Casio VZ-10M User manual

CASIO DIGITAL SYNTHESIZER
OPERATION
MANUAL
---------:
MANUAL
DE
OPERACION.--
“168
Bt
Seu
Dou
[Ne
FATEZ=S5

_
CASIO
VZ
“10M
DIGITAL SYNTHESIZER
‘Thank you for purchasing the Casio VZ-10M Digital Synthesizer Module, The VZ-10M is highly innovative digital
"Synthesizer which features Casio's newly-developed “IPD” (Interactive Phase Distortion) Modular Sound Source sys-
tem, To obtain optimum performance and assure long-term reliability from your new VZ-10M, be sure to read this
‘manual earefully and store it in a safe place so you ean refer to it often.
AN emo /'\
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.

The lightning flash with arrowhead symbol, within an equilateral
triangle, is intended to alert the user to the presence of unin-
sulated "dangerous voltage" within the product's enclosure that
may be of sufficient magnitude to constitute a risk of electric
shock to persons.
The exclamation point within an equilateral triangle is intended
to alert the user to the presence of important operating and
maintenance (servicing) instructions in the literature accom-
panying the product.

CONTENTS
5 Main Features
7 About this Manual
8 VZ-10M Important Terms
9 VZ-10M Theory: Flow of Operations
12 VZ-10M Theory: IPD Modular Sound System
16 Operating System Controls
18 Menus and Functions
19 About Function Indexes
20 Function Index Practice Exercise
25 VZ-10M Graphic Editing
26 Graphic Editing Examples
33 Function Index
33 Menu
32 Menu
71 Menu 3:
79 Performance/Editing in the Normal Mode
81 Performance/Editing in the Combination Mode
84 Performance/Editing in the Operation Memory Mode
86 Performance/Editing in the Multi Channel Mode
88 MIDI-Musical Instrument Digital Interface
90 Initializing the VZ-10M_
92
VZ-10M
Sound
Seminar:
The
elements
of
sound
syn-
thesis
106 Care of Your Unit
107 Features and Functions
111 Specifications

Main Features
1 Armazing 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” (MI 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; 10 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 suoceeding line,
2 instant Recall of up to 256 Sounds and 256 Operation Memories
(64 presets give you a wide range of vocal versatility. And with the use of a standard ROM card, the VZ-10M
you incredible tonal expansion potential - up to 128 patches and 128 keyboard setups are literally at your fingertips,
‘What's more, you can store up to 64 sounds and 64 operation memories on an optional RAM card, for even greater
freedom of timbral expression.
3 “Player-friendly” Menus and Functions
Virtually all of the VZ-10M’s editing and programming operations are organized into three basic sub-modes - Menu
1, Menu 2 and Menu 3 that feature a variety of “functions.” Each of these functions is further broken down into
“parameters,” which are constants that have changeable values or setings. To alter VZ-10M sounds or programming,
you simply alter the value of these parameters using a value slider or value keys.
4 Wie Bacisit LCD Graphic Display
‘The VZ-10M's wide graphic LCD features a hierarchical, “player friendly” menu structure, which allows speedy and
‘accurate operations. Sound source configuration, patch editing, multi-patch setup creation, output channel and MIDI
specifications - in fact, virtually all VZ-10M operations are controlled by interacting with various functions that are
found in the three VZ-IOM menus. And a number of VZ-10M functions feature “graphic editing” capabilites.
5 combination Mode Provides Layered and Split Voicing
‘The VZ-10M's “Combination” mode lets you mix together up to 4 different patches in any of 8 different patch mix
‘or patch split configurations. You can set effect and amp levels independently for each patch, and output them together
through
the
MIX
OUT
channel.
Or
output
the
4
patches
through
the
VZ-0M's
L/R
LINE
OUT
channels.
6 Muttichannet MuDI Performance
‘The VZ-10M 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 polyphonics and ensembled in any format you desire. Multi-
timbral
MIDI
expansion,
monophonic
MIDI
performance,
or
total
16-note
MIDI
polyphony
can
be
selected,

Velocity Split & Positional Cross Fade
‘VZ-10M puts powerful mult-voice performance in your hands, with advanced features such as velocity split and
tional cross fade. Set up multi-layered voices with up to 3 split points, and “fade” the voices into one another
there's no audible “split point” with the cross fade function, or control multiple voices through keyboard velocity
velocity spit.
Optional RAM Card (RA-500)
an
optional
RA-S00
RAM
card
for
expanded
sound
storage
and
recall
capabilities.
Each
RAM
card
holds
to 64 VZ-10M patches and 64 VZ-10M operation memories.

About this Manual
While you may not realize it quite yet, the VZ-10M is an incredibly complex
digital 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 VZ-10M operations,
‘When
you
take
the
VZ-10M
out
of
its
box
for
the
first
time,
you'll
probably
Want
to
connect
it to
an
extemal
keyboard,
guitar
or
horn
equipped
with
MIDI
and
plug
it
in
immediately
to
see
how
it
sounds.
‘Once you're ready to begin studying the true power of the VZ-10M, you'll need
to have a basic knowledge of its {PD modular sound source system. Read the
section beginning on page 12 thoroughly ~if you're not familiar with basic sound
synthesis terms and theory, be sure to study the VZ-10M Sound Seminar on
page 92 as well.
Next, you should familiarize yourself with the VZ-10M’s operating system con-
trols - the keys, selectors and sliders found on the VZ-10M front panel. Read
through the section found on page 16 for an introduction to these controls.
When you're ready to start using the VZ-I0M's advanced editing and sound.
data storage capabilities, you'll need to learn how to use the “FUNCTION
INDEXES" beginning on page 20. Be sure to work through the practice exer-
cise on pages 20~24, as well as the GRAPHIC EDITING examples. These
will give you a fairly solid understanding of basic VZ-10M synthesis operations.
‘The FUNCTION INDEXES will be an invaluable aid in all VZ-10M editing
‘operations. For this reason, be sure to keep this manual handy whenever edit-
ing sounds
Most
importantly,
remember
that
this
manual
is
meant
as
a
reference
only
-
you'll
only
be able
to realize
the
true
power
of
the
VZ-10M
as you
apply
it
to your
own
musical
performance.

nughout this manual you will encounter terms (words) which you may - or may not ~
familiar with. Before jumping into VZ-10M operations, it’s important to make sure that
Qu understand the basic usage of these terms in this manual. Take a few moments to read
ugh these words and become familiar with them - you'll find it will enhance your overall
standing of the VZ-10M.
‘A displayed list of the various FUNCTIONS you can select to perform on the
\VZ-10M. The VZ-10M features three basic Menus,
Any of the items listed on the VZ-10M menus. Each Function contains a variety
‘of PARAMETERS, and is identified by a two-digit number. For example, Func-
tion 02 in Menu 1 contains parameters related to 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 VZ-10M’s iPD sound source features 8 independent “modules.” These can be
thought of as independent - but interrelated - oscillators with controls.
IRNAL LINE. Sound source MODULES work together in “pairs.” These pairs form what is known
as an INTERNAL LINE, or simply “line.” For example, Module 1 and Module
2 (MI and M2) form Internal Line A - known in this manual as LINE A, M3 and
Mé form LINE B, etc.
‘TERNAL PHASE In addition to using the output of any LINE to create an audible sound, the VZ-10M_
lets you utilize the output of any LINE to modulate the succeeding line. For exam-
ple, the output of LINE A can be used to modulate LINE B. This configuration
is known as an “External Phase.”
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.
‘TION MEMORY | An operation memory is literally a full setup, including specifications for multiple
patches
(when
desired),
keyboard
and
velocity
spit,
MIDI
specifications,
etc.
The
‘VZ-10M features 64 operation memories which allow onboard storage of up to 64
different multi-patch setups.
‘A voltage which changes as a function of time. Envelopes are generally triggered.
bby controllers, and are used to shape the amplitude (volume) and pitch of a note.

VZ-10M Theory: Flow of Operations____/
Although the VZ-10M features an extremely 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 VZ-10M is to operate, and
hhow versatile itis,
In order to appreciate the beauty of the VZ-10M, its insportant to have
€ clear initial understanding of its basic “flow of operations” - in other
words the basic order of operations you will probably want to follow 10
make the most of the VZ-10M.
‘Simply speaking, VZ-10M operations can be divided imo four different
“modes” - which, as you might expect, correspond to the four modes listed
‘on the front panel of the VZ-10M ~ the NORMAL mode, the COMBI-
NATION mode, the OPERATION MEMORY mode, and the MULTI
CHANNEL mode,
You can select a MODE by pressing the corresponding mode key, and
then select any MENU (or the PLAY sub-mode) with the MENU keys
(or PLAY key).
For a clear understanding of each, take a few moments (0 read through
the following text.
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-10M
‘The NORMAL mode can be further broken down into 1Wo sub-modes
= the PLAY mode and MENU mode. The PLAY mode is selected for nor-
ral performance, while the MENU eode(s is select for Curther editing
‘of sound and effect data. In the PLAY sub-mode, you can freely choose
any one of the VZ-10M’s 64 preset sounds or RAM card sounds, edit it,
and use it in performance.
‘The NORMAL mode isthe basic performance mode, where “patches”
created through the VZ-1OM's modular sound source system can be selected
and output individually for L-patch performance. You can make use of
the wide range of VZ-10M sound effects in this mode, for expanded per-
formance versatility.
‘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 from “scratch” (initialized data).
‘Once you've created sounds you want fo 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 128 sounds,
‘One importam 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.
MOO) Ea WERDD FO

SOMBINATION MODE
COMBINATION
mode
is
a
“buffer”
(for
those
with
computer
ex-
)- oF “work area” where you can “combine” the patches you've
in the NORMAL mode to make detailed, multi-simbral setups
ing keyboard split point, velocity split specifications, and individu
fications for each patch in the setup.
COMBINATION mode can be further broken down into two sub-
es - the PLAY sub-mode and MENU sub-modes.
PLAY sub-mode is selected for normal performance, while the MENU
jodes
are
selected
for
further
editing
of
sound,
effect,
and
multi-
setup data.
work area, you can select up to 4 different patches created in the
‘mode (preset, or those you've created), and arrange them freely
ty of VZ-10M functions can be used to determine keyboard split
J, a5 well as velocity split for each patch in the sound.
‘can also be set individually for each patch in this mode. What's
3 Felative amplitude levels can be set for each patch, allowing total
of “balance” within the multi-patch sound.
:VZ-10M is designed so that you can quickly and conveniently arrange
¢
you
use
in
the
multi-patch
sound
-
if
you
don't
like
what
you
f. you can choose a replacement patch or delete it from the sound al-
‘important thing to remember when you select the COMBINATION
is
that
you're
working
with
up
t0
4
patches
at
a
time.
Another
im-
point
is
that
the
COMBINATION
mode
is
only
a
“work
area,’
you
can
“work”
on
one
“combined”
(multi-patch)
sound
ata
ERATION MEMORY MODE
{you've
created
a
sound
you
want
to
save
-
an
individual
patch
in
ORMAL
mode
(in internal
or card memory)
or a combined
sound
COMBINATION
mode,
you can write
them
to one of 64 built-in
tion Memories.
OPERATION MEMORY mode is used to memorize and recall not
the individual patches and combined sounds created in the first two
it also holds sound-related details of effect and control pane! set-
This is where you “store” the multi-patch setups and patches you've
gated,
for
instant
recall
during
performance.
smode is actually used in concurrence with the NORMAL and COM-
‘TION modes, as it stores and recalls data which have been created
OPERATION MEMORY mode can be further broken down into sub-
the PLAY sub-mode and MENU sub-modes. The PLAY mode
cd for normal performance, while the MENU modes are selected
further editing of sound and effect data in the selected operation
SINTERNAL A-1
INTERNAL C-3
HCARDCL) O-4
U2 EP
Bune
Te cer
Bape
INTERNAL F-8¥
NEM RAGE 2
<1 £4)

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-IOM is capable of receiving MIDI performance messages in 2 num-
ber
of
ways;
(1)
With
16-note
polyphony,
wherein
all
notes
and
perf
‘mance data transferred using the same MIDI channel (MIDI mode 3-omni
off/poly), and (2) With 8-note polyphony, wherein each of the MIDI
“Multi-Channel Area 1-4 or $8” is assigned an individual, independent
timbre with 2-note polyphony.
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 Send/Receive channel number.
‘Through this operation, you can freely set up to 8 polyphonic MIDI chan-
nels, however it’s important to remember that the VZ-I0M polyphony re-
‘mains unchanged - 16 notes maximum. Because ofthis, the sum polyphonic
value for all 8 Multi Areas is - drum roll please - "16.
Now that you understand the basic theory of VZ-10M operations,
the “BIG” picture becomes clearer;
1 —Write, edit and recall individual patches using the NORMAL
mode.
“Combine” patches to make multi-timbral setups (combined
sounds) in the COMBINATION mode. (Remember that you
‘can write and edit patches individually as in the NORMAL
mode as well.)
3 —Write patches and combined sounds to any of 64 operation
memories and recall them for performance in the OPERA-
‘TION MEMORY mode.
‘4 —Create up to 8 polyphonic MIDI “Multi Areas” in the MUL-
TI CHANNEL mode.
i
fe
ne Bie Be
|i
genie Foe
up gP |
|

the VZ-10M's amazing sound synthesis capabilities is an
IPD” (interactive Phase Distortion) sound source. In order to
‘most out of your VZ-10M, itis vitally important that you under-
‘at least the basic theory behind this new sound source.
‘module
contains
a
DCO and
a
DCA,
and
is
capable
of
generating
it waveforms.
(D) If you're
familiar
with analog
synthesis,
you
of the modules
as oscillators
with controls.
Inthe
IPD system,
‘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
speaking, the 8 sound source modules work in associated pairs
‘called “Internal Lines,” or simply “lines.” There are 4 internal
B, C and D, as shown to the right. (2)
forms generated by both modules in any line can be used together
different ways. The waveforms can be mixed, or one of the wave-
scan be used to modulate the other for RING modulation or PHASE,
red at the right. (@)
hhow the modules in each line are interrelated, let's analyze the
between the two modules which make up LINE A.
‘consists of two different modules - Ml and M2. While these mod-
entirely independent and generate totally independent waveforms,
bbe utilized together in any of three different output formats -
‘output), RING (ring modulation) and PHASE (phase).
WAVEFORM OUTPUT
MIX is selected, the waveforms generated by M1 and M2 are out-
according to the formula given below. (®)
‘MIX: MI + M2
ook a bit complex at first, but it's really not. It may be easiest
‘of MI and M2 as individual oscillators (which they are). In the
format, both of these oscillators sound together.
MODULATION
two waveforms can also be output using RING MODULA-
Which is created according to the formula shown below. ())
RING MOD: M2 + M2 x MI
probably heard ring modulation - even if you don’t recognize the
_ Typically, it creates a “clangorous” or metallic sound and is often
“synthesizing gongs, bells and other ringing percussive sounds.
®
oo fx
spt
bea
-12-

PHASE,
according
to
the
formula
shown
below.
(©)
}
PHASE
..
|
®
Mi
‘The
2
waveforms
in
LINE
A
(MI
and
M2)
can
also
be
output
using
we
PHASE: M2(M1) |
©
Diagam
of
rtionsip
be
In
this
format,
only
one
oscillator
is
heard,
aS
one
oscillator
is
used
to
|
©
yea
oF
tions
between
‘modulate
the
other.
In
this
case,
M2
is
produced
using
MI
asthe
phase
y
to
“read”
the
M2
waveform.
CEN
Re
UU
Ch
ENE
‘The
degree
of
RING
and
PHASE
effect
is
dependent
on
the
amplifier
™
(CA)
envelope
of
related
modules.
(I
addition,
to
amp
envelope,
the
a
degree
of
changes
in
sound
(waveform)
ae
affected
by
amp
envelope-
ns
related
parameters
such
as
key
Follow,
Velocity,
etc.)
(D)
bail)
Natura,
the
same
fancions
and
formla
py
toa
mera
es
|
“A
~ LINE A, LINE B, LINE Cand LINE D. And they can be used to modi- Wow.
fy
the
other
Internal
Lines
through
External
Phase
processing.
‘vo
;
a
«WAVEFORM
|
tema
=
1:16
=
SINE
External
Phase
‘When
the
External
Phase
format
is
selected,
the
line
output
of
the
wo
@
[a]
‘modules
(MI
and
M2
in
our
example)
is
used
as
the
phase
ofthe
second
ed
‘module
inthe
succeeding
internal
line
-
Ms
in
LINE
B,
in
our
example.
(®)
(un)
Now
that
you
have
a
basic
grasp
of
how
the
system
is
organized,
you
can
Start
to
imagine
just
how
versatile
the
VZ-10M
actually
is.
Because
of
the
relationships
between
the
sound
source
modules,
you
can
create
patches
hich
contain
independent
sounds
from
each
module,
or
use
modules
to
{_v3_]
fa
‘modulate
other
modules.
Theoretically,
you
can
actually
use
modules
1
through
7
to
modulate
module
8,
so
that
the
only
sound
you
actually
hear
Ta]
{is output
through
module
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
@
(agg
=
ke.
the
waveforms
of
both
modules
in
each
line
are
output
“mixed”
Pd
=
an
together,
as
shown
on
the
display.
(@)
(®
|e
Sees
| o—,,|
__a—"J}
pewter
PERT Gite =i
|| BX FretsesteF
If,
in
this
state,
EXTERNAL
PHASE
from
LINE
A
is
specified,
the
ol
display
changes
to
that
shown
on
the
right,
and
the
resulting
waveform
can
be
output
from
LINE
A.
()
ay
paneest
| mn
Remember
that
LINEs
which
are
used
as
external
phase
do
not
sound
|
pe
-
they
simply
become
the
phase
of
the
succeeding
line.
In
our
example,
eS
LINE A does not sound, but becomes the phase of LINE B.
-13-

E2
state, the internal line of LINE A is set to MIX, while LINE B
PHASE - i.e. M3 becomes the phase of M4. (@)
‘this state, EXTERNAL PHASE from LINE A is specified, the
‘changes to that shown on the right, and the resulting waveform
‘output through LINE B. Once again, LINE A does not sound,
only as the phase of LINE B. (®)
this abit clearer, think of how a guitar player uses preamp stages
distortion, With only one volume control, the guitarist must
LOUD to overdrive his amp and get a warm, distorted sound.
If he adds a preamp or has a master volume control, he can
hhis amp and still maintain a reasonable volume level. (1)
‘more amplifiers, the guitarist could theoretically create an in-
‘buzz”, as the distortion can be compounded with each
rol. (@)
‘modules
work
much
inthe
same
way
-
with
only
one
oscil
«can
produce
only
one
sound.
But
with
8 independent
oscilla
«an
create
patches
with
varying
degrees
of complexity
- using
together
to
create
a
“fat”
layered
patch
consisting
of
sounds
‘modulators,
oF to create
an individual
sound
output
{rom
a
with
a chain”
of modulation
stretching
from
MB all the
10 M1.
In essence,
the
modules
used
to create
modulation
are
{" the output
modules.
(®)

‘The
VZ-10M
lets
you
use
all
§
modules
entirely
independently
-
using
com-
binations
of
MIX,
RING
and
PHASE
output
from each
LINE
to
create
‘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
VZ-10M.
‘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.
()
@
ext
lint
mooie]
ONT
UNE
A~D
Mik
|
A=witw2
ms
Fang
|
ASMe
DRM
PHASE)
_A=Me(wn)
Mik
|
B=Ms+Ma
ore
[TRING
|
B=M«tMaxMe
Ms
PHASE
|
_B=Ma(Ms)
Me
Mik
|
B=Ma-+Ma(A)
on
[RING
|
B=Ma(al+maxmatay
PHASE
|
8=Ma(Ma+A)
Mix]
C=M5-+Me
ore
[ane
|
c=Metmsxme
Ms
PHASE
|
_C=MB(ws)
M6
mx
|
C=Ms-+Me(6)
on
[RING
|
c=Me(e)-+MsxMe(B)
PHASE
|
C=M0(ME+B)
mx
|
O=M7-+Me
ore
[ANG
|
D=MetMrxme
wr
PHASE
|
_D=Ma(M7)
Me
mix_|D=M7-+Ma(C)
on
[rg
|
D=Ma(c)
+7
xMa(C)
PHASE
|_O=Ma(wr-+o)
a=

sways, your VZ-10M is very similar to a computer, asit is capable
‘and generating a large amount of digital sound data. This “data
"is maintained by the VZ-10M “Operating System,” which you
‘f as a collection of system programs that control the overall
Of the VZ-10M.
interface with the VZ-10M operating system can be found in
functions which can be called up on the VZ-10M's builtin graphic
These functions contain a number of parameters, which deter-
various characteristics of VZ-10M sounds. In fact, sound syn-
the VZ-10M basically consists of inputting values for these
jcomputer, you generally enter a certain program, and use a cursor
t0 different positions in the displayed page, and use the keyboard
Pcommands, values, text, etc. (this is, of course a simplified ex-
)
‘works much in the same way, and it features a number of
‘System Controls” which are used to perform the same
‘8 computer keyboard or mouse would perform.
fat the MENUs listed on the front panel of the VZ-10M - this
rchy””
gives
you
a
bird's-eye
view
of
how
VZ-10M
MENUs
the VZ-10M operating system, you first choose what MODE
to work in, by pressing one of the MODE keys.
ve selected the mode, you must specify what MENU you want
by
pressing
one
of
the
MENU
keys.
‘you've specified the MODE and MENU, choose the FUNC-
the parameters that you want to access by using the
‘controls - either the Value Slider or the Value (YES/NO) keys.
functions,
you'll
notice
a
module
indicator
at
the
top
right-
‘ofthe
display.
These
indicators
appear
only
when
the select-
is set
for each
sound
source
module.
To select
the
module
0 edit,
you
simply
press
the
corresponding
MODULE
~16-

‘When
you've
moved
to
the
desired
function
and
selected
the
module
you
‘want
to
edit,
you
can
access
the
parameters
by
pressing
the
related
MENU
key
once
again.
With
this,
you've
“accessed”
the
parameters
contained
in
the
function,
and
are
now
free
to
move
through
them
with
the
cursor
‘keys.
In
cases
where
functions
feature graphic editing
capabilites,
you
can
‘move
automaticaly
into
graphic
editing
without
pressing
the
MENU
key
by
pressing
the
DISPLAY
key
(see
page
28),
‘To
move
through
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
controls
to
input
values.
Use
the
slider
to
input
approximate
values,
and
the
value
keys
to
make
more
exact
value
specifications,
When
you
want
to
exit
from
any
function,
menu
or
mode,
you
can
sim-
ply
press
any
of
the
MODE
or
MENU
keys.
Notice
that
when
you
reselect
‘
particular
MENU
(MENU
1,
for
example),
the
function
you
last
select-
ed
in
that
MENU
is
automatically
recalled.
Difficult?
Not
at
allt
IF
it's
not
entirely
lear,
try
going
through
the
prac-
tice
exercise
found
on
page
20.
It
will
familiarize
you
with
the
“Operating
System
Controls”
«the
controls
used
to
“communicate”
with
the
VZ-10M.
‘operating
system.
~~
Cee Se a,

each VZ-10M Menu you will find a number of “Functions.” Each
functions is further broken down into “parameters,” which are
that have changeable values or settings.
in MENU 1, you can select from a variety of functions which
characteristics of the sound produced by each individual mod-
5).
To
alter
the
characteristics
of
the
sound,
you
simply
alter
(of the
various
parameters
contained
in each
MENU
1 function.
2, you can select from a variety of functions which control the
built-in sound effects. To alter the way that sounds are affect-
effects, you simply alter the values of the various parameters
fn each MENU 2 function.
3, you can select from a variety of functions which control
ance. These are known as “total control” functions, and
Parameters as tuning, MIDI settings, etc.
fat the MENUs equipped with the VZ-10M manual -this “menu
ives you a clear view of how VZ-10M MENUs and FUNC-
‘organized.
SOUND EDITING FUNCTIONS
EFFECT-RELATED FUNCTIONS
— TOTAL CONTROL FUNCTIONS
{to remember that not all FUNCTIONS can be accessed in
notice that the menus are divided into sections, with the
listed on the left. Remember that when you choose a par-
the related operational mode must first be specified. You'll
that each FUNCTION INDEX lists the operational modes in
fenus
and
Functions___
SS
[er won pwovect

@Funetion Number
This
number
corresponds
to
the
number
of
the
function
fon
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
lst
shows
all
the
parameters
contained
inthe
selected
Function,
as
well
asthe
range
of
values
or
settings
which
‘san
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.
~19-
In
the
following
section,
you
will
find
information
on
each
“function”
for
all
three
'VZ-10M
menus.
The
function
“indexes”
listed
on
the
following
pages
contain
a
varie.
{1Y
of
important
information
on
the
function
and
its
parameters,
as
shown
below;
®No.
of
display
pages
Indicates
the
number
of
display
“pages”
which
are
for
the
Function.
tn
this
case,
the
VELOCITY
RA’
function
features
3
display pages
-
in
other
words,
so
Parameters
for
this
function
are
accessed
on
the
secor
‘and
third
display
pages.
Subsequent
pages
can
be
played
by
pressing
the
PAGE
key.
(See
“Display
Pages,
page
21.)
play.
When
“YES”
is
indicated,
you
can
access
gray
display
by
pressing
the
display
key.
(See
“Graphic
play,”
page
25.)
@Domain
Indicates
the
operational
“domain”
in
which
functi
settings
are
effective.
In
some
functions,
settings
“elobal,"in
which
case
the
setting
affects
the
entire
o
ating
system.
In
some
functions,
settings
can
be
ma
for
each
iPD
module,
in
which
case
the
domain
“modular.”
In
other
cass,
settings
are
“linear”
-
or
for
each
iPD
LINE,
per
“area”
-
of
valid
foreach
MIDI
‘area,
“layered”
~
oF
valid
for
layered
sounds
in
the
CO}
BINATION
mode,
etc,
Related
Functions
Lists
the
other
VZ-10M
functions
that
are
closely
int
‘elated
with
the
selected
function.
These
are
also
lis
‘on
the
VZ-10M
display
in
many
cases,
@Modes
Lists
all
ofthe
“operational
modes"
-
NORMAL,
CO}
BINATION,
etc.-
in
which
the
function
operates.
(
the
menu
table
on
the
preceding
page,
The
left
column
of
the
menu
hierarchy
shows
the
MODES
ed
to
the
FUNCTIONS
on
the
right,)
@Menw
List
the
menu
1~3,
and
it’s
useful
for
you
searchi
Index.
REMEMBER...
These
indexes
provide
only
basic
information
on
function
and
parameter.
Many
of
these
functions
and)
Parameters
are
interrelated,
and
it
would
take
literally

Function Index Practice Exercise
is an example of how you can use VZ-10M Function In-
guide to actual editing operations. Be sure to go through this
ly, executing VZ-10M operations as you go. This will not
de you with an understanding of how you can utilize the index-
0 a basic understanding of VZ-10M editing operations.
Exercise: How to use the VELOCITY RATE Function Index when
FZ-10M
Velocity
Rate
parameters.
ple,
let's
assume
that
you
want
to
“edit”
the
VELOCITY
the
DCA
envelope.
Take
a
look
at
the
MENUs
on
the
menu
ing
this
manual,
or
on
page
18.
Here
you'll
find
the
“VEL
ton Indexes are arranged in three main sections, correspond-
‘operational MENU sub-modes. Notice that the menu num-
don a “tab” at the upper edge of the page (item (®).
MODES
are
listed
at
the
bottom
edge
of
the
function
index
.@).
In this
case,
MENU
1-17
(VELOCITY
RATE)
can
only
m
either
the
NORMAL
mode
or
COMBINATION
mode
is
Since
the
goa!
of
this
example
isto
edit
the
DCA
envelope
meters,
you'll
want
to
choose
a
patch
which
is
audibly
“de-
"on these
settings.
Try
choosing
INTERNAL
patch
number
G-S
Play
some
notes
with
varying
degrees
of key
velocity
nd take
note
of how
velocity
affects
this
sound.
Once
you've
0 on to procedure
1.
‘example, we'll work in the NORMAL mode, so first press
RMAL key.
at
item
@
on
the
function
index.
This
lists
the
Operating
that are used in editing the parameters contained in this
You'll find this handy when working in any VZ-10M function.
Ere
to
refer
to
this
lst
as
you
work
through
this
exercise
as
well.)
| FINTERNAL 6-54
| uz ToucH
©
(O78
|
MENU
1
—
CURSOR
—
VALUE
—
PAGE
|