| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 1618.1 | More But Not Much | AQUA::ROST | Now Sally is a happy girl | Mon Aug 15 1988 17:37 | 22 |
|
From the guy at Worcester Wurly's over the phone, it's 16-voices
(for real, not 16 voices if you only use one oscillator like the
CZ-5000 and CZ-1) and 8-part multitimbral.
The keyboard version looks like an FZ-1, same huge LCD readout,
and has three wheels (pitch, mod and assignable).
Some capability for multiple outs but not true separate outs...he
was vague on this. He has only had it for a couple of days and
is not that familaiar with programming but says that it is like
"expanded" phase distortion, hopefully that means more waveforms
but similar filter and DCA.
No cassette port (sob...) and RAM cards non-compatible with CZs.
Velocity and aftertouch on the keyboard.
If the NYC camera stores get ahold of this, maybe we'll see it at
$800 within six months. (They currently sell FZ-1 samplers , $2500
list, for about $1300)
|
| 1618.2 | The synth's in the mail... | NYJMIS::PFREY | | Fri Aug 19 1988 11:54 | 18 |
| We will be getting one any day, now (my husband won it in
Casio's sampling contest). Actually, we chose the one with
keyboard 'cause they mentioned the keyboard will have some
nice features (we use the keyboard on our FZ-1 as the master
controller, now).
I'll post a note when it comes in. I heard some of the sounds
that were built into the Casio guitar, and they were pretty
impressive...
Buy the way, we'll be selling our FZ-1 soon to by an FZ-10M.
Still think it's the best sampler on the market (we also have
an extensive library for potential buyers to sample from). I'll
post a note for that, too. As the base note said, FZ's in NY
can be had for $1300 (gray market, but the proper voltage). It's
worth it (we'd keep both units if we could afford it!).
Pat
|
| 1618.3 | Moved by Moderator | DYO780::SCHAFER | Brad - boycott hell. | Tue Aug 29 1989 12:20 | 43 |
| --------------------------------------------------------------------------------
Note 1658.0 Casio VZ1 Synthesizer Note No replies
NYJMIS::PFREY 38 lines 1-SEP-1988 10:09
--------------------------------------------------------------------------------
We just got the Casio VZ-1 synth. I thought it would be good
to start a note since it represents a different style of
synthesis compared to FM, LA, etc.... I don't expect we'll
see tons of them amoung notesfile readers until the anticipated
"cheap at camera stores" prices surface. It lists for $1500,
comperable to the 'big two' (TX7/D50).
The latest issue of "Music Technology" has an excellent in-
depth review of the VZ. After playing with it, I agree with
the reviewers comments. In essence, it is a BIG sounding unit
with strong similarities to FM synths, but warmer. Some of the
pipe organ sounds really knocked me out, they were warm and
smooth. On the other hand, it can do the cliched 'bells' and
'chimes' thing. There are also some patches with very D50-ish
front ends (airy, modern sounding). It's not really a sounds-
like-real-instruments synth (it;s flutes and horns and strings
sound synthesized), but the sounds are pleasant and useable.
I was a bit disappointed with outputs. It has two separate outs,
plus 1 'mix' out. Originally it was supposed to have four outs.
The strength of this machine is its 'layering' abilities. Four
full sounds can be layered with amazing complexities (this does
reduce you to four note poliphony). Nice effects can be done with
envelopes to create echo and reverby things, choruses, etc. The
usual crossfades and velocity and aftertouch attributes are all
nicely done. It comes with a ton of sounds! 64 on board, plus a
ROM with 128 more (plus we got an additional ROM with another 128!).
The Music Technology review goes into the detail of editing the
sounds. I can photocopy this for anyone who is interested.
If anyone has any detailed questions about this new synth, feel
free to mail me at NYJMIS::PFREY or reply to this note!
Pat Frey
p.s. forgot to mention-the VZ still has some of the familiarity
of the CZ series built-in. Even a few of the sounds evoke the old
CZ!
|
| 1618.4 | Review from a new owner of VZ-10M | RANGER::EIRIKUR | Eir�kur Hallgr�msson | Tue Oct 02 1990 17:21 | 80 |
| A review from a new owner on the Usenet. The white elephants are
calling me again! I'm dialing Sam Ash....
Article 16516
From: [email protected] (Kent L Shephard)
Subject: Re: Casio VZ-10M comments?(Review of VZ-10M)
Date: 1 Oct 90 16:36:40 GMT
Organization: Amdahl Corporation, Sunnyvale CA
Well now that I've used it for about 2 weeks I think it's one of the best
synth's that I've heard. It definitely has FAT sounds. It is eight part
multi-timbral. It will accept just about any type of midi control
information (2 definable wheels, channel aftertouch, VR footpedal,
program change, etc. etc.).
The editing screen is about 2.5"x3", blue, and backlit. You can see all
the different waveforms, modify them and see them change in real time.
(No need for an editor since you got a graphic screen.)
It uses a type of sound generation they call lines. Looks pretty
complecated but is pretty simple. Each sound can be made up of eight
modules, m1 - m8. m1,m2 m3,m4 m5,m6 m7,m8 - This is how they are
grouped. m1 and m2 can be ring oscillated, multiplied, or added to
generate the first sound and then can be fed into the next two, and so on.
The wave forms available are square, saw tooth(various with diff.
harmonics), sin, and a pseudo white noise. Each module can have a
different wave form, and type of modulation.
It has portamento (best implementation I've seen so far) and a couple
of parameters to determine how fast the pitch will change. It has a solo
option so only one note will sound at a time (great for horn parts) with
last note priority. If you play and hold one note and play another on and
off you can get a good thrill effect like a flute. With portamento on and
solo on you can get some pretty effective slurs that sound like a real
wind insrtument.
You can do various splits - 1 split point, 3 split points, velocity
split, or crosss fade the splits.
It has various velocity curves to choose from (inverted, log, linear, etc)
64 editable sounds in ram, 64 patches in ram. 128 patches and 128
sounds on a ROM card (included). Count em - total 192 sounds and patches.
If you get a RAM card all 192 can be defined by you.
You can reset the unit completely or just about any of the other parameter
s back to factory with the initialization button on the front panel upon
turning it on or some other sequence (all documented).
A patch can be up to four sounds layered, which means you reduce your
polyphony to 4 parts. 8-(
I could probably go on for another page or so but you get the idea. What
I can honestly say is that for $299.00 you can't go wrong (cheap voices).
It sounds great and has loads of features and it's not like Roland I have;
no flames I like my ROland synth, it's hard to program so I use the
sampled sound to create real sounding pianos etc. But the VZ-10M
doesn't use samples so you can get good fat analog sounds, along with
good orchestra hits, horns, etc. Go play with one and if the sound called
Live Synth doesn't blow you socks off no analog synth ever did either.
Hope I helped, Good Luck. Kent
/*************************************************************/
/* */
/* The war on drugs is a joke!!! Why is it that you can't */
/* get a Cuban cigar in the U.S. and you can buy a ROCK of */
/* COCAINE in any city if you look? Also, how come they */
/* never seize any ships bringing the stuff into the */
/* country? Interesting questions? I say somebody is */
/* getting paid! (No flames please, just food for thought.) */
/* */
--
/* -The opinions expressed are my own, not my employers. */
/* For I can only express my own opinions. */
/* */
/* Kent L. Shephard : email - [email protected] */
|
| 1618.5 | VZ-10M Is A Real Sleeper | AQUA::ROST | Drink beer: Live 6 times longer | Tue Nov 27 1990 13:05 | 71 |
| I just got a chance to taste a VZ-10M courtesy of Hoyt Nelson and just
running through the factory presets, well, I'm impressed. If you're
recalling the CZ-101, forget it. The CZ was a cool box in its day but
we're talking 16 bit clarity and some clever programming power here
folks.
The unit as is comes with 64 "normal" (single) patches, 64
"combinations" (splits/layers) and one "multi" (up to 8 way
multitimbral). Add 128 more of each if you use a card (one ROM is
provided), split into 64 X 2. Banks can be selected by a front panel
switch or over MIDI. The internals plus the currently selected card
bank map to program changes 0-127. All of the internal locations are
RAM...no useless factory presets taking up space forever...hear, hear!!
Yes, only one multi setup. And no dynamic voice allocation, so this
thing is *not* best suited for MT-32 style "virtual orchestra" stuff.
The multi is more like that on a TX81Z, you tell it the MIDI channel,
level and polyphony for each part, or "area". Oh, yeah, areas 1-4 all
go to output 1, areas 5-8 all to output 2. Stereo panning? What's
that? 8^(
The single patches are by default mono, they come out of both channels.
In combination mode, you can have 2, 3 or 4 of them at once, with fixed
splitting across outputs 1 and 2 (no panning here either; parts 1 and 2
go to out 1, 3 and 4 go to out 2). Then the fun begins. Four way
velocity crossfades (with eight velocity curves!!), four way splits
(including overlaps), etc. Most of the factory combos sound like a
D-50, you know, little bells tinkling behind thick pads. Surprised?
Polyphony is 16 voices in single mode, in combos you get 8 voices or 4
voices depending on if you use 2 or 4 patches (I'm going to check but
I'll bet using only 3 still limits you to 4 voices). But a 4-way combo
can sound awfully fat, folks. The bulk of the factory preset combos
are 8 voice and sound *much* better than the singles on which they are
built. But that's no news to L/A fans...
Programming on the big LCD is nice, since you get graphic enveloping.
There's also plenty of text displayable at once, so this thing will
please those who thing 2 X 16 LCDs blow chow. The 8-stage envelopes
allow the usual goodies, you can simulate reverb effects, for one thing
(good, since there is no FX box inside). The programming is much like
FM, you chain pairs of "modules" into "lines" which can modulate each
other in various ways, or you can do pseudo additive things by running
lines in parallel, etc.
MIDI goodies: It takes control pedal as a modulator, also "definable
wheel #2", something which the keyboard version has. No idea from the
manual what CC that maps to. Aftertouch goes to vibrato on most of the
patches I tried, but can modulate other things; a fretless bass patch
uses it fro pitch bend. Got no mod wheel response, though???!! You
can dump "voices" (single patches), combos or both to either MIDI or
RAM card. There's a front panel button called "MIDI clear" which will
flush those stuck notes.
Back panel has the usual, detachable power cord (right angle for those
tight racks), MIDI i/o/t, outs 1 and 2 plus a (mono) mix, all 1/4" plus
a mono XLR out (!!!). Stereo phones up front.
Manual is good with two exceptions:
1. Doesn't really explain how to program sounds. I shows how to
interconnect lines but neglects to explain how to choose among the
possibilities.
2. MIDI implementation is glossed over. OK, it receives "definable
wheel #2". What CC is that?
At the blowout prices, a good deal if you want a "digital" sounding SGU
that does *not* sound sampled.
Brian
|
| 1618.6 | Ok....but. | COGVAX::LABAK | | Wed Nov 28 1990 10:42 | 7 |
| How are the factory Bass sounds on this unit? And the question that I have
asked before.... During split mode, can the sustain pedal be assigned to only
one half of the split? From what I have read I beleive the CZ-1 had this
capability.
Thanks
Rick L.
|
| 1618.7 | Programming the VZ-10M (long) | AQUA::ROST | Drink beer: Live 6 times longer | Wed Nov 28 1990 11:27 | 179 |
| I've spent a little time working on the programming of the VZ-10M, and have
come to the conclusion that this is one impressive beast. While it has some
zits (don't all SGUs?) it has some fascinating programming hooks.
Patches
+++++++
First off, let's look at programming single patches in the "normal" mode. We
have eight "modules" which resemble FM operators, each has a DCO and a DCA with
a wide range of parameters. Pairs of modules form a "line". Each line can have
one of four connections: the two modules mixed (additive synthesis), the two
modules ring modulated, the odd numbered module phase modulating the even
numbered module (simple modulator/carrier stuff) and the previous line plus the
odd numbered module pohase modulating the even numbered module (this is called
"external phase modulation" and can't be used on the first line, line A,
because there is no preceding line). If the line is not being used as a
modulator to the next line below, it is available as an audio output.
With eight modules, you have lots of possibilities here. For instance, eight
partial additive synthesis, four layered 2-module PM sounds, two layered
4-module PM sounds, etc. FM gurus will probably find this very flexible.
To assist in programming, front panel switches let you kick modules in and out
of operation so you can work on samll pieces of the patch, then build it up.
Each line can be detuned, have its own output level, etc.
Each module can use one of eight waveforms, a sine, five levels of sawtooth
(one raw, four filtered by various amounts) and two noise (pitched and
unpitched). You get the usual Casio eight-stage DCO envelope, with velocity
sensitivity, key follow, vibrato LFO (can be controlled by up to four sources:
mod wheel, assignable MIDI CC, foot pedal CC#4, aftertouch), pitch detune, etc.
The DCA also has an eight stage envelope, a tremelo LFO (can use same four
controllers as vibrato), key follow, etc.
Key follow is interesting, DCO and DCA have their own KF level, and share a KF
rate. Instead of this being a simple slope, you can have six segments across
the keyboard. A typical KF function is to make the envelopes shorten as
you increase in pitch. The VZ lets you have them shorten for a bit, then
lengthen, then shorten again, etc. When use to control the amplitude of a
modulator in a PM line, it can be used to create formant frequencies, for
example. Potentially, it's very powerful, but needs to be experimented with.
The envelopes and key follow curves can be edited graphically, you can zoom in
and out, scroll left and right, etc. so fine tuning can be done easily. The
level or rate you are currently tweaking is printed clearly below the graph.
Ex-CZ users will love this!
The non-graphic editing is accomplished in three menus, which are broken down
pretty logically. You hit the button for the menu you want, then choose the
page in the menu with the cursor. You then hit the menu button again, and you
can use the cursor to select the parameter you want to change. When you're
done with that page, hit the menu button again to scroll to other pages.
Any envelope or modulator that is velocity sensitive lets you choose from eight
velocity curves. That means the velocity sensitivity of the DCO envelope and
DCA envelope of *each* module can be different (also, when using velocity to do
fades, etc. in combos, you can choose from the same eight curves). You have
linear curves, exponentials, and even gated curves (i.e. all off below a
threshold, all on above or vice versa). This allows for considerable subtlety
in the velocity response of your patches.
Portamento is available in two modes, constant rate or constant time. This is
selectable by patch, but can also be set for a combo. In the portamento menu
is the mono/poly switch for the patches. I should mention that in poly modes,
voice stealing will never take held keys, but keys being sustained (by the
pedal) can be stolen. Mono uses the usual "last key held" algorithm. A patch
change will kill all voices.
Combinations
++++++++++++
Now, let's go into the combinations. You can choose 2, 3 or 4 patches to
combine. You can set it up as a split, a layer, or both (1/2, 1+2, 1/3+4,
1+2/3, 1+2+3+4, 1+2/3+4). In addition to the usual tweaks, like levels,
detuning, etc. you have many additional programmable parameters.
First, you can do crossfades by position on the keyboard, and this can be done
graphically! You can also do velocity crossfades. You specify a velocity
range for each part of the layer. They can overlap if you like, or you can
even leave gaps (i.e. certain velocities trigger *no* voices). In splits,
each portion of the split can have its own MIDI channel, and get this: each
part can be set to respond to sustain pedal, program changes, etc.
individually. Mr. Labak has been asking about synths that could separate
sustain pedal response on splits...well, here's one.
You can also delay triggering of a patch in a layer. This is used in many of
the presets for doubling, having the same patch delayed by a fraction of a
second to give a fat stereo effect. Setting the delay to 99 gives you about a
20 second delay!!! This can be used for echo effects, or for vector-like
sounds. Try setting up four sounds, with the first three having no sustain
segment in their envelopes. Then delay the last three by differing amounts.
What you get is one sound after another, sustaining on the fourth sound. Want
some complex time-shifting timbres? Here you go.
You can also choose to invert velocity response on some patches within a layer
(another way of getting crossfades) as well as invert vibrato and tremelo
LFO phases. Copy the same patch into a combo twice, then invert the LFO phases
on one. Then as one patch sweeps sharp, the other will sweep flat, or using
the tremelo, you can get stereo panning effects. Very interesting.
Operation Memory
++++++++++++++++
As far as saving patches, there are 64 patch locations. Then there are 64
"operation memories". You can copy either combos *or* patches into these. The
factory presets are all combos in this area, but if you want to have more patch
storage, there you go. RAM cards add an additional 64 locations of normal and
operation memory. The ROM cards add 128 of each, in two banks of 64.
Unfortunately, bank switching is only by front panel or sys-ex. There is a
single primitive remapping facility for patch locations. There are two modes:
first, where PC 0-63 give you the normal locations and 64-127 the operation
memories, or second, changes 64-127 wrap onto 0-63. In the second mode, you
get only normal locations or only operation memory locations depending on the
setting of the switch on the front panel. This lets controllers that can only
access 0-63 get at all the locations with just one button push required.
MIDI
++++
The MIDI implementation isn't bad. Send and receive channels are independent
(in fact, in a split, they are independent for each part of the split!). You
can enable/disable sys-ex, program changes, MIDI volume and sustain. There is
one assignable controller, the so called "definable wheel #2" (the VZ-1
keyboard has three wheels, bend, mod and definable) which can map to any MIDI
CC from 12 to 31 (sorry, you can't use CC#2, breath controller). Foot pedal
information on CC#4 is recognized.
On power-down, the machine remembers everything. The last edit in the buffer
is saved (in fact, since separate buffers are used for patches and combos, both
are saved), what patch/combo you are using, the settings for MIDI, etc. To
save you from embarassing stuck notes, a "MIDI clear" button flushes the MIDI
input stream.
Bottom Line
+++++++++++
Ok, so what are the zits?
First, a lot of the programming power is found in the combos. Running through
the presets and comparing single patches to combos, even if the combo did no
more than double the patch, the effect was startling. For fat sounds, you
need the combos. So what, you say? Well, in the multi-timbral mode, you
cannot call up combos. So, this box is best suited as a monotimbral machine,
rather than a "virtual orchestra" (more like a D-50 than a D-110).
Second, programming of patches *is* complicated. FM vets will not have too much
trouble, but for users of digital synths that mimic subtractive architectures
(i.e. OSC --> FILTER --> AMP structures) may find this confusing. I was able
in about ten minutes to make a single line generate a swept square wave type of
timbre, but remember, there's four lines per patch, with sixteen multi-satge
envelopes, etc. But I believe if you take the effort you can create some
dazzling sounds. Just don't expect to have 128 new patches wrapped up in a
weekend.
It sounds synthetic. To me, that's a plus, I guess, but it really is lousy at
emulating acoustic instruments. What it does well is the kind of sounds that
DX and CZ synths do well, while allowing you more control in crafting those
sounds. If you want a killer piano, look elsewhere.
It doesn't do stereo well. Single patches are mono, and combos pan patches
hard left and hard right. You can get some "center-channel" effects by using
doubling, but overall it's more like "dual-mono"; users of the Korg P3 and
Symphony modules will find this familiar. In a related vein, there is not only
no dynamic voice allocation, but as soon as you start using combos or the
multitimbral mode, each output jack can only generate 8 voices.
The good points?
It has powerful programming features and sounds very clean overall. There is a
small bit of noise in patches without a lot of high end; bright patches seem to
mask this out. It is noticable only with phones and is *much* less than
machines like the FB01 and MT32, for example. The unit is solidly constructed
and may be one of the only rackmount unit I'd feel comfortable with programming
from the front panel. While Yamaha, Korg and Roland slap themselves on the
back about the big LCDs on their new synths, this machine has had it for two
years now. The bang for the buck at the closeout price is really good, with
the caveat about multitimbral operation.
Brian
|
| 1618.8 | With such encouragement, how can I procrastinate? | RANGER::EIRIKUR | Eir�kur Hallgr�msson | Wed Nov 28 1990 12:01 | 9 |
| Wow, Brian, great note! I'm going to have to try programming my VZ now.
I found the interface to be a terrific pain, but it is clearly better than
most, I just haven't done much programming on modern machines. I've programmed
my Matrix-1000 and K1 with the OpCode Editor/Lib things on the Mac. I've been
thinking about getting GenEdit for the Mac and creating a VZ editor. Sounds
like it would be worth the effort.
Eirikur
|
| 1618.10 | i ain't used to them big keys... | GLOWS::COCCOLI | still monitoring reality | Tue Feb 19 1991 19:49 | 25 |
|
Sold the K1...bought a VZ1 the same day...
Definately a fat sounding machine.
I found the presets quite usable, although better ones come on the
card (included).
The lack of memories to store multiple multi-timbral(8 part) setups
is a *really* big zit on this machine's butt.8)
I worked around this by using the "combination"setups (4 part)
as multi-timbral patches, as opposed to splits.
Basically, I'll have the bass (yuk) and one other voice (on separate
channels) "buried" in a range below the keyboard while doing a split,
layer, or vel crossfade on the remaining two voices.
Unlike Brian, I feel that with a little signal processing, most of
the VZ's patches are definately able to stand on their own, as opposed
to being useful only in layers.
The UI, after about 3 hours, becomes second nature. Nice. The
display itself is a welcome relief from those little 1sp, 2 line
synths.
At least it may delay my next visit to the eye doctor.
RichC
|
| 1618.11 | Another member of the Casio Owners Club | MALLET::BARKER | Pretty Damn Cosmic | Mon Feb 25 1991 06:58 | 30 |
| Re a few back
Brian, thanks for the exposition on programming this thing. I have a VZ8M which
is like a cut-down version of the VZ10M, it only allows 8 note polyphony but in
terms of pathces etc is very similar. It is however only 1U high and does not
have the nice LCD display that the VZ1/VZ10M have.
I've only made a few attempts at programming and it really looked to be pretty
time consuming, if anyone knows of a PC based sound editor/librarian for these
machines I'd be really grateful.
I find the sounds on this are great and complement the Roland RA50 that I have
which is basically an MT32. I find it best for lead/melody lines played on my
Casio PG510 MIDI guitar (and now my DH200 digital horn). They are all pretty
synthetic which is a nice contrast to the more or less realistic sounds of the
MT32. There are though some very good bass guitar sounds and if you like bells
the you're really in luck.
I have an additional VZ ROM card that was thrown in when I bought the synth.
This is the 'Tokyo Collection' and indeed contains plenty of Far East type
sounds plus sound effects (e.g. cricket, helicopter). The ROM cards are simply
patches that have been saved so it should be quite possible to enter the
patches by hand or better still save them via a sequencer so that one doesn't
need to buy a whole card if one can borrow it to get one killer sound. BTW the
killer sound on the 'Tokyo Collection' is Royal Trumpet and that's what it
sounds like. It's also an example of some of the imaginative names that are
given to the patches. When I bought my PG510 I plugged into the VZ8M with the
patch 'See God' - wow! I was immediately converted and bought both.
Nigel
|
| 1618.12 | A Unique Beast | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Wed Jun 19 1991 12:08 | 47 |
| I finally sprung for a VZ-10M last week. I got mine from Howard Goldman
Musican's Supply. It was $345 plus shipping etc.. They told me they
had sodl out of their stock at $295 and had found an additional supply
that they could only sell at the higher price. Sounds a little like bait
and switch, but the ad *did* cross out the $295 price and say "call for
price". (Now why did I expect the new price to be *less* than the
listed price?) Elsewhere in the ad package (on a separate flier) the
price was listed as $345, so I guess I can't complain. Besides, even at
$345 the VZ-10M is a killer. It came last night, and after some setup
fun and games I was able to confirm everything said previously about this
box.
I was more than disappointed to discover I had been shipped a European
220V unit. I made a quick run of the local hardware and electronics
emporia, and everyone's got little boxes that plug into European wall
sockets and emit 120V from a US-style socket, but no one's got a little
box that plugs into a US wall socket and emits 220V from a European-style
socket.
An insert in the manual and past experience suggested a more direct
solution, and I was able to quickly convert it to 120V (there's a little
switch hidden on the bottom of the unit, under a black fiberboard disk,
that sets the power supply's input voltage expectations), but I had to
"borrow" the grounded AC power cable from my MC-500 to connect the VZ-10M
to the AC line (my unit naturally came with a European power cord).
I was surprised by the relatively poor documentation, particularly after
my experience with the CZ-101, which was extraordinarily well documented.
The manual is a thick, large format paperback book, half of which is
in Spanish. It does not lie flat, which makes working with it difficult.
Just browsing through it I found a number of typos from cosmetic to
trivial to very confusing.
I tend to think of this thing as an 8 op FM synth. The configuration
capabilities support 128 different "algorithms" in Yamaha's parlance,
though not one of them allows feedback. As has already been noted,
the envelope and keyboard follow features provide unprecedented
flexibility.
I'm planning to get a Dr. T's XOR for my Amiga, and one of the first
things I'll likely do (after the Super Jupiter) is define support for
the VZ-10M (if XOR doesn't come with it builtin).
Anybody know about availability of additional ROM and RAM cards?
len.
|
| 1618.13 | A Happy Ending | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Wed Jun 19 1991 12:42 | 8 |
| I called Goldman this morning and got a sympathetic response,
including a replacement power cord being shipped out this morning
gratis. Casio doesn't make life easier for their dealers - there's no
indication on the shipping carton of the voltage/geography for the
unit inside!
len.
|
| 1618.14 | Nu,ber, please! | TLE::ALIVE::ASHFORTH | Lord, make me an instrument of thy peace | Thu Jun 20 1991 10:07 | 9 |
| Re .13:
I was intrigued enough by your note to think about calling Goldman, but couldn't
find a number for them. Would you be son kind as to post the contact info in
note 6 (Music Dealer Addresses and Contacts)?
Thanks in advance.
Bob
|
| 1618.15 | Watch Out | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Tue Jun 25 1991 13:19 | 8 |
| 1618.16 | New Improved Watch Out | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Tue Jun 25 1991 19:13 | 9 |
| The next reply is a new improved biggie (I ought to know by now to wait
until I've had time to carefully review any "final" edits before I post
something). This version includes the missing algorithm specifications
(the picture was there, but not the switch settings), and is paginated
for printing. A practical copy of this can be had by printing "4 up"
(/param=number=4) on an LPS20 or LPS40.
len.
|
| 1618.17 | New Improved VZ as 8 Op FM | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Tue Jun 25 1991 19:14 | 1116 |
|
There are 59 distinct 8 operator algorithms possible on the VZ synths.
Over half of the 128 possible configurations of the modules and lines
are equivalent to a rearrangement of some other configuration.
The 59 distinct algorithms and their "synonyms" are enumerated here.
The code number associated with each configuration is the decimal
integer equivalent of the 7 bit code obtained by concatenating the
4 internal line switch and 3 external modulation switch settings
as follows (note that only "mix" and "phase" are considered for the
internal line switch; "ring" is not considered):
bit value switch 0 1
64 D int mix phase
32 D ext off ON
16 C int mix phase
8 C ext off ON
4 B int mix phase
2 B ext off ON
1 A int mix phase
For each distinct algorithm, one configuration of VZ modules is diagrammed
a la the Yamaha convention. (This configuration is the one with the lowest
code number.) Note that none of the algorithms include feedback, though
all modules offer white (unpitched) and pink (pitched) noise as waveforms.
Frequency relationships between modules can be controlled via the module
detune parameters.
0 1 2 3 4 5 6 7 8
+---+---+---+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
0 Internal mix mix mix mix
External - off off off
1
|
1 2 3 4 5 6 7 8
+---+---+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
1 Internal phase mix mix mix
External - off off off
4 Internal mix phase mix mix
External - off off off
16 Internal mix mix phase mix
External - off off off
64 Internal mix mix mix phase
External - off off off
1 2
+-+-+
2 4 3 5 6 7 8
+---+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
2 Internal mix mix mix mix
External - ON off off
8 Internal mix mix mix mix
External - off ON off
32 Internal mix mix mix mix
External - off off ON
1
|
2
|
3 4 3 5 6 7 8
+---+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
3 Internal phase mix mix mix
External - ON off off
12 Internal mix phase mix mix
External - off ON off
48 Internal mix mix phase mix
External - off off ON
1 3
| |
5 2 4 5 6 7 8
+---+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
5 Internal phase phase mix mix
External - off off off
17 Internal phase mix phase mix
External - off off off
20 Internal mix phase phase mix
External - off off off
65 Internal phase mix mix phase
External - off off off
68 Internal mix phase mix phase
External - off off off
80 Internal mix mix phase phase
External - off off off
1 2 3
+--+--+
6 4 5 6 7 8
+----+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
6 Internal mix phase mix mix
External - ON off off
24 Internal mix mix phase mix
External - off ON off
96 Internal mix mix mix phase
External - off off ON
1
|
2 3
+-+-+
7 4 5 6 7 8
+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
7 Internal phase phase mix mix
External - ON off off
28 Internal mix phase phase mix
External - off ON off
112 Internal mix mix phase phase
External - off off ON
3 4 1
+-+-+ |
9 6 2 5 7 8
+----+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
9 Internal phase mix mix mix
External - off ON off
18 Internal mix mix phase mix
External - ON off off
33 Internal phase mix mix mix
External - off off ON
36 Internal mix phase mix mix
External - off off ON
66 Internal mix mix mix phase
External - ON off off
72 Internal mix mix mix phase
External - off ON off
1 2
+-+-+
4 3
+-+-+
|
10 6 5 7 8
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
10 Internal mix mix mix mix
External - ON ON off
40 Internal mix mix mix mix
External - off ON ON
1
|
2
|
4 3
+-+-+
11 6 5 7 8
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
11 Internal phase mix mix mix
External - ON ON off
44 Internal mix phase mix mix
External - off ON ON
3
|
4 1
| |
13 6 2 5 7 8
+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
13 Internal phase phase mix mix
External - off ON off
19 Internal phase mix phase mix
External - ON off off
49 Internal phase mix phase mix
External - off off ON
52 Internal mix phase phase mix
External - off off ON
67 Internal phase mix mix phase
External - ON off off
76 Internal mix phase mix phase
External - off ON off
1 2 3
+--+--+
4
|
14 6 5 7 8
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
14 Internal mix phase mix mix
External - ON ON off
56 Internal mix mix phase mix
External - off ON ON
1
|
2 3
+-+-+
4
|
15 6 5 7 8
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
15 Internal phase phase mix mix
External - ON ON off
60 Internal mix phase phase mix
External - off ON ON
1 3 5
| | |
21 2 4 6 7 8
+---+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
21 Internal phase phase phase mix
External - off off off
69 Internal phase phase mix phase
External - off off off
81 Internal phase mix phase phase
External - off off off
84 Internal mix phase phase phase
External - off off off
1 2 3 5
+--+--+ |
22 4 6 7 8
+------+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
22 Internal mix phase phase mix
External - ON off off
25 Internal phase mix phase mix
External - off ON off
70 Internal mix phase mix phase
External - ON off off
88 Internal mix mix phase phase
External - off ON off
97 Internal phase mix mix phase
External - off off ON
100 Internal mix phase mix phase
External - off off ON
1
|
2 3 5
+-+-+ |
23 4 6 7 8
+-----+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
23 Internal phase phase phase mix
External - ON off off
29 Internal phase phase phase mix
External - off ON off
71 Internal phase phase mix phase
External - ON off off
92 Internal mix phase phase phase
External - off ON off
113 Internal phase mix phase phase
External - off off ON
116 Internal mix phase phase phase
External - off off ON
1 2
+-+-+
4 3 5
+---+---+
26 6 7 8
+-------+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
26 Internal mix mix phase mix
External - ON ON off
104 Internal mix mix mix phase
External - off ON ON
1
|
2
|
4 3 5
+--+--+
27 6 7 8
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
27 Internal phase mix phase mix
External - ON ON off
108 Internal mix phase mix phase
External - off ON ON
1 2 3
+--+--+
4 5
+--+--+
30 6 7 8
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
30 Internal mix phase phase mix
External - ON ON off
120 Internal mix mix phase phase
External - off ON ON
1
|
2 3
+-+-+
4 5
+-+-+
31 6 7 8
+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
31 Internal phase phase phase mix
External - ON ON off
124 Internal mix phase phase phase
External - off ON ON
1 2 5 6
+-+-+ +-+-+
34 4 8 3 7
+-------+----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
34 Internal mix mix mix mix
External - ON off ON
1
|
2 5 6
| +-+-+
35 4 8 3 7
+-----+----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
35 Internal phase mix mix mix
External - ON off ON
50 Internal mix mix phase mix
External - ON off ON
5 6 1 3
+-+-+ | |
37 8 2 4 7
+-----+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
37 Internal phase phase mix mix
External - off off ON
73 Internal phase mix mix phase
External - off ON off
82 Internal mix mix phase phase
External - ON off off
1 2 3 5 6
+--+--+ +-+-+
38 4 8 7
+--------+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
38 Internal mix phase mix mix
External - ON off ON
98 Internal mix mix mix phase
External - ON off ON
1
|
2 3 5 6
+-+-+ +-+-+
39 4 8 7
+-------+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
39 Internal phase phase mix mix
External - ON off ON
114 Internal mix mix phase phase
External - ON off ON
3 4
+-+-+
6 5 1
+-+-+ |
41 8 2 7
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
41 Internal phase mix mix mix
External - off ON ON
74 Internal mix mix mix phase
External - ON ON off
1 2
+-+-+
4 3
+-+-+
6 5
+-+-+
42 8 7
+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
42 Internal mix mix mix mix
External - ON ON ON
1
|
2
|
4 3
+-+-+
6 5
+-+-+
43 8 7
+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
43 Internal phase mix mix mix
External - ON ON ON
3
|
4
|
6 5 1
+-+-+ |
45 8 2 7
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
45 Internal phase phase mix mix
External - off ON ON
75 Internal phase mix mix phase
External - ON ON off
1 2 3
+--+--+
4
|
6 5
+-+-+
46 8 7
+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
46 Internal mix phase mix mix
External - ON ON ON
1
|
2 3
+-+-+
4
|
6 5
+-+-+
47 8 7
+----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
47 Internal phase phase mix mix
External - ON ON ON
1 5
| |
2 6
| |
51 4 8 3 7
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
51 Internal phase mix phase mix
External - ON off ON
5
|
6 1 3
| | |
53 8 2 4 7
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
53 Internal phase phase phase mix
External - off off ON
77 Internal phase phase mix phase
External - off ON off
83 Internal phase mix phase phase
External - ON off off
5
|
6 1 2 3
| +--+--+
54 8 4 7
+------+-----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
54 Internal mix phase phase mix
External - ON off ON
99 Internal phase mix mix phase
External - ON off ON
1 5
| |
2 3 6
+-+-+ |
55 4 8 7
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
55 Internal phase phase phase mix
External - ON off ON
115 Internal phase mix phase phase
External - ON off ON
3 4 5
+--+--+
6 1
| |
57 8 2 7
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
57 Internal phase mix phase mix
External - off ON ON
78 Internal mix phase mix phase
External - ON ON off
1 2
+-+-+
4 3 5
+---+---+
6
|
58 8 7
+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
58 Internal mix mix phase mix
External - ON ON ON
1
|
2
|
4 3 5
+--+--+
6
|
59 8 7
+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
59 Internal phase mix phase mix
External - ON ON ON
3
|
4 5
+-+-+
6 1
| |
61 8 2 7
+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
61 Internal phase phase phase mix
External - off ON ON
79 Internal phase phase mix phase
External - ON ON off
1 2 3
+--+--+
4 5
+--+--+
6
|
62 8 7
+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
62 Internal mix phase phase mix
External - ON ON ON
1
|
2 3
+-+-+
4 5
+-+-+
6
|
63 8 7
+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
63 Internal phase phase phase mix
External - ON ON ON
1 3 5 7
| | | |
85 2 4 6 8
+---+---+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
85 Internal phase phase phase phase
External - off off off
1 2 3 5 7
+--+--+ | |
86 4 6 8
+------+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
86 Internal mix phase phase phase
External - ON off off
89 Internal phase mix phase phase
External - off ON off
101 Internal phase phase mix phase
External - off off ON
1
|
2 3 5 7
+-+-+ | |
87 4 6 8
+-----+---+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
87 Internal phase phase phase phase
External - ON off off
93 Internal phase phase phase phase
External - off ON off
117 Internal phase phase phase phase
External - off off ON
1 2
+-+-+
4 3 5 7
+---+---+ |
90 6 8
+-------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
90 Internal mix mix phase phase
External - ON ON off
105 Internal phase mix mix phase
External - off ON ON
1
|
2
|
4 3 5 7
+--+--+ |
91 6 8
+------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
91 Internal phase mix phase phase
External - ON ON off
109 Internal phase phase mix phase
External - off ON ON
1 2 3
+--+--+
4 5 7
+--+--+ |
94 6 8
+------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
94 Internal mix phase phase phase
External - ON ON off
121 Internal phase mix phase phase
External - off ON ON
1
|
2 3
+-+-+
4 5 7
+-+-+ |
95 6 8
+-----+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
95 Internal phase phase phase phase
External - ON ON off
125 Internal phase phase phase phase
External - off ON ON
1 2 3 5 6 7
+--+--+ +--+--+
102 4 8
+---------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
102 Internal mix phase mix phase
External - ON off ON
1
|
2 3 5 6 7
+-+-+ +--+--+
103 4 8
+--------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
103 Internal phase phase mix phase
External - ON off ON
118 Internal mix phase phase phase
External - on off ON
1 2
+-+-+
4 3
+-+-+
6 5 7
+---+---+
106 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
106 Internal mix mix mix phase
External - ON ON ON
1
|
2
|
4 3
+-+-+
6 5 7
+---+---+
107 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
107 Internal phase mix mix phase
External - ON ON ON
1 2 3
+--+--+
4
|
6 5 7
+--+--+
110 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
110 Internal mix phase mix phase
External - ON ON ON
1
|
2 3
+-+-+
4
|
6 5 7
+--+--+
111 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
111 Internal phase phase mix phase
External - ON ON ON
1 5
| |
2 3 6 7
+-+-+ +-+-+
119 4 8
+-------+
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
119 Internal phase phase phase phase
External - ON off ON
1 2
+-+-+
4 3 5
+---+---+
6 7
+---+---+
122 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
122 Internal mix mix phase phase
External - ON ON ON
1
|
2
|
4 3 5
+--+--+
6 7
+--+--+
123 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
123 Internal phase mix phase phase
External - ON ON ON
1 2 3
+--+--+
4 5
+--+--+
6 7
+--+--+
126 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
126 Internal mix phase phase phase
External - ON ON ON
1
|
2 3
+-+-+
4 5
+-+-+
6 7
+-+-+
127 8
|
Line A B C D
Modules M1 M2 M3 M4 M5 M6 M7 M8
127 Internal phase phase phase phase
External - ON ON ON
|
| 1618.18 | Probably To Avoid Patent Infringement? | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Thu Jul 11 1991 16:15 | 23 |
| Much to my dismay, I have discovered a major (undocumented) restriction
that significantly limits the usability of the VZ family as FM synths.
The frequency of the carrier and all intervening modulators appears to
be set by the frequency of the first (furthest "upstream") modulator
in a chain. The "DETUNE" parameters of all but the first module in
the chain are ignored. This effectively means that, in Yamaha terms,
the frequency ratios in a chain are all set to the same value as the
first modulator. This is true whether the phase modulation is external
(from one "line" to the next) or internal (within a line).
Are there any VZ-weenies out there who can confirm this or explain
where I've fouled up?
Also, it appears impossible to use noise as a modulator. If you try
to use noise as a modulator, the carrier is ignored.
And lastly, the "pitched noise" waveform option isn't pitched ("pink")
noise at all. It's white noise mixed with a sine that tracks the
keyboard. Boo hiss, as it were.
len.
|
| 1618.19 | Not Dead Yet | RGB::ROST | Bill Graham, RIP | Fri Nov 01 1991 09:29 | 16 |
| Some third party support is starting to surface...
Patches:
Livewire and Sound Source Unlimited are selling banks of patches on RAM
cards and disk.
Editors:
Dr. T's VZ-Rider package has been a round awhile, and the Music Quest
universal editor package now supports the VZ family.
Check an ish of Keyboard or EM to get addresses/phone # for these
folks.
Brian
|
| 1618.20 | VZ Mailing List | RGB::ROST | Bill Graham, RIP | Mon Nov 04 1991 13:26 | 21 |
| A mailing list for VZ users has been created on the USENET.
From: [email protected] (Ismail Dalgic)
Date: 3 Nov 91 05:16:13 GMT
I just wanted to let everyone know that I have created a mailing list
for Casio VZ1/VZ10M/VZ8M users. The purpose of the list is to
exchange patches, ideas or anything else related to VZ's (well, that
was obvious, wasn't it? :-). Anybody is welcome to subscribe to the
list, and at the moment there are 10 subscribers.
The address of the list is [email protected], and the requests
for submission should be made to me at [email protected].
Happy Synthing,
--Ismail Dalgic
---------------------------------------------------------------
Ismail DALGIC Office: (415) 723-9330
[email protected] Home : (415) 323-6355
---------------------------------------------------------------
|