Roland VP 550 Service Manual

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Page 1

Owner’s Manual

Page 2

123 6 79

45 8

12 14 16 18 2 0

13 15 17 19

Page 3

Front panel

D BEAM

VOLUME

SOUND CHECK

BASS & PERCUSSION

OCTAVE

VOCAL DESIGNER

ENSEMBLE

REGISTRATION

AMBIENCE

Pitch bend / modulation

Keyboard

You can apply various e ects to the sound by waving your hand over this sensor.

This knob adjusts the overall volume of the VP-550.

Here you can record and check the sound that’s sent from the OUTPUT jacks.

These buttons select bass sounds or voice percussion.

These buttons raise or lower the keyboard range in one-octave steps.

Here you can select the tonal character of the vocal designer, and adjust the mic level.

Here you can select the ensemble sound and adjust the volume.

Here you can register combinations of vocal designer and ensemble settings.

Here you can adjust the type and depth of ambience.

Use this lever to vary the pitch or apply vibrato.

* The VP-550’s pitch bend range is  xed at a whole note (two semitones).

Perform.

*The VP-550 does not respond to aftertouch.

p. 37

p. 20

p. 34

lever

p. 31

p. 36

p. 21

p. 27

p. 43

p. 33

p. 38

Rear panel

POWER ON

AC Inlet

MIDI

TUNE

PEDAL

EXT IN

MIC

OUTPUT

PHONES

Switch

Press to turn the power on/o .

Connect the included power cord to this inlet.

connectors

Connect your MIDI equipment to these connectors.

knob

This knob adjusts the pitch of the VP-550 over a range of 415.3 Hz–466.2 Hz.

jacks

Connect an expression pedal and hold pedal to these jacks.

jack

Connect an external synthesizer or mic (phone plug) to this jack.

jack

Connect a mic (XLR plug) to this jack.

jacks

These jacks output the sound of the VP-550 in stereo (L/R).

jack

Connect your headphones to this jack.

p. 18

p. 12

p. 54

p. 42

p. 16, p. 39

p. 15, p. 50

p. 14, p. 22

p. 13

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Contents

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he ancestry of the VP

eatures of the VP-550

An overview of the VP-550

About Vocal Designer

list

Making connections

aking connections

erforming

urning on/o the power (POWER ON)

Adjusting the volume (VOLUME

erforming with Vocal Designer (VOCAL DESIGNER)

erforming with Ensemble (ENSEMBLE)

erforming with Bass & Percussion (BASS & PERCUSSION

Adjusting the ambience (AMBIENCE

hecking the output sound (SOUND CHECK)

Connect the power cord (AC IN)...............................................................

Connecting your amp or speakers (OUTPUT/PHONES)

Connecting your mic (MIC)

Connecting a pedal (HOLD PEDAL/EXP PEDAL

ecting a sound

djusting the mic input level (MIC LEVEL)

erforming with Vocal Designe

ing your unprocessed voice (DIRECT

witching o the mic (MIC ON/OFF

aising Vocal Designer’s pitch by one octave (8va

electing a sound

erforming with Ensemble

usting the Ensemble volume (ENSEMBLE LEVEL)

sing the mic to add expression to the Ensemble

VOICE EXPRESSION

bout the VP-550’s strings (STRINGS 1)

ecting a sound

erforming with Bass & Percussion

djusting the Bass & Percussion volume

Page 5

sing controllers

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“

hifting one octave up or down (OCTAVE)

sing the D Beam (D BEAM

sing the pitch bend / modulation lever (PITCH BEND

sing pedals (HOLD PEDAL / EXP PEDAL)

sing a mic to control expression (VOICE EXPRESSION

hanging the settings

uning (TUNE)

egistering sounds and settings (REGISTRATION)

Adjusting the mic expressionsensitivit

xample a

ppendix

ications

imulating a large classical choir ..............................................................................................

imulating a gospel chorus

Adding a backing chorus to your voice

imulating a jazz scat solo

sing the sound of an external synthesizer (EXT IN)

“Performing” sound from drums or a portable music player ..........................................

onnecting the VP-550 with MIDI equipment

IDI Implementation

IDI Implementation Chart

ain speci cations

roubleshooting

ndex

nformation

Before using the VP-550, please read the sections, “USING THE UNIT SAFELY” and

IMPORTANT NOTES” (separate sheet)

perations of the VP-550. This Owner’s manual should be read in its entirety in order for you to nderstand all features and operations. Keep the manual on hand for reference purposes.

All product names mentioned in this document are trademarks or registered trademarks o

espective owners.

ermission of ROLAND CORPORATION

hey provide important information concerning proper

their

Page 6

Play like you’re singing.

Page 7

The ancestry of the VP

1939

used during World War II as a way to scramble communications, the vocoder began to achieve

popularity as an electronic musical instrument in the 1970’s. Most vocoders of that time didn’t provide

a keyboard or carrier signal (analogous to the vocal cords of a human), so you had to separately

provide a synthesizer in order to produce sound.

1979

a strings-type keyboard, making it simple to produce sound without needing to use other equipment.

The VP-330 enabled you to create distinctive vocal sounds without specialized knowledge of vocoder

parameters, and still continues to be loved by musicians around the world.

2006

human vocal modeling technology, and featuring a simple interface designed for musicians.

“Ultimate vocals for all musicians” – that’s the mission of the VP-550.

marks the invention of the “vocoder,” a method of compressing a vocal signal. Subsequently

was the year in which Roland released the VP-330, a new idea that combined a vocoder with

marks the birth of the VP-550, going beyond the vocoder to utilize Roland’s “Vocal Designer”

Page 8

Features of the VP-550

bly

lly

hly

All y

The VP-550 is a keyboard featuring cutting-edge “Vocal Designer” human vocal modeling technol ogy. Just connect a mic, play the keyboard while you sing, and let the VP-550 model incredi

ealistic and natural vocals.

Highest quality vocal

Unlike the choir sounds you’ve heard from samplers and synthesizers, the “Vocal Designer” model-

ng technology built into the VP-550 lets you actua

realistic vocals that are simply beyond all comparison with conventional vocoders.

“sing the lyrics” — and it generates natural

In other words, the VP-550 lets

ospel, to background choruses for pop and rock bands

No longer will you need to call multiple vocalists to your live performances or recording sessions

Simply play the VP-550 and start enjoying the top quality vocal sounds you’ve dreamed of

ou do it all; from beautiful choirs echoing in a cathedral, to funky

Rich ensemble

In addition to “Vocal Designer,” the VP-550 also provides an “Ensemble” part with carefully selected

igh-quality PCM sounds (digital sampled sounds)

By using the “Ensemble” part to layer ric Designer,” you can create unbelievably rich ensembles

In addition, you can use the “Bass & Percussion” part to play voice bass or voice percussion.

This means that all b

itself, the VP-550 lets you rival an orchestra or a cappella group

expressive strings and superb choir sounds with “Voca

Easy operation

The VP-550 doesn’t have the display screen you often see on a synthesizer. Take a look at the panel. The knobs and buttons you see are all that there is! The complex hierarchies and menus that ob struct your creativity have been completely eliminated.

ou need to do is connect a mic, use the buttons to select a sound, and then play the keyboard

ou sing

while

Page 9

An overview of the VP-550

SS &

CUSSION

the ambience of a ha

the left.

“

odulator

VOC

such

cher sounds.

CUSSIO

he VP-550 has three parts, and each part occupies its own section of the front panel

VOCAL DESIGNE ENSEMBLE

•

If you turn on a sound button for a part, you’ll be able to play that part

If you turn on a sound button for two or more parts, you’ll be able to play those parts simultaneously.

By combining these parts, you can make the VP-550 produce an incredible range o

hese parts are mixed as follows.

PER

BASS & PERCUSSION

VOCAL DESIGNER ENSEMBLE

AL DESIGNE

is part uses the keyboard and the mic input to model vocal sounds.

se the keyboard to control the pitch, and use the mic to control a

ther aspects of the sound.

vocal sounds.

rrier

This has the same role that the

vocal cords” play in a human voice. According to the pitches you play on the keyboard, this generates the signal that

orms the basis of the sound (tone and pitch). Use the sound buttons to switch between different vocal characters such as

assic or pop

From the voice you input via the mic input, this extracts the

esonances (formants) that esult from the shape of your

throat and larynx and the move

ent of your mouth, and uses

these formants to modulate the

ignal produced by the carrier.

This will reproduce not only the

oudness of your voice, but also et the lyrics be heard clearly

NSEMBLE

This part lets you play high-quality PCM sounds (dig

tally sampled sounds) from the keyboard. Use the

ound buttons to switch between sampled sounds

as strings or choir. By layering the Ensemble part with the Vocal Designer you can create even ri

ASS & PER

f you turn on one of these sound buttons, the

eventeen left-most keys of the keyboard will play

voice bass or voice percussion sounds. You can easily

o things such as using your left hand to play a bass

ine while using your right hand to play the melody

AMBIENC

This section applies

r studio to the sound

from the three parts.

you don’t want ambi

nce to be added, turn

he knob all the way to

Page 10

About Vocal Designer

“

anyth

“

voice of an actua

“

ably

➞

hythm.

“Play like y

Vocal Designer” human vocal modeling technology is a further evolution of the “vocoder.” Here’s a simple

lanation of the vocoder

What’s a vocoder

he “vocoder” was invented by the physicist H. Dudley in 1939 as a technology for compressing a voice

communication signal. Subsequently, musical instruments based on this technology were developed,

llowing you to play melodies and harmonies using a human voice. Of course, the audio source can be

ing (not just a human voice) but because the vocoder has its basis in the sound-producing structure

of the human voice, we’ll be talking about it in terms of how a human voice is produced.

we ignore di erences of loudness, pitch, and variation between individuals, the waveform produced by

our vocal cords is essentially identical regardless o

guish spoken or sung words because of the various resonances (formants) created by our vocal tract (the

our throat and the movement of the larynx and mouth) and additional sounds called “fricatives,”

shape o

plosives,” and “sibilants” that are added in varying ways over time. The e ect of the waveform created b

the vocal cords actually has a rather minimal e ect on what the listener hears

A vocoder analyzes these time-varying changes, electrically synthesizes the

the throat and movements of the mouth (the formant movements),

shape o

nd uses these formants to modulate a musical signal (the carrier) rather than

the waveform produced b

was closer to that of a robot in a science  ction movie rather than the

this wa

l human

the vocal cords. The vocoder “voice” produced in

what you’re saying (e.g., “ahh” or “eeh”). We can distin

Resonances (formants) produced by the vocal tract (shape of the throat and larynx) and movements of the mouth

ocal Designer uses cutting-edge modeling technology to bring about a revo-

utionary leap in the accuracy of this synthesis, succeeding in generating a

human voice” that is incomparably more realistic and natural than the sounds

produced b

vocoders of the past.

Vocal cords (carrier)

Play like you’re singing

ocal Designer is constructed so that elements other than pitch are expressed by your voice via the mic.

ou play the keyboard to control the pitch

ocal Designer won’t produce sound if you are only vocalizing into the mic or only playing the keyboard.

his means that in order to take advantage of Vocal Designer, the timing at which you play the keyboard

nd vocalize into the mic is extremely important. When you’re performing a rapid passage, you will prob

 nd it best to hold down the keys (or press the hold pedal

Unlike on typical synthesizers, the volume is controlled by the mic. Use your voice to draw the curve. Using

your voice, you can produce a range o

he most important technique for taking advantage of Vocal Designer is t

expression that you might even  nd extreme.

ou’re singing”

. 39) and use your voice to play the

Page 11

Sound list

Sound

CLASSIC

deep

heard.

VOCO

lkb

VOCO

(

Sound

”

CHORUS

f of

VOCAL DESIGNER

escription

large choir suitable for classical music. This is also a good choice for any choral sound — not

ust classical— and will match nearly any style of music. It has a clear sound, and is a good

hoice when you want the lyrics to be heard

ALE &

PEL This choir includes the distinctive phrasings and irregularities that are distinctive of gospel

DER

DER 2

mixed choir with independent male and female parts. With sparser chords, it produces a

er and more three-dimensional sound than “CLASSIC.” You’ll hear the female voices in the igh range, and the male voices in the low range. Female voices will be heard in the right side f the stereo, and male voices in the left side.

music. It’s an ideal choice

choir with a fewer number of members, broadly useful for popular music as well as songs that

ontain rapid passages. The sound is clear, making this a good choice when the lyrics need to

ox sound with a metallic character. This is a more modern sound than “VOCODER 2,” an

s suitable for styles with a groove, such as R&B

vintage vocoder sound, broadly useful for pop music of the 1980’s as well as songs that con

tain rapid passages. It’s a good choice for chordal playing

If you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound being received

rom the rear panel EXT IN jack will be used as the carrier

or jazz or gospel.

. 50

ENSEMBLE

escriptio

STRINGS 1

TRINGS

AZZ SCAT

IXE

YS CHOIRThis is a sampled boys choir. To take the fullest advantage of this sound, play notes in the upper

MMIN

is is an acoustic string sound that emphasizes the expressive playability that is inherent to

strings. Performance nuances such as

ally control the attack, release, legato, and tonal changes of the sound. This sound is suitable

or playing phrases, but can be broadly used for chordal playing and other purposes. (p. 30).

is is a synthesizer string sound. It is a bright string sound that evokes the Roland JP-8000

synthesizer, and is a good choice for chordal playing.

his sound provides samples of jazz scat singing. It’s great for songs that contain rapid passages

or scat soloing. Your keyboard dynamics will switch between long “Doo” sounds, short “Bap”

and

and falls “Fall.

sounds

his provides samples of a large choir that’s excellent for classical music. You can get an even

ore majestic e ect by layering this with one of the sounds of the Vocal Designer part

hal

the keyboard.

is is a sampled humming sound. You can use the expression pedal or the “Voice Expression

unction” (p. 40) to vary the sound through a range of “mmh”

sive performance

our keyboard touch or pedal operation will automati-

“Ooh”

“Aa h” for a very expres

Page 12

BASS & PERCUSSION

Sound

les.

”

sounds

C#3

Hih

hat 1

C#2

escriptio

ASS 1

ASS

ERC

NoteSoun

his is a bass voice with short-duration notes, good for up-tempo songs across a wide range of

sty

his is a bass voice with long-duration notes, good for slower-tempo songs across a wide range of

sty

is is a jazz scat bass sound. Your keyboard dynamics will switch between long “Doo” sounds, short

“Ba

” sounds, and falls “Fall.

his provides a collection of voice percussion sounds.

#3Vox Cym

ox Cymba

#2 Vox Hi

Vox Hihat 2

#2 Vox Snare

VoxKickSwee

Page 13

Making connections

n this chapter you’ll connect the VP-550 to your external equipment and set it up.

Page 14

Making connections

the other end

outlet.

Connect the power cord

onnect the included power cord to the VP-550’s [AC Inlet], and plug

into an AC

to AC outlet

( AC IN)

Page 15

Connecting your amp or speakers



)

he VP-550 doesn’t contain an amp or speakers. In order to hear sound, you’ll need to connect it to monitor

speakers (with a built-in amp), a stereo set or other audio system, or headphones

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn o

the power on all devices before making any connections

( OUTPUT/ PHONES)

ake connections as shown

Headphone

INPU

Monitor speaker (with built-in amp

f you’re outputting in mono, connect your equipment to the [L/MONO] jack

udio cables and headphones aren’t included with the VP-550. You’ll need to obtain them sepa-

ately

Page 16

Connecting your mic

)

”

eadset or hand

)

oth

A mic is indispensable for performing with the VP-550. The VP-550 models vocal sounds by using your voice

that’s input via the mic. This means that using a high-quality mic will correspondingly improve the quality

of the result. The connector of the VP-550

order to use the full capabilit

or more about mics recommended for the VP-550, refer to the separate lea et “Mics recommended for the VP-550.

of the VP-550, we recommend using a “balanced (XLR) type” plug.

( MIC)

ou use will depend on the type of plug your mic provides. (In

he VP-550 (Vocal Designer) controls the volume of the sound according to the loudness of your voice in

e mic. This means that a headset mic is the ideal choice, since the distance between the mic and your

mouth will remain the same even during the most intense moments o

eadset mic, you’ll be free to sing and dance on stage to your heart’s content.

If you’re using a

your keyboard performance! With a

alanced (XLR) plug mic

MIC

onnect it to the [MIC] jack as shown

he VP-550 is equipped with a balanced (XLR) type jack. Wiring diagrams for this

ack is shown at right. Make connections after  rst checking the wiring diagrams of

er equipment you intend to connect

he VP-550’s MIC jack does not provide phantom power. If you’re using a condenser mic, you’ll need to

tain a separate phantom power supply unit or switch to using a dynamic mic.

Howling could be produced depending on the location of microphones relative to speakers. This can be remedied b

. Changing the direction of the microphone(s)

2. Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels

Page 17

If you’re using a

)

”

to “

”

[MIX TO MIC]

“ON.”

We’ll b

ato

and these formants are used to

signal.

sound and deter-

used as the ca

(

onnect it to the [EXT IN] jack as shown

Turn the [EXT IN] knob to “MIC.

This knob adjusts the level of the sound from the [EXT IN] jack. (Turn the knob toward “MIC” to

ncrease the level, or toward “LINE” to decrease it.) If you’ve connected a mic, you should turn this

MIC.

Refer to “Adjusting the mic input level” (p. 22) for more about this adjustment.

hone plug mic

XT IN

et the

The [MIX TO MIC] switch setting determines whether the sound from the [EXT IN] jack will be used as a mic input (modulator; the ON setting) or as the carrier (the OFF setting).

e using it as a mic input, so select the “ON” position here.

Carrie

is is the signal that is the

is of the

ines its timbre and pitch.

f you press the [VOCODER

and [VOCODER 2] sound

uttons simultaneously, the

sound being received from

e rear panel EXT IN jack wi

f you want the sound from the rear panel [EXT IN] jack to be the carrier, set the [MIX TO MIC] switch “OFF”

rrier

switch

p. 50).

➞

he tonal character (formants) of the

voice from the mic input is extracted,

modulate (transform) the carrier

f you want the sound from the ear panel [EXT IN] jack to be the

odulator, set the [MIX TO MIC]

“

”

Page 18

Connecting a pedal

➞

ections as shown.

)

ou can connect a hold pedal (sold separately: DP series, BOSS FS-5U) and an expression pedal (sold sepa-

rately: EV-5) to the VP-550

Using a hold pedal lets you hold the notes

Using an expression pedal lets you add expression to your performance

efer to “Using pedals” (p. 39) for more information

( HOLD PEDAL/ EXP PEDAL)

ke conn

xpression peda

(sold separately: EV-5

se only the speci ed expression pedal (EV-5; sold separately). By connecting any other expres

ion pedals, you risk causing malfunction and/or damage to the unit

(sold separately: DP series, BOSS FS-5U)

Hold peda

Page 19

Performing

n this chapter you’ll learn the basics of playing the VP-550. When you’ve  nished it, you will

have mastered the basics of the VP-550!

Page 20

Turning on/o the power

the

Here’s how to turn the VP-550’s power on or o .

( POWER ON)

Turning on the powe

ter completing the connection explained in the previous chapter, make sure to turn on the power

following the steps below. By turning on devices in the wrong order, you risk causing malfunction

and/or dama

efore you turn on the power, check the following

Is the VP-550 correctly connected to your peripheral equipment

Have you turned down the volume of the VP-550 and the connected audio system to the minimum set

tings

n the VP-550’s rear panel, turn the [POWER] switch “on.”

e to speakers and other devices

ON OFF

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is re-

uired before the unit will operate normally.

Use the [VOLUME] knob to adjust the volume appropriately.

While you play the keyboard to produce sound, adjust the volume of the VP-550 and of the audio equip

ment you’ve connecte

If you don’t hear sound, check the following

s the VP-550 correctly connected to your amp, speaker, or headphones?

The Vocal Designer part won’t produce sound when you play the keyboard unless you are vocalizing into

mic. For details, refer to “Performing with Vocal Designer” (➞. 23)

f there’s no mic connected, try selecting an Ensemble part sound and playing it from the keyboard

• p. 28

Page 21

Turning o the powe

”

efore you turn o the power, check the following.

Have you turned down the volume of the VP-550 and the connected audio system to the minimum set

tings

n the VP-550’s rear panel, turn the [POWER] switch “o .

ON OFF

f you need to turn o the power completely,  rst turn o the POWER switch, then unplug the

ower cord from the power outlet. Refer to Power Supply (separate sheet p. 4, “IMPORTANT OTES”).

Page 22

Adjusting the volume

want to decrease the volume.

Here’s how to adjust the volume of the entire VP-550.

( VOLUME)

djust the volume of the entire VP-550

or best results, adjust the volume of your amp or speaker system so that you get the desired loudness when the [VOLUME] knob is between the 12 o’clock and 2 o’clock positions as shown Turn the knob toward the right if you want to increase the volume further, or toward the left if you

Page 23

( VOCAL DESIGNER)

Sound

CLASSIC

deep

heard.

VOCO

lkb

VOCO

Performing with Vocal Designer

Let’s go ahead and try performing with the Vocal Designer part. While vocalizing into the mic, play the

eyboard and you’ll hear realistic and natural voices.

For more about how Vocal Desi

ner works, refer to “About Vocal Designer” (. 8).

Selecting a sound

Here’s how to select a Vocal Designer sound

o play the Vocal Designer part, press a Vocal Designer sound button to make it light

If you press the Vocal Designer sound button that’s already lit, the button will go dark and you will no lon

er hear the Vocal Designer part.

You can play multiple parts simultaneously by turning on sound buttons

or the Ensemble part

and/or Bass & Percussion part. If you want to play only the Vocal Designer part by itself, turn o

he sound buttons of the other parts (make the buttons go dark).

escription

large choir suitable for classical music. This is also a good choice for any choral sound — not

ust classical— and will match nearly any style of music. It has a clear sound, and is a good

hoice when you want the lyrics to be heard

ALE &

PEL This choir includes the distinctive phrasings and irregularities that are distinctive of gospel

DER

DER 2

mixed choir with independent male and female parts. With sparser chords, it produces a

music. It’s an ideal choice

choir with a fewer number of members, broadly useful for popular music as well as songs that

ontain rapid passages. The sound is clear, making this a good choice when the lyrics need to

ox sound with a metallic character. This is a more modern sound than “VOCODER 2,” an

s suitable for styles with a groove, such as R&B

vintage vocoder sound, broadly useful for pop music of the 1980’s as well as songs that con

tain rapid passages. It’s a good choice for chordal playing

f you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound beng received from the rear panel EXT IN jack will be used as the carrier (p. 50).

or jazz or gospel.

Page 24

Adjusting the mic input level

Voca

Check th

Ye l l o

Gree

f y

Here’s how to adjust the input level of the mic connected to the rear panel [MIC] jack.

( MIC LEVEL)

lize into the mi

e indicator status

Indicator signi cance

ed The signal level from the mic input is too great

w The signal level from the mic input is just right.

signal is being input from the mic input

djust the [LEVEL] slider so that the yellow indicator lights at the

peak o

our vocalizing into the mic

The [LEVEL] slider doesn’t a ect the rear panel [EXT IN]

ack. If you’ve connected your mic to the [EXT IN] jack,

se the rear panel [EXT IN] knob to adjust the input level

Turning the knob toward “MIC” will increase the input

evel, and turning the knob toward “LINE” will decrease it

Once you’ve adjusted the mic input level, you should generally leave it untouched. Adjust the [VOLUME] knob if

ou want to raise or lower the volume of the Vocal Designer part

Page 25

Performing with Vocal Designer

ect a sound.

While holding down the notes

yg ,gp y g

Conversely, Vocal Designer won’t produce sound if you’re not holding down notes, even if you are vocalizing.

y, g p y g , y g

)

(

)

➞

)

Now you’re ready to perform with Vocal Designer.

To ensure that you can clearly hear the sound of Vocal Designer, turn o the sound buttons of the En semble part and the Bass & Percussion part.

To ensure t the very lowest position

Turn the [MIC ON/OFF] switch (p. 25) on (lit)

old down one or more notes on the keyboard.

he Vocal Designer part will sound according to the volume of your vocalizing

Play the keyboard to control the pitch. Try vocalizing a continuous “aah” into the mic while you play di erent

eys. The pitch will change according to the notes you play.

his time, hold down notes on the keyboard while you vocalize in a more staccato manner; “ah, ah, ah, ...” Vocal

Designer will produce sound at the pitches o

ocalized. That’s right — the rhythm is produced by your voice, not by the keyboard. This technique is particu

arly useful when you’re performing phrases with rapid passages.

Unlike typical synthesizers, the volume is controlled

our voice, you can produce a range of expression that you might even  nd extreme.

here are just two secrets to using Vocal Designer skillfully.

at you’re hearing just Vocal Designer and not your own voice, move the [DIRECT] slider to

vocalize into the mic.

the chord you’re holding down, but at the staccato rhythm you

rom the mic. Use your voice to draw the curve. Using

atch the timing of the keyboard and your voice

• use your voice to play the rhythm

Use your voice to control the volume (expression)

If you don’t hear sound, check the following

s the VP-550 correctly connected to your amp, speaker, or headphones?

•

s the VP-550’s volume raised

s one of the Vocal Designer sound buttons lit?

s the power switch of your mic turned on?

s your mic connected correctly?

s the mic input level raised? (➞. 22)

s the [MIC ON/OFF] switch lit? (

•

. 14

➞

. 25

You can adjust the sensitivity at which the volume from the mic will a ect the expression. (➞. 44

Page 26

Adding your unprocessed voice

Voca

Now let’s add your voice from the mic directly to the output

lize into the mi

( DIRECT)

our voice will be output directly from the VP-550.

his time, try singing a favorite song into the mic. While doing so, choose one of the Vocal Designer sounds

we recommend [GOSPEL] or [POP]) and hold down the appropriate chord progressions on the keyboard

ou sing

while

ocal Designer will add a backing chorus to your vocal according to the chords you pla

Page 27

Switching o the mic

(

➞

mic input is on

( MIC ON/OFF)

ress [MIC ON/OFF] to make the button go dark; the mic input wi

rn o

ress the button again to make it light; the mic input will turn on

en you power-on the VP-550, this button will be lit and the mic input will be on

You can check the mic expression sensitivity by holding down [MIC ON/OFF] for one second or

lon

. 44).

Page 28

Raising Vocal Designer’s pitch by one octave

“

Here’s how to raise Vocal Designer’s pitch by one octave.

ress the [8va] button; it will light, and the pitch of Vocal Designer

will rise one octave

ress the button once again; it will go dark, and Vocal Designer wi

return to its original pitc

( 8va)

8va” is a symbol meaning “play one octave higher.”

nlike the OCTAVE [DOWN]/[UP] buttons, the [8va] button applies only to the Vocal Designer part. se this when you want to raise the Vocal Designer part one octave higher than the ensemble art.

Page 29

Performing with Ensemble

the sound buttons to switch sounds.

”

CHORUS

Ooh”

( ENSEMBLE)

Selecting a sound

Press a button to select a sound

o play an Ensemble sound, press one of the buttons to make it light. If you press a button that’s already lit,

go dark and the Ensemble part will no longer produce sound.

it wi

You can simultaneously play more than one part by turning on a sound button for the Vocal De

igner and/or Bass & Percussion parts. If you want to hear only the Ensemble part, simply turn o

he sound buttons for the other parts so that they are dark

oun

TRINGS 1

TRINGS

AZZ SCAT

IXE

YS CHOIRThis is a sampled boys choir. To take the fullest advantage of this sound, play notes in the upper

UMMIN

escriptio

his is an acoustic string sound that emphasizes the expressive playability that is inherent to

strings. Per

ally control the attack, release, legato, and tonal changes of the sound. This sound is suitable

or playing phrases, but can be broadly used for chordal playing and other purposes. (p. 30).

his is a synthesizer string sound. It is a bright string sound that evokes the Roland JP-8000

his sound provides samples of jazz scat singing. It’s great for songs that contain rapid passages and sounds, and falls “Fall.

his provides samples of a large choir that’s excellent for classical music. You can get an even

half of the keyboard.

his is a sampled humming sound. You can use the expression pedal or the “Voice Expression

unction” (p. 40) to vary the sound through a range of “mmh”

sive performance

ormance nuances such as your keyboard touch or pedal operation will automati-

nthesizer, and is a good choice for chordal playing.

or scat soloing. Your keyboard dynamics will switch between long “Doo” sounds, short “Bap”

ore majestic e ect by layering this with one of the sounds of the Vocal Designer part

“

“Aah” for a very expres

Page 30

Performing with Ensemble

ect a sound.

Now let’s try performing with the Ensemble part

To ensure that you can clearly hear the sound of the Ensemble part, turn o the sound buttons of the Vocal Desi

aise the Ensemble [LEVEL] slider (p. 29).

lay the keyboard

ou’ll hear the Ensemble part.

ing the Ensemble part by itself will give you a wonderful sound, but layering it with the Vocal Designer

Pla

part will raise this to the level of trul

together with Vocal Designer,

ner part and the Bass & Percussion part.

amazing! By layering powerful strings or beautiful choir sounds

our performance on the VP-550 can sound unbelievably rich.

ocal Designer will stop sounding when your voice is not being input from the mic (such as when you take

breath), but the Ensemble part will sound as long as you are playing the keyboard (regardless of the mic

input). La

ering the Ensemble part with the Vocal Designer ensures that the sound will not be interrupted

If you don’t hear sound, check the following

s the VP-550 correctly connected to your amp, speaker, or headphones?

s the VP-550’s volume raised

s the Ensemble [LEVEL] slider raised?

s one of the Ensemble sound buttons lit

Page 31

Adjusting the Ensemble volume

Here’s how to adjust the volume of the Ensemble part.

( ENSEMBLE LEVEL)

lay the keyboard

ove the [LEVEL] slider to adjust the volume.

Unlike the [VOLUME] knob, this slider only a ects the Ensemble part. You can use this slider to make adjust-

ments when

output of the mic (

ou want the Ensemble part to be louder (or softer) than the Vocal Designer or the direct

our voice).

Step on a peda

he expression pedal will vary not only the volume of the Ensemble part but also

its “tone.” This means that using the pedal will make your Ensemble part perfor-

mance enormously more expressive

For details, refer to “Using pedals (HOLD PEDAL / EXP PEDAL)” (p. 39).

Page 32

Using the mic to add expression to the Ensemble



pond.



ally b

ou can use your voice via the mic to add expression to the sound of the Ensemble part.

(VOICE EXPRESSION)

For details, refer to “Using a mic to control expression (VOICE EXPRESSION)” (p. 40).

About the VP-550’s strings ( STRINGS 1)

Just as string sound was provided on the VP-330 that went on sale in 1979, this VP-550

lso provides an extremely powerful string sound. This string sound was newly developed

cally for the VP-550

speci

he sound is distinctive in having a far richer level of performance expression than conven

tional synthesizers. Furthermore, the sound is designed so that this dynamic expression

will naturall

need for complex operations. Simpl

res

become part of your performance without you having to be aware of it. No

play the keyboard like you feel, and the VP-550 will

Dynamics contro

n a conventional synthesizer, the string sound might switch between “softly bowed sounds” and “strongly

bowed sounds” according to your playing dynamics. However, pressing the expression pedal simply changes

the volume without a

ecomes a loud sound.

In contrast, the strin

smoothl

more natura

will occur in a smooth, natural curve that follows the movement of your foot, giving your performance a

whole new dimension of expressive reality

change the sound between “softly bowed sounds” and “strongly bowed sounds,” creating a much

-sounding crescendo or decrescendo. Tonal changes produced by using the expression peda

ecting the tone. This can produce an unnatural impression when a soft sound gradu-

sound built into the VP-550 use the expression pedal (or “Voice Expression” function) to

Intelligent legat

When you play the keyboard legato (pressing the next key before releasing the preceding key), the sound

utomatically switches to a dedicated legato sound that creates a smooth transition between notes. The

degree of expression will change intelligentl

ister, a portamento e ect that smoothly connects the pitch from one note to the next is automatically added

ccording to the content of your performance. Packed inside the VP-550 is a polished string ensemble that’s

or you to direct it.

waiting

according to the speed of your performance. In the violin reg

Page 33

Performing with Bass & Percussion

Sound

”

( BASS & PERCUSSION)

bass and voice percussion sounds. This makes it easy to use your left hand to play a bass line while using

your right hand to play the melody

Selecting a sound

Here’s how to select a Bass & Percussion sound

When you press a Bass & Percussion sound button to make it light, the left-most seventeen notes of the

eyboard will play bass and percussion sounds.

BASS & PERC

VOCAL DESIGNER

ENSEMBLE

If you press a sound button that is already lit, the button will go dark and the Bass & Percussion part will

not produce any sound.

escriptio

ASS 1

ASS

his is a bass voice with short-duration notes, good for up-tempo songs across a wide range of

les

his is a bass voice with long-duration notes, good for slower-tempo songs across a wide range of

les

is is a jazz scat bass sound. Your keyboard dynamics will switch between long “Doo” sounds, short

“Ba

” sounds, and falls “Fall.

his provides a collection of voice percussion sounds.

Page 34

Performing with Bass & Percussion

sound buttons.

Now you can try playing the Bass & Percussion part

elect a sound.

ay a note in the keyboard region shown below

he Bass & Percussion part will sound

he Bass & Percussion part is distinctive in that it splits the keyboard to obtain its own dedicated range of

eys. This means that you can use your right hand to play melody or chords while playing a bass line or

oice percussion with your left hand.

In other words, you can simulate an entire a cappella group all by yoursel

Adjusting the Bass & Percussion volum

ou can adjust the volume of the Bass & Percussion part over a range of four steps

While holding down [MIC ON/OFF],

ress one of the Bass & Percussion

The four-stage volume adjustment will be

et to a value corresponding to the button

ou pressed (1–4). Higher numbers corre-

pond to a higher volume (default value: 3)

The sound button you pressed wi

link, and all the remaining sound uttons will light

This completes the setting. This setting is

emembered even if you turn o the power.

on’t power-o the VP-550 during this rocess; doing so may cause a malfunc on.

To check the current setting, hold

own [IC ON/OFF] for one second or

onger

The sound button corresponding to the current value will blink, and the remaining

ound buttons will light.

You can also press a sound button to change

he setting at this time.

Page 35

Adjusting the ambience

Type

STUDIO

o each part, you can add the acoustic ambience that is typical of a hall or studio.

ou want to switch the type of ambience, turn the knob all the way toward the left.

When

( AMBIENCE)

witch the type of ambience

Each press of this button cycles the type of ambience as follows:

STUDIO

➞

hese types have the following characters.

HALL 1

HALL 2

The reverberation of a chur

The reverberation of a large hall

The reverberation of a studio

➞

escriptio

djust the depth of ambience

urn the [

urn the [DEPTH] knob toward the left to make the ambience shallower

o switch the ambience o , turn the [DEPTH] knob all the way to the left.

his high-quality ambience e ect that is so indispensable for vocal sounds was newly developed for the

P-550. It processes the sound in stereo rather than in mono, and is tuned so that human voices will reso-

nate as beautifull

EPTH] knob toward the right to make the ambience deeper

as possible. The result is a spacious sound  eld with excellent clarity and de nition

Page 36

Checking the output sound

Here’s how you can record and play back the sound that’s being sent from the [OUTPUT] jacks. While you’re

using a mic, it’s di cult for

n easy and accurate way of checking the output sound.

ou to tell exactly what the audience is really hearing, but this function provides

( SOUND CHECK)

ress the [EC] button to start recordin

he sound being sent from the [OUTPUT] jacks will be recorded.

e [REC] button will light red during recording.

aximum recording time is ten seconds

tart performing.

To stop recording, press the [REC] button once again.

Alternatively, recording will automatically stop after ten seconds

If you press the [PLAY] button during recording, recording will stop and playback will begin.

ress the [LAY] button to play back the recorded sound.

When you’ve held down the [PLAY]

utton for approximately two sec

onds, the button will blink, and loop

ayback will begin.

he [PLAY] button will light green during playback

ress the [PLAY] button once again to stop playback.

Alternatively, playback will automatically stop when it ends

If you press the [REC] button during playback, playback will stop and recording will begin.

The recorded sound is lost when

ou turn o the power.

Page 37

Using controllers

his section explains the numerous controllers provided by the VP-550.

Page 38

Shifting one octave up or down

octave.

ou can shift the pitch of the keyboard higher or lower by one octave.

(OCTAVE)

Shifting one octave upward

ress the [UP] button; the button will light and the keyboard wi

shift upward one octave.

Press the [DOWN] button to return to the original pitch

Shifting one octave downward

ress the [DOWN] button; the button will light and the keyboard wi

hift downward one

Press the [UP] button to return to the original pitc

ressing the [OCTAVE] buttons won’t change the range of the Bass & Percussion part.

Page 39

Using the D Beam

ess a button to select a

ect.

The illustration above shows the e ective range of the [D BEAM] controller. There won’t be any e ect if you

ects

)

–

ade out

)

0–

)

–

)

( D BEAM)

By waving your hand above this sensor you can apply a variety of e ects to the VP-550’s sound

D Beam e

If you press an unlit button, that D Beam e ect (see table below) will be selected

If you press a lit button once again, the D Beam will be turned o .

While you perform, slowly move your hand up and down over the

D BEAM] controller.

he e ect will be applied when you place your hand over the controller, and will revert to the previous

en you move your hand away. The selected button will blink when the [D BEAM] controller is

state w

ing

respon

ft. (approx.

move your hand outside of this range

he usable range of D Beam controller will become extremely small when used under strong direct sunlight. Please be aware of this when using the D Beam controller outside

Beam e

ocal

Designe

XPRESSI

ILTER

Pitch down Pitch down

onal chan

Ensemble

Ton al change

For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54)

ass ercussion

o change CC#17 (General purpose

o change CC#11 (Expression

o change CC#16 (General purpose

Transmitte

IDI messag

controller 2

controller 1

Range

(initial value: bold

127

Page 40

Using the pitch bend / modulation lever

appl

Voca

ass &

cussion

Transmitted

(

ld)

-8192–0–819

odulation

atoVibrato

)

ou can vary the pitch or apply vibrato (pitch modulation).

(PITCH BEND)

Changing the pitch in real time

ou can use the lever to smoothly change the pitch while you perform

While you play the keyboard, move the lever toward the left to lower

e pitch, or toward the right to raise the pitch.

* The VP-550’s

itch bend range is  xed at one whole step (two semitones).

Adding vibrat

ibrato is the e ect of modulating the pitch.

While you play the keyboard, move the lever away from yourself to

y vibrato

itch bend / modulation lever function

esigner

itch ben

itch change

Vibr

nsembl

itch change No chan

For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54

B Per

No chan

MIDI messa

Pitch ben

CC#01 (Modulation

ange

initial value: bo

–127

Page 41

otes.

dal

tonal character.

Ooh”

)

lly

cussio

)

, 12

olume and

)

–

Using pedals

e VP-550 lets you connect a hold pedal (sold separately: DP series, BOSS FS-5U) and an expression pedal

sold separately: EV-5). Using a hold pedal lets you hold the notes. Using an expression pedal lets you add

expression to your per

ormance.

( HOLD PEDAL / EXP PEDAL)

Holding note

While playing the keyboard, press the hold pedal

he notes will be held while you are pressing the hold pedal

Vocal Designer won’t produce sound if you’re not holding down notes, even if you are vocalizing,

ut by pressing the hold pedal at the right moment before releasing a note, you can prevent gaps

ween n

Adding expression to your performance

While playing the keyboard, raise and lower the expression pe

he expression pedal will vary not just the volume of the Ensemble part but also the

his is particularly easy to experience if you select “HUMMING” for the Ensemble part. Depending on how

ou advance the pedal, the sound will shift through the range of “mmh” ➞ “

conjunction with Vocal Designer

this e ect will di er depending on the sound you choose.

he sustained portion of the “STRINGS 1” sound following your keystroke will also change its tone dynami

according to how you operate the pedal (p. 30). The “STRINGS 1” sound is designed to change their

tone in a smooth, natural curve according to pedal movement. This powerful string sound was newly

developed

old/expression pedal functions

or the VP-550. Try operating the pedal, and experience the di erence

old pedal Carrier hold

xpression

eda

ocal

esigner

sustain

o change V

➞ “Aah.” By using this in

ou can achieve an even more expressive performance. (The amount of

nsembl

old (sustain)No chang

tonal chan

* For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54)

Bass & Per

No chan

Transmitted MIDI message

CC#64 (Hold 1

CC#04 (Foot type

ange

(initial value: bold

127

Page 42

Using a mic to control expression

y f

”

Ooh”

)



ble

MID

(

)

–127

)

(

ou can use the loudness of your voice via the mic to add expression to the Ensemble part

( VOICE EXPRESSION)

ress the [VOICE EXPRESSION] button to make it light

You can adjust the depth at which the loudness of the mic will a ect expres

ion

. 44).

➞

To hear the result as clearly as possible, turn on an Ensemble part sound, and turn o the sound but-

the Vocal Designer part and the Bass & Percussion part

tons o

To hear the result as clearly as possible, move the [DIRECT] slider (which sends your own voice direct-

rom the output) all the way down.

lay the keyboard

While continuing to hold down notes, vocalize into the mic. Tr

varying the loudness of your voice.

he volume and tone of the Ensemble part will change according to the loudness of your vocalizing.

It will be particularl

will shift through the range of “mmh

ing this in conjunction with Vocal Designer you can achieve an even more expressive per

mount of this e ect will di er depending on the sound you choose.

he “STRINGS 1” sound will also change its tone dynamically according to the loudness of your voice (p. 30).

his powerful string sound was newly developed for the VP-550. Try vocalizing into the mic. You’ll hear the

erence.

Voice Expression functions

VOICE

XPRESSI

easy to experience this e ect if you choose the “HUMMING” sound button. The sound

“

“Aah” according to the loudness of your voice. By us-

ormance. (The

Voca

esigner

o change Volume and

nsem

tone chang

For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54

Bass Percussio

o chang

Transmitte

I messag

C#02 (Breath type

ange

initial value: bold)

Page 43

Changing the settings

he VP-550 has only three things you’ll ever need to set: a tuning knob, four registration

buttons, and mic expression sensitivity.

Page 44

Tuning

the entire the

550.

the knob toward “

”

( TUNE)

Here’s how to tune

VP-

Turn the TUNE knob to raise or lower the overall pitch of the VP-550.

urn the knob toward “#” to raise the pitch.

When the knob is in the center position, the pitch o

he adjustment range is 415.3 Hz–466.2 Hz.

to lower the pitch.

the A4 key (middle A) will be 440.0 Hz

Page 45

Registering sounds and settings

)

ll b

ll.

)

]

ou can register and recall the sound combination and settings you’ve chosen for Vocal Designer and Ensemble.

This will register the following four settings

8va] on/o (p. 26)

ocal Designer sound (p. 21)

VOICE EXPRESSION] on/o (p. 40)

Ensemble sound (p. 27

You can’t register the settings of the ENSEMBLE LEVEL slider and MIC LEVEL slider.

( REGISTRATION)

Registering a combination of sounds and settin

Choose the Vocal Designer and Ensemble sounds and settings that you want to register

Press and hold down the desired [REGISTRATION] button for two seconds or longer

When you’ve held down the button for approximately two seconds, the button will blink, and the registration

e completed.

on’t power-o the VP-550 during this process. Doing so may cause a malfunction.

Recalling a combination of sounds and setting

Press the [REGISTRATION] button that you want to reca

Release the button within two seconds. (If you hold down the button for two seconds or longer, the current

s and settings will be registered.

soun

Convenient ways to use [REGISTRATION

[REGISTRATION] number 1 is automatically selected when you power-on the VP-550. You’ll  nd it con venient to register your favorite combination of sounds and settings in number 1.

Page 46

Adjusting the mic expression sensitivity

e

While holding d

one of the

sound buttons.

ocal Designer settin

You can adjust the depth to which changes in mic input loudness a ect Vocal Designer’s expression (dynamics) over

range of six steps

Higher dynamics settings give Vocal Designer a greater

ange between loud and soft sounds, which gives you more

expressive power but also means that you must control the

ic more accurately with the loudness of your voices

Lower dynamics settings give Vocal Designer a narrower

ange of volume change, meaning that you will obtain a table volume even if there are changes in the loudness of

your voice, making it easier for you to sing

hile holding down [MIC ON/OFF], press

one of the Vocal Designer sound buttons.

he six levels of the dynamics setting correspond

to the numbers (1–6) marked on the buttons in the

llustration. Higher numbers mean greater dynamcs (default: 4).

Voice Expression settin

You can adjust the sensitivity at which the Voice Expression

 ect will begin applying in response to changes in mic

nput loudness over a range of six steps.

igher sensitivity settings mean that the Voice Expression

ect will begin applying even when your voice is still at a

low loudness level.

ower sensitivity settings mean that the Voice Expression

ect will begin applying only when your voice reaches a

fairly high loudness level. You’ll  nd it easier to control Voice

xpression if you set this to a sensitivity that’s appropriate

for your singing voice.

own [MIC ON/OFF], press

Ensemble

he six sensitivity levels correspond to the numbers

1–6) marked on the buttons in the illustration.

Higher numbers mean higher sensitivity (default: 4).

he sound button you pressed will blink, and all of the other sound buttons will light

his completes the setting. This setting will be remembered even when you turn o the power.

on’t power-o the VP-550 during this process. Doing so may cause a malfunction.

o check the current setting, hold down [MIC ON/OFF] for one second or longer.

he sound button corresponding to the current setting will blink, and the remaining sound buttons will light

ou can also press a sound button at this time to change the settin

Page 47

Example applications

ere you’ll learn about some speci c settings for taking advantage of the VP-550.

Page 48

Simulating a large classical choir

“

evel do

“

”

cher sound

“

When you need a large classical-style choir, you’ll want to choose the “CLASSIC” Vocal Designer sound.

CLASSIC” has a broad range of usable pitches and will allow the lyrics to be heard clearly, so it’s suitable for

wide variety of styles. To get an even denser sound, choose the “MALE & FEMALE” Ensemble sound.

ELECT [CLASSIC] and [MIXED CHORUS].

While you perform using the mic and keyboard, adjust the Ensemble

he Ensemble part not only makes the sound richer, but also  lls the gaps in the Vocal Designer sound that

occur when you take a breath. You’ll want to set the level

wnwar

airly low (about 2 or 3)

For an even ri

s a combination that’s just as highly recom mended as “CLASSIC” and “MIXED CHORUS,” we also suggest “MALE & FEMALE” together with

STRINGS 1.” (In this case, the secret is to raise the

ctave of “MALE & FEMALE” by turning the [8va]

utton on.) The audience will be stunned by the richness of the sound emanating from you and the VP-550.

pply the “HALL 1” ambience fairly heavily

HALL 1” simulates the reverberation of a church. Classical music usually has fairly deep reverberation, so

turn the knob toward the right to increase the reverb. I

you want even deeper reverberation, choose “HALL 2.

erform.

ake a point of using your voice via the mic to add expression.

Page 49

Simulating a gospel chorus

“

”

“

Ooh

For gospel-style songs, choose the “GOSPEL” Vocal Designer sound and the “HUMMING” Ensemble sound.

GOSPEL” is a choral sound containing the distinctive upward swoops that occur at the beginning of notes,

nd is a particularly good complement to the softer attacks of “HUMMING.

hoose “GOSPEL” and “HUMMING”

ow about a cappella

you also choose a bass sound in the “Bass &

ercussion” part, you’ll be able to simulate an a cappella group all by yourself! Play the bass line with your left hand while you use your right hand to play the melody and chords.

Use the expression pedal to reduce the volume of the “HUMMING” soun

HUMMING” will vary its character through the range of “mmh” ➞“

sion pedal, but the “mmh” sound that you get when the pedal is in the fully returned (upward) position is

particularly good with “GOSPEL.” You’ll want to leave the pedal in the upward position most of the time,

nd advance the pedal to accentuate musically intense passages

” ➞“Aah” as you operate the expres

pply an appropriate amount of “HALL 1” ambience

If you want only light reverberation, “STUDIO” is also a good choice

rform

Use your voice via the mic to control the volume. For a funky rhythmic backing chorus, hold down the

chords on the keyboard and use your voice in the mic to produce the rhythm. You’ll also want to use the

pitch bend lever aggressivel

Page 50

Adding a backing chorus to your voice

Try

he back

Here’s how the VP-550 can add a backing chorus to your singing voice via the mic input.

oose [GOSPEL].

he “GOSPEL” sound has an appropriate amount of “irregularity” built into it, and is a good choice for add-

ing a dense backing chorus. If

clearly, you might want to choose “CLASSIC.” For songs with rapid passages, try “POP” which has a faster

ttack and less irregularity. You’ll want to  nd the sound that’s most appropriate for the style of song you’re

ormin

per

ou don’t require this much density, or if you want the lyrics to be heard

While you perform using the mic and keyboard, adjust the [DIRECT] slider

When you raise the DIRECT slider, your singing voice from the mic input will be output from the VP-550. Set

the DIRECT slider fairly low (about 2 or 3) to create the appropriate overall volume balance

rform

singing a favorite song into the mic. While you sing, use the keyboard to play the chord progression for

ing chorus.

ocal Designer will add a backing chorus to your voice according to the chords you hold down.

Page 51

”

Simulating a jazz scat solo

ou won’t be able to perform skillfully using Vocal Designer unless your mic vocalizing and keyboard per-

ormance are at the appropriate timing. This can make it rather di cult to play rapid solo passages. In such

cases, you can turn up the volume of “JAZZ SCAT,” which has the sharpest attack of the Ensemble sounds.

his setting is ideal for jazz scat solos (which don’t have lyrics)

hoose [POP] and [JAZZ SCAT]

In Vocal Designer choose “POP” (ideal for rapid passages), and for the Ensemble sound choose “JAZZ SCAT.

While you perform using the mic and keyboard, adjust the Ensemble level u

ward

rform

Being careful to match the timing of your mic and keyboard performance, play fast phrases on the key-

board while you vocalize a rapid passage using “doo ba, doo ba” –type vocalizations. The “JAZZ SCAT” En-

semble part will switch between scat sounds according to

a bit softer without paying too much attention to this. Then, at the moments where you want to add

pla

emphasis to your solo, play the keyboard strongly to produce the “Fall” scat sound. The secret is to

musica

scatter these accents at the appropriate points in your performance.

our keyboard dynamics, but you should simply

Page 52

”

such

Using the sound of an external synthesizer

If you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound being received

rom the rear panel [EXT IN] jack will be used as the carrier (the signal that is the foundation of the sound).

In this case, turn the rear

onnect your external synthesizer to the [EXT IN] jack as shown

you’re using a mic that’s equipped with a phone plug, you won’t be able to connect your synthesizer

ince the [EXT IN] jack will be occupied by your mic. In order to connect an external synthesizer, you

must use a mic with an XLR plug and connect it to the [MIC] jack

Turn the [EXT IN] knob to “LINE.

anel [MIX TO MIC] switch “OFF.

UTPUT

( EXT IN)

This knob adjusts the level of the signal that’s input from the [EXT IN] jack. (Turn the knob toward “MIC” to increase the level, or toward “LINE” to decrease it.) If you’re connecting a line-level device

as a synthesizer, set the knob toward the “LINE” position

Turn the [IX TO MIC] switch “OFF.”

The [MIX TO MIC] switch selects whether the sound from the [EXT IN] jack is used as the mic input (modulator) (ON) or as the carrier (OFF). Since we’re using this sound as the carrier, select the “OFF”

osition.

ress [VOCODER 1] and [VOCODER 2] simultaneously

Page 53

lay the keyboard of your external synthesizer

The VP-550’s [MIC LEVEL] indicator won’t respond if the [MIX TO MIC] switch is “OFF,”

[] p[ ] ,

so you’ll need

)

(

)

While holding down a note, vocalize into the mic

you don’t hear sound, check the followin

s the mic input level raised? (➞p. 22

s the [MIC ON/OFF] switch lit?

You can also connect a synthesizer that doesn’t have a keyboard (often called a “sound module”).

n this case, connect the VP-550’s [MIDI OUT] connector to the [MIDI IN] connector of your sound

odule, and use the VP-550’s keyboard to play the sound module.

Refer to “Connecting the VP-550 with MIDI equipment” (p. 54) for more about MIDI connections

Adjusting the volume of your external synthesize

. 25

➞

djust the volume of your external synthesizer so that the sound isn’t distorted

o make this adjustment in the following way.

Set the [MIX TO MIC] switch “ON.”

Play your external synthesizer, and adjust its volume so that

the yellow [LEVEL] indicator lights at the peaks in the sound.

Return the [MIX TO MIC] switch to “OFF.”

Page 54

“Performing” sound from drums or a portable music player

Adj

➞

)

Here’s a really cool trick. The VP-550 lets you “perform” using the sound from a V-drum (electronic drum) or

portable music player connected to the mic input instead of your voice.

onnect your audio source to the [EXT IN] jack as shown.

UTPUT

et the [

This knob adjusts the level of the sound that is input from the [EXT IN] jack. (Turning the knob

oward “MIC” increases the level, and turning it toward “LINE” decreases the level.) If you’ve con

ected a line-level device, you should set this knob to the “LINE” position

“

The [MIX TO MIC] switch speci es whether the sound from the [EXT IN] jack will be used as a mic

nput (modulator; the ON setting) or as the carrier (the OFF setting). Since we’re using the soun

as a mic input, select the “ON” setting.

oose a Vocal Designer soun

he character of the output sound will depend on the sound you choose.

You’ll want to try out various sounds.

ay your audio source.

ust the input level.

While you watch the VP-550’s [LEVEL] indicator, adjust

the volume of

our external audio source.

ay the VP-550’s keyboar

he sound from your external audio source will be heard according

e pitch you play on the keyboar

to t

hat’s right — the VP-550 lets you “perform” absolutely any sound

If you don’t hear sound, check

he followin

s the [MIC ON/OFF] switch lit?

. 25

Page 55

Appendix

ere you’ll  nd information about connecting and using external MIDI equipment, the MIDI

implementation, troubleshooting, and the main speci cations.

Page 56

What’s

ections as sho

above.

)

CH1C

ble

CH2

CH3C

Connecting the VP-550 with MIDI equipment

OUTPUT

synthesizer

speaker

)

MIDI

MIDI (Musical Instrument Digital Interface) is a world-wide standard for transferring performance

ata and other musical information between electronic musical instruments and computer. By us-

ng MIDI cables to connect devices that are equipped with a MIDI connector, you can use a single MIDI keyboard to play multiple instruments, create ensembles using multiple MIDI instruments, automatically switch settings as a song progresses, and do much more

Connecting a synthesizer via MID

Here’s how you can use the VP-550’s keyboard to play an external MIDI-connected synthesizer, for example

ayer a piano with the VP-550’s vocal sounds

MIDI IN

conn

NPU

(with built-in amp

et the “MIDI receive channel” of your external synthesizer to 1, and

select a

he performance data of the Vocal Designer part (MIDI channel 1) will play your external synthesizer.

iano sound.

he VP-550’sMIDI transmit/receive channel

art MIDI transmit channel ( xed) MIDI receive channel ( xed

ocal designer

Ensem

Bass & Percussion

ay the VP-550’s keyboar

ou’ll hear the piano sound from your synthesizer together with the sound of the VP-550

ternatively, you can connect your external MIDI keyboard’s [MIDI OUT] connector to the VP-550’s

[MIDI IN] connector, and use your external MIDI keyboard to play the VP-550.

Page 57

Connecting a sequencer via MID

ections as sho

above.

)

Audio

face

ou can use your MIDI sequencer to record the keyboard performance data from the VP-550, and record

our vocal via the mic as you listen to the sequencer playback. With the VP-550 connected to your sequenc-

ou’ll be able to use it as part of your studio setup

er,

or details on MIDI messages, refer to “MIDI Implementation” on the following page

inter

Sequencer

ke conn

IDI OUT

INPU

IDI I

Perform on the VP-550 as you listen to the song on your sequencer, and record the

erformance data from the VP-550 on a MIDI track of the sequencer.

here are two advantages to recording just your keyboard performance ahead of time

ou’ll be able to concentrate on the keyboard (or mic

ou’ll be able to use your sequencer to edit (correct) your keyboard performanc

For example if you’ve already recorded the backing chorus or melody, all you have left to do is sing

Play back your sequencer, and vocalize into the mic that’s connected to the VP-550.

hen record the VP-550’s [OUTPUT] signal onto an audio track of your sequencer

An example of more sophisticated studio work

ecord the backing chorus part on a MIDI track, and route the audio track containing a previously-

ecorded main vocal to the VP-550’s rear panel [EXT IN] jack (as the mic input). Now you can listen

rough your monitor speakers while trying out various settings on the VP-550, and continue

xperimenting with di erent variations of backing chorus as long as you wish.

The VP-550 system is extremely simple; the audio from the mic input is played according to the

otes of the MIDI data. This very simplicity allows a virtually in nite range of uses

Page 58

MIDI Implementation

Model:

550

ote O

)

ote O

)

dul

)

ble,

●●●

❍

* Switches sounds.

)

(

)

00H

)

be continued unt

ese are turned o .

)

00H

)

00H

)

●

■

●

●●●

Status

numbers

(

sage

(

)

ll b

)

■

●

■

❍●●

●

❍

VP-

Date: Feb. 01, 200

ersion: 1.00

1. Receive Data

hannel Voice Message



tatus 2nd byte 3rd byte nH

9nH kkH 00H

= MIDI channel number: 0H - FH (ch.1 - 16 kk = Note number: 00H - 7FH (0 - 127 vv = Note o velocity: 00H - 7FH (0 - 127

tatus 2nd byte 3rd byte 9nH kkH vvH

= MIDI channel number: 0H - 2H (ch.1 - ch.3)

= Note number: 00H - 7FH (0 - 127

vv = Note on velocity: 01H - 7FH (1 - 127

Control Change

ation (Controller number 1)

tatus 2nd byte 3rd byte BnH 01H vvH

= MIDI channel number: 0H - 1H (ch.1 - ch.2)

ation depth: 00H - 7FH (0 - 127)

vv = Mo

anges the vibrato dept

* C

Breath type (Controller number 2)

tatus 2nd byte 3rd byte BnH 02H vvH

= MIDI channel number: 1H (ch.2 vv = Control value: 00H - 7FH (0 - 127)

anges the volume and tone.

* C

Foot type (Controller number 4)

❍

tatus 2nd byte 3rd byte

nH 04H vvH

= MIDI channel number: 1H (ch.2 vv = Control value: 00H - 7FH (0 - 127)

anges the volume and tone.

* C

Expression (Controller number 11)

❍

tatus 2nd byte 3rd byte

= MIDI channel number: 0H - 1H (ch.1 - ch.2 vv = Expression: 00H - 7FH (0 - 127)

es the volume.

* Chan

General purpose controller 1 (Controller number 16)

tatus 2nd byte 3rd byte

nH 10H vvH

= MIDI channel number: 0H - 1H (ch.1 - ch.2)

value: 00H - 7FH (0 - 127

vv = Contro * Changes the tone

General purpose controller 2 (Controller number 17)

tatus 2nd byte 3rd byte BnH 1

= MIDI channel number: 0H - 1H (ch.1 - ch.2)

value: 00H - 7FH (0 - 127

vv = Contro * Changes the pitch

Hold 1 (Controller number 64)

tatus 2nd byte 3rd byte BnH 40H vvH

= MIDI channel number: 0H - 1H (ch.1 - ch.2) vv = Control value: 00H - 7FH (0 - 127) 0-63 = * In Vocal Designer, sustains the carrier sound. * In Ensem

H vvH

FF, 64-127 =

sustains the soun

Program Chan

Status 2nd byt

nH pp

n = MIDI channel number: 0H - 2H (ch.1 - ch.3)

ram number: 00H - 7FH (prog.1 - prog.128)

pp = Pro

Pitch Bend Chang

Status 2nd byte 3rd byte

annel number: 0H - 1H (ch.1 - ch.2

n = MIDI c mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH

-8192 - 0 - +8191

Changes the pitc

H mmH

Channel Mode Messages

ll Sounds O (Controller number 120)

Status 2nd byte 3rd byte

nH 78H 00

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

When this message is received, all notes currently sounding

n the corresponding channel will be turned o

Reset All Controller (Controller number 121)

Status 2nd byte 3rd byte

nH 79H 00

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

When this message is received, the following controllers will

e set to their reset values

ontroller Reset valu itch Bend Change +/-0 (center)

odulation 0 (o ) reath type 0 (min) oot type 0 (min) xpression 127 (max)

eneral purpose controller 1 0 (min) eneral purpose controller 2 0 (min) old 1 0 (o

ll Notes O (Controller number 123

Status 2nd byte 3rd byte

nH 7BH

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

When All Notes O  is received, all notes on the corresponding

hannel will be turned o . However, if Hold 1 is ON, the sound

will

OMNI O (Controller number 124)

Status 2nd byte 3rd byte

nH 7CH 00

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

The same processing will be carried out as when All Notes O

s received.

OMNI On (Controller number 125)

Status 2nd byte 3rd byte

nH 7DH

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

The same processing will be carried out as when All Notes O

s received. OMNI ON will not be turned on

MONO (Controller number 126

Status 2nd byte 3rd byte

nH 7EH mmH

n = MIDI channel number: 0H - 2H (ch.1 - ch.3) mm = mono num

The same processing will be carried out as when All Notes O

s received. MONO will not be turned on

POLY (Controller number 127)

Status 2nd byte 3rd byte

nH 7FH

n = MIDI channel number: 0H - 2H (ch.1 - ch.3

The same processing will be carried out as when All Notes O

s received.

il th

er: 00H - 10H (0 - 16)

System Realtime Message

Active Sensin

When Active Sensing is received, the unit will begin monitor-

ng the intervals of all further messages. While monitoring, f the interval between messages exceeds 420 ms, the same

will be carried out as when All Sounds O , All

processin

otes O and Reset All Controllers are received, and message

nterval monitoring will be halted.

System Exclusive Messag

Status Data

0H iiH, ddH, ......, eeH F7H

0H: System Exclusive Message Statu

i = ID number: an ID number (manufacturer ID) to indicate

d,..., ee = data: 00H - 7FH (0 - 127) 7H: EOX (End Of Exclusive)

Of the System Exclusive messages received by this device, the Universa

Non-realtime messages

te Status

he manufacturer whose Exclusive message his is. Roland’s manufacturer ID is 41H. ID

7EH and 7FH are extensions of the

IDI standard; Universal Non-realtime Mes-

ages (7EH) and Universal Realtime Messages

7FH)

niversal Non-realtime System Exclusive Mes-

entity Request Message

Status Data byte Status

0H 7EH, dev, 06H, 01H F7

yte Explanation 0H Exclusive statu EH ID number (Universal Non-realtime Message)

ev Device ID (dev: 10H, 7FH) 06H Sub ID#1 01H Sub ID#2 (Identity Request)

7H EOX (End Of Exclusive)

When this message is received, Identity Reply message (p. 57)

e transmitte

General Information

2. Data Transmission

Channel Voice Message

O

Status 2nd byte 3rd byt

nH n = MIDI channel number: 0H - 2H (ch.1 - ch.3)

= Note number: 00H - 7FH (0 - 127

v = Note o velocity: 00H - 7FH (0 - 127)

ote

Status 2nd byte 3rd byt

nH n = MIDI channel number: 0H - 2H (ch.1 - ch.3

k = Note number: 00H - 7FH (0 - 127)

v = Note on velocity: 01H - 7FH (1 - 127)

Control Chang

odulation (Controller number 1

Status 2nd byte 3rd byt

nH n = MIDI channel number: 0H - 1H (ch.1 - ch.2

v = Modulation depth: 00H - 7FH (0 - 127)

Transmitted when the Modulation lever is operated.

H vv

1H vv

Page 59

reath type (Controller number 2)

)

, ll

sage

❍

●

❍

)

00H 0

ble

(

)

umbers.

decimal

would be aa bb

bbl

the value of a

356

val

((

■

val

(

-3072

channe

(B1)

■

Status 2nd byte 3rd byt

n = MIDI channel number: 1H (ch.2

v = Control value: 00H - 7FH (0 - 127

Transmitted according to mic volume when Voice Expression is on.

oot type (Controller number 4)

Status 2nd byte 3rd byt

n = MIDI channel number: 1H (ch.2)

v = Control value: 00H - 7FH (0 - 127 Transmitted when the Expression pedal is operated

xpression (Controller number 11)

Status 2nd byte 3rd byt BnH 0BH vv n = MIDI channel number: 0H - 1H (ch.1 - ch.2)

v = Control value: 00H - 7FH (0 - 127 Transmitted when D Beam / Expression is on

eneral purpose controller 1 (Controller number 16)

Status 2nd byte 3rd byt BnH 10H vv n = MIDI channel number: 0H - 1H (ch.1 - ch.2

v = Control value: 00H - 7FH (0 - 127) Transmitted when D Beam / Filter is on.

eneral purpose controller 2 (Controller number 17)

Status 2nd byte 3rd byt

nH 10H vv

n = MIDI channel number: 0H - 1H (ch.1 - ch.2

v = Control value: 00H - 7FH (0 - 127) Transmitted when D Beam / Pitch is on

old 1 (Controller number 64)

Status 2nd byte 3rd byt

nH 40H vv

n = MIDI channel number: 0H - 1H (ch.1 - ch.2

v = Control value: 00H - 7FH (0 - 127

0-63 = OFF, 64-127 = ON Transmitted when the Hold pedal is operated. Control value is transmitted only as 00H (o ) or 7FH (on).

itch Bend Change

Status 2nd byte 3rd byt

n = MIDI channel number: 0H - 1H (ch.1 - ch.2)

= Pitch Bend value: 00 00H - 40 00H - 7F 7F

(-8192 - 0 - +8191)

Transmitted when the pitch bend lever is operated.

2H vv

4H vv

stem Realtime Messag

Active Sensin

Status

This message is transmitted at inter vals of approximately 250

msec.

ystem Exclusive Messag

niversal Non-realtime System Exclusive Message is the only

stem Exclusive messages transmitted by this device.

Universal Non-realtime System Exclusive Message

dentity Reply Message

Receiving Identity Request Message, this device send this mes-

Status Data F0H 7EH, dev, 06H, 02H, 41H, 18H, 02H, F7H

00H

te Statu

00H, 00H, 01H, 00H, 00

yte Explanatio 0H Exclusive status EH ID number (Universal Non-realtime Message)

ev Device ID (dev: 10H 06H Sub ID#1 (General Information) 02H Sub ID#2 (Identity Reply) 41H ID num 18H 02H Device family cod 00H 00H Device family number cod

1H 00H 00H Software revision lev

7H EOX (End Of Exclusive)

er (Rolan

3. Supplementary Material

Decimal and Hexadecimal Ta

An “H” is appended to the end of numbers in hexadecimal

notation.

n MIDI documentation, data values and addresses/sizes of

xclusive messages, etc. are expressed as hexadecimal values

for each 7 bits.

ollowing table shows how these correspond to decimal

The n

+------+------++------+------++------+------++------+------

D | H || D | H || D | H || D | H

------

D: H: hexadecima

Decimal values such as MIDI channel, bank select, and pro-

ram change are listed as one greater than the values given

n the above table.

A 7-bit byte can express data in the range of 128 steps. For

ata where greater precision is required, we must use two r more bytes. For example, two hexadecimal numbers aa

bbH expressing two 7-bit bytes would indicate a value of aa x

128+

I n the case of values which have a +/- sign, 00H = -64, 40H =

/-0, and 7FH = +63, so that the decimal expression would e 64 less than the value given in the above chart. In the case f two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH =

8191. For example, if aa bbH were expressed as decimal, this

Data marked “Use nibbled data” is expressed in hexadecimal

n 4-bit units. A value expressed as a 2-byte ni

<Example1> What is the decimal expression of 5AH?

rom the preceding table, 5AH = 9

<Example2> What is the decimal expression of the value 12 34H

iven as hexadecimal for each 7 bits

rom the preceding table, since 12H = 18 and 34H = 5

18 x 128+52 = 2

<Example3> What is the decimal expression of the nibbled

ue 0A 03 09 0D?

rom the preceding table, since 0AH = 10, 03H = 3, 09H = 9,

H = 1

10 x 16+3) x 16+9) x 16+13 = 4188

H - 40 00H = aa x 128+bb - 64 x 12

x 16+

------

e 0a 0bH has

<Example4> What is the nibbled expression of the decimal

ue 1258?

6 ) 1258

) 78 ...1 ) 4 ...1

0 ...

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =

the result is: 00 04 0E 0AH

0AH

Examples of Actual MIDI Message

<Example1> 92 3E 5F

n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, an with MIDI CH = 3, note number 62 (note name is D4), and veloc-

ty 95.

le2> C0 0

<Exam CnH is the Program Change status, and n is the MIDI channel number. Since 0H = 0, 01H = 01, this is a Pro sage with MIDI CH = 1, program number 2

<Example3> E1 00 2

nH is the Pitch Bend Change status, and n is the MIDI channe number. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is t

n which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40 00H = 40 x 12+80 -

f the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to chan (-3072) ? (-8192) = -75 cents o

l 11

MIDI

<Example4> B1 01 00 01 01 01 02 01 03 01 0

nH is the Control Change status, and n is the MIDI channel

er. For Control Changes, the 2nd byte is the control num-

num ber, and the 3rd byte is the value. In a case in which two or more

es consecutive messages have the same status, MIDI has

messa

provision called “running status” which allows the status byte

f the second and following messages to be omitted. Thus, the

bove messages have the following meaning

B1 01 00 MIDI CH = 2 Modulation: 00H

01 01 MIDI CH = 2 Modulation: 01H

(B1) 01 02 MIDI CH = 2 Modulation: 02H

01 03 MIDI CH = 2 Modulation: 03H

(B1) 01 04 MIDI CH = 2 Modulation: 04H

t is not desirable for performance data (such as Standard MIDI

ile data) to contain many events with running status as given

n <Example 4>. This is because if playback is halted during

and then rewound or fast-forwarded, the sequencer

the son

not be able to transmit the correct status, and the sound

enerator will then misinterpret the data. Take care to give each vent its own status.

5FH = 95, this is a Note-on message

ram Change mes

e MSB, but Pitch Bend Value is a signed number

64 x 12+80) = 5120 - 8192 =

e -200 cents, so in this case -200 x

Pitch Bend is being applied to

Page 60

MIDI Implementation Chart

Model: VP-550

Transmitted Recognized Remarks

1–3 X

Mode 3

**************

24–96

**************

O O

X X

1–3 X

Mode 3

0–127 0–127

O O

X X

Basic Channel

Mode

Note Number :

Velocity

After Tou ch

Function...

Default Changed

Default Messages Altered

True Voice

Note On Note O

Key's Channel's

Date : Feb. 01, 2006

Version : 1.00

CH1: VOCAL DESIGNER CH2: ENSEMBLE CH3: BASS & PERCUSSION

Pitch Bend

Control Change

Program Change

System Exclusive

System Common

System Realtime

: All Sound O

Aux Messages

: Reset All Controllers : Local On/O : All Notes O : Active Sensing : System Reset

Notes

: True Number

: Song Position : Song Select : Tune Request

: Clock : Commands

X **************

X X X

X X

X X X X O X

O 0–6, 7–127

X X X

X X

O O X O (123–127) O X

Modulation

Breath type

Foot type

Expression

General purpose controller 1

General purpose controller 2

Hold 1

Program No.1–7, OFF

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

Page 61

Main speci cations

Tones

VOCO

CHOIR,

Amb

ces

tech

Controllers

±1 O

Sound Chec

)

old Pedal Jack

)

Weigh

Accessories

Owner’s Manual

”

edal Switch:

oot Switch:

OSS FS-5U

P-550: Vocal & Ensemble Keyboar

Keyboar

49 keys (with velocity)

Voc al Designer (7 tones)

LASSIC, MALE & FEMALE, GOSPEL, POP, VOCODER 1,

DER 2, EXT I

nsemble (6 tones)

TRINGS 1, STRINGS 2, JAZZ SCAT, MIXED CHORUS, BOY

HUMMING

ass & Percussion (4 sets)

BASS 1, BASS 2, BASS 3, PERC

ience (3 types)

HALL 1, HALL 2, STUDI

aximum Polyphon

128 voi

Changes depending on the sound and the playing

nique)

Connector

Headphones Jack (Stereo 1/4 inch phone type

utput Jacks (L/MONO, R) (1/4 inch phone type)

MIC Jack (XLR t

External Input Jack (1/4 inch phone t

MIDI Connectors (IN

Expression Pedal Jac

AC Inlet

pe)

OUT)

Power Suppl

AC 115 V, AC 117 V, AC 220 V, AC 230 V, AC 240 V (50/60 Hz

Power Consumptio

14 W

Dimension

65.4 (W) x 346.3 (D) x 98.6 (H) m

34-1/8 (W) x 13-11/16 (D) x 3-15/16 (H) inche

.5 kg / 18 lbs 12 o

D Beam Controller

Pitc

Bend / Modulation Leve

Octave Shift

ctav

Lea et “USING THE UNIT SAFELY

Lea et “Mics recommended for the VP-550

Power Cor

Options

Number of Registration memories

aster Tun

415.3 Hz to 466.2 H

k Functi

Records OUTPUT signal for 10 seconds and plays it back

Keyboard Stand: KS-12

Expression Pedal: EV-

* In the interest of product improvement, the speci ca-

tions and/or appearance of this unit are sub

hange without prior notice

DP Seri

ect to

Nominal Input Leve

INPUT (MIC): -50 to -10 dB

INPUT (EXT IN): -36 to +4 dB

(0 dBu = 0.775 V rms)

Page 62

Troubleshooting

)

sound!

(

sound!

)

cussio

sound!

)

ork!

f y

(

)

ork!

)

Could

too much!



y (

roblem

wer won’t turn on

ocal Designer won’t

nsemble won’t soun

& Per

he volume level of the

nstrument connected to

[EXT IN] jack is too low.

ic input level is too low!Could you be using a condenser mic?

ic [LEVEL] slider doesn’t

LEVEL] indicator does not

ight!

oice Expression doesn’t

oice Expression works

ocal Designer is too

xpressive, making it di

cult to sing!

n won’

xplanatio

Is the power cord connected correctly? (

Is the VP-550 correctly connected to your amp, speaker, or headphones? (

Is the VP-550’s volume raised?

Even if you’re playing the keyboard, the Vocal Designer part won’t sound unless

ou’re vocalizing into the mic.

ner” (p. 23

Is a Vocal Designer sound button lit? (p. 23)

our mic switched on?

our mic connected correctly? ( p. 14

Is the mic input level raised? (. 22

Is the [MIC ON/OFF] switch lit? (

Is the Ensemble [LEVEL] slider raised? (. 29

Is an Ensemble sound button lit? (. 28

Is a Bass & Percussion sound button lit? (

Bass & Percussion won’t sound outside its range of keys (p. 31)

ould you be using a connection cable that contains a resistor?

Use a connection cable that does not contain a resistor.

e VP-550’s MIC jack does not supply phantom power. You’ll need to provide a

separate p

he mic [LEVEL] slider does not a ect the rear panel [EXT IN] jack. I adjust the mic input level.

If the [MIX TO MIC] switch is “OFF,” the [LEVEL] indicator will no lon

o the sound from the [EXT IN] jack. In this case, temporarily set the [MIX TO MIC]

switch “ON” and ad

Is the mic input level raised? (. 22

Is the [MIC ON/OFF] switch lit? (

Increase t sion e ect to start applying when your voice is still at a lower volume.

Advancing the Expression pedal all the way to the maximum position means that

he same e ect as Voice Expression is already applied to the maximum extent, so

o further e ect can be obtained

Lower the mic expression sensitivity (. 44). This will prevent the Voice Expres sion e ect from applying until your voice reaches a louder volume.

Lower the mic expression sensitivit change in Vocal Designer, producing a more stable volume regardless of how

our voice becomes louder or softer. This will make it easier for you to sing.

antom power supply unit, or use a dynamic mic instea

our mic is connected to the [EXT IN] jack, use the rear panel [EXT IN] knob to

ust the input level. (

e mic expression sensitivity (. 44). This will allow the Voice Expres

you be operating the Expression peda

. 12

p. 13)

p. 20)

For details, refer to “Performing with Vocal De-

. 25)

. 31

. 22

er respond

. 51

. 25)

. 44). This will decrease the volume

Page 63

roblem

Could

Could th

)

Sound continues eve

he keyb

Could

land

sounds!

t does not

cate a malfunction.

When the volume is

Could th

(

aftertouch.

Octave buttons and other

ontrollers don’t a ect

the Bass & Percussion!

e pitch is wron

ough I’m not playing

oard!

he volume decreases

n I switch

e notes sound strange

n the upper registers of

the ke

board

aised, there are noises!

Q & A

ow do I perform a fac

tory reset

ow do I change the pitch

end range

s aftertouch supported?

ow do I change the MIDI

eceive/transmit channe

xplanatio

he Bass & Percussion part is not a ected by the octave buttons, pitch bend, D

edals, or Voice Expression (

Beam,

an [OCTAVE] button be on? (

e Vocal Designer [8va] button be on? (p. 26

Is the rear panel [TUNE] knob set correctly? (

ould something be resting on the D Beam? (. 37

you be using a hold pedal that has the incorrect polarity? Please use a

DP series or BOSS FS-5U hold peda

ould you be pressing the expression pedal

When you switch sounds, the expression pedal value is reset to the minimum

osition. After you’ve switched sounds, please operate the expression pedal once

ain.

ometimes when playing the keys in the upper part of the VP-550’s keyboard,

he sound may stop, or the pitch may stop rising; or with certain keys, there ma

e intermittent noise. This occurs mainly when the VP-550’s upper pitch limit is exceeded, so this issue doesn’t arise in the ranges normall i

If the [EXT IN] knob

jack, but this not a malfunction. The noise can be reduced in the following way

changed

indi

e [EXT IN] knob on the rear panel be turned all the way to the “MIC” side?

oises. There might be noises even if there is nothing connected to the [EXT IN]

urn the [EXT IN] knob to the “LINE” side until the noise is less noticeable

If a mic is connected to the [MIC] jack, set the [MIX TO MIC] switch to “OFF.”

e VP-550 does not have a

ave complex parameters that would require resetting

he VP-550’s pitch bend range is  xed at a whole step (two semitones). This can-

ot be change

e VP-550’s keyboard does not support

he VP-550’s MIDI receive/transmit channels (. 54) are  xed. They cannot be

. 15) is set maximum to the “MIC” side, there may be

. 36–40).

. 36)

. 42

used. But, in any case,

actory Reset function. This is because it does not

Page 64

8va

ftertouc

SS&

CUSSIO

,0,

ass & Percussio

CLASSIC

,9,

6,3

5,5

5,3

0,5

ato

Index

Numerics

OSPEL

AC IN

rrier

BEAM

PER

n volume

A AMBIENCE

BA B BASS 1 BASS 2 BASS 3 BOYS CHOIR

DEPTH DIRECT 2 Dynamics control

ENSEMBLE ENSEMBLE LEVEL 2 EXP PEDAL EXPRESSION External synthesizer

Factory Reset FILTER

ALL 1

LD PEDAL 6,

UMMING

ntelligent legato

AZZ SCAT

EVEL

ALE & FEMALE IC ic: balanced (XLR) plug ic: phone plug

c: Voice expression IC LEVEL 2 IC ON/OFF

c expression sensitivity IDI IDI Implementation IDI Implementation Chart IDI transmit/receive channels IXED CHORUS IX TO MIC odulation

CTAVE UT PUT

Page 65

PEDAL

STUDIO

,8,9,

OCO

550

PERC PHONES PITCH Pitch bend Pitch bend range

POP Portable music player 52 POWER ON 1

REC REGISTRATION

SOUND CHECK Sound list

TRINGS 1 TRINGS 2

roubleshooting

VOCAL DESIGNER 7

Voco V

DER 1

DER 2 VOICE EXPRESSION VOLUME VP-

Page 66

Information

Page 67

MIC

Block diagram

MIC LEVEL

MIC ON / OFF

MIC LEVEL LED

MIC

MIC DIRECT

EXT IN LEVEL

EXT IN

EXP PEDAL

BASS & PERCUSSION

OFF

MIDI IN

HOLD PEDAL

MIX TO MIC

PITCH BEND

OFF

ON / OFF

8va

D-BEAM

DOWN / UP

OCTAVE

EXT IN

KBD

CTRL

MIDI

VOICE EXPRESSION

KBD

CTRL

MIDI

KBD

MIDI

ENSEMBLE LEVEL

BASS & PERCUSSION LEVEL

AMBIENCE DEPTH

REC PLAY

SOUND CHECK

VOLUME

OUTPUT

MIDI OUT

Page 68

*04232878 - 01 *

04232878 ’06-02-1N

Roland VP 550 Service Manual

Specifications and Main Features

Frequently Asked Questions

User Manual