

Guitar

Wind

Normal

GLOBAL

04

P

ENU

DEPTH

DEPTH=53

(Envelope

set

using

VOICE-03

parameters)

84

P

ENU

DEPTH

RRNGE=WIDE

(Actual

envelope

level

shifted

down)

This

function

contains

two

parameters

—

DEPTH

and

RANGE.

Both

of

these

parameters

affect

the

DCO

ENVE

LOPE

settings

which

are

specified

in

function

03

(VOICE-03).

The

ENVELOPE

DEPTH

parameter

can

be

used

to

"shift"

the

level

of

the

entire

envelope

produced

using

the

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.

The

RANGE

parameter

is

a

toggle

which

can

be

set

to

either

WIDE

or

NARROW.

When

WIDE

is

selected,

units

used

in

setting

the

ENVELOPE

LEVEL

in

VOICE-03

are

equal

to

100

cents

and

the

maximum

setting

range

is

+

/

-

5

octaves.

When

NARROW

is

selected,

LEVEL

is

changed

in

25-cent

increments,

and

the

maximum

setting

range

is

decreased

to

approximately

more

than

+/-1

octave.

I

'.liii-rMi

U.,.;.

I

l!

!;

Functions

:E-03,

05

lal

=

1AL

an be

set

to

elected,

units

DICE-03

are

nge

is

+

/

-

L

is

changed

ting

range

is

-1

octave.

05

P

KF

LEVEL

(DCO)

VOICE-03,

04,

16

Parameters

KEY

l~KEY6

=

C0~C9

LI~L6

(LEVEL)

=

0-63

05

P

KF

LEUEL

KEY1=C2

Ll=5@

O/S

Domain

Mode

Keyboard

Guitar

Wind

@5

P

KF

LEUEL

KEY2=C4

L2=25

B

Normal

GLOBAL

The

parameters

in

this

function

are

used

to

determine

how

Keyboard

Follow

(KF)

affects

the

DCO

envelope

(pitch)

produced

using

the

parameters

in

VOICE-03

and

VOICE-04.

The

unit features

6-step

keyboard

follow,

which

means

that

LEVELS

can

be

set

at

6

points

in

the

KEY

BOARD

FOLLOW

CURVE.

Pitch

Envelope

set

In

VOICE-03

The

key

parameter

represents

positions

in

the

Key

Setting

Range

(CO

-

C9).

In

this

state,

each

"POINT"

in

the

KF

curve

can

be

moved

in

harf-tone

increments.

As

the

"LEV

EL"

parameter

value

is

increased,

the

contour

of

the

curve

is

increased,

while

it

is

decreased

as

the

value

is

decreased.

-

KEY

FOLLOW

CURVE

Overall

contour

r

Contour

disappears

_

J

11

L_,J

l__l±

I

J

P

VEL

LEVEL

(DCO)

VOICE—03,

04,

05

Parameters

O/S

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

Domain

SENS

(SENSITIVITY)

=

0-31

CURVE=1~8

Mode

Keyboard

Guitar

Wind

Normal

GLOBAL

06

P

UEL

LEUEL

SENS=

4

sens-3i

(Envelope

set

using

curve-i

VOICE-03

parameters)

l\S

with

strong

attack

with

weak

attack

<Actual

envelope

level

shifted

down)

This

function

features

2

basic

parameters

which

are

used

to

contour

the

velocity

level

message

control

over

the

DCO

(pitch)

envelope's

level

for

all

modules

(Ml

~M8).

In other

words,

these

settings

—

SENSITIVITY

and

CURVE

—

determine

how

responsive

all

8

modules

will

be

to

key

touch

dynamics

with

regards

to

changes

in

pitch.

The

CURVE

parameter

lets

you

choose

from

any

of

8

different

velocity

curves,

which

determine

the

contour

of

velocity

message

control

over

time.

The

SENSITIVITY

parameter

lets

you

set

the

range

of

change

in

the

DCO

ENVELOPE

by

velocity

message

control.

At

a

setting

of

"0",

the

selected

module

will

be

totally

unresponsive

to

velocity

message

control

—

in

other

words,

your

keyboard

attack

will

have

no

effect

over

changes

in

pitch.

A

setting

of

"31"

indicates

maximum

sensitivity.

(FIG-B)

The

CURVE

parameter

is

used

to

select

one

of

the

8

ve

locity

curves

(contours)

as

shown

in

the

figures

below.

These

curves

determine

how

the

pitch

actually

changes

over

time.

[CURVES]

SENS

=

31

SENS

=

31

SENS

=

0

SENS=3I

Velocity

XSENS

=

SENS

=

0

SENS

=

SENS9

31

SENS

MIN

07

VIBRATO

(DCO)

Parameters

O/S

EDIT—j^^j-PAGE—CURSOR—VALUE

WAVE

=

TRIANGLE/SAW

UP/

SAW

DOWN/SQUARE

DEPTH=0~99

RATE

=

0-99

DELAY=0-99

MULTI

=

ON/OFF

Domain

Mode

Keyboard

Guitar

Wind

Normal

GLOBAL

87

UIBRflTO

WRUE=TRIRNGLE

87

UIBRflTO

DEPTH*

3

SAW

DOWN

SQUARE

The

VIBRATO

function

corresponds

to

the

LFO

of

an

ana

log

synthesizer.

It

oscillates

the

low

frequencies

of

the

DCO,

and

this

oscillation

adds

a

"vibrato"

effect

to

the

selected

waveform.

There

are

five

basic

parameters

within

this

func

tion

-

WAVE,

DEPTH,

RATE,

DELAY

and

MULTI.

The

WAVE

parameter

lets

you

choose

the

basic

waveform

of

the

vibrato

oscillation.

There

are

4

—

SQUARE,

SAW

DOWN,

SAW

UP,

and

TRIANGLE.

(FIG-C)

(See

infor

mation

below

for

details

on

various

types

of

waveforms

ifyhich

can

be

selected.)

jfou

can

use

the

DEPTH

parameter

to

set

the

"depth"

of

)

oscillation

(how

strong

the

vibrato

is).

The

larger

i

value,

the

deeper

the

vibrato

effect.

(If

this

is

set

to

*,

no

vibrato

will

be

generated.

Be

sure

to

raise

the

value

ifore

altering

other

settings.)

j

RATE

parameter

is

used

to

set

the

"speed"

of

vibra-

foscillation.

The

higher

the

value,

the

faster

the

vibrato

[feet.

The

DELAY

parameter

is

used

to

set

the

period

of

time

from

initial

note

on

message

until

the

point

where

vibrato

oscillation

begins.

The

larger

the

value,

the

longer

the

de

lay

before

vibrato

is

applied.

The

MULTI

parameter

features

a

toggle

which

can be

set

to

either

ON

or

OFF.

When

MULTI

is

set

to

ON,

the

vibra

to

effect

is

engaged

independently

as

keys

are

played,

so

that

each

note's

vibrato

is

independent

(not

synchronized

with

vibrato

delay

and

oscillation

of

note

messages

received

previously

or

subsequently).

This

effect

is

useful

in

creat

ing

"ensemble"

sounds.

When

this

parameter

is

set

to

OFF,

vibrato

oscillation

is

synched

for

all

notes,

regardless

of

when

they

are

sound

ed

(in

unison

or

independently).

[WAVEFORMS]

Triangle

-

produces

a

smooth

repeating

up

and

down

pitch

variation.

Saw

Up

-

produces a

repeating

pitch

rise

starting

from

the

fundamental

frequency.

Saw

Down

-

produces

a

repeating

pitch

"swoop"

down

from

above

to

the

fundamental

frequency.

Square

-

produces

a

repeating

"trill"

between

the

original

pitch

and

a

higher

pitch.

'•;•"

i

•32<

OCTAVE

•Parameters

O/S

--CURSOR-VALUE

Domain

Mode

OCTAVE

=

-2/

-1

/0/

•+1

/

+

2

Keyboard

Guitar

Wind

Normal

GLOBAL

68

OCTflUE=

9

08

OCTnUE=+l

B

This

function

features

only

one

parameter

—

OCTAVE,

which

is

used

to

raise

or

lower

the

overall

octave

of

all

8

modules

(M1~M8)

globally.

At

a

value

of

"0",

the

oc

tave

for

all

8

modules

is

set

at

the

standard

pitch

level

(A4=442Hz).

(This

is

assuming

that

"Detune"

is

set

to

"Harmonic

1"

for

the

module

in

question

).

You

can

raise

or

lower

the

octave

by

a

maximum

of

2

octaves,

in

1-octave

increments.

ilil

09

AMP

ENV

(DCA)

VOICE-10,

11,

17,19

Parameters

O/S

EDIT-^^f-PAGE-CURSOR-VALUE

^

Domain

R1-R8

(RATE)

=

0-99

LI

~L8

(LEVEL)

=

0-99

SS=SUSTAIN

STEP

(YES

key)

ED

=

END

(NO

key)

Mode

Keyboard

Guitar

Wind

Normal

MODULAR

99

RMP

ENU

Ml

R2=23

L2=92

**

09

flMP

ENU

Ml

R4=60

L4=75

SS

89

fiMP

ENU

Ml

R8=87

L8=

0

ED

This

function

basically

contains

8

"STEPs",

each

of

which

is

broken

down

into

RATEs

and

LEVELS

which

you

can

use

to create

8-step

(maximum)

amplitude

envelopes

for

e&ch

module

(Ml

~M8).

These

DCA

"envelopes"

determine

how

the

amplitude

(remember,

amplitude

=

loudness)

of

each

module

changes

over

time.

In

other

words,

the

sound

attack

and

decay,

and

\

all

the

changes

in

volume

which

the

sound

goes

through

in

between.

^Furthermore,

as

mentioned

in

the

section

on

the

iPD

Sound

e,

if

the

module

LINE

is

set

to

EXT

PHASE

for

the

t

LINE,

ENVELOPE

DCA

affects

the

timbre

of

the

ding

LINE.

f(For

more

information

on

ENVELOPES,

RATEs,

LEV-

and

STEPs,

refer

to

the

VZ

Sound

Seminar.)

1&

ED

POINTS

l

addition

to

RATE

and

LEVEL

values,

SS

(Sustain,

FIG-

|

and

ED

(End,

FIG-C)

points

can

be

specified

at

any

»in

the

DCA

envelope.

fro

enter

an

SS

point

in

any

step,

simply

press

the

YES

Value

a).

i

a

sustain

point

is

inserted

in

the envelope,

the

sound

I

be

sustained

until

a

note

off

message

is

received.

The

)

immediately

following

the

SS

step

then

becomes

the

e"

point

(as in

ADSR

type

amplitude

envelopes).

^delete

a

sustain

point,

press

the

YES

(VALUE

A)

key

^

I

again.

r.-

Renter

an

ED

point

in

any

step,

simply

press

the

NO

T)

key.

\

are

up

to

8

steps

in

the

DCA

envelope,

the

end

t

is

initially

set

in

step

8.

The

end

point

can

be

moved

f

step,

however

subsequent

steps

will

automatically

To

delete

the

end

point

from

any

step

(1

through

7),

sim

ply

move

the

cursor

to

the

step

and

press

the

NO

(VALUE

T)

key

once

again.

The

end

point

returns

to

step

8

auto

matically.

*••

COPY/INITIALIZE

This

function

features

COPY

and

INITIALIZE

functions

which

allow

you

to

"copy"

DCA

specifications

from

one

module

to

another,

and

to

"reset"

the

selected

module

to

an

initialized

setting.

To

COPY

the

DCA

specifications

of

the

selected

module

to

another

module,

first

select

VOICE-09

and

the

module

containing

the

detune

settings

you

want

to

copy

from.

Next,

hold

down

the

WRITE

key

and

then

press

the

MODULE

SELECT

key

corresponding

to

the

module

you

want

to

copy

into.

When

this

procedure

is

carried

out,

complete

DCA

data

(VOICE-10,

11,

12,

14,

17)

is

copied

into

the

destination

module.

To

INITIALIZE

the

selected

module,

first

select

VOICE-09

and

the

module

containing

the

specifications

you

want

to

initialize.

Next,

hold

down

the

WRITE

key

and

then

press

the

YES

key.

DCA

settings

for

VOICE-09

and

VOICE-19

(VEL

RATE)

will

be

reset

to

initialized

values.

Note

that

when

this

function

is

initialized,

the

AMP

ENVE

LOPE

of

the

selected

module,

as

well

as

enabled

steps

in

the

AMP

ENV

of

VOICE-19

are

initialized.

•34-

P'iP

iii-i

10

ENV

DEPTH

(DCA)

VOICE—09,

11

.

Parameters

ENV DEPTH

=

0-99

10-ENU

DEPTH

Ml

DEPTH=99

O/S

EDIT—DOWN"

PAGE—CURSOR—VALUE

Domain

Mode

Keyboard

Guitar

Wind

Normal

MODULAR

<Amp

envelope

set

using

in

VOICE-09

parameters)

<Actual

envelope

level

shifted

down)

This

function

lets

you

raise

or

lower

the

entire

contour

of

the

DCA

envelopes

for

all

8

modules,

created

using

VOICE-09

(DCA

Envelope).

Note

that

this

function

has

no

direct

effect

on

the

actual

envelope,

but

simply

raises

or

lowers

its

overall

"level".

Simply

speaking,

the

overall

volume

level

of

the

selected

module

is

decreased

as

you

low

er

the

ENV

DEPTH

level.

Settings

can

be

made

for

all

8

modules

independently.

.

«:■

;,•,.••

,i.

}:■■

■

•.

■

•

;•••..

B

fie-.

U

'35*

yThe

parameters

in

this

function

are

used

to

determine

how

The

settings

for

this

function

are

made

in

exactly

the

same

1

Follow

(KF)

affects

the

DCA

envelope

(loud-

way

is

in

the

DCO

(pitch)

KF

LEVEL

function

ss)

produced

using

the

parameters

in

VOICE-09

and

(VOICE-05).

But,

DCA

KF

LEVEL

can

be

set

for

each

MCE-10.

The

unit

features 6-step

keyboard

follow,

which

MODULE

independently.

i

that

LEVELS

can

be

set

at

6

points

in

the

KEY-

3ARD

FOLLOW

CURVE.

r

Amp.

envelope

set

fn

VOICE-09

-KEY

FOLLOW

CURVE

LEVEL

Overall

contour

decreased

- Contour

disappears

J.

i_i

j.

i

!j_-j_-1

J

0

■

••■>>«

•36-

12

VEL

LEVEL

(DCA)

VOICE-09,

10,

11

EFFECT—14

Parameters

SENS

(SENSITIVITY)

=

0-31

CURVE=1~8

12

UEL

LEUEL

Ml

SENS=15

O/S

EDIT—

—CURSOR—VALUE

Domain

Mode

Keyboard

Guitar

Wind

SENS-10

Amp.

envelope

with

strong

attack

Amp,

envelope

with

weak

attack

Amp,

envelope

with

weak

attack

Normal

MODULAR

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

words,

these

settings

—

SENSITIVITY

and

CURVE

—

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

different

velocity

curves,

which

determine

the

contour

of

velocity

control

over

time.

The

SENSITIVITY

parameter

lets

you

select

values

between

"0"

and

"31".

At

a

setting

of

"0",

the

selected

module

will

be

totally

unresponsive

to

velocity

control

message.

A

setting

of

"31"

indicates

maximum

sensitivity.

The

CURVE

parameter

is

used

to

select

one

of

the

8

velocity

curves

(contours)

as

shown

in

the

figures

below.

These

curves

determine

how

the

amplitude

actually

changes

with

key

velocity.

Notice

that

if

you

choose

—

for

example

—

curve

7

for

one

module

and

curve

8

for

another,

each

will

sound

quite

differently

according

to

the

velocity

message.

Note

that

the

degree

of

this

effect

is

dependent

on

settings

mode

in

VOICE-10

(AMP

ENV)

as

well

as

in

VOICE-11

(KF.

ENV.)

[CURVES]

1

Pitch*

/_

SENS

=

SENS

=

SENS

"31

3

t—/—,

SENS

=

3!

SENS

=

3!

Velocity

13

TRI

WflUI

Tremolo

fects

the

character!

to

create«

settings

fc

made

ind<

control

th<

tings

in

th

create

anc

The

WAV

ofthetren

DOWN,

S

|;low

for

de

<.volume

ch

I

You

can

us

|tremolo

os<

|the

value,

t

|issetto"0'

level

b

SENS

=

31

SENS

=

0

SENS

=

3I

SENS

MINi

~+

SENS

MAX

SENS

MIN

-*-

—►SENS

MAX

13

Parameters

WAVE

=

TRIANGLE/SAW

UP/

SAW

DOWN/SQUARE

DEPTH

=

0-99

RATE

=

0~99

DELAY

=

0-99

MULTI

=

ON/OFF

113

TREMOLO

WflUE=TRIflNGLE

Functions

-09,

10,

11

FECT-14

one

of

the

8

figures

below.

$

dually

changes

—

curve

7

for

viil

sound

quite

lent

on

set

tsinVOICE-1

TREMOLO

VOICE—14

13

TREMOLO

DEPTH*14

O/S

EDIT—^^—PAGE—CURSOR—VALUE

|H

Domain

Mode

Keyboard

Guitar

Wind

SQUARE

Normal

GLOBAL

>lo

is

a

form

of

low-frequency

oscillation

which

af-

thc

DCA

to

produce

cyclical

changes

in

volume

The

parameters

in

this

function

are

used

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

set-

i*

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

UP,

and

TRIANGLE.

(See

information

be-

details

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

,

no

tremolo

will

be

generated.

Be

sure

to

raise

'ore

altering

other

parameter

settings.)

The

RATE

parameter

is

used

to

set

the

"speed"

of

tremolo

oscillation.

The

higher

the

value,

the

faster

the

tremolo

effect.

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).

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-

AMP

SENS

(DCA)

VOICE-13

EFFECT—03-06,

19

Parameters

SENS

(SENSITIVITY)

=

0-7

O/S

EDIT—

—CURSOR-VALUE

Domain

Mode

Keyboard

Guitar

Wind

Normal

MODULAR

::•

J

15

14

flMP

SENS

SENS=0

Ml

14

flMP

SENS

SENS-7

M2

B

15

TOTfit

LEUEU

llji!;.'

llifi-hi

i

!

I

This

function

features

only

one

parameter,

SENSITIVI-

When

SENSITIVITY

is

set

to

a

value

of

"0",

the

all

ef-

TY,

which

is

set

independently

for

each

module.

This

"sen-

sitivity"

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.)

(Related

Functions)

VOICE-13

TREMOLO

DEPTH

EFFECT-03

TREMOLO

DEPTH

(After

Touch)

EFFECT-04

TREMOLO

DEPTH

(Modulation

Wheel)

EFFECT-05

TREMOLO

DEPTH

(Definable

Control)

EFFECT-06

TREMOLO

DEPTH

(Foot

VR)

EFFECT-03

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)

fects

listed

below

will

not

affect

the

specified

module's

sound.

At

a

value

of

"7",

the

effects

will

be

strongest.

•39-

'

This

functio

f

which

is

usec

of

the

unit

I:

Functions

O1CE-13

03-06,

19

-VATUE

lal

LAR

15

TOTAL

LEVEL

(DCA)

Parameters

LEVEL

=

0-99

15-TOTflL

LEUEL

LEUEL=65

O/S

EDIT—gg^j-PAGE—CURSOR—VALUE

Domain

Mode

Keyboard

Guitar

Wind

15

TOTflL

LEUEL

LEUEL=99

Normal

GLOBAL

",theallef-

ed

module's

)e

strongest.

This

function

features

only

one

parameter,

TOTAL

LEV,

This

parameter

acts

as

a

"governer",

controlling

the

max-

which

is

used

to

control

the

overall

amplitude

(volume)

level

imum

possible

volume

level

which

can

be

attained

with

the

of

the

unit

(for

all

modules,

M1~M8).

volume

control.

With

a

value

of

"0",

no

sound

is

output

—

even

when

the

volume

slider

is

set

to

MAX.

The

maxi

mum

amplitude

level

can

be

selected

by

inputting

a

level

of

"99".

•40«

16

KF RATE

(DCO/DCA)

VOICE-03,

05,

09,

11

Parameters

O/S

EDIT—

—CURSOR—VALUE

Domain

KEY

l~KEY6

=

C0~C9

R1-R6

(RATE)

= 0-99

Mode

Keyboard

Guitar

Wind

Normal

GLOBAL

16

KF

RflTE

KEY1=C1

Rl=22

16

KF

RflTE

KEY6=F7

R6=99

This

function

features

a

total

of

6

"POINTs",

which

are

used

to

create

a

KEY

FOLLOW

CURVE.

This

function

is

directly

the

KF

LEVEL

functions

(VOICE-05

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

time)

for

each

point

in

the

curve.

These

settings

are

global,

affecting

attDCO

and

DCA

enve

lopes

(VOICE-03

and

VOICE-09).

In

steps

where

the

rate

value

is

higher,

a

rapid

"attack"

or

"decay"

is

effected.

In

a

position

where

the

rate

value

is

low,

the

rate

of

the

envelope

is

equal

to

that

set

in

VOICE-03

and

VOICE-09.

(DCO)

(DCA)

KEY

Setting

Range

r

17,

18,

19

VEL

RATE

(DCO/DCA)

17;

VOICE—03,

09,

18,

19

18;

VOICE-03,

17

19;>VOICE-09,

17

Parameters

17

(VEL

RATE

SENS)

SENS

(SENSITIVITY)

=

CURVE=1~8

18

(P

VEL

RATE)

ENA=E/*

19

(A

VEL

RATE)

ENA=E/*

:0~31

17

UEL

RflTE

SENS

SENS=15

18

P

UEL

RflTE

ENfl=E*E

0/S

EDIT—5£^j-PAGE—CURSOR—VALUE

^^

Domain

Mode

Keyboard

Guitar

Wind

Pitch

envelope

—\

/

\

/

with

strong

attack

V

Normal

GLOBAL

17

1

18

J

19

MODULAR

19

fl

UEL

RflTE

Ml

ENR=E*E

This

function

features

parameters

which

are

used

to

con

trol

velocity

RATE,

in

correspondence

with

DCO

and

DCA

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.

Within

function

No.

17

("VEL

RATE

SENS"),

the

SEN

SITIVITY

and

CURVE

parameters

can

be

selected.

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").

The

CURVE

parameter

lets

you

choose

from

one

of

8

different

VELOCITY

RATE

curves,

as

diagrammed

below.

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.

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).

To

ENABLE

(make

effective)

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

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).

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

is

set

using

VOICE-09.

These

settings

can

be

made

for

each

module

(M1-M8)

individually.

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

press

the

NO

key

("*"

is

displayed).

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.

[CURVES]

SENS-31

SENS-0

SENS

=

31

SENS«0

SENS

=

31

SENS

=

0

SENS

=

31

SENS«=0

XSENS=O

SENS

=

SENS

MIN

«"-->*

SENS

MAX

8

SENS

MAX

•42-

VOICE

NAME

Parameters

Alphabet

=

A~Z

Numeral

=

0-9

Marks

=

"

♦

",

"-'

28

NfiME

fi-1:

PST1

O/S

EDIT—DOWN~~

PAGE—CURSOR-VALUE

Domain

Mode

Keyboard

Guitar

Wind

20

NflME

PSTi

fl-l:SYNTH-UQICEl

B

Normal

GLOBAL

This

function

is

used

to

assign

a

name

to the

"patches"

The

names

you

choose

may

contain

both

letters

and

num-

created

using

other

VOICE

menu

functions.

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.

21

INIT

*

EXECU1

[Thisfunctio

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

rs

and

num-

gth.

E

keys,

with

played

cycli-

21

INIT

VOICE

Parameters

EXECUTE?

(YES)

PUSH

YES

KEY!

UOICE

EXECUTE?

(YES)

o/s

EDIT—DOWN""

PAGE—CURSOR—VALUE

Domain

Mode

Keyboard

Guitar

Wind

21

INIT

UOICE

PUSH

YES

KEY!

Normal

GLOBAL

j

function

is

used

to

intialize

all

VOICE

MENU

data.

>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-

\\:\

!$!

00

MIDI

CHANNEL

TOTAL—04

Parameters

CHANNEL=1~16

89

MIDI

CHRNNEL

CHRNNEL=

1

MIDI

Rl:8:

1

CHRNNEL=

1

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

GLOBAL

89

MIDI

CHRNNEL

-TOTRL=ON

CH

1-

Multi

channel

AREA

MIDI

CHRNNEL

CHRNNEL*

1-

6

The

MIDI

CHANNEL

function

is

used

to

assign

the

MIDI

receive

channel

for

the

basic

operating

modes

—

the

NOR

MAL

mode,

COMBI

mode

and

MULTI-CH

mode.

Note

that

if

function

04

in

the

TOTAL

CONTROL

menu

(MIDI

CHANNEL)

is

set

to

ON

in

either

the

NORMAL

or

COMBI

mode,

it

will

be

impossible

to

set

the

MIDI

channel

using

TOTAL-04.

It's

important

to

remember

that

the

channel

set

using

this

function

is

held

in

Operation

Memory

along

with

other

parameter

settings.

Notice

that

in

the

"G"

Performance

Mode,

the

parameter!

is

displayed

as

shown

in

FIG-D,

however

the

cursor

can

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.

01

8

Functions

OTAL—04

HflNNEL

=

1-

6

D

it

using

this

with

other

2

parameter

cursor

can-

>n

the

right

le

left

is

al-

higher

than

polyphony

ay,

as

illus-

Dkt

.he

changes

au-

i.

01

PORTAMENTO/SOLO

Parameters

PORTAMENTO

=

ON

/

OFF

PORTM

TIME

=

0-99

PORTM

MODE=TIME

CONST/

RATE

CONST

SOLO

=

ON/OFF

[Guitar]

POLY

/

MONO

=

POLY/MONO

81

PORTM/SOLO

PORTRMEHTO=ON

01

PT/S

H+2

PORTflMENTO=ON

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

GLOBAL

01

PORTM/SOLO

POLY/MOHO=MOHO

Multi

channel

AREA

91

PT/S

fll:4:

1

PORTflMENTO=OH

The

parameters

in

this

function

are

used

to

establish

and

control

built-in

portamento

and

"solo"

effects.

The

PORTAMENTO

parameter

is

a

"toggle"

(or

switch)

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.

The

PORTM

TIME

parameter

determines

the

"portamento

time"

between

notes

—

in

other

words,

the

time

that

it

takes

the

pitch

to

"glide"

from

one

note

to

the

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

on

the

patch

or

sound

which

is

being

edited.

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

pitch

to

glide

between

notes

is

constant

—

regardless

of

the

distance

between

the

notes.

(FIG-E)

,When

the

PORTM

MODE

parameter

is

set

to

RATE

|

,

CONST,

the

rate

or

"speed"

of

portamento

glide

becomes

.constant.

(FIG-F)

The

SOLO

parameter

is

a

toggle

which

can

be

used

to

turn

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).

When

the

"G"

performance

mode

is

selected,

the

por

tamento

function

operates

as

follows;

With

SOLO

parameter

OFF:

Portamento

sweep

executed

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

MIDI

channel

(string).

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

played

during

"release"

time).

When

this

parameter

is

set

to

MONO,

notes

through

each

MIDI

channel

are

sound

ed

only

monophonically.

v

POLY

MONO

FIG-E

FIG-F

f-fixedH

OFF

ON

OFF

time

When

PORTAMENTO-related

MIDI

mode

messages

are

received,

operations

automatically

switch

to

this

function.

•46-

ri

I1

r

PITCH

BEND

Parameters

BEND

RANGE=0~48

RELEASE

=

ENA/DIS

62

PITCH

BEND

RflNGE=

2

@2

BEND

U+2

BEND

RflN6E=

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

GLOBAL

02

PITCH

BEND

RELEflSE=ENfl

Multi

channel

AREA

02

BEND

fil:4:

1

BEND

RflNGE=

2

This

function

features

two

parameters

—

BEND

RANGE

and

RELEASE

—

which

are

used

to

determine

how

the

external

MIDI

instrument

pitch

bend

wheel

can

be

used

to

raise

or

lower

pitch.

The

BEND

RANGE

parameter

can

be

used

to

raise

or

low

er

the

maximum

limit

that

pitch

can

be

bended

by

an

ex

ternal

MIDI

instrument,

in

half-step

increments.

At

the

minimum

value

of

"0",

the

pitch

bend

wheel

has

no

ef

fect

on

pitch,

while

at

the

maximum

value

of

"48",

you

can

bend

notes

a

maximum

of

48

half-steps

(4

octaves),

up

and

down.

The

RELEASE

parameter

lets

you

choose

whether

or

not

the

external

keyboard

pitch

bend

wheel

can

be

used

to

bend

sounds

which

are

sustained

after

the

keyboard

is

released.

When

this

parameter

is

set

to

DIS

(disable),

you

can

bend

notes

only

before

actually

receiving

note

off

message

(be

fore

the

release

point

in

DCA

curve).

When

set

to

ENA

(enable),

you

can

also

bend

any

note

that

is

still

sounding

(portion

of

sound

following

the

release

point

in

DCA

curve)

—

even

after

releasing

the

correspond

ing

key

on

the

external

keyboard.

(FIG-C)

In

the

"G"

performance

mode,

parameters

set

for

the

sound

programmed

to

MIDI

Channel

1

affect

the

other

5

MIDI

channels.

The

pitch

bend

message,

however,

can

be

received

by

each

string

independently.

When

PITCH

BEND-related

MIDI

mode

messages

are

received,

operations

automatically

switch

to

this

function.

•47«

03

SENSITIVIT

(NORMAL,

\

'

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

amount

of

pn

are

being

com;

ter

touch

func

In

the

COMB!

a

range

of

-

S

input,

after

to

The

other

pan

I

you

determine

message

(and

;■

Note

that

these

using

after

touc

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

RTM

TIME

PORTM

t

FF:

PORTM

PITCH

BEND

-ON:

Pitch

b(

"99")

DFF:

After

toi

Pitch

be

i

bend

ran

03

AFTER

TOUCH

VOICE-14

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

SENSITIVITY

PITCH

=

+

ON

/

-

ON

/

OFF

(NORMAL,

MULTI-

PORTM

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

Mode

G

W

83

flFTER

TOUCH

SENS=28

Normal

GLOBAL

Domain

Combination

4

mix/split

8

mix

PATCH

*2

PATOi*2

63

flFTR

H+2

SENS=+28

Multi

channel

AREA

SENSITIVITY»O

•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.

The

SENSITIVITY

parameter

is

used

to

determine

how

"sen

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

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.

if

|The

following

chart

lists

how

after

touch

can

be

used

to

con-

ftrol

various

sound

effect

functions.

|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

Note

that

PORTM

TIME

can

only

be

set

to

"ON"

when

the

PORTM/SOLO

function

(EFFECT-01)

"Portamento"

parameter

is

first

set

to

"ON".

TREM

DEPTH

=

ON/OFF

ON:

Tremolo

depth

set

in

VOICE-13

is

increased

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

after-

touch

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

•SENSITIVITY=:99

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.

Cd

I

S

•48-

04

MOD

WHEEL

VOICE—14

Parameters

SENSITIVITY

PITCH=

+ON/-ON/OFF

(NORMAL,

MULTI-

PORTM

TIME=ON

/

OFF

CHANNEL)=0~99

TREM

DEPTH=ON/OFF

(COMBINATION)

=

-99-

+99

TREM

RATE=ON/OFF

VIB

DEPTH=ON/OF?

A

ENV

BIAS=ON/OFF

VIB

RATE=ON/OFF

84

MOD

WHEEL

SEN§=50

84

MOD

i+2

SEHS=+50

B

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

COUPLE*!

COUPLER

vz-i

DEF

WHEEL

1

Mult!

channel

I

AREA

The

parameters

in

this

function

are

used

to

specify

the

ef

fects

that

will

be

controlled

by

a

modulation

wheel

or

MIDI

control

change

No.

1

message

(see

accompanying

MIDI

implementation

chart) (or

when

connecting

to

VZ-1,

DEFINABLE

WHEEL

1

message).

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".

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).

As

with

after

touch,

these

independent

settings

also

affect

MIDI

control

change

]

No.

1

message

control

of

the

above

parameters.

♦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.

05

.49.

A

Functio

voice-i;

Multi>$

DEF

CONTROL

VOICE—14

Parameters

PITCH=

+ON/-ON/OFF

,

MULTI-

PORTM

TIME=ON

/

OFF

L)=0~99

TREM

DEPTH=ON/OFF

\TION)=

-99-

+99

TREM

RATE=ON/OFF

I=ON/OFF

A

ENV

BIAS

=

ON/OFF

\TE=ON/OFF

DEF

CONTROL

05

DEF

0+2

SENS=+50

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

COUPLE*!

COUPLE*2

vz-i

DEF

WHEEL

2

Multi

channel

AREA

^parameters

in

this

function

are

used

to specify

the

ef-

Ithat

will

be

controlled

by

MIDI

Control

change

No.

-

31

messages

(for

details

see

accompanying

MIDI

im-

chart),

or

when

connecting

to

VZ-1,

BLE

WHEEL

2

message.

parameters

are

exactly

the

same

as

those

set

in

T-03

(AFTER

TOUCH)

—

the

only

difference

be-

\

that

the

effects

are

controlled

during

performance

by

{MIDI

Control

change

No.

12-31

messages,

instead

'

Touch

message

or

modulation

wheel

message.

r

details

on

these

parameters,

see

"EFFECT-03

AFTER

JCH".

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).

As

with

after

touch,

these

independent

settings

also

affect

MIDI

Control

change

No.

12-31

message

control

of

the

above

parameters.

(The

MIDI

control

change

number

can

be

using

TOTAL-05,

the

MIDI

DATA

function.)

♦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)

♦2

In

COMBI

"G"

or

"W"

mode,

ON/OFF

and

SEN

SITIVITY

of

only

the

PORTAMENTO

TIME

parameter

affect

the

patches

(1-8)

globally.

Si

•50-

06

FOOT

VR

VOICE-14

Parameters

SENSITIVITY

PITCH=

+ON/-ON/OFF

(NORMAL,

MULTI-

PORTM

TIME=ON/OFF

CHANNEL)=0~99

TREM

DEPTH=ON/OFF

(COMBINATION)

=

-99-

+99

TREM

RATE=ON/OFF

VIB

DEPTH=ON/OFF

VIBRATE=ON/OFF

AENVBIAS=ON/OFF

66

FOOT

UR

SENS=58

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

COUPLE*!

COUPLE*2

vz-i

rear

panel

VZ-1

optional

VP-10/jj

Multi

channel

AREA

06

F

UR

0+2

SENS=-20

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

ble

resistor"

—

Foot

VR)

message.

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

No.

4

messages,

instead

of

After

Touch

messages.

For

details

on

these

parameters,

see

"EFFECT-03

AFTER

TOUCH".

Note

that

TREM

DEPTH,

TREM

RATE

and

AMP

ENV

BIAS

levels

can

be

set

for

each

motiule

(Ml

-

M8)

indepen

dently,

in

VOICE-14

(AMP

SENS).

As

with

after

touch,

these

independent

settings

also

affect

MIDI

Control

change

No.

4

message

control

of

the

above

parameters.

♦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)

♦2

In

COMBI

"G"

or

"W"

mode,

ON/OFF

and

SEN

SITIVITY

of

only

the

PORTAMENTO

TIME

parameter

affect

the

patches

(1-8)

globally.

07

FOOT

SI

=SUSTF

The

parameters

fects

that

will

be

sage

number

implementation

sustain-pedal

ir

keyboard.

The

following

ch

utilized;

r

SUSTAIN:

Soui

I

FOC

T

recei

SOSTENUTO:

I

:

DISABLE:

FOC

Functions

fOICE—14

U+2

29

T-03

AFTER

dAMPENV

M8)indepen-

1

after

touch,

ontrol

change

teters.

;

ENSITIVITY

>arameters

af-

:6,

3&7,

4&8)

FF

and

SEN-

07

FOOTSW

Parameters

FOOT

SW

=

SUSTAIN

SOSTENUTO

DISABLE

07

FOOT

SW

=SUSTflIN

VZ-1

optional

SP-2

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

PATCH

GLOBAL

@7

F

SW

fl+2

=SOSTENUTO

Multi

channel

AREA

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

keyboard.

The

following

chart

lists

what

FOOT

SW

messages

can

be

utilized;

SUSTAIN:

Sound

is

sustained

before

or

after

receiving

the

FOOT

SW

ON

message

until

OFF

message

is

'!

received.

SOSTENUTO:

Sound

is

sustained

only

until

FOOT

SW

ON

data

is

received.

DISABLE:

FOOT

SW

ON

data

cannot

be

received.

s

•52«

08

Parameters

TABLE

No.

=

1-

08

UEL

TflBLE

SEL

TfiBLE

NO.1

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.

By

altering

the

MIDI

IN

velocity

data,

it

is

possible

to

ac

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;

VEL

TABLE

SELECT

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

GLOBAL

@8

UEL

fil:

TflBLE

HO.8

Multi

channel

AREA

[VEL

TABLES]

VELOCITY

/

->

IN

VELOCITY

5

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).

09

PAN

AREA

rff

ice

<:

Parameters

MODE

=

FIX/CONTROL/AUTO

FIX:

PANPOT

l/2=-15~0~

+

15

AUTO:

CONTROL:

I

CONTROL

1/2

(CONTROLLER)

~

=AFTER/FT

VR/MOD/DEF/

PAN

RANGE

1/2=L/R/C-L/R/C

PAN

1/2=ON/OFF

RATE=0~63

DEPTH=0~31

CONTROL

(CONTROLLER)

=AFTER/FOOTVR/

MOD/DEF/OFF

3

PflN

MODE=FIX

@9

PflN

PRNP0T2=+15

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

GLOBAL

Combination

4

mix/split

8

mix

GLOBAL

Multi

channel

AREA

LEVEL

AUTO

DEPTH

TIME

-

controlled

by

controller

|

The

parameters

in

the

PAN

function

are

used

to specify

the

"panning

mode",

as

well

as

specify

the

actual

L/R

pan

ning

position

for

VZ-8M

sound

source

outputs

1

and

2.

Output

Channels

Depending

on

the

mode

selected,

sounds

are

output

through

channel

1

or

channel

2,

as

shown

in

the

chart

below;

§|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

perfor-

mance,

respectively.

y,

you

must

select

one

of

three

PAN

"modes"

—

C,

CONTROL

or

AUTO,

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

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.

Parameters

with

mode

set

to

"FIX"

PANPOT

1/2:

Used

to

specify

localization

from

OUTPUT

1

or

2.

Note

that

"0"

is

equivalent

to

a

"center"

setting,

with

negative

values

(up

to

-15)

panning

the

sound

to

the

left,

and

positive

values

(up

to

+15)

panning

sounds

to

the

right.

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.

RANGE

1/2:

Establishes

the

"range"

within

which

the

con

troller

will

be

able

to

pan

the

sound,

as

well as

the

pan

ning

direction.

Note

that

the

"C"

stands

for

"center".

FIX

CONTROL

LSPEAKER

RSPEAKER

LSPEAKER

R

SPEAKER

\

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).

RATE:

Universal

for

both

PANPOT

channels.

This

parameter

is

used

to

set

panning

"speed"

—

the

higher

the

value,

the

faster

panning

is

performed.

DEPTH:

Universal

for

both

channels.

This

parameter

is

used

to

set

panning

"depth"

—

the

higher

the

value,

the

deeper

the

panning

effect.

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.

8

1

i

•54<

H

■;■

■il

■1

I1

,

10

LEVEL

VOICE-15

Parameters

LEVEL

=

0-99

10

LEU

LEUEL=9'

/

3+4

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH

19

LEU

Hls4s

1

LEUEL=85

Muiti

channel

I

AREA

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.

Up

to

8

"levels"

are

set

in

this

function,

depending

on

the

number

of

patches

which

are

combined

(according

to

KEY

ASSIGN

specifications).

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.

The

POLAR

will

be

raisei

The

OCTAV

bined

pitch

increments.

•55«

PITCH

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

POLARITY=

+

OCTAVE

=

0-5

NOTE

=

0-11

FINE

=

0-63

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH

Multi

channel

AREA

11

PITCH

1

/

H+4

MTUNE=+1,

0,7

11

PITCH

fll:4:

1

TUNE=+2,

9,

0

^The

parameters

in

this

function

are

used

to

raise

or

lower

the

pitch

of

all

patches

used

to

create

a

"combined

sound"

in

the

Combination

Mode.

Naturally,

this

function

can

only

be

accessed

after

entering

this

mode.

The

POLARITY

parameter

is

used

to

specify

whether

pitch

will

be

raised

(+)

or

lowered

(-).

K

'

■•■-.

......■■

The

OCTAVE

parameter

is

used

to

raise

or

lower

the

com

bined pitch

by

a

maximum

of

5

octaves,

in

1-octave

increments.

•

The

NOTE

parameter

is

used

to

raise

or

lower

the

com

bined

pitch

by

a

maximum

of

1100

cents,

in

100-cent

increments.

The

FINE

parameter

is

used

to

make

"fine

tuning"

ad

justments

in

1.6-cent

increments

(approximate).

By

mak

ing

"fine"

tuning

adjustments,

a

"thick"

ensemble

sound

can

be

created.

•56-

S12

SPLIT

POINT

Parameters

POINT

=

CO

~C9

r

MIDDLE

SP

r-UPPERS?

/

I

/

J

/

4

O/S

Domain

Mode

K

W

Normal

12

SPLIT

I/i/3/4

P0INT=E3

Key

split

ranges

for

these

split

points

are

as

shown

below;

J

UPPER

SPLIT

POINT=DO

-

C9

(chromatic)

MIDDLE

SPLIT

POINT

=

C#0~B8

LOWER

SPLIT

POINT

=

CO

~Bb

8

If

the

parameters

in

this

function

are

accessed

when

a

KEY'

ASSIGN

configuration

has

been

selected

which

does

not

contain

any

keyboard

split

point

—

when

patches

are

"layered"

without

being

split

—

the

display

appears

as

in

FIG-D.

EDIT—PAGE—CURSOR—VALUE

Combination

4

mix/split

8

mix

PATCH(Split)

;

—

PATCH(Split)

i

—

PATCH(Split)

i

—

Multi

channel]

12

SPLIT

POINT

CHECK

KEYRSSIGN!

The

parameters

in

this

function

are

used

to

specify

"key

board

split"

points

in

the

Combination

Mode.

Depending

on

KEY

ASSIGN

specifications,

either

one

or

three

keyboard

split

points

are

assigned

using

this

func

tion.

When

only

one

split

point

is

used,

as

in

the

KEY

ASSIGN

configurations

in

FIG-A,

this

function

contains

only

one

parameter

—

the

SP

POINT

parameter.

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

highlighted.

This

indicates

that

the

"POINT"

parameter

is

to

be

set

for

the

"LOWER"

split

point.

For

the

MID

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.

To

input

a

split

point,

you

must

first

exit this

function

(SPLIT

POINT)

by

pressing

the

COMBINATION

key

or

the

EDIT

key.

Next,

choose

a

KEY

ASSIGN

configura

tion

which

contains

a

keyboard

split

point

by

pressing

the

VALUE

keys.

ALUE

ion

8

mix

Multi

channel

13

VEL

SPLIT

Parameters

RANGE=

1-127

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

COUPLE

PATCH(Layered);

COUPLE

PATCH(Layered)

j

COUPLE

Multi

channel

SPLIT

POINT

ECK

KEYRSSIGN!

5

are

as

shown

below;

(chromatic)

B8

j

accessed

when

a

KEY

'

elected

which

does

not

—

when

patches

are

e

display

appears

as

in

first

exit this

function

TION

key

or

N

configura-i

it

point

by

pressing

the

13

U-SP

1+2+3+4

RflN6E=

1-127

13

U-SP

l+B+3+4

RflNGE=

1-127

13

U-SP

0234B678

RRN6E=

1-127

13

UEL

SPLIT

CHECK

KEYRSSIGN!

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

parameters.

|

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

lev-

lel

that

is

outside

this

range,

the

specified

patch

will

not

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").

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.

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.

•58-

ii:

■

IS'

■

14

VEL

INVERSE

VOICE-12

Parameters

INVERSE

=

ON/OFF

14

UEL

il+2/3+4

INUERSE=ON

14

UEL

||234|67£

INUERSE=OFF

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

COUPLE

PATCH(Layered);

COUPLE

PATCH(Layered)

■

COUPLE

Vol

INVERSE

=

OFF

INVERSE

=

ON

Velocity

Multi

channel

14

UEL

INUERSE

CHECK

KEYflSSIGN!

The

parameters

in

this

function

let

you

choose

whether

you

want

to

literally

"invert"

the

velocity

level

curves

created

in

VOICE-12

for

each

patch

in

a

combined

sound.

Depend

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

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-

C.

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

"split"

points.

(such

as

"1/3"

or

"1/2/3/4").

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.

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

module

are

not

inverted

—

even

when

the

INVERSE

func

tion

is

set

to

ON;

—

When

the

INT

LINE

is

set

to

PHASE

for

any

particu

lar

LINE.

—

When

EXT

PHASE

is

specified

for

a

particular

LINE.

15

for:--'.

15

POSX

X-FflDE

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

Mu

cha

INVERSE*

■YflSSK

i

when

a

]

hich

cont

ny

"layered*

ion,

you

mu

t

pressing

i

ext,

choose^

tains

lay

urves

ofeacfq

VERSEJ

.4

icularLINE.%

-3

POS

CROSSFADE

lit

Parameters

X-FADE

=

ON/OFF

POS

=

C0~C9

1+2+3+4

rflDE=OFF

15

POSX

P0S=B62-F

3+4

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

—

PATCH(Layered>;

—

PATCH(Layered);

—

15

POSX

l+B+B+4

P0S=C#4-fl4

Multi

channel

15

POS

X-FflDE

CHECK

KEYflSSIGN!

ICROSSFADE

function

can

only

be

utilized

in

on

Mode,

when

a

KEY

ASSIGN

configu-

i

containing

only

"layered"

patches

is

selected

(such

1+2",

"3

+

4"

and

"1

+

2

+

3+4").

:(

.

^function

is

used

to

"fade"

together

patches

at

a

cer-

i

point

on

the

scale

(known

as the

"cross

point")»

by

;

the

range

on

the

external

keyboard

that

where-

j

patches

will

fade

together

(known

as

the "cross

po

ll"

or

"POS").

S

FIG-E

illustrates,

in

the

cross

position

range

(aaa-bbb),

?

patch

becomes

progressively

more

audible,

as

the

other

nes softer

and

gradually

fades

out

entirely.

This

cre-

j

a

"fading"

effect,

so

that

there

is

no

audible

cutoff

t

—

one

patch

simply

fades

into

the

other

as

you

move

gup

or

down

the

external

keyboard.

>

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

f

CROSS

POSITION.

Depending

on

KEY

ASSIGN

specifi-

ons,

either

one

or

three

POS

ranges

are

set

(FIG-B).

^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

position.

FIG-E

VOLUME

MAX

ddd

fff

■1

If

the

parameters

in

this

function

are

accessed

when

a

KEY

ASSIGN

configuration

has

been

selected

which

contains

keyboard

split

points

or

8

patches

mix

—

as

opposed

to

only

"layered"

patches,

the

display

appears

as

in

FIG-D.

If

you

want

to

use

the

POSITIONAL

CROSSFADE

func

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.

•60-

DELAY

TRIGGER

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

8

Domain

Mode

DELAY

TRIG

=

0-99

K

W

16

DLY

B+2+3+4

DELflY

TRI6=

9

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

—

PATCH(Layered);

—

P

ATCH(Layered)

■

—

16

DELflY

TRIG

CHECK

KEYRSSIGN!

A

Multi

channel

The

delay

trigger

function

can

be

used

to

"delay"

the

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

sounded

immediately

after

Note

On

message

received,

while

at

a

value

of

"99",

there

is

a

long

delay

before

the

patch

sounds.

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.

If

you

want

to

use

the

DELAY

TRIGGER

function

and

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

NATION

key

or

the

EDIT

key.

Next,

choose

a

KEY

AS

SIGN

configuration

which

contains

layered

patches

by

pressing the

VALUE

keys.

-61

17

TOTAL

VIBRATO

VOICE-07

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

TOTAL

=

ON/OFF

K

W

17

TOTflL

UIBRflTO

TOTflL=OFF

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

GLOBAL

PATCH(Layered);

GLOBAL

PATCH(Uyered)i

GLOBAL

17

TOTflL

UIBRflTO

•

MULTI=ON

17

TOTflL

UIBRflTO

TOTflL=ON

A

Multi

channel

17

TOTflL

UIBRflTO

CHECK

KEYflSSIGN!

The

TOTAL

VIBRATO

function

is

a

toggle

switch

which

can

be

used

to

turn

the

TOTAL

VIBRATO

function

ON

or

OFF,

and

contains

parameters

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

settings.

There

are

five

basic

parameters

within

this

function

—

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.

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.

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

or

the

EDIT

key.

Next,

choose

a

KEY

ASSIGN

configu

ration

which

contains

layered

patches

("

1

+

2",

for

exam

ple)

by

pressing

the

VALUE

key.v

VIBRATO

INVERSE

VOICE-07

19

Parameters

INVERSE

=

ON/OFF

18

UIB

0+2/3+4

INUERSE=ON

V

(WAVE

.TRIANGLE)

^

INVERSE

OFF

o/s

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH(Uyered):

PATCH

PATCH(Layered)i

PATCH

PATCH(Layered)i

PATCH

*

UIB

B2345678

INUERSE=ON

Multi

channel

II

18

UIB

INUERSE

CHECK

KEYflSSIGN!

19

TO'

•

TOTf

A

The

parameters

in

this

function

let

you

choose

whether

you

want

to

literally

"invert"

the

phase

of

the

vibrato

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

VERSE

function

On

or

Off

for

each

patch

in

the

combined

sound.

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)

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"

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

EDIT

key.

Next,

choose

a

KEY

ASSIGN

configuration

I

which

contains

layered

patches

("1+2",

for

example)

by]

pressing

the

VALUE

keys.

STAVE,

on).

•

63*

19

TOTflL

TREMOLO

MULTKFF

g.TOTAL

TREMOLO

function

is

a

toggle

switch

which

l

be

used

to

turn

the

TOTAL

TREMQLO

function

ON

[OFF,

and

contains

parameters

total-vibrato

ol.

1

this

function

is

turned

OFF,

patches

are

affected

by

e

data

programmed

individually

in

VOICE-13

(TREMO-

0

function).

When

set

to

ON,

COMBI

sounds

are

af-

:

globally

—.

regardless

of

independent

VOICE-13

ey

or the

Iguration

unple)

by

TOTAL

TREMOLO

VOICE-13

A

o/s

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

W

Normal

Combination

4

mix/split

8

mix

PATCH(Layered);

GLOBAL

PATCH(Layered);

GLOBAL

PATCH(Layered)!

GLOBAL

19

TOTflL

TREMOLO

CHECK

KEYfiSSIGN!

Multi

channel

i

are

five

basic

parameters

within

this

function

—

VAVE,

DEPTH,

RATE,

DELAY

and

MULTI.

These

icorrespond

to

the

parameters

in

VOICE-13

(TREMOLO

gfunction).

For

details

on

operations,

see

page

38.

1

[Note

that

when

an

8-patch

MIX

is

selected

with

the

KEY

|ASSIGN

function,

the

TOTAL

parameter

is

automatical

ly

turned

ON.

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-C.

\-

If

you

want

to

use

the

TOTAL

TREMOLO

function

when

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.

•64-

20

TREMOLO

INVERSE

VOICE—13

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

21

:

'■

Domain

Mode

INVERSE=ON/OFF

K

W

20

TREM

1+2/H+4

INUERSE=ON

Normal

Combination

4

mix/split

8

mix

PATCH(Layered)!

PATCH

PATCH(Layered);

PATCH

PATCH(Layered)

|

PATCH

\

/

\

A

INVERSE

V

-OFF

(WAVE-TRIANGLE)

}

TREM

B2345678

INUERSE=OFF

Multi

channel

I]

2@

TREM

INUERSE

CHECK

KEYflSSIQN!

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

VERSE

function

On

or

Off

for

each

patch

in

the

combined

sound,

By

"inverting"

the

tremolo

phase

for

any

given

patch,

the

tremolo

characteristics

are

actually

reversed,

so

the

tremolo

"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)

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.

If

you

want

to

use the

TREMOLO

INVERSE

function

and

I

this

display

appears,

you

must

first

exit

this

function

by

pressing

the

COMBINATION

key

or

the

EDIT

key.

Next,

I

choose

a

KEY

ASSIGN

configuration

which

contains

|

layered

patches

by

pressing

the

VALUE

keys.

•65<

hy

s,

•,-

COPY

EFFECT-01-07.10.il.--13.

Parameters

O/S

COPY=l-8-»l-8

ICOMBI

COPY

JrY

U"+^

21

COMBI

COPY

1*|

(YES)

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

PATCH

22

COMBI

COPY

COPY-1+2

OK!

Multi

channel

i

COMBI

COPY

function

can

be

used

to

"copy"

the

menu

data

of

one

patch

in

a

combination

to

patch

position.

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.

Copying

can

be

executed

by

simply

specifying

the

"source"

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

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).

"O"

indicates

that

data

is

copied.

Setting

example

3

2

->

8

2

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").

11'

i,

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

♦67«

01

OPERATION

TUNE

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.

!;

;

By

setting

this

parameter,

it

becomes

possible

to

perform

using

the

pitch

set

for

the

selected

operation

memory.

iThe

TUNE

parameter

consists

of

4

basic

data

items.

First

|

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

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

100-cent

increments.

The

FINE

parameter

is

used

to

make

"fine

tuning"

ad

justments

in

1.6-cent

increments

(approximate).

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

MASTER

TUNE/TRANSPOSE

Parameters

TUNE=-64~0~+64

TRANSPOSE

=

G~F#

60

MfiSTER

TUNE

■TUNE*

0

The

parameters

in

this

function

can

be

used

to

set

the

over

all

"tuning",

as

well

as

alter

the

standard

key

by

using

a

built-in

TRANSPOSE

function.

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)

The

TUNE

parameter

can

be

reset

to

its

initialized

value

("0")

by

pressing

both

VALUE

keys

simultaneously.

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

Operation

memory

Multi

channel

II

GLOBAL

01

TRfiNSPOSE=C

01

TRfiHSPOSE=F#

The

TRANSPOSE

parameter

lets

you

"transpose"

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

of

G

to

F#

.

This

effectually

transposes

the

overall

per-.;

formance

key.

02

Functions

MEMORY

PROTECT

Parameters

INTERNAL

=

ON/OFF

CARD

=

ON/OFF

o/s

Mode

K

W

Normal

@2

MEM

PROTECT

CflRD=ON

»;

The

parameters

in

this

function

can

be

used

to

protect

the

The

CARD

parameter

also

features

a

toggle

which

can

be

[

memory,

so

that

data

cannot

be

altered

or

erased.

turned

ON

or

OFF.

When

set

to

ON,

the

contents

of

sound

and

operation

memories

on

the

RAM

cards

will

be

pro-

s

INTERNAL

parameter

features

a

toggle

which

can

tected.

)

turned

ON

or

OFF.

When

set

to

ON,

the

contents

of

|

the

internal

and

operation

memories

will

be

protected.

Both

parameters

are

automatically

set

to

"ON"

each

time

the

unit's

power

is

turned

ON.

ion

Multi

<

lory

channel|

82

MEM

PROTECT

INTERNflL=ON

anspose"

the

ions.

In

other

pond

toCcan

within

a

range

ie

overall

per-

TOTAL-03,

06

EDIT—PAGE—CURSOR—VALUE

Domain

Combination

4

mix/split

8

mix

Operation

memory

Multi

channel

GLOBAL

8

I

•70-

'II

SAVE/LOAD

Parameters

O/S

SAVE/LOAD

=

SAVE/LOAD

CARD/MIDI

=

CARD

I/CARD

2/MIDI

DATA

=

VOICE/OPMEM/VC

+

OP/FULL

63

SflUE/LOflD

SflUE/LOflD=SRUE

A

QZ

SflUE

PUSH

YES

KEY!

A

93

SflUE

CflRD/MIDI=CflRDl

PROTECT

ON—

TOTflL

CONT

02!

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

Operation

memory

GLOBAL

03

SflUE

I=FULL

—MIDI

DISflBLE™

*

TOTflL

CONT

05!

03

EXECUTE?

(YES)

--TRRNS

ERROR—

CHECK

SYSTEM!

8M

This

function

is

essentially

a

"utility"

function,

which

is

used

to

control

data

SAVE

and

LOAD

operations.

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.

The

CARD

I/CARD

2/MIDI

parameter

lets

you

choose

the

medium

to/from

which

you

will

SAVE

or

LOAD

data.

When

CARD

is

selected,

data

will

either

be

saved

to,

or

loaded

from

a

RAM/ROM

card

inserted

in

the

card

slot.

If

you

want

to

SAVE

the

data,

be

sure

to

also

set

the

CARD

parameter

to

"CARD

1".

When

MIDI

is

selected,

data

will

be

transferred

to

or

from

another

VZ

series

syn

thesizer.

When

using

a

new

RAM

card,

you

must

first

format

it

(see

TOTAL-06).

The

DATA

parameter

lets

you

choose

the

type

or

combi

nation

of

data

which

will

be

saved

or

loaded.

You

can

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).

When

"VC

+

OP"

is

selected,

data

from

both

the

64

in

ternal

sounds

and

the

64

operation

memories

can

be

trans

ferred.

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,

press

the

YES

key.

Respond

to

the

menu

prompt

by

press

ing

the

YES

key

once

again.

If

you

want

to

abort

data

transmission,

simply

press

the

cursor

or

NO

(VALUE

▼)

key

of

the

transmitting

or

receiving

device.

Note

that

when

an

Operation

Memory

featuring

INTER

NAL

sounds

is

SA

VED

to

a

card,

the

sound

specification

on

the

display

automatically

changes

to

"CARD"

for

the

formerly

INTERNAL

sounds.

Note

that

if

the

memory

protect

is

set

to

ON

(TOTAL-02),

it

will

be

impossible

to

LOAD

data.

(FIG-F)

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

Multi

channel

E?

(YES)

ERROR-S

YSTEM!

bth

the

64

in-

\

;s

can

be

trans-

\

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

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.

l

transferring

data

between

the

VZ-8M

and

the

VZ-1

or

VZ-IOM

with

the

VZ-8M

as

SLAVE,

data

compatibility

.,

■.

..

jas

follows;

../♦

MIDI

OUT

.,

fc--i

VZ-10M

MIDI

IN

VZ-8M

••'

".

\'

...*■{•_

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-

MIDI

CHANNEL

Parameters

CHANNEL

=1-16

TOTAL

=

ON/OFF

o/s

Mode

K

W

Normal

\

MIDI

CHRNNEL

TOTRL=OFF

The

MIDI

CHANNEL

parameter

is

used

to

specify

the

MIDI

channel

on

which

the

VZ

will

receive

and

transmit

MIDI

messages.

It

is

possible

to

program

separate

MIDI

channels

for

each

operational

mode

(NORMAL,

COMBI,

OP

MEM

and

MULTI

CH).

This

is

accomplished

by

first

selecting

the

desired

mode,

and

then

setting

this

parameter.

Notice

that

there

are

two

parameters

the

"CHANNEL"

parameter

and

the

"TOTAL"

parameter.

MIDI

CHRNNEL

CHflNHEL=

1

EDIT—PAGE—CURSOR—VALUE

Domain

Combination

4

mix/split

8

mix

Operation

memory

GLOBAL

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

MULTI

CH

mode.

To

switch

between

the

two

parameters,

use

the

cursor

keys.

]

The

value

keys

can

be

used

to

raise

or

lower

the

CHAN-

j

NEL

number

and

change

the

TOTAL

parameter

setting.

I

r05

d

Functions^

f

J>,

the

MIDI

1

'

the

channel]

exception

ofj

ies

using

thel

i

cursor

keys,

the

CHAN-]

neter

setting.

F05

MIDI

DATA

Parameters

PROGRAM

=

0-

127/0-63/DIS

EXCLUSIVE

=

ENA/DIS

'

DEF

CONTROL

=

OFF/12-31

VOLUME

=

ENA/DIS

OVERFLOW

=

NORMAL

1

~

8

65

MIDI

DflTfl

PRO6RflM=0-63

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

Mode

K

W

Normal

Combination

4

mix/split

8

mix

Operation

memory

Multi

channel

GLOBAL

@5

MIDI

DflTfl

0UERFL0W=2

iJhe

parameters

in

this

function

are

used

to

specify

a

vari

ety

of

MIDI-related

data

(with the

exception

of

the

MIDI

£

Channel).

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

sages

(control

change

07).

When

set

to

ENA

(enable),

the

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.

A

Channel

on

which

Master

volume

data

is

received

in

respective

performance

modes

is

shown

below.

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.

NOTE

ON

SETTING

message

(NORMAL

mode)

^

1

1st-

8th

MIDI

DATA

MIDI

BOX

8.

VZ-8M

I

8

9th

~

16th

17th-24th

57th

-64th

J

8poiyx8°64poly

(normal

mode)

•

74.

06

CARD

FORMAT

TOTAL—01

Parameters

O/S

EDIT—PAGE—CURSOR—VALUE

Domain

EXECUTE?

(YES)

PUSH

YES

KEY

Mode

K

W

Normal

Combination

4

mix/split

8

mix

Operation

memory

Multi

channel

GLOBAL

66

CflRD

FQRMflT

EXECUTE?

(YES)

—NOT

REflDY—

INSERT

CflRD!

PROTECT

ON—

TOTflL

CONT

62!

—NOT

REflDY-

CHECK

CflRD!

This

is

a

utility

function

which

is

used

to

"FORMAT"

the

accessory

RAM

card.

Before

you

can

store

information

in

RAM

cards,

you

must

"initialize"

them

into

a

format

that

the

VZ

understands.

By

executing

the

FORMAT

command,

all

former

contents

are

erased

from

the

card,

and

it

is

prepared

to

receive

fresh

sound

data.

When

the

RAM

card

is

formatted,

it

is

auto

matically

programmed

with

the

64

preset

(1)

patches

and

64

preset

(1)

operation

memories.

After

inserting

the

card

you

want

to

format

in

to

the

card

slot,

you

simply

access

this

function's

EXECUTE

parameter.

A

"YES?"

prompt

will

appear

on

the

display

(FIG-A).

To

execute

formatting,

press

the

YES

key.

If

you

try to

execute

formatting

without

first

inserting

a

RAM

card,

the

display

will

appear

as

in

FIG-B.

First

in

sert

the

card

and

try

again!

If

you

try

to

execute

formatting

when

the

memory

protect

function

(TOTAL-02)

is

ON,

the

display

will

appear

as

in

FIG-C.

First

turn

this

function

OFF,

and

try

again!

If

you

try

to

execute

formatting

when

an

optional

ROM

(not

"RAM"

but

"ROM")

card

is

inserted

in

the

card

slot,

the

display

will

appear

as

in

FIG-D.

There

is

no

need

to

format

ROM

cards.

To

abort

execution

of

this

function,

press

the

MODE

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.

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).

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".)

|®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.

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

PARE/RECALL

indicator

is

ON.

If

it

is

OFF,

press

the

COMPARE/

RECALL

key.

□

...

SHIFT

ON/OFF

M

ON/OFF

□

WRITE

COPY/INIT

WRITE

UOICE

INT

*-*

COMPARE/

RECALL

•76-

■»

s^;

{..

If

the

COMPARE/RECALL

key

is

pressed

in

the

NORMAL

play

sub-

mode,

the

EDIT

key

indicator

also

comes

ON.

If

you

want

to

enter

I

i"-i

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.

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

ations

again.

For

information

on

writing

patch

data

to

the

OPERATION

MEMORY,

see

"Performance/Editing

in

the

Operation

Memory

Mode."

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'

WRITE

UOICE

INT

fl-5

(YES)

WRITE UOICE

OK!

—PROTECT

ON—

•*

TOTflL

COHT

92!

62

MEM

PROTECT

INTERNRL=OFF

rr

TOTAL

EOIT

CONTROL

3

+

4

1/3

Performance/Editingin

the

Combination

Mode

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.

Si;

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.

fed

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.

©Select

the

patch

you

want

to

play.

In

order

to

change

the

BANK,

first

press

the

BANK

key

(indicator

lights).

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

It

I'

III

®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.

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.

©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.

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

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'

<

■MM

>

□

WRITE

COPY/INIT

SHIFT

E S

F

6

7

H

8

WRITE

OPMEM

82

MEM

PROTECT

IHTERNflL=OFF

88 OP

NflME

INT

Performance/Editing

in

the

Operation

Memory

Mode

//■

3

0 4

|

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.

h

. .

|

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.

©Press

the

OPERATION

MEMORY

key.

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.

i

writing

is

completed

successfully,

an

"OK

!"

message

appears

|bh

the

display..

;

you've

completed

writing

combined

sound

data

to

the

operation

y,

you

can

give

it

a

name

by

using

the

OPERATION

NAME

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.

□

WRITE

COPV/INIT

WRITE

UOICE

INT

•*-*

OPERATION

MEMORY

SHIFT

E5

F6

67

H8

WRITE

OPMEM

nc

i

OP

NflME

INT

BANK

ES

F6

07

H8

M

ON/OFF

•80'

down

the

WRITE

key.

)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

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

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

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

after

you

originally

created

it!

©When

you've

finished

editing

the

sound,

re-write

it

using

normal

write

operations.

□

WRITE

COPY/INIT

□

SHIFT

ES

F8 G7

HB

08

OP

NflME

INT

fl-9:

02

MEM

PROTECT

INTERNflL=OFF

OPMEM

K

PST1

R-l:SEE

□

WRITE

COPY/INIT

C0M8I-

MULTI

NORMAL

NATION

CHANNEL

.MIDI

•81

<

ffomance/Editing

in

the

Multi

Channel

Mode.

jj

f

Multi

channel

mode

can

be

used

to

receive

or

send

through

up

to

)I

channels.

^MULTI

CHANNEL

mode

differs

from

the

normal

MIDI

Perfor-

i

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.

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.)

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.)

MULTI

CHANNEL

21131090

PST1

fl-lsUZ

EP

21131006

fl-lsi,JZ

EP

PST1

A

YES/SUS

V

NO/END

3

LEUEL

fll:2:

1

LEUEL=85

A

YES/SUS

■MMH

V

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.

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

©Select

the

MULTI

CH

mode

and

edit

multi-channel

data

until

you

are

satisfied.

When

you're

finished

editing,

press

the

MULTI

CH

mode

key

to

enter

the

PLAY

mode.

©Hold

down

the

WRITE

key.

©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.

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.

©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-

68

MIDI

Rl:2s

i

CHflNNEL=

1

MULTI

CHANNEL

D

WRITE

COPY/INIT

\w-

BANK

SHIFT

ES

F6

67

H

9

M

ON/OFF

WRITE

OPMEM

INT

*-*

WRITE

OPMEM

OK!

62

MEM

PROTECT

INTERNRL=OFF

OP

NflME

INT

fl-9:

)/

—

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]

VZ-8M

MIDI MIDI

MIDI

KEYBOARD

[GUITAR

MODE]

V

1ch

2ch

3ch

4ch

5ch

6ch

[WIND

MODE]

VZ-8M

MIDI

IN

MIDI

GUITAR

-t—1st

string

\

-

2nd

string

\

string

•-3rd

string

--4th

string

•

—

5th

string

6th

string

MIDI

WIND

CONTROLLER

VZ-8M

INv

VZ-8M

MIDI

instrument

MIDI

OUT

Sequencer

Ijn.

Drum

machine

OUT

Sequencer

MIDI

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

MIDI-

i

refer

to

the

corresponding

function

indexes.

MIDI

'IN

THRU

VZ-8M

In.

Drum

machine

•84-

STANDARD

COMMUNICATION

DATA

MIDI

MESSAGES"

MODES

Key

pitch;

Note

ON/OFF,

Velocity

After

touch

Pitch

bend

Definable

wheel

Modulation

wheel

FootVR

Main

volume

Portamento

time

Portamento

ON/OFF

Sustain

pedal

Bend

range

Program

change

(*1)

Mono

mode

(SOLO

»

ON)

Poly

mode

(SOLO

-

OFF)

OP.

MEM

SEND

RECEIVE

o

NORMAL

SEND

RECEIVE

0

COMBI

SEND

RECEIVE

o

MUL.

CH

SEND

RECEIVE

o

*1:

When

PROG

CHANGE

»DIS

is

set

in

TOTAL-04,

program

change

data

is

not

transmitted/received.

SYSTEM

EXCLUSIVE

MESSAGES

(*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).

INITIALL

To

initialize

a

ed

MODULE

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(

CH

mode,

re

•85-

Initializing

the

VZ-8M.

/sic

r

}

VZ-8M

can

be

"initialized"

in

a

number

of

ways,

allowing

you

to

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

)

initialize

all

internal

operation

memory,

voice

and

effect

data

to

fac-

r

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.

SING

VOICE

menu

FUNCTIONS

)

initialize

all

parameters

in

any

single

VOICE

menu

function

for

a

select-

i

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

press-

ling

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

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.)

OFFM

—.ON

POWER

SYSTEM

FILL

INITIRLIZE

OK!

"i

INITIRLIZE

PUSH

YES

KEY!

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

|

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.

•87-

CO)

condensed

rarefied

7

ormf

Vibrational

energy

arefied

air

jndensed

air

I

condensed

led

v^^v

;

you

might

imagine,

the

cyclical

changes

in

air

pressure

caused

by

the

^oscillation

of

the

bell's

surface

produced

what

are

known

as

"compres-

fsfonaJ

waves."

These

waves

of

air

pressure

cause

our

eardrums

to

vibrate,

f

nerves

in

the

inner

ear

translate

these

vibrations

into

"sound."

aturally,

the

type

of

vibration

produced

is

dependent

on

a

great

number

|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

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?

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

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).

ELEMENT

1:

PITCH

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.

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.

If

we

convert

sounds

into

electrical

signals

and

look

at

them

on

an

oscil

loscope,

we

can

see

that

the

number

of

waves

per

time

unit

differ

between

"high-pitched"

and

"low-pitched"

sounds.

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

pends

on

the

rate

at

which

the

bell's

surface

vibrates.

A

single

cycle

of

a

sine

wave

is

shown

on

the

right.

Vibrational

(Eardrym)

s

Air

Kinetic

energy

Waves

of

condensation

and

rarefaction

(high

atmospheric

pressure)

condensed

„

_.

,

.

^

Rarefied

■►©

rarefied

(low

atmospheric

pressure)

Oscilloscope

IWllBlHlHJfflffl

-Low

sounds

High

sounds

-

(low

register)

(high

register)

Few

waves

Many

waves

r\

*-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

each

second

is

known

as

the

"frequency."

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

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.

Well,

that

explains

the length

and

speed

of

our

"wave",

but

what

about

its

height?

Aha!

The

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

loud-

ness

—

the

higher

the

amplitude,

the

louder

the

sound.

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.

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

same

sound.

Which

brings

us

to

the

third

element

of

sound

—

timbre.

EN

istht

anothe

by

inedl

vibrati

440Hz

•&

880Hz

ucans

to

a

an

equa

ember

our

sine

\

pitch

as

a

different

\

The

VZ-8N

tremely

far.

Fundamc

Now

that

y

you

would

a

wave

(=

First,

take

This

figure

to

form

a

which

is

os

in

pitch),

i

When

we

c

feet

saw-tc

shape

as

a

damental

Waves

are

lowl

lELEMENT

3:

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".

^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".

|

Very

basically,

we

can

divide

waveforms

into

three

types,

shown

below.

|lWAVEFORM|

ITYPE

I

Sine

wave

Saw-tooth

wave

Bright

r,

n

l~1

p

Square

wave

Simple

[INSTRUMENTS

I

Flute,

whistle

Violin,

trumpet

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,

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

fun-

nental

wave

are

added.

•"•"•"•

•

•>

One

Cycle

Increase

in

Aij:

Particle

Density

Decrease

in

Air

Particle

Density

VA=B+C

•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

integral

multiples

of

the

frequency

of

the

fundamental

wave

are

known

as

"harmonics."

The

waveform,

and

thus

the

timbre

are

actually

determined

by

the

kind

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

of

different

harmonics,

and

it

is

these

harmonics

which

are

responsible

for the

countless

characteristic

timbres.

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

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!

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.

i

Saw-tooth

wave

Harmonic

components

o.l

2f

3f

4f 5f

6f 7f

81 Sf

(f)

i

Square

wave

Harmonic

components

UUl

r

(I)

•Graphs

such

as

the

ones

above

which

show!

the

harmonic

components

of

a

wave

form

are

j

called

"harmonic

spectrums".

Envelope

Curves

of

Various

L

(Sound

Volume)

Volume

AS.

piano

if

7f

8! 9f

101

1

L

>ve

which

show

|

i

wave

form

are

1

DUS

Violin

Tin

Flute

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

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.

(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)

low

RATEs

and

LEVELS

Interact

1*0

understand

the

relationship

between

RATEs

and

LEVEls,

take

a

close

ok

at

a

typical

amplitude

envelope

shown

on

the

right.

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

com-

I

irregular

vibrations

(i.e.

sounds

with

many

components

that

are

Lharmonics)

whose

pitch

can

therefore

not

be

measured

are

classified

SYSTEM

INITIALIZED

DATA

P.

•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

PST

2

H-6)

OPERATION

No.

VOICE

No.

NAME

VOICE

No.

NAME

MODE

K.G.W

KEY

ASSIGN

PST1

A-1

NORMAL

OPERATION

NAME

[NIT

NORMAL

VOICE

No.

NAME

VOICE

No.

NAME

VOICE

No.

NAME

VOICE

No.

NAME

OPERATION

I

TUNE

•-,0,0,0

VOICE

No.

NAME

VOICE

No.

NAME

PAN

SPLIT

POINT

POS

X-FADE

MODE

PAN1

PAN

2

CONTROL

1

CONTROL

2

RANGE

1

RANGE

2

RATE

DEPTH

CONTROL

SP

POINT

LOWER

SP

MIDDLE

SP

UPPER

SP

EFFECT

POS

(FROM)

POS

(TO)

L

POS

(FROM)

L

POS

(TO)

M

POS

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M

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U POS

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U

POS

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AFTER

TOUCH

LEVEL

PITCH

VIBRATO

INV

TREMOLO

INV

SENSITIVITY

VIB

DEPTH

VIBRATE

PITCH

PORTM

TIME

TREM

DEPTH

TREM

RATE

A

ENV

BIAS

LEVEL

POLARITY

OCTAVE

NOTE

FINE

INVERSE

FIX

O(OFF)

MOD

L-R

R-L

OFF

20

OFF

y

TOTAL

VIBRATO

TOTAL

TREMOLO

ON/OFF

WAVE

DEPTH

z

Value

with

MODE

set

to

AUTO

in

parentheses.

z

RATE

DELAY

z

MULTI

•96-

I'M-

EFFECT

MENU

INITIALIZED

DATA

[COMBINATION

MODE]

(OPERATION

MEMORY

PST

2

H-7)

OPERATION

No.

VOICE

No.

NAME

VOICE

No.

NAME

MODE

K.G.W

KEY

ASSIGN

OPERATION

NAME

INIT

COMB!

OPERATION

HJNE

PST

1.

A-1

PST1

E-1

COMBI

1+2

VOICE

No.

NAME

VOICE

No.

NAME

PST1

B-1

PST1

F-1

VOICE

No.

NAME

VOICE

No.

PST1

C-1

PST

1

6-1

+

.0,0.0

VOICE

No.

NAME

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No.

NAME

PST1

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OPERATION

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PAN

.97.

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H-7)

lue

with

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EFFECT

MENU

INITIALIZED

DATA

(OPERATION

MEMORY

PST

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•98-

[NORMAL/COMBINATION

MODE]

OPERATION

No.

NAME

VOICE

No.

NAME

MODE

K.G.W

KEY

ASSIGN

OPERATION

NAME

VOICE

No.

NAME

VOICE

No.

NAME

VOICE

No.

NAME

VOICE

No.

NAME

OPERATION

TUNE

VOICE

No.

NAME

VOICE

NO.

NAME

MODE

LTI

CH

MODE]

I

No.

^operation

name

["operation

tune

I

MODE

PAN

MODE

CONTROL

'100<

OPERATION

MEMORY

NAMES

I

♦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'

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

MULTI

VOICE

NAMES

♦You

can

shift

between

PRESET

banks

(1)

and

(2)

by

pressing

the

SHIFT

key

once

again.

and.

Normally,

.CE

TREATY"

:e

mode

is

indi-

i

for

use

with

a

igit.

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

NATION

or

NORMAL)

whose

indicator

is

lit.

3.

Set

the

performance

mode

to

K,

G,

or

W

using

the

cursor

keys

and

VALUE

keys.

rough

6

are

as-

2.

(In

this

case,

d

be

set

to

"1").

be

set

for

after-

timbre

through

jP

•102-

OPERATION

MEMORIES

•PRESET

1

C-4

A-l

SEE

GOD

C-5

Unique

synthetic

sound

with

a

bell-like

attack

and

thick

sustain

sound.

A-2

SEE

GOD

2

C-6

Another

variation

of

the

"SEE

GOD"

sound;

slightly

lighter

than

A-l.

Sounds

good

when

played

legato.

C-7

A-3

VIB/STR

SOFT

Vibe

sound

on

attack

with

sustained

strings

un

derneath;

best

suited

to

backing

layers.

A-4

ICE

AGE

C-8

"Cool"

crystalline

sound

changes

to

voice

timbre

with

velocity.

D-l

A-5

MELLOW

PAD

Mellow,

lazy

sound;

best

suited

to

slower

passages.

D-2

A-6

PEACE

TREATY

Tonic

sound

mixed

with

5

th.

Note

that

one

pitch

of

one

sound

changes

with

modulation.

D-3

A-7

PIANO/LOCH

Mixed

sound

featuring

electric

piano

and

strings.

A-8

DIGIVOICES

Spacial

bell

chorus

sound

which

emulates

female

D-4

'.

chorus.

B-l

BRASS

CHORUS

Cross-breed

of

brass

and

chorus

sounds

with a

D-5

"classical"

mood.

B-2

BRASS

QUART

Emulates

brass

quartet

featuring

sax

and

trum-

D-6

pet

sounds.

B-3

COPPERFUNK

Funky

brass

mix

featuring

4

different

sounds.

B-4

BRASS

DETUNE

Mixed

brass

sounds

with

second

sound

shifted

to

D-7

5th.

Pitch

of

one

sound

can be

altered

with

modu

lation.

B-5

VIOLINT

ATCK

Violin

sound

with

a

sharp

attack;

sounds

best

when

played

percussively.

D-8

B-6

DOUBLEGUITAR

Emulates

acoustic

guitar;

panning

localization

changes

with

velocity.

E-l

B-7

VZ

VIBES

"Clear",

crystal-like

vibes

sound.

Delay

trigger

used

to

produce

stereo

effect.

E-2

B-8

HEAVY

METAL

Distortion

guitar

mixed

sound

with

one

sound

shifted

to

5th.

Use

aftertouch

to

bend

down;

sus-

E-3

tain

for

"feedback".

C-l

SLAP

BASS

Heavy

duty

"slap"

style

electric

bass.

Play

with

E-4

percussive

touch

for

best

effect.

C-2

PICK

BASS

Emulates

electric

bass

played

with

pick.

Note

that

E-5

octave

of

one

sound

changes

with

modulation.

C-3

FRETLESS

BS

Smooth,

fretless

electric

bass;

aftertouch

control

of

bend.

CCLEAD

Thick

lead

sound

with

sharp,

metallic

attack.

YES

I

GOT

Lead

sound

with

electric

piano

attack,

perfect

for

"fusion"

sound.

Aftertouch

control

of

vibrato.

VZ

SOLO

LEAD

Percussive

lead

sound.

Aftertouch

control

of

vibrato.

VZ

PERC

PAD

Lead

sound

with

sharp,

metallic

attack;

lower

end

emulates

"slap"

style

electric

bass.

Aftertouch

control

of

vibrato.

TAKE

A

Tasty

synth

reed;

aftertouch

control

of

vibrato.

HEAVY

SPLIT

Split

setup

featuring

distorted

sound

and

heavy-

duty,

dirty

bass.

Split

at

F#3.

STRING/FLUTE

Split

setup

featuring

flute

and

strings.

Note

in

teresting

flute

attack

sound.

Split

at

F#

4.

BASS/EP

Split

setup

featuring

electric

piano

and

bass

gui

tar.

Aftertouch

control

of

note

bend

for

bass

sound

only.

Split

at

C4.

BASS/VIBES

Split

setup

featuring

vibes

and

percussive

bass

timbre.

Split

at

C4.

BS/VBNO-SRNE

Split

setup

featuring

percussive

bass

sound

and

a

vibes/strings

layered

sound.

Split

at

C4.

VELOMONICA

Velocity

split

featuring

VZ-MONICA

and

AVANALOCH

patches.

Aftertouch

control

of

bending

with

VZ-MONICA

patch;

sustain

pedal

controls

only

AVANALOCH.

TRUMPOCITY

Velocity

split

featuring

VZ-TRUMPET

and

MEL

LOW

BRASS

patches.

Aftertouch

control

of

bending

with

VZ-TRUMPET

patch;

sustain

pe

dal

controls

only

MELLOW

BRASS.

HARP

ROLL

Produce

diminished

chord

arpeggio

by

holding

down

just

one

key!

R/B

BRASS

(Normal)

Powerful

brass

sound.

Modulation

con

trols

fast

panning

effect.

CZ

BRASS

(Normal)

Synthesized

brass

with

"wide"

effect

created

through

panning.

ANALOG

BRASS

(Normal)

Analog

style

synth

brass;

modulation

control

of

panning

effect.

VELO

ORCH

(Normal)

Orchestra

sound

with

panning

effect;

timbral

changes

through

velocity.

ORCHESTRA

(Normal)

Orchestra

sound

with

panning

effect;

panning

changes

through

modulation.

F-l

F-2

F-3

F-4

F-5

F-6

F-7

F-8

G-l

G-2

•103-

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-

like

synthetic

sound

is

especially

realistic

from

mid-

range

down.

H-5

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

C-5

A-l

ICE

HORNS

Analog

style

synthetic

sound

emulates

thick,

bell-

like

timbre.

.

C-6

A-2

VOCAL

BELLS

Mix

of

human

voice

and

bells

using

velocity

in

verse;

play

softly

for

best

results.

C-7

A-3

TWINKY

Synthethic

timbre;

note

timbral

changes

when

played

staccato.

C-8

A-4

FESTIVAL

Interesting

synthetic

sound;

useful

when

played

as

single

notes

or

in

unison.

D-l

A-5

MELLIFLUENCE

Mix

of

human

voice

and

bells;

useful

in

chords

or

in

counter

melodies.

D-2

A-6

FLUTE/STRING

Mix

featuring

flute

sound

and

strings

with

a

slow

attack.

A-7

PEACEFUL

D-3

Metallic,

percussive

sound

features

timbral

changes

with

alterations

in

velocity.

A-8

GEN

PURPOSE

D-4

Multi-purpose

percussive

sound;

good

for

leads,

backing

chords,

etc.

B-l

ACOUSTAR

D-5

Acoustic

guitar

sound;

useful

when

played

in

gui

tar

arpeggios

or

in

clavi-like

"chops".

B-2

TOY

PIANO

Huge

"toy

piano"

sound;

extremely

realistic

in

D-6

mid

and

upper

ranges.

B-3

DELAY

VIBES

Vibe

sound

with

short

delay

effect;

nice

for

slower

D-7

chord

work.

B-4

OCTAVEMALLET

Percussive

"mallet"

sound

in

octave

mix

setup.

B-5

STR

QUARTET

Lightweight

string

quartet;

modulation

adds

D-8

vibrato.

B-6

STEREO

BRASS

Interesting

"stereo"

setup

featuring

two

different

E-l

types

of

brass

—

one

left,

one

right.

B-7

RECORDERS

Interesting

recorder

"ensemble".

B-8

PIPEONMONDAY

E-2

Slightly

rough

pipe

organ

sound;

note

changes

from

high

range

to

lower

range.

C-l

FLANGE

BASS

E-3

Mixed

arrangement

featuring

4

different

bass

sounds

and

"flanger"

effect.

C-2

SAXY

LEAD

E-4

Sax-liek

synth

lead

sound;

aftertouch

control

of

vibrato.

C-3

RING

FLUTE

E-5

Flute-like

synthetic

sound

with

metallic

attack

noise.

E-6

C-4

LIVE

LEAD

Heavy-duty

synth

lead

sound;

aftertouch

control

of

heavy

vibrato.

E-7

•105«

VANUGENT

5TH

Another

heavy

distortion

lead

sound

with

a

5th

added;

aftertouch

control

of

bend.

GAMELAN

BELZ

Emulates

ethnic

Indonesian

"gamelan"

bell-like

sound;

4-sound

mix.

OVERSEAS

4-sound

ethnic

mix

with

5th

added;

play

staccato

for

timbral

variations.

FEMALE

VOICE

Realistic,

female

vocal

sound;

note

changes

in

at

tack

sound

with

velocity.

BS/GTNO-RICH

Heavy-duty

bass

split

featuring

"GITIANO"

and

"RICH

ORCH";

split

at

C4.

TXTURL

SPL

Another

interesting

split

setup

featuring

velocity-

controlled

brass

and

a

percussive

bass

sound.

Split

at

D4.

TXTURL

SPL

2

Another

split

setup

with

a

gorgeous

synth

sound

and

a

heavy-duty

bass

sound.

Split

at

D4.

EASTERN

SPLT

Split

setup

with

2

different

ethnic

sounds;

after

touch

control

of

bend.

Split

at

D4.

PASTOR/CLAVI

Mix

of

PASTORALE

and

CLAVI

sounds

with

timbral

variations

through

velocity

inverse

function.

VELOFLUTE

Velocity

split

featuring

synthetic

sound

and

flute

timbre.

SAXOPHOCITY

Velocity

split

featuring

HORN

SWELL

and

JAZZ

SAX

timbres.

JAZZ

SAX

timbre

feature

aftertouch

control

of

bend;

sustain

pedal

controls

HORN

SWELL

part

only.

SOUND

OF

FUN

Play

a

single

key

for

an

automatic

4-note

arpeg

gio

(C,

D,

E,

F,...O;

features

bell-like

sound.

BEGINNING

Huge

ensemble

sound

emulates

mixed

sound

featuring

a

number

of

different

synth

sounds.

Modulation

alters

R/L

assignment.

SWIRLING

STR

Strings

with

slow

attack;

"swirling"

effect

through

panning.

HORN/STRINGS

String-like

sound

with

wide

ambience

through

panning

effect.

VIB/PAN

STR

Mixed

sound

featuring

vibes

and

strings

with

panning.

FESTIVAL

2

Synth

ensemble

featuring

panning.

SOFT

ORCHEST

Lightweight

bells

and

strings;

modulation

controls

panning

effect.

EP

SERENE

Mixed

sound

featuring

electric

piano

sound

and

synth

timbre

with

panning.

with

a

5th

ng

velocity-

sound.

Split

;ynth

sound

atD4.

"

I

unds;

after-

4

sounds

with

:ity

inverse

i

nd

and

flute

WE

md

nbre

feature-

edal

controls

i-note

arpeg-

ike

sound.

nixed

sound

/nth

sounds.

fleet

through

mce

through)';

strings

with>|

ation

controls

10

sound

and

E-8

HEADBANGER

Distorted

sound

made

"wider"

through

panning

effect;

second

sound

raised

an

octave

through

modulation.

F-l

WARMEP

(Normal)

Orthodox

electric

piano

sound;

modu

lation

controls

PAN

effect.

F-2

DYN

VZ

PIANO

(Normal)

Standard

electric

piano

with

panning

effect.

F-3

DREAMY

EP

(Normal)

Dream-like

electric

piano

sound

with

panning

effect.

F-4

DIGIPIANO

.

(Normal)

Big

electric

piano

sound;

muse

modu

lation

for

"thrilling"

effect.

F-5

CLAVI

PIANO

(Normal)

Clavi

sound;

sound

moves

from

left

to

right

each time

a

key

is

pressed.

F6

ORGAN

(Normal)

Rockin'

organ

sound;

modulation

con

trols

rotating

speaker

effect.

CHURCH

ORGAN

(Normal)

Big

church

pipe organ;

modulation

con

trols

panning

effect.

F-8

CAR

HORN

(Normal)

Realistic

"European"

auto

horn;

modu

lation

changes

panning

localization.

G-l

G.JAZZ

GTR

Designed

for

use

with

MIDI

guitar

controller;

realistic

jazz

guitar

with

independent

panning

for

each

string.

G-2

G.WARM

EP

Designed

for

use

with

MIDI

guitar

controller;

vibes

sound

with

panning

effect.

G-3

G.DISTORTAR

Designed

for

use

with

MIDI

guitar

controller;

mix

featuring

twin

distortion

guitar

sounds.

IG-4

G.LEAD

2

Designed

for

use

with

MIDI

guitar

controller;

mixed sound

featuring

distorted

synth

lead

sound

with

reverb.

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.

G-6

G.EL

BASS

Designed

fpr

use with

MIDI

guitar

controller;

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

5

and

6.

!

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

poly;

CH2:VZ

EP/4-note

poly;

CH3:THE

SAX/3-note

poly.

H-2

M.FUNK

BAND

Multi

Channel

setup;

CH1:VZ

BASS/2-note

poly;

CH2:GITIANO/3-note

poly;

CH3:R/B

BRASS/3-note

poly.

H-3

M.ROCK

BAND

Multi

Channel

setup;

CH1:PIANO

BASS/2-note

poly;

CH2:ORGAN/3-note

poly;

CH3:DIS-

TORTER/3-note

poly.

H-4

M.CHAMBER

Multi

Channel

setup;

CHl:CELLO/2-note

poly;

CH2:BRASS

CHORUS/2-note

poly;

CH3:VI0-

LIN/2-note

poly;

CH4:FLUTE/2-note

poly.

H-5

M.NEW

WAVE

Multi

Channel

setup;

CH1:SEQ

BASS/2-note

poly;

CH2:DIGI

VOICE/4-note

poly;

CH3:VZ

MARIMBA/2-note

poly.

H-6

INIT

NORMAL

Features

initialized

data

for

NORMAL

mode.

H-7

INIT

COMBI

Features

initialized

data

for

COMBI

mode.

H-8

INIT

MULTI

Features

initialized

data

for

MULTI

CHANNEL

mode.

106-

Care

of

Your

Unit

jj

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.

2.

When

not

in

use,

be

sure

to

store

your

card

in

its

custom

case

to

prevent

damage

due

to

dust

etc.

3.

Your

card

contains

precision

electronic

components.

Never

try

to

take

it

apart

for

any

reason.

4.

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

HIM

*

^^^^^^

*

UAX

PHONES

VOLUME

CARO

©Headphone

jack

©Card

slot

©Master

volume

Used

to

adjust

the

overall

output

volume.

©Liquid

crystal

display

Backlit

liquid

crystal

graphic

display

is

used

to

display

all

menu

functions.

©Operation

memory

mode

key

Used

to

select

the

OPERATION

MEMORY

operation

al

mode.

0

Normal

mode

key

Used

to

select

the

NORMAL

operational

mode.

©Combination

mode

key

Used

to

select

the

COMBINATION

operational

mode.

©Multi

Channel

mode

key

Used

to

select

the

MULTI

CHANNEL

operational

mode.

key

Used

during

editing

to

"recall"

the

original

sound

(sound

before

editing)

and

"compare"

it

with

the

edited

version.

When

the

indicator

is

OFF,

the

original

sound

is

out

put.

When

the indicator

is

ON,

the

edited

version

is

output.

•109*

ation

memory

mode

key

(4)

Normal

mode

key

(f)

Combination

mode

key

(6)Multi

Channel

mode

key

(7)Compare/Recall

key

©Cursor

key

WRITE

TOTAL

EDIT

BANK

SHIFT

COPY/INIT

CONTROL

M

ON/OFF

PAGE

CURSOR

VALUE

E

5

F

6

7

H

6

©Value

keys

®Page

keys

©Shift

key

©Bank

key

(Module

ON/OFF

key)

3Edit

key

©Total

Control

key

©Write

key

(Copy/Initialize)

OFF

A

—.ON

LJI

POWER

©Power

switch

Q§)Program

No

keys

(A-H/l-8)

erational

mode.

EL

operational

©Cursor

key

jUsed

to

move

the

"cursor"

within

the

various

menu

?

functions.

I

|®Headphone

jack

|£onnect

headphones

for

"private"

performance.

|®Card

slot

ilnsert

ROM

or

RAM

cards

for

save/load

of

sound

data.

|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.

©Write

key

(Copy/Initialize)

Used

to

write

edited

sounds

to

either

internal,

card

or

operational

memories.

©Total

Control

key

Used

to access

the

TOTAL

CONTROL

editing

menu.

Used

to

access

the

VOICE

PARAMETER

and

EFFECT

editing

menus.

©Bank

key

(Module

ON/OFF

key)

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

modules

ON

and

OFF

when

editing

sounds

using

VOICE

PARAMETER

menu

functions.

Used

to

select

the

memory

area

(PRESET

1

or

2,

IN

TERNAL,

CARD

1

or

2).

©Page

keys

Used

when

accessing

various

editing

functions.

The

PAGE

[A]

key

increments

function

numbers,

while

the

PAGE

[T]

key

decrements

these

numbers.

©Value

keys

Used

to

raise

or

lower

values

of

various

VZ-8M

parameters.

©Program

No

keys

(A-H/l-8)

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).

©Power

switch

Switches

unit

ON

and

OFF.

REAR

PANEL

CONNECTIONS

©Power

terminal

DPower

terminal

For

connection

of

accessory

AC

power

cord

©MIDI

terminals

(IN/OUT/THRU)

For

connection

of

other

MIDI-equipped

instruments

and

devices.

/

A

CAUTION

A

[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.

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.

©MIDI

terminals

T

(IN/OUT/THRU)

Specifications.

II

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:

8

X

(DCO

+

DCA),

ON/OFF

Voice

parameters:

Effect

parameters:

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)

<DCA>

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

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

=

0-

11,

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

strument),

ATION

64

card

nation

ith

ROM

>RM:

8,

DE-

-63,

SUS,

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),

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=

j

0~

127/0-63/DIS,

EXCLUSIVE=ENA/DIS,

DEF

CONTROL=OFF/12-^31,

\

VOLUME

=

ENA/DIS,

OVERFLOW

=

NORMAL/1

~

8,

CARD

FORMAT

!

^Design

and

specifications

are

subject

to

change

without

notice.

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

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

I.

System

Exclusive

Message

Transmit

/

Receive

1

II.

Message

formats

1

1.

Voice

Data

1

2.

SEND

REQUEST

for

Single

Voice

Data

2

3.

Operation

Data

2

4.

SEND

REQUEST

for

Single

Operation

Data

3

5.

Multi

Channel

Mode

Data

4

6.

SAVE

/

LOAD

4

7.

Master

Tune

7

8.

Key

Transpose

10

9.

Mode

Change-1

10

10.

ModeChange-2

11

11.

Shift

Change

(including

Card

Bank

Change)

j.

12

12.

CZ

Bend

Range

12

III.

Internal

Format

of

Data

13

1.

Transmission

Format

13

2.

Voice

Data

14

3.

Single

Operation

Data

24

4.

Multi

Channel

Mode

Data

47

5.

TOTAL

CONTROL

Data

51

m--

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

""

00

7N|

100|—|

III

1

Voice

Data

CS

F0

44

03

F7

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

(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.

♦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

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

7N

0

1

Operation

Data

(VZ-8M)

CS

|—|

F7

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-

mi'

fcT

81:-.■>.:..'

(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

F

0

I

4

|

0

3

|

0

2

|

7

N

| 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

/*im\

r

5.

Multi

Channel

Mode

Data

A

single

Multi

Channel

Mode

Data

is

received.

(1)

Data

Format

FO

44

03

I

00

7N

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

OPEN:

I

FO

I

44

I

03

I

00

I

7N

HUD

CLOSE:

|

F0

|

44

|

03

|

00

|

7N

|—|

7

1

|

1

OK:

' ' '

'

"""

F7

1

72

F7

ERROR:|f

0

|

44

|

03

|

00J7N

|—|

73

|—|

F7

Data

■

DATA:

|

F0

|

44

|

03

|

00

|

7N

|—|

74

|—|

Data

|cs|

Data

|cs|

|

Data

|cs|

1

F7

Voice

data

or

Operation

data

(VZ-1)

ii)

Data

unique

to

VZ-8M

OPEN:

CLOSE:

|

F0

|

44

|

03

|

02

|

7N

|

1

7

1

|

[f

7

OK:

F0

|

44

|

03

~^2

|

7N

—

72

|

F7

-4-

Data

74

—

Data

CS

Data

CS

Data

CS

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

r1

VZ-8M

Unit

A

OPEN

(VZ-1)

TRANS

r

1

VC

data

+ CS

TRANS

1

VC

data

+

CS

TRANS

64

VZ-8M

Unit

B

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

1

VC

data

+ CS

TRANS

EOX

TRANS

CLOSE

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

64

I

<

OK

(VZ-1)

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

OPEN

(VZ-1)

TRANS

1

OP

data

(VZ-1)

+

CS

TRANS

64

VZ-8M

Unit

B

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

L

1

OP

data

(VZ-1)

+

CS

TRANS

EOX

TRANS

CLOSE

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

>

64

OK

(VZ-1)

TRANS.

Common

with

the

VZ-1,

10M

-6-

r

64

OPEN

(VZ-8M)

TRANS

1

OP

data

(VZ-8M)

+

CS

TRANS

1

OP

data

(VZ-8M)

+ CS

TRANS

EOX

TRANS

CLOSE

(VZ-8M)

TRANS

SAVE/LOAD

of

Voice

+

Operation

Memory

Data

VZ-8M

Unit

A

OPEN

(VZ-1)

TRANS

^

r

1

VC

data

+

CS

TRANS

64

1

VC

data

+ CS

TRANS

1

OP

data

(VZ-1)

+

CS

TRANS

64^

L

1

OP

data

(VZ-1)

+

CS

TRANS

EOX

TRANS

CLOSE

(VZ-1)

TRANS

OPEN

(VZ-8M)

TRANS

1

OP

data

(VZ-8M)

+ CS

TRANS

1

OP

data

(VZ-8M)

+

CS

TRANS

EOX

TRANS

CLOSE

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

64

OK

(VZ-8M)

TRANS

J

OK

(VZ-8M)

TRANS

OP

data

=

Operation

data

VZ-8M

Unit

B

-

OK

(VZ-1)

TRANS

-

OK

(VZ-1)

TRANS

^

►

64

OK

(VZ-1)

TRANS

^

OK

(VZ-1)

TRANS

~

OK

(VZ-1)

TRANS

64

Common

with

the

VZ-1,

10M

OK

(VZ-1)

TRANS.

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

64

-7-

SAVE/LOAD

of

FULL

Data

64

VZ-8M

Unit

A

OPEN

(VZ-1)

TRANS

1

VC

data

+

CS

TRANS

64

«

1

VC

data

+ CS

TRANS

1

OP

data

(VZ-1)

+

CS

TRANS

64

L

1

OP

data

(VZ-1)

+ CS

TRANS

EOX

TRANS

CLOSE

(VZ-1)

TRANS

OPEN

(VZ-8M)

TRANS

1

OP

data

(VZ-8M)

+ CS

TRANS

1

OP

data

(VZ-8M)

+

CS

TRANS

TOTAL

CONTROL

data

(VZ-8M)

+

CS

TRANS

EOX

TRANS

CLOSE

(VZ-8M)

TRANS

VZ-8M

Unit

B

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS

^64

OK

(VZ-1)

TRANS

OK

(VZ-1)

TRANS.

64

Common

with

the

VZ-1,

10M

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

OK

(VZ-8M)

TRANS

64

JPK

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,

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

44

03

00

7N

|

4

0

—|

00

0

Dl[

F7

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.

Q

r

8.

Key

Transpose

Key

Transpose

Data

is

received.

(1)

Data

Format'

FO

44 03

00

7N

40

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

1

' '

'

""

5

0

I

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

i i i i i

r

DD

FO

44

03

|

02

|

7N

|

1

SO

F7

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

44

00

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:

(1

Byte)

~°u

\/

°L

\

(2)

Transmitted

Data:

/

I

OP

I

OP

I

/

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.

r

Byte

No.

5-20

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

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

0:

OFF,

1:

ON

FINE

0~3F(H):

0-63

-14-

DATA

ENVELOPE

(PITCH,

AMP),

VEL

RATE

(VOICE-03,

09,

17-19)

RATE

1

0~7F(H):

0-99

(Note

2)

VEL

RATE

0:

DIS,

1:

ENA

LEVEL

1

0

-

7F(h>:

0

~

99

(M1

-

M8)

(Note

3)

M8

PITCH

LEVEL

8

SUSTAIN

STEP

01~40~7F(H):

~63~0~

+

63

(Note

4)

1:

SUS

J0*\

Byte

No.

165-172

173

174

175-182

183

-16-

DATA

A

ENV

END

STEP,

AMP

SENS

(VOICE-09,

14)

Ml

M2

M3

M4

M5

M6

M7

M8

P

ENV

END

STEP

(VOICE-03)

\Z

PITCH

TOTAL

LEVEL

(VOICE-15)

7

-TOTAL

LEVEL

0-7F(H):

99-0

(Note

5)

A

ENV

DEPTH,

MODULE

ON/OFF

(VOICE-10)

Ml

M2

M3

M4

M5

M6

M7

M8

ENV

DEPTH

0~7F(H):

99-0

(Note

5)

MODULE

ON/OFF

0:

ON,

1:

OFF

P

ENV

DEPTH,

RANGE

(VOICE-04)

ZL

PITCH

ENV

DEPTH

0-3F(H):

63-0

(Note

6)

RANGE

0:

NARROW,

1:

WIDE

Byte

No.

184-279

DATA

LEVEL

KF

(AMP)

(VOICE-11)

-Ml

P4

P5

I

M8

P6

_

LEVEL

0~7F(H):99~0(Note5)

KEY

0C~78(H):C0~C9(Note7)

280-291

LEVEL

KF

(PITCH)

(VOICE-05)

Pi

P2

P3

P4

P5

P6

PITCH

-

LEVEL

0

~

3F(H):

63-0

(Note

6)

-KEY

0C-78(H):

C0-C9

(Note

7)

292-303

RATE

KF

(VOICE-16)

Pi

P2

P3

P4

P5

P6

-

RATE

0

-

7F(H):

0-99

(Note

2)

-KEY

0C~78(H):

C0-C9

(Note

7)

-17-

0\

jpk

Byte

No.

304-313

314

315

316

317

318

-18-

DATA

VEL

SENS

(VOICE-06,

12,

17,

18,

19)

Ml

M2

M3

M4

M5

M6

M7

M8

PITCH

RATE

SENSITIVITY

0~lF(H):0~31

CURVE

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

0:

OFF,

1:

ON

OCTAVE

0~2{H):

0-2

OCTAVE

0:

-,

1:

+

VIB

(DEPTH)

(VOICE-07)

\Z

-DEPTH

0~63(H):0~99

VIB

(RATE)

(VOICE-07)

ZL

-RATE

0~63(H):0~99

VIB

(DELAY)

(VOICE-07)

\ZL

-DELAY

0~63(H):0~99

TREMOLO

(WAVE,

MULTI)

(VOICE-13)

M

-WAVE

0:

TRI^IGLE,

1:

SAW

UP,

2:

SAW

DOWN,

3:

SQUARE

-MULTI*

0:

OFF,

1:

ON

Byte

No.

319

DATA

TREM

(DEPTH)

(VOICE-13)

-DEPTH

0~63{H):0~99

320

TREM

(RATE)

(VOICE-13)

•RATE

0~63(H):0~99

321

TREM

(DELAY)

(VOICE-13)

\A

DELAY

0~63(H):

0-99

322-335

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

17

18

s

23

24

s

2F

30

s

3B

3C

47

11

PITCH

FIX

OFF

ON

W

6C

s

77

78

s

7F

10

11

07

\

-20-

NOTE

2)

-21-

=flE&'-W>\«?.r'..

.:

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<P3<P4<P5<P6

-23-

m

,■•-■■•■■'

3.

Single

Operation

Data

Operation

Data

for

a

single

operation

memory

consists

of

100

bytes

of

data

common

with

the

VZ-l/lOM,

and

75

bytes

which

is

unique

to

the

VZ-8M.

As

shown

on

page

2,

data

for

COMBI

operation

memories

and

NORMAL

operations

memories

is

transmitted

as

follows;

FO

44

03

|

00

|

7N

I

|

1

OP

data

(VZ-1)

|

C

s|

F7

100

Bytes

-

followed

by

F0

44

03

02

1

OP

data

(VZ-8M)

75

Bytes-

CS

|

F7

MULTI

CH

operation

memory

data

is

transmitted

as

follows;

0

1

F0

44

|

03

|

02

1

OP

data

■175

Bytes-

CS

| 1

F7

Note

that

the

arrangement

of

operation

memory

data

differs

for

COMBI,

NORMAL

and

MULTI

CH

modes.

3-1-1.

COMBI

Operation

Data

(VZ-1

format)

Data

common

with

the

VZ-1/10M

is

composed

of

100

bytes

of

data

and

is

transmitted

in

the

following

order.

Byte

No.

DATA

MODE,

ASSIGN

]

1(H):

COMBI

1

+

2

J

I

-MODE

&

ASSIGN

8(h):

COMBI

1/2/3/4

For

1(H)

through

8(h),

byte

no.

0

of

VZ-8M

for

mat

(page

28)

is

the

same

as

the

last

4

bits

of

MODE,

ASSIGN

data.

However,

when

9(H)

is

selected

(8-voice

mix),

0(h)

is

set

for

this

value.

OPERATION

NAME

1st

character

2nd

character

12th

character

VZ-8M

code

-OPERATION

NAME

(ASCII

CODE)

15

POS X-FADE

(EFFECT)

(EFFECT-15)

'

TOTAL

VIB

0:

OFF,

1:

ON

-

X-FADE

0:

OFF,

1:

ON

-

TOTAL

TREM

0:

OFF,

1:

ON

-24-

1

p

■

I

Byte

No.

16-19

20-27

28-99

SPLIT

POINT

(EFFECT-12)

DATA

1

POINT

SPLIT

3

POINT

SPLIT

(LOW)

3

POINT

SPLIT

(MID)

3

POINT

SPLIT

(UPPER)

SP

POINT

OC~78(H):CO~C9(NOTE8)

POS

X-FADE

(POINT)

(EFFECT-15)

2

TONE

MIX

minimum

2

TONE

MIX

maximum

4

TONE

MIX

LOW

minimum

4

TONE

MIX

LOW

maximum

4

TONE

MIX

MID

minimum

4

TONE

MIX MID

maximum

4

TONE

MIX

UPPER

minimum

4

TONE

MIX

UPPER

maximum

POINT

0C~78(H):

C0-C9

(NOTE

9)

COMBI

SOUND

DATA

Byte

28

45

46

63

64

81

82

99

-COMBI

1

-COMBI

2

-COMBI

3

-COMBI

4

(See next

page

for

contents.)

-25-

3-1-2.

COMBI

OPERATION

MEMORY

SOUND

DATA

(VZ-1

format)

The

contents

of

DATA

are

shown

below.

The

DATA

area

is

composed

of

18

bytes

x

4

areas.

Note

that

byte

No.

has

been

reset

to

"0"

for

simplification.

Byte

No.

DATA

VOICE

NO.

ZL

VOICE

No.

0~3F(H):

A-l-H-8

-

VOICE

No.

0:

INT,

1:

CARD

1,

2,

PST1,

2

EFFECT

-PORTAMENTO

0:

OFF,

1:

ON

-FOOT

SOSTENUTO

0:

ENA,

1:

DIS

-SOLO0:

OFF,

1:

OJM

-FOOT

SUSTAIN

0:

ENA,

1:

DIS

-VELINV0:OFF,

1:

ON

-VIBINV0:

OFF,

1:

ON

-TREM

INV

0:

OFF,

1:

ON

PORTAMENTO

(EFFECT-01)

-TIME

0~63(H):0~99

-MODE

0:

TIME

CONST,

1:

RATE

CONST

PITCH

BEND

(EFFECT-02)

JZL

-RANGE

O~3O(H):O~48

-RELEASE

0:

ENA,

I:

DIS

-26-

Byte

No.

4-11

DATA

EFFECT

SENS,

PATCH

L_

AFTER

TOUCH

DEF

WHEEL

1

DEF

WHEEL

2

FOOT

VR

VIB

DEPTH

0:

OFF,

1:

ON

VIB

RATE

0:

OFF,

1:

ON

PTICH

+

0:

OFF,

1:

ON

PITCH

-

0:

OFF,

1:

ON

PRT&TIME

0:OFF,

1:

ON

TREM

DEPTH

0:

OFF,

1:

ON

TREM

RATE

0:

OFF,

1:

ON

A

NEW

BIAS 0:OFF,

I:

ON

■

SENSITIVITY

0

-

63(H):

0-99

-SENSITIVITY

0:

+,

1:

-

12

LEVEL

(EFFECT-10)

ZL

-LEVEL

0~63(H):0~99

13-14

COMBI

PITCH

(EFFECT-11)

13

14

LOWER

FINE

DATA

(100/64-cent

increments),

0~FC(H)

UPPER

PITCH

DATA

(half-tone

increments)

(NOTE

10)

POL:

0:

-,

1:

+

15-16

VEL

SPLIT

(EFFECT-13)

•

LOWER

LIMIT

0~7F(H):

0-127

16

-UPPER

LIMIT

0-7F(H):

0-

127

(NOTE

11)

17

DELAY

TRIG

(EFFECT-16)

-TIME

0~63(H):0~99

-27-

3-1-3.

COMBI

OPERATION

DATA

(VZ-8M

format)

Data

unique

to

the

VZ-8M

comprises

75

bytes,

which

are

transmitted

in

the

sequence

shown

below.

Byte

No.

DATA

0

MODE,

ASSIGN

1-2

OPERATION

TUNE

0

LOW

-FINE

DATA

(100/64-cent

increments),

0~FC<H)

UP

-

TUNE

DATA

(half-tone

increments),

0-

-

POL:0:

-,

1:

+

3-6

VOICE

SHIFT

NO.

COMBI

1

•

VOICE

SHIFT

NO.

0(h)

CARD1

1(H)

CARD2

20(H)

PST1

21(H)

PST2

40(H)

INT

COMBI

2

COMBI

3

COMBI

4

VOICE

SHIFT

NO.

(Same

format

as

COMBI

1)

VEL

TABLE

SELECT

VEL

TABLE

SELECT

NO.

0~7{H)

-28-

Byte

No.

8

DATA

MIDI

CHANNEL

-MIDI

CHANNEL

0-F(H)

9-11

Not

used

12-43

COMBI

SOUND

DATA

12

19

20

27

28

35

36

43

-COMBI

5

-COMBI

6

-COMBI

7

-

COMBI

8

-

(See

page

33

for

contents)

44-55

Not

used

56

PORTAMENTO

ON/OFF

L_

COMBI

1-PORTAMENTO

1

2-PORTAMENTO

1

3—PORTAMENTO

1

4—PORTAMENTO

1

5—PORTAMENTO

1

6—PORTAMENTO

1

7—PORTAMENTO

1

8—PORTAMENTO

1

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

ON,

0:

OFF

-29-

.levrp.#

■

':,

'V-::.."

■...';•-.

Byte

No.

57

DATA

TOTAL

VIB

(WAVE,

MULTI),

OCTAVE

VIB.

WAVE

0:

TRI,

1:

SU,

2:

SD,

3:

SQU

VIB.

MULTI

0:

OFF,

1:

ON

OCTAVE

0-2(H):

0-2

OCTAVE

0:

-,

1:

+

58

TOTAL

VIB.

(DEPTH)

-

DEPTH

0~63(H):

0-99

59

TOTAL

VIB.

(RATE)

■RATE0~63(H):

0-99

60

TOTAL

VIB.

(DELAY)

•

DELAY

0~63(H):

0-99

61

TOTAL

TREMOLO

(WAVE,

MULTI)

ZL

TREMOLO

WAVE

0:

TRI,

1:

SU,

2:

SD,

3:

SQU

TREMOLO

MULTI

0:

OFF,

1:

ON

62

TOTAL

TREMOLO

(DEPTH)

-DEPTH

0-63(H):

0-99

63

TOTAL

TREMOLO

(RATE)

•

RATE

0-63(H):

0-99

64

TOTAL

TREMOLO

(DELAY)

A

-

DELAY

0~63(H):

0-99

-30-

-■*£¥,«$

'S&&&

-31-

J

-32-

v-^iW&frS

3-1-4

COMBI

OPERATION

SOUND

DATA

(VZ-8M

format)

^

The

contents

of

the

"SOUND

DATA"

previously

described

are

shown

below.

This

SOUND

DATA

comprises

the

following

8

bytes

x

4.

Note

that

byte

numbers

has

been

reset

to

"0"

for

simplification.'

l

;

c

■!

Byte

No.

DATA

VOICE

NO.

YL

-VOICE

NO.

0~3F(H):

A-l-H-8

0:

INT,

1:

CARD

1,

2,

PST1,

2

VOICE

SHIFT

NO.

-VOICE

SHIFT

NO.

0(H):

CARD1

1(H):

CARD2

20(H):

PST1

21(H):

PST2

40(H):

INT

EFFECT

PORTAMENTO

0:

OFF,

1:

ON

FOOT

SOSTENUTO

0:

EN

A,

1:

DIS

SOLO

0:

OFF,

1:

ON

FOOT

SUSTAIN

0:

ENA,

1:

DIS

VEL.

INV

0:

OFF,

1:

ON

VIB.

INV

0:

OFF,

1:

ON

TREM.

INV

0:

OFF,

1:

ON

3-4

EFFECT

SENSE,

PATCH

_J

AFTER

TOUCH

I—VIB.

DEPTH

1:

ON,

0:

OFF

VIB.

RATE

1:

ON,

0:

OFF

PITCH

+

1:

ON,

0:

OFF

PITCH

-

1:

ON,

0:

OFF

PRTM

TIME

1:

ON,

0;

OFF

TREM

DEPTH

1:

ON,

0:

OFF

TREM

RATE

1:

ON,

0:

OFF

AMP.

ENV.

BIAS

1:

ON,

0:

OFF

-

SENSITIVITY

0~63(H):

0-99

■

SENSITIVITY

0:

+,

1:

-

, i

-'!

j

Byte

No.

6-7

DATA'

LEVEL

\Z

COMBITUNE

•

LEVEL

0-63(H):

0-99

0

LOWER

-FINE

DATA

(100/64-cent

increments),

0~FC(H)

UPPER

•

PITCH

DATA

(half-tone

increments),

(NOTE

10)

POL:0:

-,

1:

+

-34-

•

'»-.$$£

3-2-1,

NORMAL

OPERATION

DATA

(VZ-1

format)

;

Data

common

with

the

VZ-l/lOM

comprises

a

total

of

100

bytes,

which

are

transmitted

in

sequence

shown

below.

Byte

No.

15-17

18

19-20

21-22

DATA

MODE,

ASSIGN

-

MODE

&

ASSIGN

0(h)

OPERATION

NAME

03(H)

02(H)

1st

Character

2nd

Character

12th

Character

I

VZ-8M

Code

-OPERATION

NAME

(ASCII

CODE)

Not

used

PAN

(MODE)

-FIX

MODE:

1

-EXTMODE:

1

-AUTO

MODE:

1.

-PAN1-AUTO

0:

OFF,

1:

ON

-PAN2-AUTO

0:OFF,

1:

ON

PAN

(FIX-PLACE)

19

r

20

PANl

•

Bias

0~F(H>:

0

-

15

(0

is

center)

•POL:

1:

+,0:

-

(+

is

R,

-

is

L)

]

PAN2

-

Same

format

as

PANl

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-

i

:'!

I;

i i

Byte

No.

•

23-24

25

26

27

28-45

46-99

PAN

(EXT-CTRL.

RANGE)

23

DATA

PANl

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

Same

format

as

PANl

i-1

•

i

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<h)FOOTVR

■-■:

3(H)

MODULATION

WHEEL

4(H)

DEFINABLE

CONTROLLER

5(H)

MIDI

PAN

NORMAL

SOUND

DATA

28

45

A

I

1

I

;':■';

ttfi.H

!

Sit

-

(See

for

contents)

Not

used

m/

b-oi

-36-

3-2-2-

NORMAL

OPERATION

SOUND

DATA

;f

;

The

contents

of

the

"SOUND

DATA"

previously

described

are

shown

below.

Note

that

byte

numbers

contain.a

relative

"0".

'

Byte

No.

4-11

~

DATA

VOICE

NO.

Z

-VOICE

NO.

0~3F(H):

A-l-H-8

0:

INT,

1:

CARD1,

2,

PST1,

2

EFFECT

GUITAR

POLY:

1,

MONO:

0

(GUITAR

MODE)

FOOT

SOSTENUTO

0:

ENA,

1:

DIS

SOLO

0:

OFF,

1:

ON

FOOT

SUSTAIN

0:

ENA,

1:

DIS

VEL.

INV

0:

OFF,

1:

ON

VIB.

INV

0:

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

EFFECT

SENSE,

PATCH

AFTER

TOUCH

DEF

WHEEL

1

DEF

WHEEL

2

FOOT

VR

■

VIB

DEPTH

0:

OFF,

1:

ON

•

VIB

RATE

0:

OFF,

1:

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

-SENSITIVITY

0~63(H):

0-99

-SENSITIVITY

0:

+,

1:

-

-37-

^u;$$q

1

I

'

Byte

No.

12

13-14

15

16

17

DATA

LEVEL

\ZL

-

LEVEL

0~63(H):

0-99

Not

used

MIDI

CHANNEL

-MIDI

CHANNEL

0~F:

1

~

16

PORTAMENT,

VEL.

TABLE

SELECT

-VEL.

TABLE

SELECT

0~7(H):

1-8

-

PORTAMENTO

0:

OFF,

1:

ON

VOICE

SHIFT

NO.

-VOICE

SHIFT

No.

0(H):

CARD1

1(H):

CARD2

2O(H):PST1

21(H):PST2

40(h>:

INT

i

:

H

I

J

"C

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.

DATA

0

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)

UP

TUNE

DATA

(half-tone

increments)

(NOTE

10)

POL:

1:

+,0:

-

3-74

Not

used

1

!

.'

■■'

:.:

V";

-39-

!

:

(

..

i

ii

■■•!|

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.

1-14

15-17

18

19-20

21-22

DATA

VIODE,

ASSIGN

-

MODE

&

ASSIGN

0(H)

OPERATION

NAME1

03(H)

02(H,

1st

Character

2nd

Character

12th

Character

I

VZ-8M

Code

-OPERATION

NAME

(ASCII

CODE)

Not

used

PAN

(MODE)

-FIX

MODE:

1

-EXTMODE:

1

-AUTO

MODE:

1

-PAN1-AUTO

0:

OFF,

1:

ON

-PAN2-AUTO

0:

OFF,

1:

ON

PAN

(FIX-PLACE)

19

r

20

PANl

■

Bias

0~F(h>:

0

-

15

(0

is

center)

•

POL:

1:

+,

0:

-

(+

is

R,

-

is

L)

PAN2

Same

format

as

PANl

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

22

|

PAN2

-Same

format

as

PANl

-40-

Byte

No.

23-24

25

26

27

28-99

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

Same

format

as

PAN1

PAN

(AUTO-RATE)

L

-RATE0-3F(H):

0-63

PAN

(AUTO-DEPTH)

-DEPTH

0~1F(h):

0-31

PAN

(AUTO-CONTROLLER)

CONTROLLER

0(H)

OFF

I

1(H)

AFTER

TOUCH

2(H)FOOTVR

3(H)

MODULATION

WHEEL

4(H)

DEFINABLE

CONTROLLER

5(H)

MIDI

PAN

MULTI

SOUND

DATA

28

s

45

46

63

i

64

81

82

-AREA

1

•AREA

2

-AREA

3

-AREA

4

-(See

page

43

for contents.)

-41-

lil

!

|.

i.

;

i

Byte

No.

100

101-102

103-174

DATA

MODE,

ASSIGN

-

MODE

&

ASSIGN

0(H)

OPERATION

TUNE

101

102

LOW

FINE

DATA

(100/64-cent

increments),

0~FC(H)

UP

TUNE

DATA

(half-tone

increments)

(NOTE

10)

POL:

1:

+.0:

-

MULTI

SOUND

DATA

103

120

i

121

138

i

139

156

157

*

AREA

5

-AREA

6

-

AREA

7

■AREA

8

(See

for

contents.)

r

-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".

Byte

No.

DATA

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-

i

jP;

-44-

Ji

NOTE

8)

MIDI

Transmission

Data

(HEX)

LCD

Display

Data

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)

Pi

I!!!1...-

i

MIDI

Transmission

Data

(HEX)

00

01

S

0B

0C

0D

17

3C

3D

47

LCD

Display

Data

OCT

NOTE

0

1

11

0

1

11

0

1

11

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.

DATA

0-143

MULTI

SOUND

DATA

o

17

18

35

36

S3

54

71

72

89

90

107

108

125

126

143

-AREA

1

-AREA

2

-AREA

3

-AREA

4

-

AREA

5

-AREA

6

-AREA

7

-AREA

8

-

(See next

page

for

contents.)

-47-

0^"-

r

4-1.

MULTI

SOUND

DATA

\.u..:Uri

;

j|f:iM

.

The

contents

of

SOUND

DATA

are

shown

below.

Multi

Channel

mode

data

is

composed

of

]

bytes

X

8

ares.

Note

that

byte

No.

has

been

reset

to

"0"

for

simplifiction.

:

; !

M

Byte

No.

4-11

-■48-

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

PORTAMENTO

(EFFECT-01)

■TIME

0~63(H):

0-99

.....

r

j

MODE

0:

TIME

CONST

1:

RATE

CONST

PITCH

BEND

(EFFECT-02)

M.

-RANGE

0-.30(h):0-48

-RELEASE

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

0:

OFF,

1:

ON

-SENSITIVITY

O~63(H):

0-99

-SENSITIVITY

0:

+,

1:

-

&O

Byte

No.*;,

12

_

LEVEL

(2-07)

z

DATA

•LEVEL

0~63(H):0-99

13-14

MULTI

PITCH

(2-18)

0

K

j-

■

.-

r

■

-OCT.

FINE

(NOTE

12)

-POL

0:

-,

1:

+

-FINE

O~3F(H):O~63

15

POLY

0-8(H):

0-8

(NOTE

13)

16

AREA

CH.

0~F(H):

l~16ch

17

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)

I;

MIDI

Transmission

Data

(HEX)

00

01

s

OB

0C

OD

.1.

17

3C

3D

s

47

LCD

Display

Data

OCT

NOTE

0

1

11

0

1

$

11

0

1

11

!

i'

-50-

5.

TOTAL

CONTROL

Data

TOTAL CONTROL

Data

comprises

a

total

of

8

bytes,

which

are

transmitted

in

sequence

shown

below.

Byte

No.

*'.;

:!U

DATA

0-1

MASTER

TUNE

oho

lower

,

: ; , »

-,:•....

;..

;.-

;•.

]

-FINE

DATA

(100/64-cent

increments),

0-FQH):

0-63

v'

;

*

]UPPER

:

'

-TUNE

DATA

(halftone

increments)

(NOTE

13)

-POL:

1:

+,0:

-

v

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.

j

Bevor

das

Netzkabel

an

einen

NetzanschluS

angeschlossen

wird,

muB

unbedingt

geprUft

werden,

ob

die

auf

dem

Boden

des

Instruments

angegebene

Spahnung

mit

lhrer

Stromnetz-

spannung

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

Kunden-

dienst.

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<K<*i\,

CASIO.

SA0525070A

®@®®@®

Printed

in

Japan

ImprimA

au

Japon

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