Roland V-STUDIO 20 Editor Manual
Using VS-20 Editor
1. Introduction
VS-20 Editor is an application that lets you control the V-STUDIO 20’s parameters from your computer.
Unless otherwise specied, this document refers to this application as “VS-20 Editor,” and the controller included with the V-STUDIO 20 as “the VS-20.”
2. Connections and settings
If you’re using the V-STUDIO 20 for the rst time, you’ll need to install the VS-20 driver before connecting the VS-20 to your computer.
Install the driver as described in the owner’s manual included with the V-STUDIO 20.
Start up VS-20 Editor after you’ve connected the VS-20 to your computer. If you start up VS-20 Editor before connecting the VS-20, it will not operate
correctly.
VS-20 Editor settings
You must make MIDI device settings when using the system for the rst time.
1. Choose the “Settings” menu item “MIDI Device Settings.”
The MIDI device settings dialog box will appear.
2. In the Input and Output elds, choose “VS-20 Eect Control.”
3. Click [OK].
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Selecting and editing patches
Selecting a patch
A collection of settings determining how e ects are combined and including settings for the parameters is called a “patch.” By switching patches you
can instantly change the sound by recalling a di erent set of settings.
There are two types of patches: “preset patches,” which are read-only, and “user patches,” which can be freely rewritten.
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You can use either of the following ways to select a patch.
• Step consecutively through the patches one by one
• Select a patch from a list
Caution!
If you exit VS-20 Editor or switch patches before writing a patch you’ve modi ed, the changes you’ve made will be lost.
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Stepping through the patches one by one
1. Click [USER] or [PRESET] to specify the type of patch you want to select.
Note
Choose [USER] if you want to select a patch that you previously saved.
2. Click the patch select buttons to step through the patches.
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Selecting a patch from a list
1. Click [USER] or [PRESET] to specify the type of patch that you want to select.
Note
Choose [USER] if you want to select a patch that you previously saved.
2. Click [LIST].
The patch list dialog box will appear.
3. Click the patch that you want to edit.
4. Click [OK].
That patch will be selected.
5. Click [CANCEL].
The patch list dialog box will close.
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Editing a patch
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Turning eff ects on/off
You can turn an e ect on/o by clicking the indicator located in the upper left of the e ect, or by clicking a foot switch.
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Switching eff ects
1. Click the box that shows the e ect name.
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A drop-down list of the available e ects will appear.
2. Choose the e ect that you want to use.
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Editing an eff ect (Detail)
In this mode you can edit the parameters in detail, as well as turn each e ect on/o .
Company names and product names appearing here are the trademarks or registered trademarks of their respective owners, and are not
a liated with Roland Corporation or Cakewalk.
These names are used in this document in order to appropriately describe sounds being simulated by COSM technology.
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1. Click [DETAIL].
Each time you click [DETAIL], the screen will change as follows. The Detail screen allow you to edit the e ect parameters in detail.
Normal screen Detail screen
Note
• You can edit a parameter’s value by dragging the knob up or down.
• You can switch the e ect type by clicking the name of the e ect type or the indicator at its left.
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PREAMP/VOCAL
Here you can select the type of preamp.
JC-120
The sound of the Roland JC-120.
FULL RANGE
Flat response. This is ideal for acoustic guitar.
CLEAN TWIN
Models the Fender Twin Reverb.
TWEED
Models the Fender Bassman 4 x 10” Combo.
CRUNCH
Crunch sound that allows the nuances of your picking to be reproduced faithfully.
VO DRIVE
Models the drive sound of the VOX AC-30TB.
BG LEAD
Models the lead sound of the MESA/Boogie combo amp.
MS VINTAGE
Models the sound of a 70’s Marshall amp.
MS MODERN
Models the more high-gain sound of a recent Marshal amp.
R-FIER
Models the MESA/Boogie DUAL Recti er.
ULTRA Metal
An original metal amp designed speci cally for metal, delivering thick lows and extreme
distortion while preserving the crisp contours of the sound.
BASS AMP
This sound is suitable for bass guitar.
You can use [PREAMP] or [VOCAL] to change the e ect.
Caution!
“PREAMP” and VOCAL “HARMONY” and “PITCH CORRECT” cannot be used simultaneously. The on/o setting is shared by these three e ects. To turn
the e ect on/o , click the indicator located in the upper left.
PREAMP
This models the response of a preamp.
Turns the e ect on/o . PREAMP switch
TYPE
Here you can select the type of preamp.
JC-120 The sound of the Roland JC-120.
FULL RANGE Flat response. This is ideal for acoustic guitar.
CLEAN TWIN Models the Fender Twin Reverb.
TWEED Models the Fender Bassman 4 x 10” Combo.
CRUNCH Crunch sound that allows the nuances of your picking to be reproduced faithfully.
VO DRIVE Models the drive sound of the VOX AC-30TB.
BG LEAD Models the lead sound of the MESA/Boogie combo amp.
MS VINTAGE Models the sound of a 70’s Marshall amp.
MS MODERN Models the more high-gain sound of a recent Marshal amp.
R-FIER Models the MESA/Boogie DUAL Recti er.
ULTRA Metal
BASS AMP This sound is suitable for bass guitar.
An original metal amp designed speci cally for metal, delivering thick lows and extreme
distortion while preserving the crisp contours of the sound.
Knob functions
GAIN
BASS
Adjusts the amount of
preamp distortion.
Adjusts the loudness
of each band.
MIDDLE
TREBLE
PRESENCE
Frequency
LEVEL
Adjusts the overall
volume of the preamp.
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VOCAL
VOCAL provides two e ects: “HARMONY,” which lets you easily add harmony to one person’s singing, and “PITCH CORRECT,” which constrains pitch
change in a stair-step manner. Use the MODE switches to choose the desired e ect.
HARMONY
Turns the e ect on/o . VOCAL switch
Parameters
KEY
Speci es the
key of the song
you’re singing.
INTERVAL
Adds pitches (harmony) at
the speci ed higher or lower
interval.
Choose UNISON to produce
the impression that another
person is singing the same
melody.
MODE switch
GENDER
Transforms the
voice so it has
male (or female)
characteristics.
Knob functions
HARMONY DIRECT
PAN
Speci es the
panning of the
sound.
LEVEL
Speci es the
volume of the
harmony.
Speci es the
panning of the
input sound.
PAN
LEVEL
Speci es the
volume of the
input sound.
PITCH CORRECT
Parameters
TYPE
SOFT: Corrects the pitch
smoothly.
HARD: Corrects the pitch
instantly.
ELECTRIC: Constrains the pitch to
stair-step change.
ROBOT: Constrains the pitch to
the note name you specify as the
parameter.
SCALE
CHROMATIC: Corrects the pitch to semitone
intervals.
Maj/Min: Corrects the pitch to the key you
specify in KEY.
(Available if TYPE is set to SOFT, HARD, or
ELECTRIC.)
NOTE
Fixes the pitch.
(Available if TYPE is set to ROBOT.)
GENDER
Speci es the
amount by
which the pitch
will be changed.
OCTAVE
Speci es the
volume of the
input sound.
Knob functions
LEVEL
Speci es the
volume of the input
sound.
KEY
Speci es the key of the song.
(Available if SCALE is set to Maj/Min.)
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COMP/FX (Compressor/Eff ect)
Here you can choose e ects that keep the volume consistent or produce sustain without distortion, as well as various other distinctive e ects.
COMPRESSOR Produces sustain without distorting the sound.
LIMITER Limits high input levels to prevent distortion from occurring.
Controls a lter according to your pedal operations,
producing a wah e ect.
Transforms the sound of a single-coil pickup to the sound of
a humbucking pickup.
Transforms the sound of a humbucking pickup to the sound
of a single-coil pickup.
Transforms the sound of an electric guitar to the sound of an
acoustic guitar.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
—
POSITION
Speci es the angle of the pedal.
PEAK
Speci es the distinctiveness of the
tone.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
LEVEL
Speci es the e ect volume.
TYPE Knob functions
COMPRESSOR
LIMITER
SUSTAIN
Adjusts the sustain of the sound.
THRESHOLD
Input signals that exceed the level you specify
here will be compressed.
PEDAL WAH
T.WAH
WAH TYPE
Speci es the type of PEDAL WAH.
SENS
Speci es the sensitivity at which the e ect will
respond to the input signal.
PRE EQ
SLOW GEAR
LOW
Adjusts the loudness of the low-frequency range.
SENS
Speci es the sensitivity at which the e ect will
respond to the input signal.
Single > Hum
Hum > Single
AC SIM
LOW
Adjusts the loudness of the low-frequency range.
LOW
Adjusts the loudness of the low-frequency range.
LOW
Adjusts the loudness of the low-frequency range.
RADIO VOICE
ATTACK
Adjusts the attack.
RELEASE
Adjusts the release time.
(*1)
FREQUENCY
Adjusts the tone (brightness) of the wah.
HIGH
Adjusts the loudness of the high-frequency range.
RISE TIME
Speci es the time over which the volume reaches
its maximum.
HIGH
Adjusts the loudness of the high-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
— —
PEDAL WAH (*1)
T.WAH Produces a wah e ect according to your picking dynamics.
PRE EQ Adjusts the tonal character in two ranges, LOW and HIGH.
SLOW GEAR Produces a “violin type” volume swell.
Single > Hum
Hum > Single
AC SIM
RADIO VOICE A special e ect for vocals.
Turns the e ect on/o .
WAH TYPE (*1) Explanation
CRY WAH Models a 70’s CRYBABY.
VO WAH Models the VOX V846.
FAT WAH An audacious-sounding wah.
LIGHT A genteel and re ned-sounding wah.
7STR WAH A broad-ranged wah that covers the range of a seven-string guitar or baritone guitar.
RESO Produces a distinctive e ect that is an o shoot of an analog synth’s lter.
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