Casio VZ-8M User manual

niGITAL SYNTHESIZER
OPERATION MANUAL 1
MANUAL DE OPERACION 117

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DIGITAL SYNTHESIZER
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highly innovative digital
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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.
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About this Manual
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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 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 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

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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-
related details 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.
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CH n+2
| PATCH 1 | | PATCH 2 | | PATCH 3 | | PATCH 4 | | PATCH 8
11111111 PST1
fl-ls'JZ EP
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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 related modules. (In addition, to amp envelope, the
degree of changes in sound (waveform) are affected by amp envelope-
related parameters such ,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 related operational 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
related with the selected function. In this case, the P VEL
RATE (VOICE-18) function is closely related to such
functions as VOICE-17 (the VEL RATE SENSITIVI
TY function), and VOICE-09 (the DCA ENVELOPE
function).
©Modes
Lists all of the "operational modes" — NORMAL,
COMBINATION, etc. — in which the function oper
ates. (See the menu table on the preceding page. The left-
hand column of the menu hierarchy shows the MODEs
related to the FUNCTIONS on the right.)
©Menu
This "tab" at the edge of the page shows which "menu"
the function can be accessed in. In this case, "VOICE"
indicates 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 next page.
•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.