Roland VP-770 User Manual

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[PITCH] Button p. 60

[PITCH] Button

p. 60

)

[FILTER] Button p. 60

[EXPRESSION] Button p. 60

[EXPRESSION] Button

p. 60

[PHANTOM] Button p. 19

[PHANTOM] Button

p. 19

[INPUT EFFECT] Button p. 32

[MIC ON/OFF] Button p. 31

[MIC ON/OFF] Button

p. 31

[DIRECT] Knob p. 30

[DIRECT] Knob

p. 30

[LEVEL] Knob/Indicator p. 28

[AUTO START] Button p. 74

[STOP] Button p. 75

[STOP] Button

p. 75

Names of Things and What They Do

Front Pan

1 USB MEMORY p. 22

Connect USB memory here

udio  les saved on USB memory can be played back (p. 68),

and phrases recorded usin

tored on USB memory. You can also save registration sets to

SB memory, or load previously-saved registration sets into

the VP-770 (

2 VOLUME p. 26

3 V-LINK p. 118

This button turns the V-LINK function on/o .

light blue.

4 D BEAM p. 60

ere you can switch the D Beam function on/o . This lets you apply various e ects to the sound by moving your hand above the sensor

This lets you use the D Beam controller to control the pitch (This is the same e ect as the pitch bend lever.

This lets you use the D Beam controller to control the bri

This lets you use the D Beam controller to control the

xpression.

. 103).

usts the overall volume of the VP-770

en you press this button to turn V-LINK on, the button wi

htness of the sound

SOUND LOOPER (p. 74) can be

5 MIC p. 19

Connect the included microphone here

he MIC input jack supports both XLR type and phone

pe plugs. The XLR type connector provides 48 V phantom ower, allowing you to connect a phantom-powered ondenser microphone.

urn this on if you’re using a phantom-powered condenser

icrophone

urn this o if you’re using the included microphone

his applies an e ect to the microphone input. Turn this on if ou want to use an input e ect.

urn this on if you want to use the microphone.

his adjusts the volume of the live audio from the

icrophone input.

his adjusts/indicates the mic’s input level

6 SOUND LOOPER p. 74

his function lets you record, overdub, and loop-playback our performance

If you’ve pressed this button to turn it on, recording will

egin the moment you start performing

his stops recording or loop playback.

his starts recording, overdubbing, or playback

KEY] Button

p. 68

[F2] Buttons

Button

p. 94

Button

Cursor Buttons

[

] b

Value Dial

[VOCODER] Buttons

p. 27

Slider

p. 34

Button

p. 64

tone.

NOTE] Button

p. 38

STRINGS], [CHOIR], [JAZZ SCAT] Buttons p. 42

of semitones or octaves.

TIME] Knob

p. 41

Knob

p. 41

these switches.

is saves the recorded phrase to USB memory.

7 AUDIO KEY/ p. 68

BASS & PERCUSSION

he C2–D3 keys of the keyboard will play back audio  les

in USB memory.

store

p. 48

10 ENSEMBLE p. 42

Here you can select an Ensemble sound and modify it

STRINGS], [BRASS], [GUITAR], [OTHERS], [PAD],

hese select the sound of the Ensemble part.

his adjusts the tone of the Ensemble part

his adjusts the attack of the Ensemble part.

he C2–E3 keys of the keyboard will play the bass sound

he C2–E3 keys of the keyboard will play percussion.

8 Display

Various information is shown here as you operate the VP-770

hese buttons execute di erent functions according to the

contents shown in the displa

Accesses the MENU screen in the screen

Returns to the previous screen. In some screens, this button cance

Use this button in conjunction with other buttons.

hese buttons move the cursor position up/down/left/right.

In the EDIT screen,

ressing the cursor [] or

Use this to modify a value. By holding down the [SHIFT] button and turning the value

ou can change a value in larger steps

dial

s the operation that’s being executed.

ou can change a value in steps of one by

utton

9 VOCAL DESIGNER p. 27

Here you can select a Vocal Designer sound and modify it

CLASSIC], [MALE & FEMALE], [GOSPEL], [POP],

hese select the sound of the Vocal Designer part.

his adjusts the tone of the Vocal Designer.

his lets you use aftertouch to control the Vocal Designer

his adjusts the volume of the Ensemble part.

his lets you use your voice to adjust the volume of the

Ensemble

art.

11 REGISTRATION p. 78

hese buttons let you store di erent combinations of Vocal

Designer an

Ensemble sounds along with various settings

12 KEYBOARD p. 52

Here you can raise or lower the pitch of the keyboard in steps

13 AMBIENCE p. 50

Here you can adjust the type and depth of ambience

reverberation

his selects the type of reverberation.

his adjusts the amount of reverberation

14 VIBRATO p. 41

Here you can adjust the vibrato.

is adjusts the vibrato spee

is adjusts the time until vibrato begins to apply.

is adjusts the vibrato dept

15 [S1], [S2] Buttons p. 58

By pressing the [S1] or [S2] button you can apply an e ect to

he sound or modify it. You can assign various functions to

16 Pitch Bend/Modulation Lever p. 56

ou can use this to modify the pitch or apply vibrato

his shifts the Vocal Designer one octave higher in pitch

his turns on the Auto Harmony function, which utomatically adds a backing chorus to your vocal

his turns on the Auto Note function that lets you produce

without having to play the keyboar

soun

his adjusts the release of the Vocal Designer and Ensemble art

ea a e

“

lug).

OUTPUT A (MIX) (L/MONO, R) p. 18

OUTPUT A (MIX) (L/MONO, R)

p. 18

OUTPUT B (L, R) p. 98

OUTPUT B (L, R)

p. 98

jack

that

the screen shots sho

“

All

owners.

Rear Pan

17 [POWER ON] Switch p. 24

This turns the power on/o

f you need to turn o the power completely,  rst turn

o the [POWER ON] switch, then unplu

rom the power outlet. Refer to “Power Supply” chapter in Using the Unit Safely” (separate document)

18 AC IN Connector p. 17

Connect the included power code here

19 [DISPLAY CONTRAST] Knob p. 25

djust the display’s contrast

20 MIDI Connectors p. 116

Connect these to external MIDI devices

21 PEDAL Jacks p. 21, 62

Connect these an expression pedal, foot switch and hold

edal.

22 Cable Clamp p. 21

ass the microphone cable through this clamp.

23 EXT IN Jack p. 20, 112

Connect an external synthesizer or microphone (phone p

24 OUTPUT Jacks p. 18

These jacks output the VP-770’s sound in stereo (L/R)

These jacks output the audio signal in stereo to your amp or

ou’re outputting in monaural, connect to the L jack.

mixer. If

epending on the system setting “Out B Assign” (p. 98), these

s can independently output the ambience component,

the ensemble part, or the audio signal o

f you connect a plug to the OUTPUT B jack, the audio signal

peci ed by the system setting “Out B Assign” will not be

utput from the OUTPUT A jack.

the audio key.

the power cord

25 PHONES Jack p. 18

his is the jack for connecting headphones (sold separately)

be aware

ocument, the registration names and tone names di er from

the

actory settings.

efore using this unit, carefully read the sections entitled:

IMPORTANT SAFETY INSTRUCTIONS”, “USING THE UNIT

SAFELY”, and “IMPORTANT NOTES” chapter in “Using the Unit

ely” (separate document). These sections provide important

nformation concerning the proper operation of the unit.

dditionally, in order to feel assured that you have gained a

ood grasp of every feature provided by your new unit, Owner’ s Manual should be read in its entiret saved and ke

MPEG La from Fraunhofer IIS Corporation and THOMSON Multimedia Cor

oration

MMP (Moore Microprocessor Portfolio) refers to a patent

ortfolio concerned with microprocessor architecture, which

was developed b

oland has licensed this technology from the TPL Group

product names mentioned in this document are

trademarks or re

t on hand as a convenient reference.

r-3 audio compression technology is license

Technology Properties Limited (TPL).

unctionality uses MatrixQuest middleware

istered trademarks of their respective

wn in this

. The manual should be

LAND CORPORATION

Contents

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ames of Things and What They Do

The Ancestry of the VP

res of the VP-77

An Overview of the VP-77

About Vocal Designer

ntroducing the Sounds ................................................................................................................................

Making Connections

acing the VP-770 on the KS-12 Stan

Connect the Power Cord (AC IN

Connecting Your Amp or Speakers (OUTPUT/PHONES)

Connecting Your Microphone (MIC)....................................................................

Connecting a Pedal (FOOT PEDAL HOLD/CTRL 1/CTRL 2

Connecting USB Memory (Sold Separate

erforming 2

Turning On/O the Power (POWER ON

djusting the Display Contrast (DISPLAY CONTRAST

Adjusting the Volume (VOLUME)

erforming with Vocal Designer (VOCAL DESIGNER

Selecting a Soun

usting the Microphone Input Level (MIC LEVEL)

erforming with Vocal Designer

dding Your Unprocessed Voice (DIRECT)

Switching O the Microphone (MIC ON/OFF)

pplying E ects to the Microphone (INPUT EFFECT)

usting the Vocal Designer Tone (VOCAL DESIGNER TONE)

aising Vocal Designer’s Pitch by One Octave (8va)

sing the Auto Harmony Function (AUTO HARMONY)

laying the Vocal Designer Using Only the Microphone (AUTO NOTE

dding an E ect when You Apply Pressure to the Keyboard

AFTERTOUCH)

usting the Release of the Notes (RELEASE)

usting the Vibrato (VIBRATO)

erforming with Ensemble (ENSEMBLE)

Selecting a Soun

erforming with Ensemble

djusting the Ensemble Volume (ENSEMBLE LEVEL

justing the Ensemble Tone (ENSEMBLE TONE

usting the Ensemble Attack

sing the Microphone to Add Expression to the Ensemble

VOICE EXPRESSION

erforming with Bass & Percussion (BASS & PERCUSSION

Selecting a sound .......................................................................................................

erforming with Bass & Percussio

usting the Bass & Percussion Volume

Adjusting the Ambience (AMBIENCE)

AT TAC K)

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sing Controllers 5

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Selecting the Registration Bank

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VOCAL DESIGNER EDIT

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Shifting Octave Up or Down (+OCT/-OCT)

ting Up or Down by Semitones

Shi

Splitting the Keyboard Into Vocal Designer and Ensemble Zones (SPLIT)

Adjusting the Keyboard Sensitivity.........................................................................................................

sing the Pitch Bend / Modulation Lever (PITCH BEND)

sing the [S1]/[S2] Buttons (S1/S2

sing the D Beam ( BEAM

sing Pedals (HOLD PEDAL/CTRL PEDAL)

Adding an E ect by Applying Pressure to the Keyboard (AFTERTOUCH)

sing a Microphone to Control Expression (VOICE EXPRESSION)................................................6

TRANSPOSE

sing Audio Files

erforming with Audio Files (AUDIO KEY)

erforming with Audio Files from USB Memor

Selecting the Audio File Set

Changing the Audio File Settings

djusting the Volume of the Audio Ke

pes of Audio Files That the VP-770 Can Play

ecording Loop Phrases (SOUND LOOPER)

ecording a Phras

laying Back the Recorded Phras

Overdubbing Phrases (Recording Another Layer)

rasing the Phrase ......................................................................................................

Saving the Phrase to USB Memory

usting the Volume of the Phrase

Storing Sounds and Settings (Registration)

ecalling a Registration

nitializing a Registratio

Saving a Registration (REGISTRATION WRITE)

diting a Registratio

egistration Parameter

REGISTRATION)

ecalling a Registration

EGIST CONTROL

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Menu R

eference

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About V-LINK

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asic Menu Operation (MENU)

System Settings

Saving the System Settings (SYSTEM WRITE

nput E ect Settings (INPUT EFFECTS)

acking Up to USB Memory (UTILITY–PROJECT)

Transmitting Registration Data to an External MIDI Device (UTILITY–BULK DUMP)

Screensaver Settings (UTILITY–SCREENSAVER

eset to Default Factory Settings (FACTORY RESE

SYSTEM)

stem Parameters ........................................................................................................................................

TEM MID

TEM

TEM CONTROL

acking Up to USB Memory (USER BACKUP) ....................................................

estoring the Backup Data (USER RESTORE)

ormat USB Memor

Checking the VP-770’s Version (UTILITY–VERSION INFO)

ications 1

sing the Sound of an External Synthesizer (EXT IN

“Performing” Sound from Drums or a Portable Music Player

endix 1

Connecting the VP-770 with MIDI Equipment

MIDI Implementation Chart

Main Speci cation

Troubleshootin

rror Message

ndex ....................................................................................................................................................................2

nformation

Play Like You’re Singing.

The Ancestry of the VP

1939

Subsequently 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

vocoder with 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

modeling technology—a leap beyond vocoding.

2009

and cutting-edge SuperNATURAL technology.

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

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

saw the appearance of the VP-550, featuring Roland’s “Vocal Designer” human vocal

now sees the birth of the VP-770, bringing you a further evolution of Vocal Designer

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

Features of the VP-770

hnology

bly

lly

The VP-770 is a keyboard featuring cutting-edge “Vocal Designer” human vocal modeling tec

odel incredi

Highest Quality Vocals

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

odeling technology built into the VP-770 lets you actua

atural and realistic vocals that are simply beyond all comparison with conventional vocoders

In other words, the VP-770 lets you do it all; from beautiful choirs echoing in a cathedral, to funky gospel, to background choruses

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

Simpl

Rich Ensembles

In addition to Vocal Designer, the VP-770 features “ensemble” parts that use SuperNATURAL technology and

carefull

. Just connect a microphone, play the keyboard while you sing, and let the VP-770

realistic and natural vocals.

“sing the lyrics” — and it generates

or pop and rock bands

play the VP-770 and start enjoying the top quality vocal sounds you’ve dreamed of

selected high-quality PCM (digitally sampled) sounds

Brass ensembles using SuperNATURAL technology, richly expressive strings, and a broad range of high

quality choir sounds can be layered with Vocal Designer, allowing you to perform unbelievably rich

ensembles

By using “Bass and Percussion” you can also perform voice bass or voice percussion

In addition, you can use the “Audio Key” function to layer the playback of audio  les saved on USB

emory (sold separately).

This means that all by itsel

nd SuperNATURAL Technology

Proprietary Roland sound generation technology that realistically reproduces the tonal

changes and performance techniques distinctive of an acoustic instrument, allowin

you to perform music that is natural and richly expressive.

, the VP-770 lets you rival an orchestra or a cappella group

An Overview of the VP-770

VOC

This part lets you play high-quality sounds from the

create eve

sounds.

to play the melody.

the ambience of a ha

“

you play on the keyboard, this

di

ato

ese formants to modulate

SOU

SYS

he VP-770 has three parts, and each part occupies its own section of the front panel

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-770 produce an incredible range o

vocal sounds.

ROJE

ll settings of the VP-770 can be saved to USB memory as a “project.”

TEM

System memory stores settings that app

REGISTRATION

registration lets you store the “sound and settings” of each part;

you can then use the four banks of eight buttons to instantly recall 32 di erent settings (preset: 16, user: 16)

AL DESIGNE

his part uses the keyboard and the microphone input to model vocal sounds. Use the keyboard to control the pitch, and use the microphone to control all other aspects of the sound.

arrie

is has the same role that the

vocal cords” play in a human

oice. According to the pitches

enerates the signal that forms

he basis of the sound (tone and

itch). Use the sound buttons to

switch between

erent vocal

aracters suc

s classic or pop.

eyboard. You can switch sounds (such as a brass nsemble using SuperNATURAL technology, or a strings ound) simply by selecting a sound button. By layering

the Ensemble part with the Vocal Designer you can

n richer

From the voice you input via the

icrophone input, this extracts the resonances (formants) that result from the shape of your throat and larynx and the

ovement of your mouth, and

the signal produced by the carrier.

his will reproduce not only the

loudness of your voice, but also

et the lyrics be heard clearly an

AMBIEN

his section applies

or studio to the sound from the three parts

BASS & PERCUSSION

f you turn on one of these sound buttons, the seventeen eft-most keys of the keyboard will play voice bass or voice

ercussion sounds. You can easily do things such as using

our left hand to play a bass line while using your right hand

f you turn on the [AUDIO KEY] button, you’ll be able to use

the  fteen keys at the left side of the keyboard to play back

udio  les saved on USB memory (sold separately)

ND LOOPER

This lets you record a phrase you perform, and then

lay it back repeatedly. You can also save this phrase to

USB memory (sold separately) and use the Audio Key

unction to play it.

About Vocal Designer

“

anyth

“

voice of an actua

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

distinguish spoken or sung words because o

tract (the shape of our throat and the movement of the lar

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

created by the vocal cords actually has a rather minimal e ect on what the listener hears.

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

the various resonances (formants) created by our vocal

nx and mouth) and additional sounds called

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

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

revolutionary leap in the accuracy o

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

sounds produced b

the vocal cords. The vocoder “voice” produced in

this synthesis, succeeding in generating

vocoders of the past

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

Vocal cords (carrier)

Play Like You’re Singin

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

microphone. You play the keyboard to control the pitch.

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

eyboard. This means that in order to take advantage of Vocal Designer, the timing at which you play

board and vocalize into the microphone is extremely important. When you’re performing a rapid

the ke

passage,

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

curve. Using

ou will probably  nd it best to hold down the keys (or press the hold pedal ➞p. 62) and use your

oice to play the rhythm.

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

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

Play like you’re singing”

Introducing the Sounds

CLASSIC

heard.

VOCODER

st.

Sound

Other sounds.

sounds.

Synth

CHOIR

VOCAL DESIGNER

oun

ALE &

GOSPEL These choirs include the distinctive phrasings and irregularities that are distinctive of gospel

ACKGROUND Sounds suitable for a backing chorus.

Description

arge choirs suitable for classical music. These are also a good choice for any choral sound—not

ust classical—and will match nearly any style of music. They have a clear sound, and are a good

oice when you want the lyrics to be hear

ixed choirs with independent male and female parts. With sparser chords, they produce a

er and more three-dimensional sound than “CLASSIC.” You’ll hear the female voices in the

dee

igh range, and the male voices in the low range. Female voices will be heard on the right side

the stereo sound  eld, while male voices will be on the left side

music. The

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

contain rapi

Vintage vocoder sounds.

or some sounds, you can access a list of variation sounds by holding down the [SHIFT] button and pressin li

are an ideal choice for jazz or gospel

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

the sound button. Use the value dial or the up/down cursor buttons to select a sound from the

ENSEMBLE

escription

TRING

UITA

THER

YNTH STRING

AZZ SCAT

Acoustic string sounds with emphasis placed on the performance techniques that are

nherent to strings

rass sounds that use SuperNATURAL technology

Guitar sounds.

esizer string sounds

ampled choir sounds. You can get an even more majestic e ect by layering these with one

the sounds of the Vocal Designer part

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

es and for scat soloing.

passa

For some sounds, you can access a list of variation sounds by holding down the [SHIFT] button and pressing the sound button. Use the value dial or the up/down cursor buttons to select a sound from the list.

BASS & PERCUSSION

SSBass sounds.

oun

escriptio

his provides a collection of voice percussion sounds.

You can also select a bass sound by holding down the [SHIFT] button and pressing the [BASS] button, and then turnin

the value dial

Making Connections

n this chapter you’ll connect the VP-770 to your external equipment and set it up.

Making Connections

d th

bly

ace the

Placing the VP-770 on the KS-12 Stand

If you place the VP-770 on a stand, you must use the KS-12 (sold separately)

een from the rea

Position the stand so that its arms extend toward the performer.

When placing the VP-770 on the stand, be careful not to pinch your  ngers between the instrument

e stand.

sing the VP-770 with any other stand may produce an unstable situation, possi

instrument to

or details on how to assemble the stand, refer to the owner’s manual that accompanied the stand

all or overturn, and resulting in injury or damage

VP-770 so that the rear two of the four rubber feet on the bottom panel  t into the holes on the arms of the stand.

Rubber feet

Arm

Hole

Performer

causing the

Connect the Power Cord

and plug th

( AC IN)

onnect the included power cord to the VP-770’s AC IN connector,

e other end into an AC outlet

to AC outlet

Connecting Your Amp or Speakers



Aud

dph

PUT

he VP-770 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

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

io cables and hea

ately

ones aren’t included with the VP-770. You’ll need to obtain them sepa-

Connecting Your Microphone

head

)

ect.

A microphone is indispensable for performing with the VP-770. The VP-770 models

sounds by using your voice that’s input via the microphone.

set-type microphone is included with the VP-770

( MIC)

If You’re Using the Included Microphone

(MIC)

onnect it to the MIC jack as shown.

his instrument is equipped with balanced (XLR/TRS) type jacks.

Wiring diagrams for these jacks are shown below. Make connections

fter  rst checking the wiring diagrams of other equipment you

intend to conn

TIP: HOT RING: COLD SLEEVE: GND

owling could be produced depending on the location of

microphones relative to speakers. This can be remedied by:

1. Changing the direction of the microphone(s). . Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels.

If You’re Using a

e VP-770’s MIC jack supports phantom power

Turn this o if you’re using the included microphone.

lways turn the phantom power o when connecting any device other than condenser microphones

that require phantom power. You risk causing damage i

namic microphones, audio playback devices, or other devices that don’t require such power. Be ure to check the speci cations of any microphone you intend to use by referring to the manual that ame with it

(This instrument’s phantom power: 48 V DC, 10 mA Max

hantom-powered Condenser Mic

you mistakenly supply phantom power to

1: GND2: HOT

3: COLD

ress the [HANTOM] button

he con rmation message will appear

ress the [F1] (OK) button

he [PHANTOM] button will light, and phantom power will be supplied.

mmediately after powering up the VP-770, the phantom power supply will be o

If You’re Connecting Your Microphone to the EXT IN Jack

)

”

to “MIC.”

[

MIC]

“ON.”

We’ll b

odulator

(

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

Refer to “Adjusting the Microphone Input Level” (p. 28) for more about this adjustment

XT IN

et the

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

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

Carrie

his is the signal that is the basis of the

sound and determines its timbre an

itch. To use the sound from the rear anel EXT IN jack as the carrier, hold down

he [SHIFT] button, press the [VOCODER] sound button, and select the bottom sound in the list that appears

If you want the sound from the rear panel EXT IN jack to be the carrier, set

he [MIX TO MIC] switch “OFF”

p. 112).

➞

switch

The tonal character (formants) of the voice from the microphone

nput is extracted, and these ormants are used to modulate transform) the carrier signal

If you want the sound from the

ear panel EXT IN jack to be the

odulator, set the [MIX TO MIC]

switch “ON”

. 114).

➞

Connecting a Pedal

ections as shown.

bout the

ou can connect a hold pedal (sold separately: DP series) and an expression pedal (sold separately: EV-5) to

the VP-770

If an optional hold pedal (DP series) is connected to the rear panel PEDAL HOLD jack, you can press the

old pedal to cause notes to sustain or “hold” even after their keys have been released.

an optional expression pedal or pedal switch (EV-5, DP series) is connected to the rear panel PEDAL CTRL

jack (1, 2), you can use the pedal to control the volume or various

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

➞

(FOOT PEDAL HOLD/ CTRL 1/CTRL 2)

unctions

conn

o reduce the risk of the microphone being stolen, use the included

Allen wrench to remove the screws from the rear panel cable clamp,

pass the microphone cable through the clamp, and retighten the screws

to secure the cable clamp.

eep the removed screws out of the reach of small children to ensure

they are not swallowed accidentally.

xpression pedal

separately: EV-5)

(so

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

old pedal

separately: DP series)

(so

Cable Clam

Connecting USB Memory (Sold Separately)

Audio  les saved on USB memory (sold separately) can be assigned to the keyboard for playback (p. 68),

nd you can back up all of the VP-770’s settings to USB memory as a “project” (p. 103).

pen the USB MEMORY connector cover and insert the USB memor

e sure to keep the

arefully insert the USB memory all the way in—until it is  rmly in place.

onnect the USB memory after you turn on the VP-770’s power. Never disconnect the USB memory

while the VP-770 is powered up

sing the Included

ou can use the included USB memory protector to prevent theft of the USB memory connected to the

P-770.

ou must use the included screw.

ou must use the included Allen wrench to tighten or remove the screw. Using a tool that does not

match the screw head will dama

e careful not to over-tighten the screw. Doing so may damage the screw’s head, causing the wrench

to rotate use

hten the screw, turn the Allen wrench clockwise. To loosen the screw, turn the Allen wrench

To t i

ounter-clockwise.

SB MEMORY connector cover closed when not connecting or disconnecting USB

B Memory Protector

e it

essly.

tightenloosen

eep the included screw out of the reach of small children to ensure it is not swallowed accidentall

Performing

n this chapter you’ll learn the basics of playing the VP-770. When you’ve  nished it, you will

have mastered the basics of the VP-770!

Turning On/O the Power

➞

)

(

Here’s how to turn the VP-770’s power on or o .

( POWER ON)

Turning On the Powe

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

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

/or damage to speakers and other devices

efore you turn on the power, check the following

Is the VP-770 correctly connected to your peripheral equipment

Have you turned down the volume of the VP-770 and the connected audio system to the minimum

settings

n the VP-770’s rear panel, turn the [POWER ON] switch “on.”

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

ore the unit will operate normall

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

While you play the keyboard to produce sound, adjust the volume of the VP-770 and of the audio

equipment you’ve connected.

If You Don’t Hear Sound, Check the Followin

s the VP-770 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 the microphone.

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

keyboard

. 42

➞

For details, refer to “Performing with Vocal Designer” (

p. 27

Turning O the Power

”

bout the

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

Have you turned down the volume of the VP-770 and the connected audio system to the minimum

settings

n the VP-770’s rear panel, turn the [POWER ON] switch “o .

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

ower cord from the power outlet. Refer to “Power Supply” chapter in “USING THE UNIT SAFELY”

(separate document).

Adjusting the Display Contrast

he characters in the display may be di cult to view immediately after turning on the VP-770’s power

ter extended use. If this occurs, turn the rear panel [DISPLAY CONTRAST] knob to make the display

or a

egible

he screen that appears  rst when you turn on the power shows the following information

op Scree

nformation

egistration number

one of the Vocal Designer part p. 2

one of the Ensemble part

( DISPLAY CONTRAST)

age

. 7

. 42

ou can select a registration or sound by using the cursor buttons to move the cursor to each item an

then turning the value dial.

lease be aware that in the screen shots shown in this document, the registration names and tone

names di er from the factory settings.

Adjusting the Volume

Here’s how to adjust the volume of the entire VP-770.

( VOLUME)

Use the [VOLUME] knob to adjust the volume of the entire VP-770

or best results, adjust the volume of your amp or speaker system so that you get the desired

oudness 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

ant to decrease the volume.

( VOCAL DESIGNER)

Sound

CLASSIC

—

deep

VOCODER

Sound

the list.

Performing with Vocal Designer

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

the keyboard and you’ll hear realistic and natural voices.

For more about how Vocal Desi

ner works, refer to “About Vocal Designer” (. 12).

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 longer

ear the Vocal Designer part.

You can play multiple parts simultaneously by turning on sound buttons and/or Bass & Percussion part. I

ound buttons of the other parts (make the buttons go dark).

escriptio

Large choirs suitable for classical music. These are also a good choice for any choral sound

ot just classical—and will match nearly any style of music. They have a clear sound, and are a ood choice when you want the lyrics to be heard

ALE &

PEL

ACKGROUNDSounds suitable for a backing chorus

Mixed choirs with independent male and female parts. With sparser chords, they produce 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 on the right side f the stereo sound  eld, while male voices will be on the left side.

hese choirs include the distinctive phrasings and irregularities that are distinctive of gospel

usic. They are an ideal choice for jazz or gospel.

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

at contain rapid passages. The sound is clear, making these a good choice when the lyrics

eed to be heard.

intage vocoder sounds

you want to play only the Vocal Designer part by itself, turn o the

Selecting a Variation

old down the [SHIFT] button and press a sound button.

A list of sounds will appear in the displa

or the Ensemble part

ress the [F2] (SELECT) button to con rm your choice of sound.

Adjusting the Microphone Input Level

the

cator status.

Ye l l o

f y

adj

lly l

➞

Here’s how to adjust the input level of the microphone connected to the rear panel MIC jack

ocalize into the microphone.

Try to keep a consistent distance between the microphone and your mout

indi

LEVEL Indicator signi cance

ed The signal level from the microphone input is too great

w The signal level from the microphone input is just right

reen

signal is being input from the microphone input.

( MIC LEVEL)

djust the [EVEL] knob so that the yellow indicator lights at the

peak o

our vocalizing into the microphone.

The front panelLEVEL] knob doesn’t a ect the rear

anel EXT IN jack. If you’ve connected your microphone

o the EXT IN jack, use the rear panel [LEVEL] knob to

ust the input leve

Turning the knob toward “MIC” will increase the input

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

Once you’ve adjusted the microphone input level, you should genera

he [VOLUME] knob if you want to raise or lower the volume of the Vocal Designer part

You can apply an e ect to the microphone input by turning on the [INPUT EFFECT] button

. 32

eave it untouched. Adjust

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

y, g p y g , y

vocalizing.



)

the

olume raised?

(

)

(

➞

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

• nsemble part and the Audio key/Bass & Percussion part.

To ensure that you’re hearing just Vocal Designer and not your own voice, move the [DIRECT] knob

e very lowest position.

to t

e [MIC ON/OFF] button (p. 31) on (lit).

Turn t

old down one or more notes on the keyboard.

vocalize into the microphone

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 microphone while you

erent keys. The pitch will change according to the notes you play.

play di

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

ocal Designer will produce sound at the pitches of the chord you’re holding down, but at the staccato

rhythm you vocalized. That’s right — the rhythm is produced by your voice, not by the keyboard. This

technique is particularl

Unlike typical synthesizers, the volume is controlled

curve. Using your voice, you can produce a range o

here are just two secrets to using Vocal Designer skillfully.

useful when you’re performing phrases with rapid passages.

rom the microphone. Use your voice to draw the

expression that you might even  nd extreme

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 Followin

s the VP-770 correctly connected to your amp, speaker, or headphones?

VP-770’s v

•

s one of the Vocal Designer sound buttons lit?

s the power switch of your microphone turned on?

s your microphone connected correctly?

s the microphone input level raised? (

s the [MIC ON/OFF] button lit?

. 31)

. 19

➞

. 28

Adding Your Unprocessed Voice



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

ocalize into the microphone.

Turn the [DIRECT] knob to adjust the volume.

( DIRECT)

our voice will be output directly from the VP-770.

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

Designer soun

progressions on the keyboard while you sing. Turning on the [AUTO HARMONY] button (p. 36) will make

this even more e

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

s (we recommend GOSPEL, POP or BACKGROUND) and hold down the appropriate chord

ective.

The [DIRECT] knob adjusts the volume of the audio signal you selected in the registration

arameter Input Source (p. 86

+ 98 hidden pages