Roland VP-770 User Manual

Download

Page 1

Page 2

ot ae

Adj

[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.

Page 3

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

Page 4

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

Page 5

Contents

........................................................................................................

..................................................................................................................................

.........................................................................................................................

....................................................................................................................................

...............................................................

)

............................................................................

................................

)

............................

ly)

......................................................

)

.................................................................................................

)

...................................

..............................................................................................................

)

........................................................................

........................................................................................................

Adj

.......................................

............................................................................

.........................................................

....................................

Adj

....................

.......................................

.................................

)

...38

..............................................................................................................

Adj

..................................................

Adj

............................................................................

................................................................................................

........................................................................................................

......................................................................................

)

.....................................

)

............................................

Adj

...........................................................

)

..................................................................................................

)

.............................................................

.......................................................................

Adj

............................................................

.....................................................................................................

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)

..................................................3

Page 6

sing Controllers 5

...........................................................................................

)

..............................................................................

................................

..................................................................

)

..........................................................................................................

)

.......................................................................................................................

.............................................................................................

..................................

.............................................................................................

..............................................

.....................................................................................

..........................................................................

..............................................................

..................................................

..........................................................................................

........................................................................

...........................................

........................................................................

Adj

.....................................................................

...............................................................................................

Selecting the Registration Bank

.............................................................................................

.............................................................................................................................

......................................................................................

....................................................................................................................................

...............................................................................................................................

....................................................................................................

.........................................................................................................

VOCAL DESIGNER EDIT

..............................................................................................

............................................................................................................

........................................................................................................

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

............................................................................

Page 7

Menu R

eference

..................................................................................................................

...........................................................................................................................

)

........................................................................................

SYS

SOU

............................................................................................................

SYS

.......................................................................................................

....................................................................................................

................................................................................

.....................................................

..................................................................................................

..............

..............................

)

...................................................................................

)

..........................................................................

Appl

)

........................................................................

App

.....................................................................................

About V-LINK

....................................................................................................................................................

........................................................................................................................

........................................................................................................................................

..............................................................................................................................................

.................................................................................................................................................

.......................................................................................................................................................

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

Page 8

Play Like You’re Singing.

Page 9

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.

Page 10

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

Page 11

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.

Page 12

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”

Page 13

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.

Page 14

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

Page 15

Making Connections

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

Page 16

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

Page 17

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

Page 18

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-

Page 19

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

Page 20

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).

➞

Page 21

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

Page 22

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

Page 23

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!

Page 24

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

Page 25

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.

Page 26

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.

Page 27

( 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.

Page 28

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

Page 29

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

Page 30

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

Page 31

Switching O the Microphone

when the microphone input is on

( MIC ON/OFF)

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

microphone input will turn o .

ress the button again to make it light; the microphone input will

rn on

Page 32

Applying E ects to the Microphone

)

You can apply e ects to the microphone input. You can use three di erent vocal e ects as input e ects.

E ect

OISE SUP (Noise suppressor

Q (3 Band Equalizer)

OMP (Compressor

escription

uppresses noise when no sound is being input

djusts the character of the low, mid, and high-frequency ranges

educes high-level sounds and boosts low-level sounds, thus improving the overall

volume balance of the sound.

( INPUT EFFECT )

Press the [INPUT EFFECTS] button; the button will light, and the

 ect will be applied to the microphone

electing the Type of Input E ec

Hold down the [SHIFT] button and press the [INPUT EFFECTS] button.

The INPUT EFFECTS screen will appear.

Use the cursor buttons and the value dial to edit the e ect parameters

o select the e ect type (TYPE 1–4), move the cursor to the

YPE  eld and turn the value dial

o turn each e ect on/o , move the cursor to the NOISE

UP, EQ, or COMP  elds, and turn the value dial

To make detailed settings for each e ect, move the cursor to the NOISE SUP, EQ, or COMP  elds and

ress the [F1] (EDIT) button.

Page 33

Use the cursor buttons and the value dial to change the value.

Value

ease

rs.

Thres

-60–-36 dB

(

)

-15

50–20000

-15

0.3–20.0

50–4000 Hz

(

Comp

)

ete

Value

Attack0–100

elease

0–100

Thres

-36–0 d

ain

OISE SUP (Noise suppressor)

arameter

ttac

Rel

Band Equalizer

arameter

Hi Fre

Hi Gain

Freq

Mid Gai

Mid

–12

alu

2000–20000 H

–+15 dB

Descriptio

peci es the duration over which the noise suppressor will disable muting

peci es the time from when the noise suppressor begins operating until muting ccu

peci es the level at which the noise suppressor begins to operate. Sounds below

he speci ed level will be muted.

Descriptio

peci es the center frequency at which the high-frequency range will be adjusted

peci es the gain (amount of boost or cut) for the high-frequency range. Positive

ettings will boost the high-frequency range.

peci es the center frequency at which the mid-frequency range will be adjusted

peci es the gain (amount of boost or cut) for the mid-frequency range. Positive

ettings will boost the mid-frequency range.

peci es the width of the mid-frequency range. Higher settings will narrow the

ow Fre

Low Ga

COMP

ram

Ratio 1:1.0–1:INF

15–+15 dB

ressor

–+24 dB

peci es the center frequency at which the low-frequency range will be adjusted.

peci es the gain (amount of boost or cut) for the low-frequency range. Positive

ettings will boost the low-frequency range

Descriptio

peci es the time from when the input exceeds the Threshold (Thres) until the

ume begins to be compressed.

peci es the time it is to take after the input falls below the Threshold (Thres) before

ression ceases.

com

peci es the level at which compression will begin.

eci es the compression ratio

peci es the output gain

f you want to save the edited settings to system memory, press the

[F2] (SYS WRITE) button

The con rmation message will appear, then press the [F1] (OK) button

You can save four types of input e ect settings (TYPE 1–4)

When you’ve  nished making settings, press

he [EXIT] button.

Page 34

Adjusting the Vocal Designer Tone

ou can move the [TONE] slider to adjust the tone of the Vocal Designer

ove the [TONE] slider.

he tone setting is shown in the display while you’re moving the slider

oving the slider upward will strengthen the highs, producing a clearer sound.

oving the slider downward will restrain the highs, producing a milder soun

etting the slider value to 0 will use the original setting of the selected sound

(VOCAL DESIGNER TONE)

Page 35

Raising Vocal Designer’s Pitch by One Octave

se 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 ri

( 8va)

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

return to its original pitch

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

nlike the KEYBOARD [-OCT] /[+OCT] buttons, the [8va] button applies only to the Vocal Designer art. Use this when you want to raise the Vocal Designer part one octave higher than the

nsemble part

Page 36

( AUTO HARMONY)

y y

ging

added

]

Using the Auto Harmony Function

he Auto Harmony function lets you automatically add a backing chorus to your vocal. This function

generates harmon

chords detected from the ke

the melod

nob (p. 30) to combine it with your own actual voice

based on the melody you sing (the pitch detected from the microphone) and the

board. In addition, the harmony will change according to the movement of

ou sing. When using the Auto Harmony function, we recommend that you raise the [DIRECT]

ress the [AUTO HARMONY] button; the button will light and the

uto Harmony function will turn on.

lay a chord on the keyboard, and vocalize into the microphone.

Harmony will be produced based on the chord you play. Try singing a melody into the microphone or

chan

the chord, and listen to the result.

Making Settings for Auto Harmon

ou can choose from several types of harmony to determine the number of harmony voices that will be

to your vocal and how they will be arrange

If you choose a simple type (such as DUET or TRIO), the Vocal Designer function will generate a simple

armony even if you play numerous keys. This prevents the sound from becoming muddy, for example

even when layered with the ensemble sound

Hold down the [SHIFT] button and press the [AUTO HARMONY] button.

e AUTO HARMONY setting screen will appear

When you turn on the [AUTO HARMONY]

utton, play a chord on the keyboard, and

vocalize into the microphone, the [] icon will

ppear on the on-screen keyboard to indicate

he pitch detected from the microphone, and

icons will appear to indicate the generated

armony.

Page 37

Use the cursor buttons and the value dial to change the value.

ete

TYPE

TRIO

ram

rVal

JAZZ-

UET

RIO-UPPER,

UART ET

PEN

escription

witches the type of Auto Harmony

The notation shown below is an example of a C-major scale

The solid black notes indicate the pitch detected from the microphone (this note will not sound *1)

The white notes indicate the harmony that was generated (Vocal Designer will sound with these

otes).

or a minor chord, the third will be a minor third rather than a major third.

DUET

TRIO

TRIO-UPPER

QUARTET

MANHATTAN

JAZZ-OPEN

*1 You can sound the black notes by turning on the [AUTO NOTE] button

When you’ve  nished making settings, press the [EXIT] button

Page 38

Playing the Vocal Designer Using Only the Mic

lly

the Auto Note functio

CHRO

a [

Norma

, Vocal Designer will not sound unless you play the keyboard. However, by using the Auto Note

unction, you can make Vocal Designer produce sound without your having to play the keyboard; i.e., all

you’ll need to do is vocalize into the microphone. The Auto Note

ia the microphone, and automatically sound notes for that pitch.

unction will detect the pitch of your voice

rophone

( AUTO NOTE)

When you press the [AUTO NOTE] button, the button will light an

n will turn on

Making settings for Auto Not

old down the [SHIFT] button and press the [AUTO NOTE] button

he AUTO NOTE setting screen will appear.

hen you turn on the [AUTO NOTE] button and vocalize into the microphone, the detected pitch is shown as

] icon on the keyboard

displayed on this screen

Use the cursor buttons and the value dial to change the value.

arameterValu

MODE

KEY

MATI

DIATONI

, C#, D, D#, E, F, F#, G, G#,

A#,

escriptio

his is a chromatic scale. The pitch detected from the microphone is converted to

otes at semitone intervals

his is a diatonic scale. The pitch detected from the microphone is converted to notes

at diatonic intervals. You can use the KEY parameter to specify the key of the scale.

Speci es the key when MODE is set to “DIATONIC” (diatonic scale).

When you’ve  nished making settings, press the [EXIT] button

Page 39

Adding an E ect when You Apply Pressure to the Keyboard

➞

ou can add an e ect to Vocal Designer by applying pressure (aftertouch) to the keyboard

or details, refer to “Adding an e ect by applying pressure to the keyboard

(AFTERTOUCH)” (p. 64)

(AFTERTOUCH)

Page 40

Adjusting the Release of the Notes

ou can adjust the release for the Vocal Designer and Ensemble by moving the [RELEASE] slider. Release is

the time

rom note-o until the sound has disappeared.

( RELEASE)

ove the [RELEASE] slider

he release value is shown in the display while you move the slider.

The [RELEASE] slider applies a relative chan

he [RELEASE] slider is at zero, the release value will be as speci ed by the settings of that sound

oving the slider upward will lengthen the time from note-o until the sound disappears

oving the slider downward will shorten the time from note-o until the sound disappears

e to the release value speci ed for each sound. When

Page 41

Adjusting the Vibrato

atura

ato of a voice.

obramete

alue

Vibrato Rate

Adj

Vib

while l

y f

and l

( VIBRATO)

is an e ect that cyclically modulates the sound. By applying it to the Vocal Designer you can simulate the

l vibr

Turn the three [VIBRATO] knobs

he vibrato settings are shown in the display while you turn the knobs.

These three knobs appl

a relative change to the vibrato settings speci ed for each sound. When

ach knob is at zero, the vibrato settings will be as speci ed by the settings of that sound.

RAT

ELAY TIM

EPTH

-64–+

rato Delay-64–+6

ibrato Depth-64–+

Description

ust the vibrato speed (the rate at which the sound is modulated). The

ound will be modulated more rapidly for higher settings, and more slowly

ith lower settings

djusts the time delay until the vibrato (sound modulation) e ect begins.

igher settings will produce a longer delay time before vibrato begins,

ower settings produce a shorter time

djusts the depth of the vibrato e ect (the depth at which the sound is

modulated). The sound will be modulated more greatl

ess with lower settings.

or higher settings,

Vibrato is not applied to the solo strings (Solo Violin, Solo Cello) sounds of the Ensemble part when you play polyphonically (multiple notes). This simulates the way in which vibrato is not applied when

tiple notes are played on a violin or similar instrument. Although turning the [VIBRATO] knobs will

mu not appl

vibrato, you can apply vibrato by operating the modulation lever (p. 56).

Page 42

Performing with Ensemble

ess a button to select a sound.

o

RGuitar sounds.

CHOIR

d b

the list.

Here’s how to play the Ensemble part. This part lets you play high-quality sounds from the keyboard.

ou can switch the sound (e.g., brass ensemble using SuperNATURAL technology, or strings) by selecting a

sound button.

( ENSEMBLE)

Selecting 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

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

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

oun

TRING

ITA

THER

YNTH STRING

AZZ SCAT

escription

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

nherent to strings

rass sounds that use SuperNATURAL technology

Other sounds

ad sounds.

ynthesizer string sounds

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

f the sounds of the Vocal Designer part

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

passa

es and for scat soloing.

Selecting a Variation Soun

old down the [SHIFT] button and press a

soun

A list of sounds will appear in the displa

utton

or the Vocal

Use the value dial or the up/down cursor buttons to select a sound in

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

Page 43

Performing with Ensemble

ect a sound.

bly

the

olume raised?

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 Designer part and the Audio Ke

aise the Ensemble [LEVEL] slider (p. 44).

/Bass & Percussion part.

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

rass ensemble sounds using SuperNATURAL technology, you’ll probably want to split the keyboar

For

p. 54) and use your left hand to play the Vocal Designer while your right hand plays the brass.

layering powerful strings or beautiful choir sounds together with Vocal Designer, your performance on

e VP-770 can sound unbelieva

input from the microphone (such as when

you are playing the keyboard (regardless of the microphone input). Layering the Ensemble part with the

ocal Designer ensures that the sound will not be interrupted.

amazing!

rich. Vocal Designer will stop sounding when your voice is not being

ou take a breath), but the Ensemble part will sound as long as

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 the Ensemble [LEVEL] slider raised?

s one of the Ensemble sound buttons lit

Page 44

Adjusting the Ensemble Volume

The l

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

ay the keyboar

( ENSEMBLE LEVEL)

ove the [LEVEL] slider to adjust the volume.

evel setting is shown in the display while you move the slider

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

djustments when you want the Ensemble part to be louder (or softer) than the Vocal Designer or the

direct output o

the microphone (your voice).

Step On a Peda

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

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

performance enormously more expressive.

For details, refer to “Using pedals” (p. 62).

Page 45

Adjusting the Ensemble Tone

ou can use the [TONE] slider to adjust the tone of the Ensemble sound

( ENSEMBLE TONE)

ove the [TONE] slider.

e tone setting is shown in the display while you move the slider

oving the slider upward will strengthen the highs, producing a clearer sound.

oving the slider downward will restrain the highs, producing a milder sound

etting the slider value to 0 will use the original setting of the selected sound

Page 46

Adjusting the Ensemble Attack

ou can use the [ATTACK] slider to adjust the attack of the Ensemble sound.

he attack is the starting portion of each note. A piano or percussion instrument is said to have a sharp or

ast attack; instruments such as bowed strings are said to have a gentle or slow attack

( ATTACK)

ove the [AT TAC K] slider

he attack setting is shown in the display while you move the slider

The [ATTACK] slider applies a relative change to the attack value speci ed for each sound. When

he [ATTACK] slider is at zero, the attack value will be as speci ed by each sound’s own setting.

Setting the attack to a negative value for a BRASS or STRINGS sound will have no e ect. The

harpest attack will be when the slider is set to zero

oving the slider upward will make the attack more gentle

oving the slider downward will make the attack sharper

ou can also adjust the release.

➞

For details, refer to “Adjusting the release (RELEASE)” (p. 40)

Page 47

Using the Microphone to Add Expression to the Ensemble

)

ass sounds.

)

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

(VOICE EXPRESSION)

For details, refer to “Using a microphone to control expression (VOICE EXPRESSION)”

(p. 66).

About the SuperNATURAL Brass Sounds (BRASS

e VP-770 uses SuperNATURAL technology to bring you high-qualit

arious performance expressions distinctive to brass instruments that

were di cult to play from a keyboard can now be reproduced without

special operations, and expressively played with realistic tone

In addition to playing each instrument solo, you can use the Section

eature to create and play brass sections consisting of up to six “players.”

With this function, the performance of each player in the section will take

dvantage of the distinctive characteristics of the instrument being used.

For details on operation, refer to “Section Mode” (p. 90)

About the String Sounds (TRINGS

he string sounds of the STRINGS allow even richer and more

expressive performance than ever before, without requiring

complex operations from the player. The solo strings (Solo

iolin, Solo Cello) sounds simulate the characteristics of a solo

erformance

e solo strings (Solo Violin, Solo Cello) sounds simulate the way in which a violin or other stringed instrument

is actually played, and will naturally switch between the ways in which vibrato or legato are applied when

playing monophonically or polyphonically.

Page 48

Performing with Bass & Percussion

ht hand

Sound

buttons to move the cursor to sound name.

Sound

SSBass sounds.

Here’s how to play the Bass & Percussion part. The left-most seventeen notes of the keyboard will play bass

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

rig

to play the melody

( BASS & PERCUSSION)

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.

ou can split the keyboard for the Vocal Designer nd Ensemble parts (p. 54).

BASS & PERC

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

uce any sound.

not pro

y pressing the [AUDIO KEY] button you can use the same keys to play back audio  les from USB

VOCAL DESIGNER

emory (p. 68

ENSEMBLE

Selecting a Variation

old down the [SHIFT] button and press a soun

the cursor

In this screen you can also edit the bass and

ercussion sound (p. 92).

Turn the value dial to select a sound

escriptio

his provides a collection of voice percussion sounds.

Press the [EXIT] button to return to the top screen

Page 49

Performing with Bass & Percussion

ect a sound.

button.

Use the cursor buttons to move the cursor to “

.”

Now you can try playing the Bass & Percussion part

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 Volume

ou can adjust the volume of the Bass & Percussion part

old down the [SHIFT] button and press a

EVEL

Turn the value dial to adjust the level

If you want to save the setting, press the [F2] (WRITE) button.

For details on saving, refer to “Saving a registration” (p. 81).

Press the [EXIT] button to return to the top screen

Page 50

Adjusting the Ambience

amb

STUDIO

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

( AMBIENCE)

witch the type of ambience

Press the [TYPE] button; the display will show the currently selected

ience type. In this state, pressing the [TYPE] button cycles you

through the ambience types in this order:

➞

hese types have the following characters.

Typ

HALL 2

TUDI

djust the depth of ambience

urn the [

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

EPTH] knob toward the right to make the ambience deeper

escriptio

The reverberation of a church

The reverberation of a large hall.

The reverberation of a studio

Turns the ambience o .

➞

Page 51

Using Controllers

his section explains keyboard settings and the various controllers provided on the VP-770.

Page 52

Shifting Octave Up or Down

be s

ted do

octave.

ou can shift the keyboard pitch range up or down in a range of ±3 octaves

(+ OCT/-OCT)

Shifting Upward One Octave

ress the [+OCT] button once; the button will light and the keyboard

will be shi

ou can shift up to +3 octaves in this way.

o return the keyboard to its original pitch range, press the [+OCT] and [-OCT ] buttons simultaneously.

ted upward one octave

Shifting Downward One Octave

ress the [-OCT] button once; the button will light and the keyboard

will

ou can shift up to -3 octaves in this way.

o return the keyboard to its original pitch range, press the [+OCT] and [-OCT ] buttons simultaneously.

hif

ressing the [+OCT]/[-OCT] buttons won’t change the range of the Bass & Percussion part.

The octave buttons simultaneously change the pitch range of the Vocal Designer and the

nsemble Part. However, by holding down the [SHIFT] button and pressing the [+OCT] or [-OCT]

utton, you can individually change the pitch range of the Vocal Designer, Ensemble, and Bass &

ercussion parts.

wnward one

Page 53

Shifting Up or Down by Semitones

ou can shift the keyboard pitch range up or down in semitone steps.

( TRANSPOSE)

Shifting Upward One Semiton

old down the [TRANSPOSE] button and press the [+OCT] button

once; the button will light and the keyboard will be shi

ne semiton

ou can shift up to +6 semitones in this way.

ted upward

Shifting Downward One Semiton

old down the [TRANSPOSE] button and press the [-OCT] button

once; the button will light and the ke

ownward one semitone

ou can shift up to -5 semitones in this wa

o return the keyboard to its original pitch range, press the [TRANSPOSE] button to turn o its illumination.

ressing the [TRANSPOSE] button won’t change the range of the Percussion part.

board will be shifted

Page 54

Splitting the Keyboard Into Vocal Designer and Ensemble Zones

ones.



”

“

]

Here’s how to split the keyboard so the Vocal Designer and Ensemble parts can be played from separate

ress [F1] (EDIT) button in the top screen

With the cursor located on the registration number, press the [F1] (EDIT) button.

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

names di

ress the cursor buttons to move the cursor to “Split.

er from the factory settings.

(SPLIT)

Turn the value dial to turn “Split” ON.

ress the cursor buttons to move the cursor to “Split Point.”

If you set the Split Point to “60 (C4),” the keyboard will be divided as follows

VOCAL DESIGNER

Split Point: C4

ENSEMBLE

Use the value dial to change the value of “Split Point.

When you’ve  nished making settings, press the [EXIT] button

you want to save the edited settings, press the [F2] (WRITE) button

o save the registration.

For details on saving, refer to “Saving a Registration” (p. 81).

If Split is turned on, the [ the top screen

icon is shown in

Page 55

Adjusting the Keyboard Sensitivity

ete

alue

Sens

”

(

Here’s how to adjust the sensitivity of the keyboard

ress the [MENU] button.

Use the value dial to select “System,” then press the [F2] (ENTER) button

Use the value dial to select “Control,” then press the [F2] (ENTER) button

Use the value dial to select “Keyboard,” then press the [F2] (ENTER) button

Use the cursor buttons and the value dial to change the value.

ram

Kbd Ve

urve Adjusts the keyboard’s t ouc

IGH

EDIUM Standar

Kbd Vel

-63– +6

Descriptio

Light weight synthesizer keyboard lik

Acoustic piano simulatio

Adjusts the sensitivity of the keyboard. As you increase this setting, higher

elocity values will be transmitted according to the force with which you

ay. Normally you will leave this set at “0.

you want to save the edited setting in system memory, press the

[F2]

SYS WRITE) button

The con rmation message will appear, then press the [F1] (OK) button

Page 56

Using the Pitch Bend / Modulation Lever

ato

appl

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.

Adding Vibr

ibrato is the e ect of modulating the pitch.

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

y vibrato

Adjusting the Pitch

old down the [SHIFT] button and move the pitch bend lever.

ENDER SETTINGS screen will appear

end Setting

Page 57

Use the cursor buttons and the value dial to change the value.

Valu e

0–12

TYPE

(

)

CHRO

ocal correction software.

(

applied

h play

(

only

itch bend settings can be made individually for each part. In the screen, Voc indicates the Vocal Designer etting, Ens indicates the Ensemble setting, and B&P indicates the Bass and Percussion setting or some sounds, not all items can be set. In this case the value will be shown as “---.”

RANGE

VOCAL DESIGNER and

GUITAR

OTHERS, PAD

YNTH STRINGS, CHOIR JAZZ SCAT ENSEMBLE tone only

MODE

VOCAL DESIGNER and

ENSEMBLE only)

peci es the degree of pitch change in semitones when the Pitch Bend lever is all the way right/left. or example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever

is move

to the right-most position

or the SuperNATURAL brass (BRASS) sounds, setting the bend range (RANGE) to 3 or higher will simulate the discontinuous pitch change that is typical of brass instruments, instead of the normal smooth pitch change. When you apply a downward bend, the sound will behave in the manner

istinctive of brass instruments, meaning that the volume will also decrease

RMAL The pitch bend lever will operate in the

conventional way (movement o

ill produce smooth changes in pitch)

MATICThe pitch bend lever will change the pitch

in semitone steps, simu

f v

conventiona

n this mode, pitch bend will not be

he pitch of a previously played note is

lready being bent. By using this setting in conjunction wit can create portamento-like e ects

peration is essentially the same as

OCK1, but there will be no pitch change in res returning

to a new note that is played while

onse to the pitch bend lever

the lever

ating the soun

ing legato, you

MBI

BRASS tone

)

This mode allows you to express the subtle pitch changes that are distinctive of a SuperNATURAL

rass instrument

The proportion of breath noise will increase when you operate the bender in the Down direction.

ou freely control the breathiness at the beginning or end of a note

This lets

f you want to save your settings, press the [F2] (WRITE) button

For details on saving, refer to “Saving a Registration” (p. 81).

When you’ve  nished making settings, press t

e [EXIT] button

Page 58

(S1/S2)

and its value.

The

Using the [S1]/[S2] Buttons

ou can apply various e ects to the sound by pressing the [S1] /[S2] buttons.

While playing the keyboard, press the [S1] or [S2] button.

When you press a button, the display will indicate the parameter that’s being controlled by that button,

If a SuperNATURAL brass or strings sound is selected for the Ensemble part, pressing the [S1] or [S2]

button will switch the sound between variations such as staccato, pizzicato,

ormance even more expressive

per

all, or tremolo, making your

Making Assignments for the [S1]/[S2] Button

old down the [SHIFT] button and press the [S1] or [S2] button

S1/S2 SETTINGS screen will appear.

Page 59

Use the cursor buttons and the value dial to change the value.

ete

Source

ASSIGN

/STAC

”

n the screen, Sw1 indicates the [S1] button’s assignment, and Sw2 indicates the [S2] button’s

assignment.

ram

rVal

REGIST, SYSTEM The assignments for the [S1]/[S2] buttons can be stored individually in each registration. When

FF O

PIZZ

FAL L/TREM The fall or tremolo sound will be heard (only for supported tones)

NI/ST

RT-EN

PORT-V

AMB-OFF

DIR-MIC-OFFSwitches the direct microphone when you press the button

MODE Turns the [S1]/[S2] buttons function LATCH/MOMENTARY.

LAT

MENTARYThe status will be on only while you hold down [S1]/[S2] button.

escription

ou select a di erent registration, this setting speci es whether the [S1]/[S2] buttons will be

iven the assignments stored in the registration (REGIST), or the assignments stored in the

stem settings for the entire VP-770 (SYSTEM)

pecify the functions that will be controlled by the [S1]/[S2] buttons.

The pizzicato or staccato sound will be heard (only for supported tones)

witches between unison mode and stack mode (only for supported tones).

pplies the doit e ect (only for supported tones).

pplies the portamento e ect to the Ensemble

pplies the portamento e ect to the Vocal Designer

witches the ambience when you press the button

The on/o status will alternate each time you press [S1]/[S2] button

you want to save your settings, press the [F2] (WRITE or SYS WRITE)

For details on saving your settings, refer to “Saving a Registration” (p. 81) or “Saving the System Settings”

p. 96)

When you’ve  nished making settings, press the [EXIT] button

System Settings and

he system parameters are a single set of settings that apply in common to the entire VP-770. They include

settings such as those for the keyboard sensitivity, master tuning, and MIDI.

Registrations allow you to save settings that select sounds and specify panel settings

For some controllers (aftertouch, pedal, [S1] /[S2] buttons, D Beam), the settings can be stored either as

system settings for the entire VP-770 or for individual registrations

Use the system parameter “Source” to specify which setting you want to use.

For example, if you want the [S1]/[S2] buttons to always have the same function even when you switch

registrations, you should set the Source as “SYSTEM.” If you want the [S1]/[S2] buttons to change their

unction when you switch registrations, set the Source to “REGIST.

egistration

Page 60

Using the D Beam

ess a button to select a

ect.

While y

oller.

By waving your hand above this sensor you can apply a variety of e ects to the VP-770’s sound

( D BEAM)

If you press an unlit button, that D Beam e ect (see table; p. 61) will be selected.

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

You can turn on multiple buttons by pressing them simultaneously.

D Beam e

ou perform, slowly move your hand up and down over the

BEAM contr

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

state when

respon

ou move your hand away. The selected button will blink when the D BEAM controller is

ing

The sensitivity of the D Beam controller will change

ft. (appr

depending on the amount of light in the vicinity of

he unit. If it does not function as you expect, adjust

e sensitivity (D Beam Sens; p. 101) as appropriate

or the brightness of your location.

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

move your hand outside o

this range

D Beam Settings

Here’s how to specify the e ect obtained when you move your hand above the D Beam sensor, and the

th of that e ect

old down the [SHIFT] button and press the

[PITCH]

[FILTER] or [EXPRESSION] button

BEAM SETTINGS screen will appear.

Page 61

Use the cursor buttons and the value dial to change the value.

ete

alue

Source

heth

ect

3 Select

–

volume.

vol

Chang

WAH

ORT

Chang

0–127

ects

eITCH

)

olume

)

lume

ram

DB1 Sel DB2 Select DB

DB1 Asgn

2 Asgn

DB3 Asgn

DB1 Range L

2 Range L

DB3 Range L

DB1 Range Hi DB2 Range Hi DB3 Range H

DB1 Polarit DB2 Polarit DB3 Polarit

1 Par DB2 Par DB3 Par

REGIST, SYSTE

FIX, ASGN

DYN1

FILTE

PIZZ/STA

FAL L

TREM Plays the fall or tremolo sound (only for supported tones).

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

PIT

–12

TANDARD, REVERSEInverts the change that occurs when you move your hand above the sensor.

VOC/EN

Descriptio

he assignments for the D beam can be stored individually in each registration. When w

er the D beam will be given the assignments stored in the registration

REGIST), or the assignments stored in the system settings for the entire

VP-770 (SYSTEM)

hen a D Beam button is on, this setting speci es whether it will perform

unction printed on the panel (FIX) or the function assigned by the DB

the

3 Asgn settings (ASGN).

You can switch between FIX and ASGN at an D Beam button for several seconds.

hese settings specify the function that will be controlled by the D Beam

en DB1–3 Select is set to “ASGN.”

Applies modulation

hanges the volume. Transmits MIDI message CC#2 (breath control) to the

ound generator section. This is the same operation as Voice Expression p. 66), and will operate only in the positive (+) direction to increase the

hanges the volume. Transmits MIDI message CC#4 (foot control) to the

ound generator section. For STRINGS and BRASS sounds, this allows the

ume to be controlled in the ± directions (it will not go to zero). For other

ounds, the volume can be controlled only in the “+” direction

anges the volume. Transmits MIDI message CC#11 (expression) to the

ound generator section. The volume is controlled in a range of 0–127.

es the tone.

Applies a wah pedal e ect to sounds that support Wah

Plays the pizzicato or staccato sound (only for supported tones).

Applies a doit e ect (only for supported tones).

Applies a portamento e ect.

es the pitch.

Speci es the depth of the e ect when the D Beam controller is not responding. Increasing this value will apply an e ect even if the D Beam controller is not responding at all

Speci es the depth of the e ect when the D Beam controller is respondin to its maximum extent. Reducing this value will reduce the amount of e ect pro

uced by the D Beam controller.

Speci es the part(s) that will be controlled by the D Beam

Vocal Designer part and Ensemble part.

Vocal Designer part only.

Ensemble part only.

ou select a di erent registration, this setting speci es

time by holding down the

Beam E

arameter

Polarit

alu

TANDAR

REVERSE

ower the pitch (same as

oving the pitch bend

ever toward the left

aise the pitch (same as

oving the pitch bend

ever toward the right

Modify the tone

XPRESSION

educe the

ncrease the

The range of change for PITCH is determined by the Bend Range setting (p. 57)

f you want to save your settings, press the [F2] (WRITE or SYS WRITE)

utton

For details on saving your settings, refer to “Saving a Registration” (p. 81) or “Saving the System Settings” (p. 96).

When you’ve  nished making settings, press the [EXIT] button

Page 62

the

dal

tonal character.

Using Pedals

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

VP-770.

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. If an optional

expression pedal or pedal switch (EV-5, DP series.) is connected to the rear panel PEDAL CTRL jack (1, 2),

ou can use the pedal to control the volume or various functions

( HOLD PEDAL/ CTRL PEDAL)

Holding Note

While playing the keyboard, press the hold peda

e notes will be held while you are pressing the hold peda

You can change the hold pedal settings by editing the registration’s “Hold Mode” (p. 87, p. 89), “Hold Type” (p. 87), and “Hold Freeze Part” (p. 83) settings.

Adding Expression to Your Performanc

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

You can change the pedal settings by editing the system’s polarity settings (Hold Pol, P1 Pol, P2

ol) (p. 100).

Pedal Settin

Here’s how to edit the pedal-related settings

old down the [SHIFT] button and press the hold or expression

edal

he display will show the edit screen for the pedal you pressed.

Use the cursor buttons and the value dial

o change the value

Page 63

ram

ete

alue

Source

(

O

Chang

vol

ORT

OC/ENS

REGIST, SYSTE

Hold Part Speci es the part(s) that will be controlled by the hold pedal

VOC/EN

P1 As P2 Asg

P1 Sw Asg P2 Sw Asg

P1 Par

2 Part

YN1

EXP

FILTE

PIZZ/STAC Plays the pizzicato or staccato sound (only for supported tones).

FAL L

TREM Plays the fall or tremolo sound (only for supported tones).

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

DIR-MI

PROG-U

G-DOWN Switches to the previous registration (Source: SYSTEM only)

PAN E L- S

REC/PLA

STO

Descriptio

he assignments for the pedal can be stored individually in each registration. When you select a di erent registration, this setting speci es whether the pedal will be given the assignments stored in the registration

REGIST), or the assignments stored in the system settings for the entire

VP-770

SYSTEM

Vocal Designer part and Ensemble part

Vocal Designer part only.

Ensemble part only.

Speci es the function that will be controlled by the control pedal

Applies modulation

es the volume. Transmits MIDI message CC#2 (breath control) to the ound generator section. This is the same operation as Voice Expression p. 66), and will operate only in the positive (+) direction to increase the

ume.

hanges the volume. Transmits MIDI message CC#4 (foot control) to the

ound generator section. For STRINGS and BRASS sounds, this allows the

olume to be controlled in the ± directions (it will not go to zero). For other

ounds, the volume can be controlled only in the “+” direction

hanges the volume. Transmits MIDI message CC#11 (expression) to the

ound generator section. The volume is controlled in a range of 0–127.

hanges the tone.

Applies a wah pedal e ect to sounds that support Wah

Applies a doit e ect (only for supported tones).

Applies a portamento e ect.

ontrols the depth of ambience.

ontrols the direct microphone volume.

Switches to the next registration (Source: SYSTEM only).

Performs the operation speci ed for P1 Sw Asgn/P2 Sw Asgn

If P1 Asgn/P2 Asgn is set to “PANEL-SW,” this speci es the operation that occurs w

en the control pedal turns on

Same operation as Sound Looper [REC/PLAY] button.

pressing the pedal twice performs the same operation as the

Rapidl [STOP] button.

Perform the same operation as Sound Looper [STOP] button

Speci es the part(s) that will be controlled b

Vocal Designer part and Ensemble part

Vocal Designer part only.

Ensemble part only.

the control 1/2 pedals.

you want to save your settings, press the [F2] (WRITE or SYS WRITE)

For details on saving your settings, refer to “Saving a Registration” (p. 81) or “Saving the System Settings”

p. 96)

When you’ve  nished making settings, press the [EXIT] button

Page 64

Adding an E ect by Applying Pressure to the Keyboard

ou can add an e ect to Vocal Designer by applying pressure (aftertouch) to the keyboard

When you press the [AFTERTOUCH] button, the button will light and

he aftertouch function will be turned on for Vocal Designer

Making Aftertouch Settings

old down the [SHIFT] button and press the [AFTERTOUCH] button.

( AFTERTOUCH)

heAFTERTOUCH SETTINGS screen will appear

Page 65

Use the cursor buttons and the value dial to change the value.

ete

alue

Source

OFF

O

ppl

volume.

vol

WAH

Aft Part

VOC/ENS

VOC

OFF

O

ram

EGIST, SYSTE

t Assign Speci es the aftertouch e ect.

OD A

Descriptio

he assignments for the aftertouch can be stored individually in each

registration. When whether the aftertouch will be registration (REGIST), or the assignments stored in the s t

e entire VP-770 (SYSTEM)

ies modulation.

Changes the volume. Transmits MIDI message CC#2 (breath control) to the

generator section. This is the same operation as Voice Expression

soun

p. 66), and will operate only in the positive (+) direction to increase the

ou select a di erent registration, this setting speci es

iven the assignments stored in the

stem settings for

YN2 Changes the volume. Transmits MIDI message CC#4 (foot control) to the

ILTE

END-DOW

END-UP Raises the pitch.

sound generator section. For STRINGS and BRASS sounds, this allows the

ume to be controlled in the ± directions (it will not go to zero). For other

sounds, the volume can be controlled only in the “+” direction

Changes the tone.

Applies a wah e ect to sounds that support Wah

Lowers the pitch.

Speci es the part(s) that will be controlled by after touch

Vocal Designer part and Ensemble Part.

Vocal Designer part only.

Ensemble part only

f you want to save your settings, press the [F2] (WRITE or SYS WRITE)

utton

For details on saving your settings, refer to “Saving a Registration” (p. 81) or “Saving the System Settings”

. 96

When you’ve  nished making settings, press the [EXIT] button

To adjust the aftertouch sensitivity, use the system setting Aft Sens (p. 99)

Page 66

Using a Microphone to Control Expression

The

Voi

evel.

f y

)

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

( VOICE EXPRESSION)

ress the [VOICE EXPRESSION] button to make it light

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

the Vocal Designer part and the Bass & Percussion part

To hear the result as clearly as possible, turn the [DIRECT] knob (which sends your own voice directly

rom the output) all the way down.

lay the keyboard

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

varying the loudness of your voice.

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

Adjusting the Voice Expression Sensitivit

old down the [SHIFT] button and press the [VOICE EXPRESSION]

utton

VOICE EXP SETTINGS screen will appear

Use the value dial to change the value.

arameter

ce Exp Sen

you want to save your settings, press the [F2] (SYS WRITE) button

For details on saving, refer to “Saving the System Settings” (p. 9

When you’ve  nished making settings, press the [EXIT] button

The Voice Expression e ect does not apply to some sounds (GUITAR, OTHERS, and decay-type

ounds

alu

–12

escriptio

ou can adjust the Voice Expression sensitivity. Higher sensitivity settings mean that the Voice Expression e ect will begin applying even when your voice is still at a low loudness l Lower sensitivity settings mean that the Voice Expression e ec t will begin applying only when your voice reaches a fairly high loudness level. You’ll  nd it easier to control Voice Expression i

ou set this to a sensitivity that’s appropriate for your singing voice.

Page 67

Using Audio Files

his chapter explains the Audio Key function, which allows audio  les saved on USB memory

(sold separately) to be assigned to keys for playback; and the Sound Looper function, which lets

you layer the phrases you perform and play them back as a loop.

Page 68

Performing with Audio Files

the US

ecto

( AUDIO KEY)

Never disconnect the USB memory while the Audio Key function is in use.

he VP-770 lets you play audio  les saved on USB memory (sold separately) while you perform. This is

called the “Audio Ke

he Audio Key function lets you assign audio  les to the lowest  fteen keys of the keyboard and play these

udio  les by pressing the corresponding key. You can assign various phrases to the keys and play them at

the appropriate moments during

” function.

our performance.

AUDIO KEY

ou can also specify that an audio  le play repeatedly, or reserve the audio  le that should be played next

Here are some ways in which you can enjoy using the Audio Key function

switching audio  les between sections such as Intro, Theme, Break, and Ending as your song

progresses, you can freely change the structure of the song while you perform.

Assign a di erent audio song to each ke to the accompaniment o

For details on the format of the audio  les, refer to “Audio Files that can be Played by the VP-770” (p. 73).

VOCAL DESIGNER

ENSEMBLE

an audio son

, and use the keyboard to switch songs so you can perform

Performing with Audio Files from USB Memory

Here’s how you can perform while playing audio  les saved on USB memory (sold separately).

ou begin, install the included “Audio Key Utility 3” into your computer, and prepare the audio  le

Before

at you want to play back on the VP-770

set t

For details, refer to “Audio Key Utility 3 Quick Guide” (separate document)

onnect the USB memory containing the audio  le set to

B MEMORY conn

ress the [AUDIO KEY] button.

heAUDIO KEY screen will appear

p. 22

Page 69

he Audio Key function will be activated, allowing you to play audio  les by pressing a key

One-shot Now



STO



ayback Mode List

IndicationDescriptio

When you press the key, the audio  le will play only once The audio  le will play immediately when you press the key.

OW One-s

P When you press this key, the audio  le will stop playing

ot Wait

When you press the key, the audio  le will play only once With this setting, pressing the key while another audio  le is playing will reserve the audio  le to be played next. When the currently playing audio  le has  nished, the reserved audio  le will play

oop Now

When you press the key, the audio The audio  le will play immediately when you press the key.

Loop Wa

When you press the key, the audio  le will play repeatedly.

With this setting, pressing the ke

When the currentl

playing audio  le has  nished, the reserved audio  le will pla

le will play repeatedly.

while another audio  le is playing will reserve the audio  le to be played next.

f audio  les are not assigned to the C#2–D3 keys, nothing will be shown in the keyboard graphic in

the screen.

lay a key C#2–D3

he audio  le assigned to the respective key will play

If a key is assigned to play an audio  le, the color of the key in the screen will change. The name and

remaining time o

the currently playing audio  le is also shown in the screen

Keys set to “OW” or “LW” let you reserve the audio  le that will be played when the currently playing audio

le has  nished playing. Keys for which an audio  le is reserved are indicated by a bold border

To stop the  le that’s playing, press the C2 key.

Audio  le playback will stop

n the AUDIO KEY screen you can adjust the Audio Key volume by turning the value dial.

or details on installing the included “Audio Key Utility 3” into your computer, refer to “Audio Key

tility 3 Quick Guide” (separate document)

the connected USB memory does not contain an audio  le set created by the “Audio Key Utility 3,” ou’ll be able to assign audio  les from USB memory to each key and play them.

You can also change the settings of the audio  les assigned to the ke

hat specify how the audio  les will be repeated (p. 70).

s, and change the settings

Page 70

Selecting the Audio File Set

As d



Here’s how to select and play an audio  le set that’s saved in USB memory.

onnect the USB memory containing the audio  le set to the USB

EMORY connector (p. 22).

ress the [AUDIO KEY] button.

e AUDIO KEY screen will appear

ress the [F2] (SELECT) button.

he following screen will appear

If the USB memory does not contain an audio

le set that was created using “Audio Key Utility

,” the display will indicate “External Root.” Even if the USB memory does not contain an audio  le set, audio  les located in the root level of

e USB memory can be assigned to keys an

played

Use the VALUE dial to select an audio  le set, and press the [F2 (LOAD)]

The con rmation message will appear, then press the [F1] (OK) button

he  le will be loaded into the VP-770

Changing the Audio File Settings

Here’s how you can edit the audio  le settings, such as changing the audio  le played by each key, or

ing whether the  le will be played repeatedly.

specif

escribed in “Selecting the Audio File Set” (on the preceding

page), load the audio  le set that you want to edit.

he audio  le set will be loaded into the VP-770.

Page 71

ress the [F1] (EDIT) button.

gn.”



he following screen will appear

Now you can change the audio  le that is assigned to each key, and specify how it is to be played (the

playback mode).

If the USB memory does not contain an audio

le set, the [WRITE] button is not shown in the

ispla

ress the key whose settings you want to change

he audio  le assigned to each key and its playback mode are shown.

Use the VALUE dial to select the audio  le that will be played by the speci ed ke

If you select the “No Assign,” the audio  le assigned to that key will be cleared. No playback mode indica-

tion is shown on the graphic

indicate “No Assi

or keys to which no audio  le is assigned, and the audio  le name  eld will

ress the [F1] (MODE) button to select play mode

he playback mode (p. 69) will change each time you press the [F1] (MODE) button.

epeat steps 3–5 to edit the settings.

ress the [F2] (WRITE) button.

he con rmation message will appear

If you don’t want to store the settings, press the [F2] (CANCEL) button.

e operation will be cancelled, and you’ll return to the previous screen.

ress the [F1] (OK) button to overwrite the settings of the audio  le

When the settings have been written, the indicators will go out, and you will return to the previous screen

Page 72

Adjusting the Volume of the Audio Key

el.”

”

Amb Send” and specify the amount of ambience

ou can adjust the volume when using the Audio Key function

ou can adjust the volume of the Audio Key to change the volume balance between your keyboard

performance and the audio  le pla

old down the [SHIFT] button and press the [AUDIO KEY] button

he AUDIO KEY LEVEL screen will appear.

back.

ress the cursor buttons to move the cursor to “Level.”

Use the value dial to change the value o

ou can specify the volume in a range of “0–127.

n the AUDIO KEY screen you can also change the Audio Key volume by turning the value dial.

“Lev

In the same way, you can move the cursor to

0–127) that will be applied to the audio key

Page 73

Types of Audio Files That the VP-770 Can Play

“

kbp

)

WAV

ampling Frequenc

Bit Dept

File Extension

44.1 kH

16-bi

.wav” “.aif ” “.ai ”

ampling Frequenc

Bit Rate 32/40/48/56/64/80/96/112/128/160/192/224/25

File Extension “.mp3”

MPEG-1 audio layer

4.1 kH

320

s, VBR (Variable Bit Rate

Caution when Playing Back Audio File

An MP3  le has little time of the blank at the head and the end of the  le. Therefore, the sound might cut

o when an MP3  le played repeatedly with Audio Key function

If this occurs, you may be able to solve the problem by useing WAV/AIFF format data rather than MP3

ormat data

Page 74

Recording Loop Phrases

dby

ecord.

lly wh

[

]

ou can record a phrase you perform, and play it back repeatedly as a loop. You can also record additional

phrases la

that is actually being produced, but you can use this looping

The recordable time is approximately 18 seconds

the sound you want to record is output from the OUTPUT A (MIX) jacks (p. 4, 98)

ered onto the recording. When you’re using a microphone it may be di cult to hear the sound

ou can’t change the tempo or time signature of the recorded phrase.

ou can’t record the sound that is output from the OUTPUT B jacks. You’ll need to set things up so that

( SOUND LOOPER)

unction to easily audition your output

Recording a Phrase

Preparations

ress the [EC/PLAY] button

e Sound Looper will enter recording-stan

e LOOPER SETUP screen will appear.

a phrase has already been recorded, recording will start when you press the [REC/PLAY] button.

OOPER SETUP screen will not appear.) If you want to record a new phrase, erase the previously-

(T recorded phrase as described in “Erasin

mode, and the [REC/PLAY] button will start blinking.

You can also access this screen by holding

own the [SHIFT] button and pressing the

REC/PLAY] button.

the Phrase” (p. 76).

Use the cursor buttons and the value dial to make metronome settings r

or recording and to specify the length that you want to

f you leave the [AUTO START] button turned on, recording will start automatica The the level at which triggering will occur

f the pedal setting (P1/P2 Assign) is “PANEL-SW,” you can perform this

peration using the pedal (p. 63).

en you begin playing.

icon in the level meter indicates

Page 75

arameter

eat

5/8,

25.0–300.0

)

0–127

ain

]

ode

OFFThe metronome

sound.

0–10

Adj

etro Sound

Selects the sound of the metronome.

emp

Lengt

Leve

uto Trig Level–1

Metro M

Metro Lev

alu

/4, 3/4, 4/4, 5/4, 6/4, 7/4,

6/8, 7/8, 9/8, 12/8 9/16, 11/16, 13/16, 15/16 17/16, 19/1

(depends on the

empo

–+12 [dB]

LAY-ONL

EC-ONLY

LAY&RE

LWAY

TYPE1–

Description

peci es the

peci es the metronome’s tempo

peci es the number of measures that will be recorded. You cannot specify a number

of measures that would cause the recordin

peci es the playback volume for the Sound Looper

his adjust the gain of the looper

pecify this if you’re using Auto Start to initiate recording. Lower values will allow recording to be triggered even by softer sounds. The [ in

icates the level at which triggering will occur

e metronome will sound only while the Sound Looper is playing back.

e metronome will sound only while the Sound Looper is recording

he metronome will sound while the Sound Looper is playing or recording

e metronome will sound constantly

usts the volume of the metronome.

For details on each value, refer to p. 99.

etronome’s time signature.

will not

Starting/Stopping Recordin

time to exceed 18 seconds.

icon in the level meter

ress the [REC/PLAY] button

After a one-measure count-in, the [REC/PLAY] button will light red, and

recordin

After recording has started and the speci ed number of measures has

switc

will start

apsed, the [REC/PLAY] button will turn green and the Sound Looper will

to playbac

you leave the [AUTO

TAR T ] button turne on, recording will start automatically when

ou begin playing.

The measure setting is invalid if the metronome is turned o (Metro Mode: OFF, PLAY-ONLY).

To stop recording, press the [STOP] button.

Playing Back the Recorded Phrase

ress the [REC/PLAY] button

he [REC/PLAY] button will turn green, and the phrase will play

To stop playback, press the [STOP] button.

Overdubbing Phrases (Recording Another Layer)

Here’s how to record another phrase onto the previously recorded phrase

ress the [REC/PLAY] button

he [REC/PLAY] button will turn green, and the phrase will play

To begin overdubbing, press the [REC/PLAY] button once again

e [REC/PLAY] button will turn orange, and the Sound Looper will be in overdubbing mode.

To stop playback, press the [STOP] button.

you press the [REC/PLAY] button, recording will end and the phrase will play

Page 76

Erasing the Phrase

old down the [STOP] button and press the [REC/PLAY] button.

he con rmation message will appear

ress the [F1] (OK) button to erase the phrase.

If you decide not to erase the phrase, press the [F2] (CANCEL) button.

ou can’t recover a phrase that has been erased

Saving the Phrase to USB Memory

If you save the recorded phrase to USB memory (sold separately), you’ll be able to use it with the Audio Key

unction (p. 68)

ake sure that the phrase is not playing

ress the [SAVE TO USB MEMORY] button

he WRITE FILE NAME screen will appear

Use the cursor buttons and the value dial to enter a name, and then

ress the [F2] (WRITE) button

For details on assigning names, refer to p. 81.

he con rmation message will appear

ress the [F1] (OK) button to save the phrase to USB memor

When the save is completed, the previous display will reappear

t is not possible to load a phrase from USB memory into the Sound Looper

Adjusting the Volume of the Phrase

old down the [SHIFT] button and press the [REC/PLAY] button

e LOOPER SETUP screen will appear.

ress the cursor buttons to move the cursor to “

“Level.”

Use the value dial to change the value o

Press the [EXIT] button to return to the top screen

evel.”

Page 77

Storing Sounds and Settings (Registration)

ounds and panel settings can be stored as one of thirty-two “registrations” for instant recall

using the eight buttons.

Page 78

Recalling a Registration

gs f

)

ll.

val

eset

lease be aware that

the scree

Here’s how to recall the VP-770’s sounds and panel settings (registrations).

( REGISTRATION)

What is a Registration

A registration is the unit by which the VP-770’s sounds and panel settings can be stored.

In addition to the sounds and settin

istration also saves the state of the panel and various other settings.

own in the illustration at right, the registrations are

As s

organized into four preset buttons and four user buttons,

each with

t each button, and instantly recalled by pressing that

button.

our banks. One registration can be stored

or the Vocal Designer, Ensemble, and Bass & Percussion parts, a

nk 1

ank 2

ank 3

ser

he top screen shows the following information

egistration number (1–4)

ank number (1–4

reset (P) / User (U) indication

Saving a Registration to a

When the VP-770 is in its factory-set condition, you cannot save registrations to the preset buttons.

However, by turning o “Preset Protect” (a System setting), as described below, you’ll be able to store

registrations at the preset buttons as we

reset

ank 4

ou can also select a registration

rom the top screen by moving the

ursor to the registration number

nd turning the value dial.

hots shown in this document, the

registration names and tone names

i er from the factory settings.

Press the [MENU] button.

urn the value dial to select “System,” and press the [F2] (ENTER) button

urn the value dial to select “Sound,” and press the [F2] (ENTER) button

Press the [] cursor button to move the cursor to “Preset Protect,” and then turn the

ue dial to change the “Preset Protect” setting to “OFF.”

o save the system setting you just edited, press the [F2] (SYS WRITE) button

hen the con rmation screen appears, press the [F1] (OK) button

The registration buttons will light red for presets and orange for user registrations. However,

f you’ve disabled Preset Protect, all of the registration buttons will light orange.

Page 79

Selecting the Registration Bank

The bank

here are four registration banks. Press the [BANK] button to switch banks.

ress the [ANK] button.

ou can press the [EXIT]

utton or [BANK] button to cancel the bank select procedure

he [BANK] button and the button for the currently selected bank number (one of [1]–[4]) will light green, and

the buttons of the bank numbers that can be selected will blink green

elect the desired bank by pressing a button from [1] through [4]

will be selected, and the registration buttons (PRESET [1]–[4], USER [1]–[4] buttons) will blink.

ou can recall the desired registration as described below

Now

The registration buttons will light red for presets and orange for user registrations. However, if you’ve

isabled Preset Protect (p. 78), all of the registration buttons will light orange.

Recalling a Registration

ress the registration button (PRESET [1]–[4],

SER [1]–[4] buttons) for

he desired registration

holding down the [SHIFT]

utton and pressing a

REGISTRATION] button, you

he button you pressed will light, and the registration will be selected

an view a list of registrations

Page 80

Initializing a Registration

tratio

ed.

settings of the currently selected registration to a standard set of values

you want to return all registrations to their factory-set state, execute the Factory Reset operation

. 110

The currently selected registration will be lost when you initialize the registration.

ress a [REGISTRATION] button to select the registration that you

want to initia

ize (p. 78)

old down the [SHIFT] button and press the [F2] (INIT) button.

he con rmation message will appear

ress the [F1] (OK) button at the con rmation screen, and the regis

n will be initializ

When the screen indicates “Completed!”, Initialization has been completed.

If you decide not to initialize, press the [EXIT] button to return to the previous screen

Page 81

Saving a Registration

d by

Value dial

Chooses characters.

(

registration (When you edit the registration settings, the “*” symbol will appear in the upper right of the top

screen). I

you want to keep the modi ed registration, you must save it

When you execute the save operation, the registration that had previously been saved to the sav

estination will be overwritten and lost. However, the internal factory-set registrations can be

recovere

executing the Factory Reset operation.

( REGISTRATION WRITE)

ress the [F2] (WRITE) button.

You can also save the registration

pressing the [F2] (WRITE) button

n one of the Vocal Designer, Ensemble, or Bass & Percussion editing screens.

EGIST NAME screen will appear.

Use the cursor buttons and the value dial to enter a name, and then

ress the [F2] (WRITE) button

Cursor left/right

Cursor up/dow

[SHIFT]+[F1] (DELETE)Deletes the character at the cursor, and

[SHIFT]+[F2]

A screen will appear, allowing you to select the write-

destination re

INSERT)Inserts a space at the cursor location

oves the cursor

Switches between uppercase/lowercase

moves t

e subsequent characters one

place forward.

istration.

Use the cursor buttons or the value dial to select the write-destina

ion registration, and then press the [F2] (EXEC) button

As the destination of a write, you’ll normally only

e able to select a user registration (U11–U44).

However, if you’ve disabled Preset Protect (p. 78), all

egistrations will be available as write destinations

You can also select the write destination by using

he buttons as described on p. 79

he con rmation message will appear

t the con rmation screen, press the [F1] (OK) button to save the

reg

stration.

When the “Completed!” indication appears, the registration has been saved

If you decide not to save, press the [EXIT] button to return to the previous screen.

Page 82

Editing a Registration

VOC

]

[

]

[

]

Here’s the basic procedure for editing a registration.

ress a [REGISTRATION] button to select the registration that you

want to e

Use the cursor buttons to move the cursor, and then press the [F1]

EDIT) button

it (p. 78)

Cursor location

Registration numbe

AL DESIGNER  el

ENSEMBLE  el

you want to make settings for the Bass & Percussion part, hold down the [SHIFT] button and

ress the [BASS] or [PERC] button to access the BASS & PERC EDIT screen (p. 92)

eration of the EDIT button

Makes settings for the entire registration.

Makes settings for the Vocal

esigner part.

Makes settings for the Ensemble part.

age

Use the cursor buttons to move the cursor to the parameter that you want to edit

If not all parameters can be shown in a single screen, a scroll bar is shown at the right edge of the screen. In

this case, use the cursor [

You can access a list o

utton in an EDIT screen. From the REGISTRATION EDIT screen, press the [F1] (CONTROL) button to

access the REGIST CONTROL (Re

button to scroll the screen downward.

value by holding down the [SHIFT] button and pressing the [F1] (LIST)

istration Control settings) screen

Use the value dial to change the value.

You can change the value in steps of one by pressing the cursor buttons

o quickly increase the value, hold down [ ] and press []. Conversely, you can quickly decrease

he value by holding down [] and pressing []. You can change the value in larger steps by

olding down [SHIFT] and pressing [] or

or []. If you want

epeat steps 3 and 4 to edit the parameters as desire

you want to save the changes you made, refer to “Saving a Regis

ration” (p. 81)

Page 83

Split

ON, O

Spl

OFF, VOC,

Amb

OFF

The reverberation of a church.

0–127

(

0–127

OFF

O

ppl

d g

vol

VOC/ENS

VOC

OFF

O

Registration Parameters

his section explains the functions the di erent registration parameters have, as well as the composition of

these parameters. For details on how to make settin

REGISTRATION EDIT

ese settings apply to the entire registration

arameter Value Descriptio

it Poin

Hold Freeze Par

ience Typ

mbience Dept

Direct Mic Leve

Direct Mic Amb Sen

36 (C2)–84 (C6) Speci es the key at which the keyboard is to be divided into separate zones

HALL1

STUDI

–12

s, refer to “Editing a Registration” (p. 82)

urns on the Split function, which divides the keyboard into separate zones or the Vocal Designer and Ensemble parts

or the Vocal Designer and Ensemble parts

he speci ed part will not receive note- on messages when the Hold pedal

is pressed.

urns the ambience o

he reverberation of a large hall

he reverberation of a studio.

Adjusts the depth of ambience

Speci es the direct microphone volume (the audio signal selected by the Input Source

Speci es the level of the signal that is sent from the direct microphone (the audio signal selected by the Input Source (p. 86) setting) to Ambience.

p. 86) setting

REGIST CONTROL

Here you can make controller settings for the registration.

n the REGISTRATION EDIT screen, you can press the [F1] (CONTROL) button to access the REGIST

CONTROL (Registration Contro

REGIST KEYBOAR

arameter Value Descriptio

t Assign Speci es the aftertouch e ect.

OD A

YN2 Changes the volume. Transmits MIDI message CC#4 (foot control) to the

WAH Applies a wah e ect to sounds that support Wah

END-DOW

END-UP Raises the pitch.

ft Part Speci es the part(s) that will be controlled by aftertouch

setting) screen

ies modulation.

Changes the volume. Transmits MIDI message CC#2 (breath control) to the

enerator section. This is the same operation as Voice Expression

soun

p. 66), and will operate only in the positive (+) direction to increase the

ume.

soun

generator section. For STRINGS and BRASS sounds, this allows the

olume to be controlled in the ± directions (it will not go to zero). For other

s, the volume can be controlled only in the “+” direction

soun

Changes the tone

Lowers the pitch.

Vocal Designer part and Ensemble Part.

Vocal Designer part only.

Ensemble part onl

Page 84

REGIST PEDAL

ete

alue

OFF

O

ppl

vol

ORT

STOP

art

OFF

O

/STAC

ode

ram

Hold Part Speci es the part(s) that will be controlled by the hold pedal

VOC/EN

P1 As P2 Asg

YN1

DYN

PIZZ/STA

FAL L

TREM Plays the fall or tremolo sound (only for supported tones).

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

DIR-MI

PAN E L-

P1 Sw Asg P2 Sw As

1 Part

P2 P

REC/PLA

VOC/EN

Descriptio

Vocal Designer part and Ensemble part.

Vocal Designer part only.

Ensemble part only.

Speci es the function that will be controlled by the control pedal

ies modulation

anges the volume. Transmits MIDI message CC#2 (breath control) to the ound generator section. This is the same operation as Voice Expression p. 66), and will operate only in the positive (+) direction to increase the

ume.

hanges the volume. Transmits MIDI message CC#4 (foot control) to the

ound generator section. For STRINGS and BRASS sounds, this allows the

olume to be controlled in the ± directions (it will not go to zero). For other

ounds, the volume can be controlled only in the “+” direction

hanges the volume. Transmits MIDI message CC#11 (expression) to the

ound generator section. The volume is controlled in a range of 0–127.

hanges the tone

Applies a wah pedal e ect to sounds that support Wah

Plays the pizzicato or staccato sound (only for supported tones).

Applies a doit e ect (only for supported tones).

Applies a portamento e ect.

ontrols the depth of ambience.

ontrols the direct microphone volume.

Performs the operation speci ed for P1 Sw Asgn/P2 Sw Asgn

If P1 Asgn/P2 Asgn is set to “PANEL-SW,” this speci es the operation that occurs when the control pedal turns on

Same operation as Sound Looper [REC/PLAY] button.

apidly pressing the pedal twice performs the same operation as the [STOP] button.

Perform the same operation as Sound Looper [STOP] button

Speci es the part(s) that will be controlled by the control 1/2 pedals.

Vocal Designer part and Ensemble part.

Vocal Designer part only.

Ensemble part only.

REGIST S1/S2

arameter Value Descriptio

w1 Assi w2 Assig

PIZZ

TREM

FAL L

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

PORT-EN

RT-V

AMB-OFF Switc

DIR-MIC-OFF Switches the direct microphone when you press the button.

w1 M w2 Mode

LAT

OMENTAR

Specify the functions that will be controlled by the [S1]/[S2] buttons

he pizzicato or staccato sound will be heard (only for supported tones).

he fall or tremolo sound will be heard (only for supported tones)

Applies the doit e ect (only for supported tones)

Applies the portamento e ect to the Ensemble.

Applies the portamento e ect to the Vocal Designer.

es the ambience when you press the button

urns the [S1]/[S2] buttons function LATCH/MOMENTARY

he on/o status will alternate each time you press [S1]/[S2] button.

e status will be on only while you hold down [S1]/[S2] button.

Page 85

REGIST D BEA

ete

alue

ect

Select

, AS

–

h b

eam butto

seconds.

ect is set to

Chang

volume.

vol

ORT

0–127

ll.

)

OC/ENS

ram

DB1 Sel DB2 DB3 Select

DB1 Asgn

2 Asgn

DB3 As

FIX

YN1

Descriptio

hen a D Beam button is on, this setting speci es whether it will perform

the function printed on the panel (FIX) or the function assigned by the DB

3 Asgn settings (ASGN).

You can switc D B

hese settings specify the function that will be controlled by the D Beam

n DB1–3 Sel

Applies modulation

etween FIX and ASGN at any time by holding down the

n for several

“ASGN.”

e L

DB1 Ran

2 Range L 3 Range L

DB1 Range H DB2 Range Hi DB3 Range H

DB1 Po

arit DB2 Polarit DB3 Polarit

DB1 Par

2 Par

DB3 Par

EXP

FILTE

PIZZ/STAC Plays the pizzicato or staccato sound (only for supported tones).

FALL/TREM Pla

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

PITCH

–12

TANDARD, REVERSEInverts the change that occurs when you move your hand above the sensor.

hanges the volume. Transmits MIDI message CC#4 (foot control) to the

ound generator section. For STRINGS and BRASS sounds, this allows the

ume to be controlled in the ± directions (it will not go to zero). For other

ounds, the volume can be controlled only in the “+” direction

anges the volume. Transmits MIDI message CC#11 (expression) to the

ound generator section. The volume is controlled in a range of 0–127.

anges the tone.

Applies a wah pedal e ect to sounds that support Wah

s the fall or tremolo sound (only for supported tones).

Applies a doit e ect (only for supported tones).

Applies a portamento e ect.

anges the pitch.

Speci es the depth of the e ect when the D Beam controller is not responding. Increasing this value will appl

er is not responding at a

contro

Speci es the depth of the e ect when the D Beam controller is responding to its maximum extent. Reducin produced b

For details, refer to the table below, “D Beam E ects.”

Speci es the part(s) that will be controlled by the D Beam

Vocal Designer part and Ensemble part.

Vocal Designer part only.

Ensemble part only.

the D Beam controller.

an e ect even if the D Beam

this value will reduce the amount of e ect

Page 86

VOCAL DESIGNER EDIT

an4–0–63

Ambience Send

ine Tune

Octave-3–+3

Attac

l th

Vib

y f

Vib

0–12

CHRO

ode

Here you can make settings for the Vocal Designer part.

arameter Value Descriptio

Input Source Selects the modulator (p. 20)

IC-EX

PER

Lev

Dry Sen

oarse Tun

one -64–+6

k -64–+

eas

rato Rate -64–+6

ibrato Dept

rato Dela

Bend Ran

Bend Typ

Bend M

–127 Speci es the volume of the tone.

R Speci es the pan. “L64” is far left, “0” is center, and “63R” is far right

0–127 Speci es the volume of the part

–127 Speci es the level of the signal sent to the ambience

-12–+1

-50–+

-64–+6

-64–+

-64–+6

RMAL

MATI

RMAL

K1 In this mode, pitch bend will not be applied to a new note that is played while

he audio signal of the part (AKEY, ENS, LOOPER) selected for Input Source will

be sent to the modulator, and therefore will no longer sound in the usual way;

ou can play the Input Source directly by raising the [DIRECT] knob.

however

he audio signal from the mic jack will be used as the modulator. Normally, ou can use this setting. By turning on the rear panel [MIX TO MIC] switch, the

audio signal

he audio signal from Audio Key will be used as the modulator. For example, this lets t

he audio signal from the Ensemble part will be used as the modulator.

he audio signal from the Sound Looper will be used as the modulator. For

xample, this lets you play Vocal Designer using a vocal that was recorded into the Sound Looper usin

Adjusts the pitch up or down in semitone steps (+/-1 octave).

Adjusts the pitch up or down in 1-cent steps (+/-50 cents) One cent is 1/100th of a semitone.

Adjusts the pitch of the sound up or down in units of an octave (+/-3 octaves)

Adjusts the tone. Increasing the value will strengthen the highs, producing a clearer sound Decreasing the value will restrain the highs, producing a milder soun

Adjusts the attack. Increasing t Decreasin

Adjusts the release Increasing the value will lengthen the time from note-o (releasing the key) unti Decreasing the value will shorten the time from note-o (releasing the key) until the sound disappears

Adjust the vibrato speed (the rate at which the sound is modulated). The soun will be modulated more rapidly for higher settings, and more slowly with lower sett

Adjusts the depth of the vibrato e ect (the depth at which the sound is modulated). The sound will be modulated more greatl less with lower settin

Adjusts the time delay until the vibrato (sound modulation) e ect begins. Higher settings will produce a longer delay time before vibrato begins, while

ower settings produce a shorter time.

Speci es the degree of pitch change in semitones when the Pitch Bend lever is all the wa rise one octave w

he pitch bend lever will operate in the conventional way (movement of the

ever will produce smooth changes in pitch).

he pitch bend lever will change the pitch in semitone steps, simulating the sound of vocal correction software.

he pitch bend lever will operate in the conventional way.

the pitch o

n conjunction with playing legato, you can create portamento-like e ects

Operation is essentially the same as LOCK1, but there will be no pitch change

n response to the pitch bend lever returning.

rom the EXT IN jack can also be used as the modulator

ou use Audio Key to play back a wave  le containing a vocal, and use

at sound to play Vocal Designer

e Ensemble part’s Ambience Send will be disable

direct microphone.

e value will make the attack more gentle.

the value will make the attack sharper.

e sound disappears

ngs.

right/left. For example, if this parameter is set to “12,” the pitch will

en the pitch bend lever is moved to the right-most position

a previously played note is already being bent. By using this setting

or higher settings, and

Page 87

ram

eter

g th

ext note.

ON, O

TRIO,

Auto Note Sw

ON, O

Turn s the Auto Note function on.

lly

Hold Mo

Typ

ortamento ON, OFF Speci es whether the portamento e ect will be applied (ON) or not (OFF).

Portamento Tim

uto Harmony Sw

Harmony Typ

Val

RMA

EGAT

CAR

–127 Speci es the time over which the pitch will change when you play portamento.

FF Speci es the state of the [8va] button. If this is ON, the range of the Vocal

UET

RIO-UPPER

QUARTET,

AZZ-OPE

Descriptio

All notes will be sustained if you press the Hold pedal and play the keyboard.

If you play with the Hold pedal held down, the previous note will disappear the instant you play the next note, producing a legato per easier to play particularly when you’re playing chords.

he Hold pedal will sustain the sound of the carrier (the basis of the sound) If you play the keyboard and then hold down the Hold pedal, you’ll be able to per

orm simply by using the sound from the microphone, without having to

eep your hand on the keyboard.

he Hold pedal will sustain the sound of the modulator (microphone input) If you hold down the Hold pedal while vocalizing into the microphone, you’ll be able to per

ocalizing

he default setting for the modulator is the microphone input, but you can c

ange this by using the “Input Source” parameter

he Hold pedal will sustain the sounds of both the carrier and the modulator

Portamento is an e ect which smoothly changes the pitch from the  rst-played

ey to the next-played key. By applying portamento, you can simulate slide

erformance techniques on a violin or similar instrument

Increasin n

Designer part will be raised b

urns the Auto Harmony function on/o

he Auto Harmony function lets you automatically add a backing chorus to

our vocal. This function generates harmony based on the melody you sing

the pitch detected from the microphone) and the chords detected from the ke t

e melody you sing

Switches the type of Auto Harmony.

he notation shown below is an example of a C-major scale

note will not sound *1).

will sound with these notes). For a minor chord, the third will be a minor third rather than a major third

orm simply by playing the keyboard, without having to continue

e value will lengthen the time over which the pitch moves to the

one octave

board. In addition, the harmony will change according to the movement of

he solid black notes indicate the pitch detected from the microphone (this

he white notes indicate the harmony that was generated (Vocal Designer

DUET

ormance. This makes it

TRIO

TRIO-UPPER

QUARTET

MANHATTAN

JAZZ-OPEN

1 You can sound the black notes by turning on the [AUTO NOTE] button.

Norma

, Vocal Designer will not sound unless you play the keyboard. However, by using the Auto Note function, you can make Vocal Designer produce sound without to do is vocalize into the micro pitch of your voice via the microphone, and automatically sound notes for that

pitc

our having to play the keyboard; i.e., all you’ll need

hone. The Auto Note function will detect the

Page 88

ram

ete

alue

At Note Mode

CHRO

to notes at semitone

als.

, A,

sound.

ete

alue

Ambience Send

0–12

ine Tune

Octave-3–+3

Tone-6



l th

Vibrato Rate

y f

Vib

hile l

0–12

ght-

t Note Ke

Note Priorit

Descriptio

MATI

IATONI

C, C#, D, D#, E, F, F#, G, G#

A#,

ORMAL If you play multiple keys with a monophonic sound, the last-played key will

his is a chromatic scale. The pitch detected from the microphone is converted

his is a diatonic scale. The pitch detected from the microphone is converted to notes at diatonic intervals. You can use the At Note Ke the key of the scale

Speci es the key when At Note Mode is set to “DIATONIC” (diatonic scale)

Speci es the priority with which notes will sound when you hold down more t

an one key when playing a monophonic soun

onophonic sounds are sounds that always produce only one note even

when

ou press multiple keys. It is not possible for the user to specify the

mono/poly setting

interv

parameter to speci

If you play multiple keys with a monophonic sound, the highest key will sound.

ENSEMBLE EDIT

Here you can make settings for the Ensemble part.

ram

Lev

Dry Sen

oarse Tun

ttac

Releas

rato Dept

rato Dela

Bend Rang

–127 Speci es the volume of the tone.

64–0–63

0–127 Speci es the volume of the part

7 Speci es the level of the signal sent to the ambience

-12–+1

-50–+

4–+

-64–+6

-64–+

-64–+6

Descriptio

Speci es the pan. “L64” is far left, “0” is center, and “63R” is far right

Adjusts the pitch up or down in semitone steps (+/-1 octave).

Adjusts the pitch up or down in 1-cent steps (+/-50 cents) One cent is 1/100th of a semitone.

Adjusts the pitch of the sound up or down in units of an octave (+/-3

ctaves).

Adjusts the tone. Increasing t Decreasing the value will restrain the highs, producing a milder sound

Adjusts the attack. Increasin Decreasing t

Settin have no e

Adjusts the release Increasing the value will lengthen the time from note-o (releasing the key) unti Decreasing the value will shorten the time from note-o (releasing the key) unti

Adjust the vibrato speed (the rate at which the sound is modulated). The sound will be modulated more rapidl with lower settings.

Adjusts the depth of the vibrato e ect (the depth at which the sound is modulated). The sound will be modulated more greatly for higher settings, and less with lower settings

Adjusts the time delay until the vibrato (sound modulation) e ect begins. Higher settings will produce a longer dela w

Speci es the degree of pitch change in semitones when the Pitch Bend lever is all the wa pitch will rise one octave when the pitch bend lever is moved to the ri most position.

e value will strengthen the highs, producing a clearer soun

the value will make the attack more gentle.

e value will make the attack sharper.

the attack to a negative value for a BRASS or STRINGS sound will

ect. The sharpest attack will be when the slider is set to zero.

e sound disappears

or higher settings, and more slowl

ower settings produce a shorter time

right/left. For example, if this parameter is set to “12,” the

For the SuperNATURAL brass (BRASS) sounds, setting the bend range

RANGE) to 3 or higher will simulate the discontinuous pitch change hat is typical of brass instruments, instead of the normal smooth pitch

change. When you apply a downward bend, the sound will behave in the

anner distinctive of brass instruments, meaning that the volume will

so decrease

time before vibrato begins,

Page 89

ram

ete

alue

(

ly)

CHRO

sound of vocal correction software.

ode

chang

ly)

SECTIO

sounds.

)

ortamento

ON, O

)

ON, O

ly)

0–12

”

Bend Typ

GUITAR, OTHERS, PAD

YNTH STRINGS, CHOIR,

JAZZ SCAT tone on

RMAL

MATI

Descriptio

he pitch bend lever will operate in the conventional way (movement of the

ever will produce smooth changes in pitch).

he pitch bend lever will change the pitch in semitone steps, simulating the

Bend M

Hold Mode

(BRASS SECTION *1,

STRING SECTION *1 GUITAR, OTHERS, PAD

YNTH STRINGS, CHOIR,

JAZZ SCAT tone on

uto Portamento

(BRASS tone only

Portamento Tim

(GUITAR, OTHERS, PAD

YNTH STRINGS, CHOIR,

JAZZ SCAT tone on

RMAL

OCK1 In this mode, pitch bend will not be applied to a new note that is playe

MBI

(BRASS tone on

ORMAL All sounds will be sustained when you hold down the Hold pedal and play

EGAT

CCOM

(BRASS SECTION *1,

STRING SECTION * tone only

FF Speci es whether the portamento e ect will be applied (ON) or not (OFF)

FF Portamento will automatically be added when you play rapid legato

7 When portamento is used, this speci es the time over which the pitch will

he pitch bend lever will operate in the conventional way.

while the pitch of a previously played note is already being bent. By using

is setting in conjunction with playing legato, you can create portamento-

t like e ects.

Operation is essentially the same as LOCK1, but there will be no pitch

e in response to the pitch bend lever returning.

his mode allows you to express the subtle pitch changes that are

istinctive of a SuperNATURAL brass instrument.

he proportion of breath noise will increase when you operate the bender

n the Down direction. This lets you freely control the breathiness at the

inning or end of a note

the keyboard At this time, the “Auto Dynamics” (p. 91) e ect will apply to STRINGS SECTION *1 soun

If you play with the Hold pedal held down, the previous note will disappear the instant you play the next note, producing a legato performance. This makes it easier to pla At this time, the “Auto Dynamics” (p. 91) e ect will apply to STRINGS

A sostenuto-like e ect will be applied when you play the keyboard and

ress the Hold pedal

For STRINGS SECTION *1 sounds, the volume will decrease slightly when

ou press the pedal. If you release the pedal while continuing to hold the

s, the volume will return to its previous level. Since the volume will

ke not change way to emphasize the melody while slightly reducing the volume of the accompaniment.

Portamento is an e ect which smoothly changes the pitch from the  rst played key to the next-played key. By applying portamento, you can simulate slide performance techniques on a violin or similar instrument.

, particularly when you’re playing chords

N *1

or notes played after pressing the pedal, this is a convenient

phrases.

hange. Higher settings will cause the pitch change to the next note to take more time.

1 For the BRASS SECTION and STRING SECTION sounds, refer to the separate “VP-770 Sound List.

Page 90

ram

ete

alue

STAC

added.

SON

pprop

group.

”

ection Mode

(BRASS SECTION *1 tone

nly)

Descriptio

tack Mode

his allows you to successively layer each instrument in the order you’ve speci ed “Playing settings (Section Style screen)” (p. 29). Using this mode allows you to simulate the bell tones played by a brass ensemble.

When you play single note

Only the  rst instrument will sound

When you play a second note as well...

he  rst instrument will continue sounding, and the second instrument will

When you additionally play a third and fourth note..

he sounds of the third and fourth instrument will be successively layered

nison Mode

When you play a single key or multiple keys simultaneously with a four player ensemble setting, the various instruments will be assigned as follows

When you play single note

All assigned instruments will sound at the same pitch. Each instrument will sound in an octave that’s a

riate for it.

When you play multiple notes simultaneousl

Each instrument will automatically be assigned to a note you play.

nits of instruments automatically assigned to a note you play are called a

Example: If you play two note

*1 For the names of the BRASS SECTION sounds, refer to the separate “VP-770 Sound List.

Page 91

ram

ete

alue

only

AUTO

lay

(

0–12

”

Section Size

(

0–12

Variation

ly)

The normal sound

heard.

STACCATO

ly)

The staccato sound

)

ly)

The doit sound

)

The p

(

only

The tremolo sound

heard.

tch

ly)

)

200,

)

2000, 4000,

8000 Hz

SOLO

”

ni Key Shif

(BRASS SECTION *1 tone

)

uto Dynamic

STRING SECTION *1 tone

nly)

STRING SECTION *1 tone

nly)

(BRASS, STRINGS tone on

Descriptio

IXE

7 Speci es the size of the string section. Higher values will simulate a larger

RMAL

All brass sounds of the brass section will be played by the same key (pitch)

Each brass sound will be played by the speci ed ke

Sounds will be played by the key speci ed for each brass sound only when p

ing single notes in Unison mode.

his allows string-like expression to be played by adjusting the timing and speed at which

he volume will swell slightly when you take your  nger o the key while holding down the Hold pedal

he sound will swell more greatly if you release your  nger slowly. The

hange will be greater for higher settings of this parameter value.

is is valid when the Hold Mode setting is “NORMAL” or “LEGATO.

section. This can be set in a range

to a full orchestra.

ou take your  nger o the ke

rom a string ensemble of a few members

will be

Reverb Swi

(BRASS, STRINGS tone on

EQ Switc

(BRASS, STRINGS tone on

EQ Lo Fre

(BRASS, STRINGS tone only

EQ Lo Gain

(BRASS, STRINGS tone only

EQ Hi Fre

(BRASS, STRINGS tone only

EQ Hi Gai

(BRASS SECTION

BRASS, STRING SECTION SOLO STRINGS tone only)

(BRASS tone on

(BRASS tone only

(BRASS tone on

IZZICAT

(STRINGS tone only

TREMOL

STRING SECTION *1 tone

)

ON, OFF

YPAS

400 H

-15 –+15

he fall sound will be heard.

izzicato sound will be heard.

urns on/o the reverb that is applied only to brass and string sounds

he brass and string sounds have their own reverb e ect that is separate

from the ambience that is a

urns the equalizer o .

urns the equalizer on

Speci es the center frequency at which the low-frequency range will be adjusted

Speci es the gain (amount of boost or cut) for the low-frequency range.

Speci es the center frequency at which the high-frequency range will be

usted

Speci es the gain (amount of boost or cut) for the high-frequency range

will be hear

will be

lied to the overall sound of the VP-770

1 For the BRASS SECTION and STRING SECTION sounds, refer to the separate “VP-770 Sound List.

Page 92

BASS & PERC EDIT

0–12

an4–0–63

0–12

Amb

Coarse Tune

Here you can make settings for the Bass and Percussion parts

To access this screen, hold down the [SHIFT] button and press the [BASS] or [PERC] button.

arameter Value Descriptio

Leve

Dry Send

ience Sen

ne Tun

Octav

Ben

Rang

R Speci es the pan. “L64” is far left, “0” is center, and “63R” is far right

0–127 Speci es the level of the signal sent to the ambience

–

-50–+5

-3–+

0–1

eci es the volume of the tone.

eci es the volume of the part

Adjusts the pitch up or down in semitone steps (+/-1 octave).

Adjusts the pitch up or down in 1-cent steps (+/-50 cents) One cent is 1/100th of a semitone.

Adjusts the pitch of the sound up or down in units of an octave (+/-3

ctaves).

Speci es the degree of pitch change in semitones when the Pitch Bend lever is all the way right/left. For example, if this parameter is set to “12,” the

will rise one octave when the pitch bend lever is moved to the right

pitc most position.

Page 93

Menu Reference

his chapter explains what you can do by pressing the [MENU] button.

“System” lets you make settings that apply to the entire VP-770, such as tuning and MIDI.

•

“Input E ect” lets you make settings for the e ect that’s applied to the microphone input.

•

“Utility” lets you back up the settings of the VP-770.

•

“Factory Reset” lets you reset the VP-770 to its factory-set state.

•

Page 94

Basic Menu Operation

The

he menu contains four groups of functions that will help you use the VP-770 more e ciently. Here is the

basic procedure for using the various menu functions

( MENU)

ress the [MENU] button.

MENU screen will appear.

Use the cursor buttons or the value dial to select menu

yste

Input E ect

tilit

Factory Rese

escription

ake settings that apply to the entire VP-770, such as tuning and MIDI.

ake settings for the e ect that’s applied to the mic input.

ack up the VP-770’s settings, and make settings for the screensaver. p. 1

eset the VP-770 to its factory-set state.

. 102

. 11

ress the [F2] (ENTER) button to proceed to the selected screen. ressing the [EXIT] button will return you to the previous screen

Page 95

System Settings

The

Sound

Contro

dit.

kly

]. Conversely, you can quickly decrease

message reception. Here we’ll explain the procedure for making system settings and what each system

parameter

oes

( SYSTEM)

ress the [MENU] button to access the MENU screen

Use the cursor buttons or the value dial to select “System,” then press the

F2] (ENTER) button.

SYSTEM screen will appear

Use the cursor buttons or the value dial to select menu, then press the

F2] (ENTER) button.

he parameters are organized into several edit groups

Men

MIDI

Metronome

escription Pa

akes settings related to MIDI input/output.

akes settings related to sound output. p. 9

akes metronome-related settings.

akes settings for controllers such as the pedals and D Beam

p. 99

. 9

Use the cursor buttons to move the cursor to the parameter that you want to e

Use the value dial to change the value.

epeat steps 3–5 to edit the parameters as desire

f you want to save the changes you made, refer to “Saving the

f not all parameters can be shown in a single screen, a scroll bar is shown at the right edge of the

creen. In this case, use the cursor [ ] button to scroll the screen downward

You can change the value in steps of one by pressing the cursor buttons [] or []. If you want

o quic

increase the value, hold down [ ] and press [

he value by holding down [ ] and pressing [ ]. You can change the value in larger steps by

olding down [SHIFT] and pressing [ ] or [

stem Settings” (p. 96)

Page 96

Saving the System Settings

hanges you make to the System function settings are only temporary-they will be discarded as soon as

the power is turned o . If

em in internal system memory

When you perform the save procedure, the data that previously occupied the save destination will be

ost. However, the factory setting data can be recovered by performing the Factory Reset procedure

ou want to keep any changes you’ve made in the system settings, you must save

( SYSTEM WRITE)

hange the system function settings, and press the [F2] (SYS WRITE)

button

he con rmation message will appear

ress the [F1] (OK) button in the con rmation screen to save your

settings

nce the settings have been saved, “Completed!” will appear in the screen

If you decide not to save the settings, press the [EXIT] button to return to the previous screen

Page 97

ete

Value

ON, OFF

Voc

ON, OFF

ON,

ocal Sw

ctive Sens

ON, OFF

evice

atch the Device

ce.

ON, OFF

and th

System Parameters

his section explains the functions the di erent system parameters have, as well as the composition of

ese parameters.

For details on how to make settings, re

SYSTEM MIDI

Here you can make settings for MIDI transmission and reception.

ram

Regist Ctrl C

Rx Program Chang

Rx Ban

Select

Rx Control Chang

Rx SysEx

Ens Rx C

1–Ch16,

N, OF

1–Ch1

h1–Ch1

er to “System Settings” (p. 95).

Description

egistration Control Channel selects the MIDI receive channel used during switching

istrations when MIDI messages (Program Change/Bank Select) are sent from an

of re external MIDI device. Set this to “OFF” i

MIDI device.

externa

peci es whether Program Change messages will be received (ON) or not (OFF).

peci es whether Bank Select messages will be received (ON) or not (OFF).

peci es whether Control Change messages will be received (ON) or not (OFF)

peci es whether System Exclusive messages will be received (ON) or not (OFF)

peci es the receive channel on which the Ensemble part will receive MIDI messages.

peci es the receive channel on which the Vocal Designer part will receive MIDI

registrations are not to be switched from an

B&P Rx Ch

x Edi

x Program Chan

x Bank Selec

x A

oft Throu

ID 17–

ysEx Protec

h1–Ch1

N, OF

peci es the receive channel on which the Bass & Percussion parts will receive MIDI

peci es whether changes you make to the settings of each part will be transmitted as

stem exclusive messages (ON) or not transmitted (OFF)

peci es whether Program Change messages will be transmitted (ON) or not (OFF)

peci es whether Bank Select messages will be transmitted (ON) or not (OFF)

peci es whether the VP-770’s keyboard will play the sounds of each of the VP-770’s

parts (ON) or wi

ormally, you can leave this ON. erformance data from the VP-770’s keyboard will be sent to each of the VP-770’s parts nd transmitted from the MIDI OUT connector. If you have connected an external MIDI

equencer, the MIDI messages transmitted from the MIDI OUT connector will be routed

rough your MIDI sequencer and returned to the VP-770’s MIDI IN connector. This can

create problems, such as duplicate MIDI messa

e VP-770’s parts to sound every note twice. In this situation, you can turn the Local Sw

etting OFF so that the performance data from the keyboard will not play the parts.

peci es whether Active Sensing messages will be transmitted (ON) or not (OFF).

Thru function re-transmits all messages received at the MIDI IN connector to the MIDI

UT connector without modifying them in any way.

hen you want to transmit or receive System Exclusive messages, set this parameter to

This prevents the settings of user memory from being rewritten by system exclusive messages transmitted b

not play them (OFF)

ID number of the other MIDI devi

e “OFF” setting allows rewriting.

an external MIDI device. The “ON” setting prevents rewriting,

es being received, which causes each of

Page 98

SYSTEM SOUND

ete

Value

Master Tune

)

0–127

)

jacks.

)

Amb

0–127

Aud

0–127



ON, OFF

ode

OFFThe metronome

sound.

C-O

0–10

Here you can make sound-related settings.

ram

15.3–466.2 (Hz

Master Key Shi

Master Leve

Output Ga

Out B Assign Selects the audio signals that will be sent from the rear panel OUTPUT B

24–+2

12–+12 (dB

escriptio

Adjusts the overall tuning of the VP-770. The display shows the frequency of

e A4 note (center A)

Shifts the overall pitch of the VP-770 in semitone steps.

Adjusts the volume of the entire VP-770

his adjusts the output gain from the VP-770’s Analog Out and Digital

Out. When, for example, there are relatively few voices being sounded,

oosting the output gain can let you attain the most suitable output level for

ecording and other purposes

udioKey Level

ioKey Amb Sen

oice Exp Sen

reset Protec

AKEY Sound output

–12

Sound output from the OUTPUT A jack

Direct sound (Vocal Designer, Ensemble, Bass & Percussion,

Sound output from the OUTPUT B jacks

Bass & Percussion, Audio Ke

Sound output from the OUTPUT A jack

Vocal Designer, Bass & Percussion, Audio Key, Sound Looper, am

Sound output

Ensem

Vocal Designer, Ensemble, Bass & Percussion, ambience component (Vocal Designer, Ensemble, Bass & Percussion)

Sound output from the OUTPUT B jacks

Speci es the volume of the AudioKey

Speci es the level of the signal sent to the ambience for the AudioKe

ou can adjust the sensitivity at which the Voice Expression (p. 66) e ect will

egin applying in response to changes in microphone input loudness over.

Higher sensitivit

ing even when your voice is still at a low loudness level.

app Lower sensitivity settings mean that the Voice Expression e ec t will begin applying only when your voice reaches a fairly high loudness level. You’ll

nd it easier to control Voice Expression if you set this to a sensitivity that’s

appropriate for your singing voice.

With the factory settings, registrations cannot be saved at the preset buttons. If you turn Preset Protect OFF, registrations can be saved in the preset

uttons as well (p. 78)

udio Key, Sound Looper

ience component (Vocal Designer, Ensemble,

ience component (Vocal Designer, Bass & Percussion,

udio Key)

rom the OUTPUT B jacks

rom the OUTPUT A jack

udio Key, Sound Loope

settings mean that the Voice Expression e ect will begin

SYSTEM METRONOME

Here you can make metronome-related settings.

arameter

Metro M

Metro Lev

alu

PLAY-ONL

PLAY&RE

ALWAY

Descriptio

will not

e metronome will sound only while the Sound Looper is playing back.

NLY

he metronome will sound only while the Sound Looper is recording

e metronome will sound while the Sound Looper is playing or recording

he metronome will sound constantl

Adjusts the volume of the metronome.

Page 99

ram

ete

Value

Sound

Selects the sound of the metronome.

TYPE 1

TYPE 3Pul

Cowbe

sound

TYP

ete

alue

“

Curve

elo

Sens

”

Aft Sens

0–100

lly y

”

FO

volume.

VOC

ly.

OFF

O

Metro

YPE 4 Beep tone

YPE

E 6 Stick soun

Descriptio

Electronic metronom

Mechanical metronom

se ton

SYSTEM CONTROL

Here you can make settings for the controllers that are made at the system level

YSTEM KEYBOAR

Here you can make settings for the keyboard and aftertouch.

ram

Kbd Vel

Kbd V

ft Sourc

ft Assign Speci es the aftertouch e ect.

EAL, 1–127 Speci es the velocity value that will be transmitted when you play the

IGH

EDIUM Standar

-63– +

EGIST, SYSTE

D Applies modulation.

Descriptio

board. If you want actual keyboard velocity to be transmitted, set this to REAL.” If you want a  xed velocity value to be transmitted regardless of how ou play, specify the desired value (1–127)

Adjusts the keyboard’s touch

Light weight synthesizer keyboard lik

Acoustic piano simulatio

Adjusts the sensitivity of the keyboard. As you increase this setting, higher

elocity values will be transmitted according to the force with which you

ay. Normally you will leave this set at “0.

he assignments for the aftertouch can be stored individually in each

registration. When whether the a registration (REGIST), or the assignments stored in the system settings for

e entire VP-770 (SYSTEM

Speci es the Aftertouch sensitivity. Higher values will allow Aftertouch to

e applied more easily. Norma

Changes the volume. Transmits MIDI message CC#2 (breath control) to the sound generator section. This is the same operation as Voice Expression

p. 66), and will operate only in the positive (+) direction to increase the

ou select a di erent registration, this setting speci es

tertouch will be given the assignments stored in the

ou will leave this at “100.

YN2 Changes the volume. Transmits MIDI message CC#4 (foot control) to the

ILTE

END-DOW

END-UP Raises the pitch.

t Part Speci es the part(s) that will be controlled by aftertouch

OC/EN

enerator section. For STRINGS and BRASS sounds, this allows the

sound

olume to be controlled in the ± directions (it will not go to zero). For other

s, the volume can be controlled only in the “+” direction

soun

Changes the tone

Applies a wah e ect to sounds that support Wah

Lowers the pitch.

Vocal Designer part and Ensemble Part.

Vocal Designer part only.

Ensemble part on

Page 100

YSTEM PEDAL

ete

alue

Source

f y

Source

OFF

O

volume.

vol

Chang

ORT

OG-UP

STOP

f y

art

OC/ENS

Here you can specify the functions that will be controlled by the foot pedals

ram

Hold

Part Speci es the part(s) that will be controlled by the hold pedal

P1 P2 Sourc

P1 Asg

2 As

P1 Sw As P2 Sw Asg

P1 Po P2 P

P1 P P2 Par

REGIST, SYSTE

STANDARD, REVERSESelect the polarity of the Hold pedal. On some pedals, the electrical signal

VOC/EN

VOC Voca

REGIST, SYSTE

YN1

FILTE

PIZZ/STAC Plays the pizzicato or staccato sound (only for supported tones).

FALL/TREM Pla

NI/STK Switches between unison mode and stack mode (only for supported tones)

DOI

DIR-MI

G-DOWN Switches to the previous registration

PAN E L-

REC/PLA

TANDARD, REVERSESelects the polarity of the pedal. On some pedals, the electrical signal

Descriptio

he assignments for the hold pedal can be stored individually in each registration. When you select a di erent registration, this setting speci es whether the hold pedal will be given the assignments stored in the registration (REGIST), or the assignments stored in the s the entire VP-770 (SYSTEM).

output by the pedal when it is pressed or released is the opposite of other

our pedal has an e ect opposite of what you expect, set this

pedals. I parameter to “REVERSE.” If you are using a Roland pedal (that has no polarity

witch), set this parameter to “STANDARD.”

Vocal Designer part and Ensemble part.

Designer part only.

Ensemble part only.

he assignments for the control pedal can be stored individually in each registration. When whether the control pedal will be registration (REGIST), or the assignments stored in the s t

e entire VP-770 (SYSTEM).