What if an instrument revolutionized synthesis, but most folks didn’t notice? That’s the 1993 Yamaha VL1 in a nutshell. Its approach to modeling a range of instrumental vibrations, resonances, reflections, and articulations is deeply connected to instruments today. But most synthesists don’t know about it – apart from a handful of enthusiasts and people who read magazines in the early 90s. So it’s time to sing this unsung legend’s story.
Readers of this site know I can’t get enough of physical modeling, including instruments from AAS, Apple, Baby Audio, Madrona Labs, Expressive E, and others. For software users, Berk Oztuna has a list of favorite plug-ins that I wholeheartedly endorse. So I’m excited to tune into a four-part history on physical modeling from Claudio Passavanti aka Doctor Mix, featuring guest star Manny Fernandez. It’s off to a great start because he’s somehow gotten hold of a mint VL1, which is a phenomenally rare instrument, and goes on a deep dive into programming and even upgrading it.
Physical modeling didn’t start with the VL1. But it had existed largely in academic research and software implementations, none of which was accessible to average musicians on the tech available off the shelf at the time. Yamaha had the audacious idea of packing a bunch of those cutting-edge ideas into a commercial product, voicing all those instruments and reshaping synthesis around expression and breath. In the process, they introduced various innovations of their own.
Let’s go all the way back to 1994 for some perspective on this instrument. Yamaha’s own Phil Clendeninn went on National Public Radio to talk about why this instrument was significant. Sure, some of the patches don’t hold up to all we can do in 2020s sound design. But what you’ll hear is how prescient Celendeninn and Yamah were about where electronic instruments were going: expression. (And Clendeninn is the person to explain it – he’s worked with Yamaha since 1987 and played with the likes of Diana Ross, among other accolades.)
In this age of AI-generated slop, there’s one thing you can’t fake with machines alone: physical expression and live performance of a human in the same room.
You get some CCRMA callouts in there, too, with then-director Julius O. Smith and — just listen. What happened, NPR? Bring back the days of reading the waveguide equation on-air. That’s the kind of radio we totebag-wielding listeners want!
Also, “it’s not the path he thought his musical career would take” are probably the most widely relevant words I’ve ever heard uttered about the meaning of the field, all the way back to Biblical times.
Expression is everything. The VL1 even came with a breath controller jack, designed for additional expression from your lips. You can draw a line from the VL1 to other modules at Yamaha and other wind controllers (like Akai’s) all the way to the Eigenharp and then MPE. Your Osmose owes a debt to the VL1 – extra shout-out to folks like Geert Bevin and Roger Linn. (See the Wind Controller FAQ, from Ohio’s Patchman Music, who uploaded the NPR piece.)
If you’re into this sort of thing, and you read this far so I’m guessing that’s a “yes,” it’s worth reading the 1994 Sound on Sound review of the gear by Martin Russ. And he makes an interesting point here about making the expressive input what you use to tweak the sound rather than direct control – something relevant as we watch the evolution of tools like Expressive E’s. (To quote Back to the Future, “I guess you guys aren’t ready for that yet. But your kids are gonna love it.”)
Yamaha do not give any direct user control over the instrument in the VL1, but instead provide a large number of predefined instruments which can then be controlled and modified by the player. Although this goes against the grain of most previous synthesizers, it is exactly how real instruments work — you do not take a drill to a saxophone and try making holes in the metalwork! Instead, you use the mouthpiece to control the sound through a combination of air pressure, lip pressure, throat resonance, vocal chords and your tongue.
Yamaha VL1 [Sound on Sound, 1994]
The challenge, though, was playing the instrument. The factory songs gave you a clue – and demonstrate that the VL1 sounded a lot better than people tend to remember:
Analog Audio does a beautiful job playing the synth in 2016, too:
Back to the future: MusicTech did a great piece on the VL1’s history, too.
A look back at the Yamaha VL1, a groundbreaking modelling synth
That’s more history of the VL1 than I think even Yamaha has shared, but here’s a little from the actual manufacturer:
Synth History: Dom Sigalas on VL1
I mean, Yamaha – VL1 “Legacy Edition”? Think about it, won’t you?
Anyway, all this talk of the future and 1993, and I have to leave you with this Super Bowl ad from that year. (Yes, I was one of the only ones who drank this. I also would probably have bought a VL1 if I had that kind of money in the 90s or, uh, now even.)
Don’t worry – I’m not sinking into nostalgia. (If Crystal Pepsi taught us anything, wasn’t it to embrace new technology?) There’s more to say on this, in new software and the new directions from Yamaha and companies like Expressive E. Stay tuned.
Right now is tomorrow.