Tc-helicon VL3X User Manual

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English Reference Manual

VL3X

Safety information 1

Important safety instructions 2 EMC / EMI 4 Explanation of graphic symbols 5

Before you begin 6

About this document (VL3X reference manual) 7 Getting support 8 VoiceSupport 9 Please register your VL3X 10

Introduction 11

Welcome! 12 Concepts 13 Top panel overview 18 Footswitches overview 21 Back panel inputs and outputs 27

VL3X overview 30

Setting up 31 Diagram legend 32 Diagrams 33 Quick troubleshooting tips 38

Getting to know VL3X 39

Amazing Grace 40 A guided tour 41 There’s no place like Home 42 Using the Control knob 43 Using the Arrow buttons 44 What is a Preset? 45 Using Steps 46 Using Preset Genres and Favorites 47 What is NaturalPlay? 48 Using Global Key/Scale 49 Setting Key/Scale manually 50 Let’s try Harmony! 51 Using the HIT footswitch 52 Using individual effects 53 Change a button from Latched to Momentary mode 54 Remapping a footswitch 55 Talk/Tuner Mode 57 Guitar Effects 58 Editing HIT 59 Using ALL HIT 60 HIT – Dynamic versus Snapshot 61 Storing Presets 63 Tapping tempo 65 Using Global Tempo 66 Editing an Effect 67 Defining and using Global Effects 69 MIDI Sync 72 Backing Track Import 73 Using Backing Tracks 76 Backing Track Sequence Recording (Automation) 80 Importing and Exporting Performances 83 Direct to USB Recording 84 USB Audio 85 Using the Mix Controls 88

Tips and tricks for working with layers and effects 90 Footswitch tab: Remapping footswitches 91 Expression Pedal tab: Getting the most out of your expression pedal 92

Editing the Vocal Layer 94

Introduction 95 Harmony effect block / tab 96 Double effect block / tab 98 Vocal Delay effect block / tab 99 Vocal Reverb effect block / tab 101 HardTune effect block / tab 103 Synth effect block / tab 105 Transducer effect block / tab 106 Vocal µMod effect block / tab 107 Choir effect block / tab 108 Vocal Rhythmic effect block / tab 109 Stutter effect block / tab 110 Vocal Buttonmap tab 111

Product VL3X

Product (firmware) version 2.1.00 Build 346

Document Reference manual

Document version / date 2015-10-20

VL3X – Reference manual (updated 2015-10-20) a

Editing the Guitar Layer 113

Introduction 114 Amp effect block / tab 115 Drive effect block / tab 117 Guitar Delay effect block / tab 118 Guitar Reverb effect block / tab 119 Comp(ression) effect block / tab 120 Wah (Wah-Wah) effect block / tab 121 µMod effect block / tab 122 Octaver effect block / tab 123 Guitar Rhythmic effect block / tab 124 Guitar Buttonmap block / tab 125

The Looper 126

Introduction 127 Loop button parameters 128 Basic loop concepts and terms 131 Entering and exiting Loop mode 132 Your first loop 133 The Utility menu 137 Loop limits 142 Loop import 143 Loop Mixer 146 Loop export 148 Loop management 149 Loop Triggers 151 Looping and MIDI Sync 153

Setup 154

Introduction 155 Input tab 156 Output tab 160 Guitar tab 162 MIDI tab 164 Tone tab 168 System tab 174 Mic Control and Footswitch tabs 178 Mic Control tab 179 Footswitch tab 181 Pedal Calibration tab 186 Product info tab 187

Appendix 188

MIDI CC List 189 Output Mode Chart 190 System Maintenance/Factory Reset 193

Technical Specifications 194

VL3X – Reference manual (updated 2015-10-20) b

Safety information

VL3X – Reference manual (updated 2015-10-20) 1

Safety information

Important safety instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

Caution

You are cautioned that any change or modifications not expressly approved in this manual could void your authority to operate this equipment.

VL3X – Reference manual (updated 2015-10-20) 2

Safety information

Service

► All service must be performed by qualified

personnel.

► There are no user-serviceable parts inside.

Warning

► To reduce the risk of fire or electric shock, do

not expose this apparatus to rain or moisture and objects filled with liquids, such as vases, should not be placed on this apparatus.

► This apparatus must be earthed. ► Use a three wire grounding type line cord like

the one supplied with the product.

► Be advised that different operating voltages

require the use of different types of line cord and attachment plugs.

► Check the voltage in your area and use the

correct type.

Voltage Line plug according to standard

110 to 125V UL817 and CSA C22.2 no42. 220 to 230V CEE7 page VII, SR section 107-

2-D1 / IEC83 page C4.

► This equipment should be installed near the

socket outlet and disconnection of the device should be easily accessible.

► To completely disconnect from AC mains, dis-

connect the power supply cord from the AC receptacle.

► The mains plug of the power supply shall re-

main readily operable.

► Do not install this device in a confined space. ► For use at an altitude of 2000m or lower. ► Do not open the unit – risk of electric shock

inside.

VL3X – Reference manual (updated 2015-10-20) 3

EMC / EMI

Safety information

Electromagnetic compatibility / Electromagnetic interference

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC rules.

These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.

If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

For customers in Canada

This Class B digital apparatus complies with Canadian ICES-003.

Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.

► Reorient or relocate the receiving antenna. ► Increase the separation between the equip-

ment and receiver.

► Connect the equipment into an outlet on a cir-

cuit different from that to which the receiver is connected.

► Consult the dealer or an experienced ra-

dio / TV technician for help.

VL3X – Reference manual (updated 2015-10-20) 4

Safety information

Explanation of graphic symbols

The lightning bolt triangle is used to

alert the user to the presence of uninsulated “dangerous voltages” within the unit’s chassis that may be of sufficient magnitude to constitute a risk of electric shock to humans.

The exclamation point triangle is used

to alert the user to presence of important operating and service instructions in the literature accompanying the product.

VL3X – Reference manual (updated 2015-10-20) 5

Before you begin

VL3X – Reference manual (updated 2015-10-20) 6

Before you begin

About this document (VL3X reference manual)

This reference manual will help you learn understanding and operating your VL3X.

You can download the most current version of this reference manual from:

tc-helicon.com/support/manuals/

To get the most from your TC-Helicon pro duct, please start by reading the printed quick guide that came with the product. Then proceed with this reference manual. Read it from start to finish, or you may miss important information.

VL3X – Reference manual (updated 2015-10-20) 7

Before you begin

Getting support

If you still have questions about the product after reading this reference manual, please get in touch with TC-Helicon Support:

tc-helicon.com/support/product/

VL3X – Reference manual (updated 2015-10-20) 8

Before you begin

VoiceSupport

VoiceSupport is the application that allows you to fully unlock the potential of your TC-Helicon product and stay in touch with the latest news, tips and tricks.

VoiceSupport key features include:

► Professionally authored preset libraries ► Direct access to product manuals ► Drag & drop Preset management ► Customizable content about your products ► Firmware upgrades ► Account management ► Access to TC-Helicon support

You can download VoiceSupport for Microsoft Windows and Mac OS X from:

tc-helicon.com/products/voicesupport/

VL3X – Reference manual (updated 2015-10-20) 9

Before you begin

Please register your VL3X

To register your VL3X using the VoiceSupport software, launch VoiceSupport and click on the ACCOUNT button.

You can also go to

account.tc-helicon.com

Registration of your product is NOT required to use VoiceSupport, download presets, update firmware or contact support.

VL3X – Reference manual (updated 2015-10-20) 10

Introduction

VL3X – Reference manual (updated 2015-10-20) 11

Introduction

Welcome!

Thank you for purchasing VoiceLive 3 Extreme – or as we affectionately call it: VL3X.

Like the original VoiceLive 3, VL3X brings you a wide array of vocal and guitar effects, plus a great multi-track looper.

But, you bought the Extreme – so what’s NEW?

In a word… well, four words: Backing Tracks and Automation.

For more information, see “Using Backing Tracks” and “Backing Track Sequence Recording (Automation)”.

As you discovered in the Quick Start Guide (the short manual that came in the box), VL3X is easy to use at the top level but offers unpre cedented depth in both control and editing. We recommend you treat your VL3X like any other new instrument and dedicate some time to learning how to use it.

Yes, that means RTFM!

Read the… full manual.

VL3X – Reference manual (updated 2015-10-20) 12

Concepts

Introduction

Before we dive into the countless features of VL3X, let’s establish some basic terms and concepts.

Layers & footswitch mapping

VL3X is built on the fundamental concept of “layers”. From a design perspective, there are thee Layers to work with:

► Vocal ► Guitar ► Looping / Backing Track

You may switch between Layers using the Layer footswitch, which we will discuss in more detail later in the manual.

our massively popular VoiceLive 2 unit: “I love it – but I want the ‘X’ footswitch to be where the ‘Y’ footswitch is”.

We also recognize that Layers and remappable footswitches can be a bit daunting to learn. This is why we have designed the system to be consistent and straightforward. Once you have learned how to remap one footswitch, you know how to remap them all.

Essentially, when you tap the Layer footswitch, the effects associated with the six effect footswitches (labeled µMod, Delay, Reverb, HIT, Double/Comp, Harmony/Drive) will change from vocal effects to guitar effects or looping/backing track controls.

You can even remap footswitches within a Lay- er or from one Layer to another. This approach solves one of the most common requests from

VL3X – Reference manual (updated 2015-10-20) 13

Introduction

Global Effects

VL3X allows you to define a specific Preset as the “Global” Preset. This defines all of the effects and parameters within that Preset and allows them to be easily applied to other Presets.

What does that mean for you? Easier, quicker Preset creation and access to consistent sounds!

Here is an example:

“I want to use this great reverb on a whole bunch of Presets. How do I do that?”

► First, edit the guitar reverb on your Global Pre-

set (by default, this is Preset no. 491). Editing guitar settings is explained in greater detail in “Editing the Guitar Layer”.

► Then go to each Preset where you would like

to use the same Reverb, go to the Reverb settings and change the Global parameter to “On”.

Done! This Preset will now use the Reverb settings from the Global Preset.

Global effects are available for each and every effect in the Vocal and Guitar Layers. There are endless possibilities for Global effects handling, but here are a couple we think you might like:

Use the same guitar effects across all Presets

This essentially turns VL3X’s Guitar Layer into a series of stomp-boxes that you only need to set up once.

“How do I do that?”

► Simply edit ANY Preset until all of the guitar

effects and footswitch assignments are how you like them.

► Enter the Setup menu and navigate to the Sys-

tem tab using the horizontal Arrow buttons.

► Dial the Control knob until the line saying “All

Guitar FX Global: Off” is highlighted.

► Turn Mix knob 3 or Mix knob 4 under the dis-

play until “Off” changes to “On”.

Done! Every Preset will now have the same

guitar sounds.

Make sure a particular effect always sounds the same

Want a certain Delay available in every Preset? No problem.

► Just edit the Global Preset’s Delay setting. ► Go to each Preset where you would like to use

the same Delay, go to the Delay settings and change the Global parameter to “On”.

Always use the same guitar amp model, but have everything else change

► Easy! Adjust the Global Preset’s Amp setting

the way you want it.

► Go to each Preset where you would like to use

the same Amp, go to the Amp settings and change the Global parameter to “On”.

Updating Global settings

The Global system is “opt in”. This means each Preset carries its own individual settings until you change an effect to Global. Once that happens, the current Preset and Global Preset settings become shared.

Once you have changed an effect to Global ON, any edits you make within that Preset affect the Global settings as well. This

means you don’t have to bounce back and forth between the Global and current Preset to make changes to Global effects.

Set All Guitar FX Global to “On” to use the

same guitar effect in all Presets Setting Global to on links an effect to the settings defined in the Global Preset

It also means that you need to be aware of the above, so you don’t accidentally edit a Global setting, thinking you are only editing the current Preset. With great power comes great responsibility!

VL3X – Reference manual (updated 2015-10-20) 14

Introduction

For more information, see “Defining and using Global Effects”.

Multi-track looper

Looper – Main view

Having access to multiple, independent loops al-

lows for a lot of flexibility and functionality when

looping. Our multi-track looper has some really

amazing performance features that will help you

to make great loops.

The Swap feature allows you to record two loops

and alternate between them with the push of a

footswitch. This is particularly useful for record-

ing different “sections” of a song, (like a verse

and chorus) and quickly moving between them.

the “beat box” segment in order for there to be “enough” to play your guitar part over. Now, you can record unequal length phrases!

Record your 1 bar “beat box” on one Loop Track, then record your 8 bar guitar section on another.

There are a few different Sync modes in the Looper – so be sure to read the “The Utility menu” to familiarize yourself with the way they affect your loops.

Looper – Swap feature

Loop length no longer matters. In some loop-

ers, your longest Loop Track will dictate the

length of all others, which can be a big hassle.

Imagine a “beat box” style rhythm that is 1 bar

long and a guitar progression that is 8 bars long.

In the past, you would have to record 8 bars of

VL3X – Reference manual (updated 2015-10-20) 15

Introduction

Store loops

Those of you who have jumped on board with looping have likely made a really, really good loop in the past – only to see it vanish into thin air when you power off the device. VL3X allows

you to store your creations right in the box!

Loop Utility menu with Save function

Not only can you store your loops – you can

assign a stored loop to a Preset. This, in our

opinion, is a game changer.

Imagine recording a really cool ambient loop, synced to the tempo of your song, while you are at home – and then fire it off at your gig. If the band is using a click track, everything will line up perfectly with what you are playing, including all of your time-based vocal and guitar effects!

Backing Tracks and Automation

The new “killer” feature in VL3X is its ability to

import Backing Tracks, assign them to a Preset

and then record your effect changes throughout

the song. When you hit the stage, your carefully

designed performance can be presented to your

audience, keeping your eyes up and feet free to

better deliver a compelling performance.

No more “tap dancing” on the effects buttons.

No more external track player. Just a great per-

formance where you can concentrate on what

you do best, playing music.

Complete guitar effects

With VoiceLive Play GTX, we introduced our first “complete” guitar effects suite. Previously, we had provided Chorus, Reverb, EQ and Compression blocks. VoiceLive Play GTX added Amp/ Distortion and Delay to the options, greatly expanding the sound possibilities for guitar players.

VL3X takes that ball and runs with it. In fact, it pulls a Forrest Gump and runs straight out of the stadium and across the country!

Guitar effects in VL3X

The guitar effects in VL3X come from some of TC Electronic’s most successful effects, like Corona Chorus, Hall of Fame Reverb, Vortex Flanger and Flashback Delay!

This storage ability removes a lot of the repetitive nature of building loops live in front of an audience. Sure, it’s neat the first time you see someone build a loop live, but then it gets a bit boring. It often takes a while to get all of the “bits” of the loop recorded. You can do that work in advance and then add to things in real-time during performance.

VL3X – Reference manual (updated 2015-10-20) 16

When you couple those beautiful effects with great amp modeling, Drive/Boost, Compression, Rhythm/Tremolo, Wah-wah and Octave Down, you can truly manipulate your guitar and vocal sounds as a cohesive unit.

Imagine your time-based vocal and guitar effects being perfectly in sync, without having to set up complex timing systems or tapping tempo on multiple devices. Everything just lines up!

Introduction

Advanced monitoring

More and more people are jumping into the In Ear Monitor (IEM) pool. It’s a great thing to do – but it can often require a fairly complex setup.

VL3X offers two features that make custom monitor mixing really easy for you.

Monitor IN

Using the Monitor IN XLR connection, you can bring a “monitor or cue” mix into your VL3X, blending it with your own vocal, guitar and loop sounds. The incoming monitor IN does not get passed back out of the unit – so you can rest assured that it won’t cause feedback.

Headphone Mix

VL3X’s headphone mix is independent of the output mix – allowing you to hear “what you want” in your headphones or IEMs, without affecting what comes from the main outputs.

This monitoring capability can literally eliminate

the need for expensive belt packs, transmitters,

secondary mixers and other gear required for a

custom IEM solution. Using our included Guitar/

Headphone cable, you only use one cable to

connect your guitar and headphones/IEM’s to

the unit!

Headphone Mix

VL3X – Reference manual (updated 2015-10-20) 17

Introduction

Top panel overview

Click or tap on an interface element to jump directly to its description.

Record Audio

Record Sequence

VL3X – Reference manual (updated 2015-10-20) 18

Push for Favorite

Introduction

Below is a brief description of the top panel controls and buttons. Full functionality for each will be described in more detail later.

Genre button

Use the Genre button to find Presets based on their musical genre or featured effects. For example, you may want to restrict the Presets “visible” to you in VL3X to those that are defined as “Rock” or “Country” in nature.

Use the knob right under the genre indicator to select the desired Genre (e.g. Rock), and press the Genre button again. When browsing Presets, you will only see Presets assigned to this Genre, and the name of the selected Genre will be shown in the lower left corner of the display.

To remove the filter, tap the Genre button, set Genre to “All” and tap the Genre button again

Setup button

Press the Setup button to access all system setup settings, including Input, Output, MIDI, Tone, Guitar and more.

For more information, see “Setup”.

Press and hold the Setup button to enter the

automated microphone and guitar gain setting

mode.

Store button

Use the Store button to store

Presets. Tap once to activate

the store procedure. Tap again

to confirm. For more informa-

tion, see “Storing Presets”.

Home button

Use the Home button to return

to the “top level” interface. The

screen will show the number of

the current Preset and any ef-

fects associated with the current Layer.

Control knob

Use the Control knob to move

through Presets and scrolls up/

down when in an edit screen.

When the “Home” screen is

shown, you can press the Control knob to add

or remove the current Preset from the Favorite

genre. For more information, see “Using Favor-

ites”.

Vocal button

Use the Vocal button to enter the Vocal edit screens. This is where you can make changes to the vocal effects for the current Preset.

For more information, see “Editing the Vocal Layer”.

Guitar button

Use the Guitar button to enter the Guitar edit screens. This is where you can make changes to any of the guitar effects for the current Preset.

For more information, see “Editing the Guitar Layer”.

Looper button

Use the Looper button to enter the Loop and Backing Tracks options screen. Here you can control several general Loop options.

When you’re in the Vocal or Guitar layer and have a Loop playing, the small red LED next to the Looper button will flash. This gives a visual indication that a loop is running.

VL3X – Reference manual (updated 2015-10-20) 19

Introduction

For more information, see “Loop button parameters”.

Mix knobs

From the Home screen, turning any mix knob enters the Mix screens (Main, Headphones and Effects).

For more information on the Mix screens, see “Using the Mix Controls”.

Within an Edit page, the mix knobs adjust parameter settings. Each mix knob controls the parameter shown right above it in the display.

Arrow buttons

When you are on the Home screen, you can use the Arrow buttons to move through Presets.

Level LEDs

Read the level LEDs as follows:

► If you play your guitar with-

out singing, the LEDs show your guitar level.

► If you sing and don’t play

guitar, the LEDs show your vocal level.

► If you play and sing, the LEDs show a com-

bined level.

When you are on an Edit screen, use the Arrow buttons to move between tabs.

NP LED

The NP LED lights when NaturalPlay (chord) information is received via Guitar, MIDI, Aux, Looper or RoomSense.

VL3X – Reference manual (updated 2015-10-20) 20

Introduction

4 5 6

Footswitches overview

Click or tap on an interface element to jump directly to its description.

VL3X – Reference manual (updated 2015-10-20) 21

Introduction

Below is a description of the footswitches on VL3X. Some switches will be discussed in more detail later in the manual.

Preset up / Preset down footswitches

► Tap the Preset Up/Preset Down

footswitches to move through Presets.

► Hold the Preset Up/Preset

Down footswitches to quickly scroll through Presets.

► Tap both footswitches simul-

taneously to enter Talk/Tuner mode.

About Talk/Tuner mode

Talk/Tuner mode mutes guitar out-

put, activates the guitar tuner and

bypasses all vocal effects so you

can speak to your audience.

You can still tap the Preset Up and Down Preset

buttons while in Talk/Tuner mode to change pre-

sets. This is great for changing presets while ad-

dressing the audience to queue sounds for your

next song.

Layer footswitch

To switch between the Vocal and Guitar effects layers, tap the Layer footswitch.

► Vocal Layer active: Layer

footswitch LED lights blue.

► Guitar Layer active: Layer

footswitch LED lights red.

To access the Loop Layer, hold the Layer footswitch.

► Loop/Backing Track Layer

active: Layer footswitch LED

lights purple.

To return from the Loop or Backing Track Layer to the previously active Layer (Vocal or Guitar), hold the Layer footswitch.

To exit Talk/Tuner, press any button other than

Preset Up or Preset Down.

For more information, see “Talk/Tuner Mode”.

VL3X – Reference manual (updated 2015-10-20) 22

Introduction

Here are a couple of examples showing how the effects footswitches might look when each Layer is active:

Vocal Layer with Reverb, Double and Harmony activated.

Guitar Layer with µMod (let’s say it’s Flanger for this example), Delay and Drive activated. If you were previously on the Vocal Layer, you would tap the Layer footswitch to move to the Guitar Layer, changing the footswitch LED color from blue to red.

Vocal Layer with some guitar effects remapped

to vocal effect footswitches. You may find that

you would like to “hang out” on a particular

Layer (Vocal or Guitar) and have access to a key

effect or effects from another Layer. Remapping

footswitches allows you do to just that. This is

best referred to as a “mixed Layer”. This is a

more advanced operational mode that we will

cover later.

Step footswitch

► To move to the next Step with-

in the current Preset (e.g. from 1 to 2), tap the Step footswitch. Not all Presets have Steps.

► To move to the previous Step in the current

Preset (e.g. from 2 to 1), tap the Preset Down footswitch.

► To enter the Step management screen, hold

the Step footswitch.

Step management

You can use the current Preset or a different Preset as a Step.

If you are using the current Preset, make sure that it sounds the way you want it to before you enter Step management.

Adding a Step to a Preset

VL3X – Reference manual (updated 2015-10-20) 23

Introduction

If it is a different Preset, enter Step management and then use the Preset Up and Preset Down footswitches to locate the Preset you would like to add as a Step.

Adding a different Preset as a Step

► To accept changes, tap the Step footswitch. ► To delete the current step, tap the Layer

footswitch.

► To cancel, press the Home button.

The Step footswitch can be globally reassigned to several different functions – such as Tap Tempo, HIT, Set Key, any Vocal or Guitar effect and more. We have found that remapping Step to enter/leave the Looper can be incredibly useful in performance, when you need quick access in and out.

µMod footswitch

Tap the µMod footswitch to turn the

micro-modulation (µMod) effect on

or off.

The µMod block encompasses effects such as

Chorus, Flange, Detune and Rotor.

This effect can be configured and used sepa-

rately for the Vocal and Guitar layer. For more

information, see “Editing the Vocal Layer” and

“Editing the Guitar Layer”.

Delay footswitch

Tap the Delay footswitch to turn the Delay effect (also known as echo) on or off.

The Delay block encompasses effects such as ¼ Note, Multi-Tap and Ping Pong.

This effect can be configured and used separately for the Vocal and Guitar layer. For more information, see “Editing the Vocal Layer” and “Editing the Guitar Layer”.

Tempo tapping

► To access tempo tapping, hold the Delay

footswitch.

► Tap the footswitch in time with your song.

A few taps are enough.

► When you are happy with the tempo, stop

tapping.

For more information about Steps, see “Using Steps”.

VL3X – Reference manual (updated 2015-10-20) 24

Introduction

Reverb footswitch

Tap the Reverb footswitch to turn the Reverb effect on or off.

The Reverb block encompasses effects such as Hall, Club, Room and Plate.

This effect can be configured and used separately for the Vocal and Guitar layer. For more information, see “Editing the Vocal Layer” and “Editing the Guitar Layer”.

HIT footswitch

Tap the HIT footswitch to activate or

deactivate HIT. HIT can control:

► Vocal HIT (blue) ► Guitar HIT (red) ► All HIT (purple)

HIT is covered in greater detail in “Using the HIT

footswitch”.

Double/Comp footswitch

On the Vocal Layer, tap the Double/ Comp footswitch to turn the Double effect on or off.

Double encompasses effects such as 1 Voice Tight, 2 Voices Wide and 4 Voices Wide.

For more information, see “Double effect block / t ab”.

On the Guitar Layer, tap the Double/Comp footswitch to turn the Compressor on or off.

For more information, see “Comp(ression) effect block / t ab”.

VL3X – Reference manual (updated 2015-10-20) 25

Introduction

Harmony/Drive footswitch

On the Vocal Layer, tap the Harmony/Drive footswitch to turn the Harmony effect on or off.

Harmony encompasses effects such as High (3rd up), Low (4th below) and Low & Lower (4th below and 6th below).

For more information, see “Harmony effect block / t ab”.

On the Guitar Layer, tap the Harmony/Drive footswitch to turn the Drive effect on or off.

Drive encompasses effects such as Boost, Boost & Drive and Drive.

For more information, see “Drive effect block / t ab”.

VL3X – Reference manual (updated 2015-10-20) 26

Introduction

Back panel inputs and outputs

VL3X offers extremely robust input and output routing. Using the Monitor IN/THRU and dedicated Guitar outputs effectively, you can greatly reduce the amount of gear you need to take to a performance.

VL3X – Reference manual (updated 2015-10-20) 27

Inputs

Introduction

1. DC Power connector

2. XLR and ¼” Combo jack input

3. ¼” Guitar input

4. 1/8” Stereo Aux and XLR Monitor input jacks. Please note that Aux input and Monitor input

are mutually exclusive. Only one may be used at a time.

5. MIDI Input

6. Footswitch. Connect a TC-Helicon Switch-3 or Switch-6 here. You can also connect a second expression pedal here – see “Working with a second expression pedal”.

7. Expression pedal input

8. USB Host port

VL3X inputs overview

VL3X – Reference manual (updated 2015-10-20) 28

Introduction

Outputs

you connect the Guitar Out(s) to your amp(s), guitar sounds will be removed from the Main outputs.

6. MIDI Out: The MIDI Out jack sends MIDI Control Change messages (MIDI CCs) related to footswitches and buttons pressed on VL3X. If no CC is sent, there is likely no CC assigned to that particular action.

Currently, Vocal & Guitar effects ON/OFF and

their respective levels are represented by MIDI Control Change messages.

If you experience hum from your guitar amp or PA, try pressing the GRND LIFT switch, located between the Headphone out and the Left XLR output.

VL3X outputs overview

1. Guitar THRU: If you only need chord detection and want to pass your dry guitar signal onto a different processor or record a dry guitar track, use the THRU jack to pass your guitar signal to your amp.

2. Monitor THRU: The Monitor THRU jack al- lows you to receive an incoming Monitor IN signal from a mixer and pass it on to another monitor.

VL3X – Reference manual (updated 2015-10-20) 29

3. Headphone out: Connect headphones or in-ear-monitors to the Headphone out and use the Headphone Mix to set up your personal mix.

4. Main Outputs: The Main Outputs carry Vocals & Effects. If nothing is connected to the Guitar outputs, Main outputs also carry Guitar signals.

5. Guitar Outputs: The Guitar outputs carry the Guitar signal. If only one output is connected, guitar output is automatically in MONO. When

VL3X over view

VL3X overview

VL3X – Reference manual (updated 2015-10-20) 30

Setting up

VL3X over view

Instead of jumping directly into a whole bunch of descriptions of parameters and fine tuning controls, now is a good time to back up a bit and approach VL3X from a “Let’s use this thing!” perspective.

First, if you haven’t read through the Quick Start Guide that came in the box, we suggest you do so now.

The minimum gear you will need from here is:

► Your V L3X ► A microphone – either

► Dynamic (e.g. a TC-Helicon MP-75 or MP-

76, SM58, or OM5)

► Condenser (e.g. a Beta 87A or enCore 300)

► An XLR cable (microphone cable) to connect

your microphone to VL3X

► A guitar or MIDI keyboard, if applicable ► Headphones ► The Guitar/Headphone cable that came with

your VL3X.

If you would prefer to use VL3X via your PA, you will need one or two additional XLR cables to connect VL3X’s XLR outputs to inputs at your mi xer.

A lot of PAs are mono and only require one XLR connection. If you have a stereo PA, you will want to connect both VL3X XLR outputs to your mixer.

Connecting VL3X to your mixer/PA

► Determine whether your mixer/PA is stereo or

mono.

► Connect the appropriate number of cables

from VL3X’s XLR outputs to the mixer/PA inputs (1 for mono, 2 for stereo).

! If your P.A. is Stereo, you will need to pan one

channel left and the other one right in order to receive the benefits of VL3X’s stereo effects.

► Watch the “Craig’s Corner” episode about

connecting to a mixer:

youtube.com/watch?v=qq0AOtafIjs

VL3X – Reference manual (updated 2015-10-20) 31

VL3X over view

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

XLR Male XLR Female

Combo Jack

MIDI Jack

1/4 inch jack

Power Input

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

Combo Jack

MIDI Jack

1/4 inch jack

Mini USB

USB Type B

Combo Jack

MIDI Jack

1/4 inch jack

Mini USB

1/8 inch jack GRND Lift

USB Type A

USB Type B

Diagram legend

The following icons are used in the diagrams in this manual.

Mixing Board

Microphone

Acoustic Guitar

Electric Guitar

Keyboard or other instrument

Monitor Mix

P.A.

Guitar/Keyboard amp

XLR cables

TRS and TS cables

1/8” cable (guitar cable)

VL3X – Reference manual (updated 2015-10-20) 32

VL3X over view

Diagrams

On the following pages, you will see some connection diagrams. We have set things up to give you clear and concise representations of what goes where.

There are a few things we would like you to keep in mind as you look at the diagrams:

1. Inputs to VL3X will be to the left of the back panel image.

2. Outputs from VL3X will be to the right of the back panel image.

3. There are two boxes on the bottom of each diagram.

► The VL3X box on the left shows “what you

hear” from your VL3X headphone output.

► The P.A. box on the right shows “what you

hear” from the P.A. speakers.

4. We don’t account for other inputs/instruments when showing “what you hear” from the P.A., so you won’t see pictures of drums etc.

5. In a lot of cases, “what you hear” will be the same for both VL3X headphone output and P.A. – but it can also be different.

5 5

Reading the diagrams in this manual

VL3X – Reference manual (updated 2015-10-20) 33

VL3X over view

Stereo PA connection for vocals (and guitar if applicable)

This diagram shows a “Stereo” output mode. Stereo sends a Left and Right signal via the XLR outputs to your PA or mixer.

This allows you to enjoy the full benefits of stereo audio effects.

Setting Output Mode to Stereo

Changing VL3X from Mono (default) to Stereo output:

► Press Setup. ► Use the < or > Arrow buttons to move to the

Output tab.

► Use the Control Knob to move the selection

bar until XLR Output Mode is highlighted (white).

► Turn the Mix Knob directly below the XLR Out-

put Mode box on the screen until the mode changes to Stereo.

► Press Home to exit. ► When choosing Stereo, ensure the PA is ac-

tually outputting a stereo signal. It’s common for a PA to have two speakers or speaker sets – but still be mono.

VL3X – Reference manual (updated 2015-10-20) 34

VL3X over view

Dual Mono PA connection for vocals (& guitar if applicable)

This diagram shows a “Dual Mono” output mode. Dual Mono sends two mono signals from the XLR outputs on VL3X. One XLR carries the vocal sounds and the other XLR carries the guitar sounds.

This allows you to balance the vocal and guitar levels via your mixer. Dual Mono can be especially effective at a venue with a sound tech. The guitar and vocal signals are separated and can be controlled independently, making the tech’s mixing job easier.

Setting Output Mode to Dual Mono

Changing VL3X from Mono (default) to Dual Mono output

► Press Setup. ► Use the < or > Arrow buttons to move to the

Output tab.

► Use the Control Knob to move the selection

bar until XLR Output Mode is highlighted (white).

► Turn the Mix Knob directly below the XLR Out-

put Mode box on the screen until the mode changes to Dual Mono.

► Press Home to exit.

VL3X – Reference manual (updated 2015-10-20) 35

VL3X over view

Stereo vocals and a guitar amplifier

You may want to make a quick adjustment to the guitar output if you are connected to an amp. It might be desirable to turn off VL3X’s speaker simulations while preserving all of the other guitar effects. This will allow the “character” of your amp to stay the same from Preset to Preset.

Follow the instructions in “Stereo PA connection for vocals (and guitar if applicable)” to change your output mode to Stereo.

Turning speaker simulation off

► Press Setup. ► Use the < or > Arrow buttons to move to the

Guitar tab.

► Use the Control Knob to move the selection

bar until Speaker Sim Enable is highlighted.

► Turn the Mix Knob directly below the dis-

play until the setting for Speaker Sim Enable changes from On to Off.

► Press Home to exit.

Turning speaker simulation off

This setup is great if you have got a guitar amp and want to send VL3X’s guitar sounds to that amp instead of to the PA.

For Mono vocals via the PA and guitar sounds via a guitar amplifier, follow the diagram above, but connect only the Left XLR output from VL3X to your PA and set the output mode to Mono.

VL3X – Reference manual (updated 2015-10-20) 36

VL3X over view

The kitchen sink – everything hooked up

Stage

Monitor

Aux

Send

SWITCH-3

Speakers

Computer

DAW

It’s unlikely that you will have absolutely everything seen here hooked up to VL3X – but this diagram can serve as a general connection diagram that you can use to configure your personal setup.

The setup shows:

1. Microphone

2. Guitar

3. Music Player

4. Incoming Monitor (or cue) mix from the Front Of House mixer

5. Monitor THRU to another monitor

6. Headphone out (possibly using the headphone/guitar cable and In Ear Monitor’s)

7. XLR Outputs carry stereo vocals to the PA.

8. Guitar Outputs carry stereo guitar sounds to amps

9. Switch-3 and an Expression pedal for extra controls

10. MIDI IN for NaturalPlay chord information from a keyboard (NaturalPlay will “listen” to Guitar/Keyboard over the AUX input and will automatically switch between Guitar/Keyboard if they are both plugged in)

11. MIDI OUT to control a DAW, perhaps with backing tracks and/or show control software

Loop and Metronome sounds generated by VL3X are not shown, but any Vocal Loops will be sent out via the XLR outputs and Guitar loops will be sent out via the Guitar outputs.

The Metronome can be heard in the XLR Main Mix and headphone mix or just the headphone mix, depending on your mix settings.

VL3X – Reference manual (updated 2015-10-20) 37

VL3X over view

Quick troubleshooting tips

After following the VL3X Quick Start Guide and referring to the diagrams in “Setting up”, you should hear your voice and instrument(s) via your VL3X.

Here are a few troubleshooting ideas if you are not hearing sound.

“I’m not hearing my voice!”

Do the Level LEDs near the Control Knob light up when you sing?

No?

► Try a different cable. ► Try a different microphone. ► Did you go through the Auto-Gain procedure

described in the Quick Start Guide?

► Press and hold the Setup button. ► Follow the on-screen instructions.

► Are you using a condenser microphone?

► Press Setup. ► Navigate to the Input tab. ► Change the Input Type parameter to “Con-

dense r ”.

Yes?

► Is your PA receiving signal?

► Check your PA manual for details on how to

check input levels.

► Turn up channel input trims until you see

signal.

(If you have a separate mixer/amplifier)

► Is the PA turned on? ► Are the speakers connected?

“I’m not hearing my guitar.”

► Check that your guitar is turned all the way up. ► Have you connected your guitar to an amp?

► Is it turned on?

► If you are in Dual Mono mode, make sure both

of the channels on your PA/mixer are turned up and unmuted according to your PA/mixer manual.

► Are you in Tuner mode?

Accidentally pressing the Preset up/Preset

down footswitches simultaneously will enter Tuner mode, muting guitar output.

If you see a guitar tuner on the screen and the

Preset up/Preset down LED’s are lit solid red, you are in Tuner mode. Press Preset Up or Preset Down to exit.

VL3X – Reference manual (updated 2015-10-20) 38

Getting to know VL3X

VL3X – Reference manual (updated 2015-10-20) 39

Getting to know VL3X

Amazing Grace

We can (and will!) fill page after page with descriptions of VL3X’s fantastic features – but nothing beats hearing (and trying) them for yourself.

If you want to get an idea of VL3X’s potential,

► plug in a microphone, ► connect VL3X to a set of speakers or your fa-

vorite headphones

► select Preset 10 and ► press the HIT footswitch (which in this Preset

is associated with the Backing Track playback function, so it is shown as “Track” in the display).

You should now hear “Amazing Grace”. After the intro, start singing – and be amazed.

VL3X – Reference manual (updated 2015-10-20) 40

Getting to know VL3X

A guided tour

While some product manuals take a path through all of the functions and features, we are going to lead you on a tour of VL3X from a practical use standpoint. If you follow along on your VL3X while reading the following pages, you will get a good grasp of most of the key features in the box.

It may seem as though we jump around through various menus and operations – but trust us that this is a good way to get to know the unit while making practical changes in the process. Stick with us!

VL3X – Reference manual (updated 2015-10-20) 41

Getting to know VL3X

There’s no place like Home

Using all the features described on the following pages, you might find yourself deep in some submenu or parameter list. Don’t panic! Just press the Home button, and you will return to VL3X’s “Home” screen. The Home screen shows…

► The number of the current Preset. ► The name of the current Preset. ► The effect blocks currently assigned to the

six footswitches labeled µMod, Delay, Reverb, Hit, Double / Comp and Harmony / Drive on the currently active Layer (Guitar or Vocal).

For more information on accessing and edit-

ing effect settings, see “Editing the Vocal Layer” and “Editing the Guitar Layer”.

► Backing Track (if assigned) Play/Stop/Pause

indicators next to the preset number.

► “BT” or “SEQ” if a Backing Track is assigned

to the preset.

“SEQ” is shown in place of “BT” when a se-

quence (FX automation) has been recorded. More more information, see “Backing Track Sequence Recording (Automation)”.

The Home screen with the Backing Track (“BT”) indicator

Think of the Preset as a “container” for…

► the vocal/guitar effects settings, ► the Backing Track and ► the performance data that you have recorded.

Accordingly, when you load the Preset, all of these components are loaded too.

For more information, see “Backing Tracks and Presets”.

VL3X – Reference manual (updated 2015-10-20) 42

Getting to know VL3X

Using the Control knob

► While on the Home screen, the Control Knob

moves through Presets.

► Turning the knob clockwise (right) will move

up through Presets.

► Turning the knob counterclockwise (right)

will move down through Presets.

► Pressing the control knob while on the Home

screen will set the current Preset as a Favorite. For more information, see “Using Preset Genres and Favorites”.

► On an Edit or System screen, the Control

Knob acts as a vertical scroll control. Use it to navigate up or down through parameters and settings.

VL3X – Reference manual (updated 2015-10-20) 43

Getting to know VL3X

Using the Arrow buttons

Use the two small Arrow buttons located beneath the Control knob to move through Presets and edit pages.

► While on the Home screen, use the Arrow but-

tons to move through Presets.

► To select the next Preset, press the right

Arrow button.

► To select the previous Preset, press the left

Arrow button.

► On an Edit or System screen, the Arrow but-

tons allow you to move left and right through the “tabs” in that menu.

For example, the Vocal edit screen has a sep-

arate tab or “page” for each vocal effect. The Arrow buttons move from left to right through these tabs.

VL3X – Reference manual (updated 2015-10-20) 44

Getting to know VL3X

What is a Preset?

VL3X and many other TC-Helicon devices are based on the concept of “Presets”. Essentially, a Preset is a record of all the settings for a group of effects that you can recall quickly and easily.

The Preset concept is extremely flexible. A Preset can be general purpose – like a simple Reverb or Harmony sound. But a Preset can also represent a specific song or portion of a song via multiple effects and settings.

A good modern analogy for a Preset is a user account on a computer. Even though each user has access to the same hardware (CPU, RAM etc.) each user can change their desktop wallpaper, icons on the desktop, program behaviors and much more. When each user logs in, the computer recalls all of their custom settings.

Depending on how you like you to work with effects, you may find that you like to use a few general purpose Presets and turn effects on and off manually during your performance. Or you might be the kind of guy or girl who likes to spend a bit more time in advance of the performance to create Presets for all sorts of things. Or you may be somewhere in between. Any amount of editing or Preset manipulation is fine! You can get as “programmer” or “seat of the pants” as you like.

VL3X – Reference manual (updated 2015-10-20) 45

Using Steps

Getting to know VL3X

A Step is, at its core, a Preset within a Preset. Here’s how it works…

Let’s use a typical song pop song structure as an example.

► Verse ► Chorus ► Verse ► Chorus ► Bridge ► Chorus

Now, let’s assume that you want a completely different sound for your Verse, Chorus and Bridge sections. The HIT function is great if you need two variations within a song – but here, you’ll obviously need more.

Now the easiest way to accomplish this is to make a separate Preset for each song section. This means that on stage, you now have to remember where those presets are and move between them for each part of the song. It’s totally doable – but a bit more work that necessary.

So, let’s assume that you have created the three different presets that represent your three song sections. You’d now create “Steps” within your Verse Preset like this:

► Step 1: Verse ► Step 2: Chorus ► Step 3: Verse ► Step 4: Chorus ► Step 5: Bridge ► Step 6: Chorus

As you perform, you simply press the STEP button once for each song section as it comes along. It’s a much simpler way to manage several presets in a song!

For more information about creating and deleting Steps within a Preset, see “Step management”.

Enter the STEP.

If you treat the Verse Preset as your starting point (perhaps name it simply with your song name), you can add Steps to that initial Preset to cover the other sections of your song, in the order that they are needed.

VL3X – Reference manual (updated 2015-10-20) 46

Getting to know VL3X

Using Preset Genres and Favorites

If you are playing classical pop, you may not care much for Presets that have been optimized for Alternative rock – and vice versa. And if you have created or fine-tuned ten Presets for your show, you may now want to scroll through the hundreds of other Presets that you are working with in the studio. Genres to the rescue!

As described earlier, the Genre feature allows you to filter the Presets in VL3X based on the musical genre or primary effect.

Using Genres

► Tap the Genre button. ► Use the Mix Knob to scroll through available

Preset Genres.

► When you have found a Genre you would like

to explore, tap the Genre button again to confirm and exit.

Pressing any other button – like HOME – to

exit Genre selection mode will not select the current Genre. Make sure you use the Genre button to exit the menu and confirm your selection. The Genre button will be flashing to remind you to press it.

After selecting a Genre, you will notice that

scrolling through Presets gives you fewer options than before. Presets are now filtered and only show options contained in your chosen Genre.

To return to seeing all Presets:

► Tap the Genre button. ► Use the Mix Knob to change the Genre to “All”. ► Press Genre again to exit.

Using Favorites

There is a special Genre called Favorite which you can assign Presets to. Favorites can be used to quickly make a set-list or showcase of Presets, helping you to navigate more quickly through VL3X.

► To add a Preset to the Favorite Genre, sim-

ply press the Control Knob down while on the home screen.

A small “FAV” tag will be shown in the bottom

right corner of the display, indicating that the current Preset is now flagged as a Favorite.

If you now enter the Genre menu and select

the “Favorite” Genre, only Presets that you have selected as Favorites will be available as you change Presets – just as with other Genres.

► To remove the Favorite flag from a Preset, sim-

ply press the Control Knob again.

VL3X – Reference manual (updated 2015-10-20) 47

Getting to know VL3X

What is NaturalPlay?

A device creating harmony voices and correcting what you are singing to the right scale is a wonderful thing. But how do you tell that device what key the next song is in? Do you have to program it as part of a Preset? Do you have to set it up for each song? What if you get it wrong on stage?

NaturalPlay to the rescue! If you have a guitar connected to VL3X, it will automatically guide key and scale for any Harmony voices or HardTune effects. You don’t need to make any changes to the system for this to work. Just play your guitar normally (chords work best) and sing!

Similarly, if you connect a MIDI-enabled keyboard using a MIDI cable, VL3X will follow your playing to determine key/scale for Harmony voices and HardTune.

If you sing to pre-produced tracks and don’t have a guitar or MIDI keyboard connected, VL3X will read key/scale information from a music signal present at the Aux jack – this might be a song from an MP3 player or smartphone. Finally, VL3X can also read key/scale information from the Monitor In jack.

As you see, NaturalPlay has you covered – no matter what your setup is.

VL3X – Reference manual (updated 2015-10-20) 48

Getting to know VL3X

Using Global Key/Scale

If you do not have an instrument or a pre-produced song that can guide VL3X’s Harmony and HardTune features, you may want to make a small change to the System setup so you can define the key and scale for the song you are singing and change Presets without having to change the Key setting each time.

► Press Setup. ► Use the < and > Arrow buttons to navigate to

the System tab.

► Using the Control Knob to highlight Global

Key/Scale.

► Change the Global Key/Scale to ON.

This will set one global key/scale for all Pre-

sets in VL3X.

► You can change this global key/scale “on the

fly” later.

► Press Home to exit.

Using Global Key/Scale

Once you get more familiar with VL3X, you may want to turn Global Key/Scale off in order to save a different Key/Scale per Preset.

VL3X – Reference manual (updated 2015-10-20) 49

Getting to know VL3X

Setting Key/Scale manually

If you are a singer without an instrument, you may not want to rely on sone external input. Instead, we’ll set the Key/Scale for your song manua lly.

For simplicity, let’s sing “Happy Birthday” in C using our Major 2 scale.

You will need to find C as your starting note (unless you have perfect pitch – then you are awesome).

To set the key/scale:

► If it isn’t selected, select the Vocal Layer by

pressing the Layer footswitch.

► Press and HOLD the Harmony footswitch until

the Set Key/Scale screen appears.

► Press the Preset up/Preset down footswitches

until the key reaches C.

► If the scale is not already “Maj 2”, tap the Step

button repeatedly until the display shows Maj

► Let the Key/Scale screen “time out” and dis-

appear (by not doing anything for a few seconds).

Depending on the song you are singing, “Major 2” (MAJ2) may not be right for you.

To learn which scale Harmony notes are generated based on your input note, check out our Scale Chart.

support.tc-helicon.com/entries/21051886Scale-chart-for-TC-Helicon-products

Setting Key and Scale

VL3X – Reference manual (updated 2015-10-20) 50

Getting to know VL3X

Let’s try Harmony!

Navigate to Preset No. 2 (“Classic 3rd up”) using the Preset up/Preset down switches or the Control Knob.

► Make sure that you are on the Vocal Layer.

The LEDs around the footswitches should be

blue. If they are not, press the Layer button.

► You should see the Reverb, HIT and Harmony

footswitch lit in blue.

If Harmony and HIT are not lit, press the HIT

button.

Even if you play an instrument that could be used for NaturalPlay, you may want to try setting the key/scale manually. Why? The manual settings can give a slightly different harmony output than the one you get when playing chords (NaturalPlay). You may prefer one or the other depending on the song you are playing and singing. It is not uncommon for advanced users to utilize NaturalPlay for some Presets and Key/ Scale for others.

Preset 2 (“Classic 3rd up”)

If you are a guitar playing singer, you can play your guitar and sing now. You should hear a harmony following your lead vocal and also hear some guitar effects.

If you are a singer, and if you have set the key/ scale correctly in the previous step, the harmonies should follow your lead melody correctly.

VL3X – Reference manual (updated 2015-10-20) 51

Getting to know VL3X

Using the HIT footswitch

As you sing your song, with guitar or without, try tapping the HIT footswitch. In this Preset, HIT will activate and deactivate the Harmony effect each time you press the button – once on and once for off.

HIT off

music. It may take a while to get the hang of things if you have never used footswitch based effects before. Don’t worry if you are not very good at it right away!

HIT on. Note the additional (highlighted) effects

Practice using HIT to turn the Harmony on and off at interesting points in the song. This skill is essential for using the effects “in time” with your

VL3X – Reference manual (updated 2015-10-20) 52

Getting to know VL3X

Using individual effects

Next, turn off Harmony using the HIT button. Try tapping the Double button to add the Double effect to your voice. Do the same with Delay and µMod. Try a few of the effects together and see what it sounds like.

VL3X – Reference manual (updated 2015-10-20) 53

Getting to know VL3X

Change a button from Latched to Momentary mode

When you are turning effects on and off using the footswitches, the default behavior for each switch is to work in “latched” mode. This simply means that you press the button once to turn the effect on and again to turn the effect off.

Latched mode works for a lot of cases, but there are probably times when you would like an effect to be active as you hold the button down – and inactive as soon as you release it. This is called “Momentary” mode.

Since we just experimented with turning effects on and off, let’s change the way one of those effect footswitches operates.

► Press the Vocal button. ► Press and HOLD the right Arrow (>) to “jump”

all the way to the last Vocal tab.

This is a common behavior for the Arrow but-

tons. If you press and hold, you will jump to the far side of the effects/Preset pages. This can save you some time while editing.

Curious about all those tabs and their param-

eters? Don’t worry – we will cover all the Vocal effects later!

► Now press the left Arrow (<) to navigate to the

Buttonmap tab.

► Use the Control Knob to scroll down and high-

light the line starting with “HIT”.

Selecting HIT in the buttonmap menu

► Use the Mix Knob right below “Mode” to

change the mode of the HIT footswitch from Latched to Momentary.

Changing Mode to Momentary

► Press the Home button.

This will take you back to the main (or home)

screen. Now, press the HIT button, just like you did before. Notice how the blue light only comes on while you hold the button down? That’s Momentary mode.

to activate. Practice activating harmony for a single word or short phrase. It’s much easier in momentary mode!

Before you move on, go back into the Vocal Buttonmap screen and change HIT back to Latched mode.

Changing Mode back to Latched

Try singing the same song again, pressing/holding the HIT footswitch when you want harmonies

Buttonmap menu

VL3X – Reference manual (updated 2015-10-20) 54

Getting to know VL3X

Remapping a footswitch

Since you have just seen the Buttonmap page, this is a good time to remap a footswitch to a different effect.

Since there are 11 vocal effects and 9 guitar effects in VL3X, but only 6 footswitches, the ability to assign new functions to these footswitches gives you a lot of flexibility.

Let’s remap µMod to HardTune. Later, you can remap any footswitch as you wish, for this example, please follow along.

► Press the Vocal button. ► Navigate to the Buttonmap tab using the <

and > buttons.

► Use the Control Knob to highlight the line

starting with “µMod”. It’s at the top of the page.

As you can see, the µMod is assigned to the

µMod effect.

► Use the far left Mix Knob to remap the µMod

footswitch to HardTune.

If you look at the top left corner of the screen,

you should see HardTune there, µMod will be

gone.

µMod footswitch remapped to HardTune

When you press the µMod footswitch, you will see that HardTune is now controlled by that button.

Remapping can be performed for any effect in VL3X. Vocal and Guitar effects are not restricted to their “home layers”. This means that you can

remap a vocal effect to the guitar Layer – and vice versa.

Since the Buttonmap page is available in each Preset, for both vocal and guitar layers, you can create a custom button mapping for every Preset in VL3X.

Here are some Buttonmap examples:

► Remap a Guitar effect to Shift, so you have

easy access to the Octaver effect.

µMod footswitch remapped to Octaver

► Change a Vocal effect to Synth, so you can

use the Talkbox effect.

Reverb footswitch remapped to Synth

Remapping the µMod footswitch to HardTune

► Press Home.

► Move Guitar HIT from the Guitar Layer to the

Vocal Layer, so you can change multiple guitar sounds/effects without leaving the Vocal

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Getting to know VL3X

Layer. To control multiple Vocal and Guitar effects simultaneously without having to leave the current Layer, you can assign Vocal HIT to the HIT footswitch and Guitar HIT to the footswitch right next to it (Double)

Double footswitch on the Vocal Layer remapped to Guitar HIT

Remember that remapping a Guitar effect to

the Vocal Layer needs to be done via the Vocal Buttonmap.

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Getting to know VL3X

Talk/Tuner Mode

Before you get too far into playing your guitar through VL3X, it’s a good idea to become familiar with the Talk/Tuner mode.

The tuner offers a couple of neat features for both guitar and vocals – so non-instrumentalists might want to read this section, too.

To enter Talk/Tuner mode, press both the Preset up and Preset down footswitches simultaneously for two seconds. Both footswitches will light up in red, and the tuner will be displayed.

When you enter Talk/Tuner mode, the guitar will be muted, so you can tune without your audience hearing it, and any vocal effects will removed from the signal. The vocal effects are removed so you can talk to your audience without effects cluttering up what you are trying to say.

While in Talk/Tuner mode, you can still use the Preset up and Preset down footswitches to change Presets. This is especially handy if you are tuning, changing guitars or addressing the audience between songs and want to have the next needed Preset loaded when you are finished.

Exiting Talk/Tuner mode

To exit Talk/Tuner mode, simply press both the Preset up and Down button simultaneously again. When exiting, there is no need to hold for two seconds. You can also press any of the effect footswitches to exit Talk/Tuner mode.

Setting the Talk Trim parameter to OFF allows you to also mute the microphone in TALK/TUNER mode. For more information, see “Talk Trim parameter”.

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Guitar Effects

For those of you playing guitar, this is a good time to try out the various guitar effects in VL3X. If you are a vocalist without a guitar, go get a coffee or follow along to learn about the Guitar Laye r…

Press the Layer footswitch. You should notice that VL3X’s LEDs turn RED – indicating you are now on the guitar Layer. Look at the screen, too. You will see that the effect names have changed, and there is a small guitar icon in each of the boxes (there are small microphone icons in each Vocal Layer box).

process. You are now in Guitar Edit mode, and you can move to the Buttonmap screen from there.

There is a separate Buttonmap screen for both the Vocal and Guitar Layer – but that’s a can of worms we can open later.

Guitar Layer active

While playing your guitar, tap some of the footswitches to turn the various guitar effects on and off.

Change a guitar effect to Momentary mode as described in “Change a button from Latched to Momentary mode”. However, press the Guitar button instead of the Vocal button to begin the

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Editing HIT

Getting to know VL3X

Return to the Vocal Layer by pressing Home. If you are on the Guitar Layer (indicated by red LEDs), press the Layer button until the Vocal Layer is active.

You can easily edit the effects contained within the HIT function. It is possible to have effects active when HIT is on or off. We refer to these two states as “HIT on” and “HIT off”. Think of them as two variations of a Preset.

► Press the HIT button a couple of times. ► Take note of which effects come on and off

when HIT is active (HIT on) and inactive (HIT off ).

► Now, let’s add an effect to the “HIT on” flavor

of this Preset.

► Activate HIT. ► Now, turn on an effect that is currently off. For

this example, try µMod.

► Press HIT. Notice that µMod (and Harmony)

turns off.

Preset 2 – HIT off

► Press HIT again. You will see that µMod

comes back on, in addition to Harmony, which

was previously activated by pressing HIT.

Tips and tricks for using HIT effectively

► If you would like an effect to be ON regardless

of the HIT button’s state, just activate it for both HIT ON and HIT OFF. For some effects such as Reverb, it is common to leave them on all the time.

► HIT can control any or all of the effects for

both guitar and vocals, or guitar/vocals simultaneously.

► Use the process described above while on the

Guitar Layer to change the effects associated with Guitar HIT.

► If you save the Preset, your new HIT assign-

Preset 2 – HIT on

ment will be saved and you can control both

µMod and Harmony with the single HIT button

the next time you use the Preset.

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Using ALL HIT

What’s better than being able to have separate HIT footswitches for the Guitar and Vocal Layer? How about one footswitch to rule them all? This feature is called ALL HIT, and you can easily assign it to a footswitch as described in “Remapping a footswitch”.

► Press the Vocal button. ► Press and HOLD the right Arrow (>) to “jump”

all the way to the end of the available effects pages.

► Use the < or > button to locate the Buttonmap

page.

► Use the Control Knob to scroll down and high-

light the line starting with “HIT”.

► Use the Mix Knob to change the HIT assign-

ment from Voc HIT to ALL HIT.

HIT footswitch remapped to ALL HIT

► Press Home.

Now the HIT footswitch controls HIT for both Guitar and Vocal effects in this Preset. When you press HIT, you will see that it now lights up purple instead of blue, indicating that it’s controlling both vocal and guitar hit. There’s also a “wrench” icon instead of a microphone – showing you that you are no longer just controlling Vocal effects.

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Getting to know VL3X

HIT – Dynamic versus Snapshot

VL3X’s default HIT behavior is “dynamic”, which means you can make edits to the effects contained within the HIT variation of the Preset by simply turning them on and off as described under “Editing HIT”. It’s a very quick and intuitive way of combining effects – especially while editing a Preset.

That being said: While on stage, you may want to turn an effect on or off during the song – but still have HIT activate and deactivate the specific effects you have defined.

Let’s see an example:

Using HIT in “Dynamic” mode (default)

You have saved the Preset with Reverb active all the time (ON) and Harmony only when you have turned on HIT (HIT ON).

You start the song with HIT turned off, so you just have Reverb (but no Harmony voices) on your voice. You decide that it would be nice to have some delay for a particular section, so you turn Delay on. Then, the chorus section of your song comes up – so you press HIT to activate Harmony. Reverb stays on and Delay goes off – just as you would expect.

Now when you press HIT again, Harmony turns off – but Delay comes back on with the Reverb. This may not be what you want.

Using HIT in “Snapshot” mode

You might want HIT to ALWAYS turn on/off only those effects you have saved for HIT within the Preset.

That’s where “Snapshot” mode comes in. No matter what effects are active at the time: HIT will always override them and just turn on/off what you have saved.

Typically “Dynamic” can be a great editing mode, while “Snapshot” can be a more “fool-proof” live performance mode.

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Changing HIT mode from Dynamic to Snapshot

► Press the Setup button. ► Use the < or > buttons to navigate to the Sys-

tem page.

► Use the Control Knob to scroll down to the HIT

Behavior parameter.

► Change HIT Behavior from Dynamic to Snap-

shot.

Changing HIT Behavior from Dynamic to Snapshot

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Getting to know VL3X

Storing Presets

Since we are talking about storing a change to your Preset – let’s do it.

Tapping the Store button accesses the Store screen, where you may name, assign and save your Presets.

In the upper part of the Store screen, you will see the current name of the Preset. Use the Mix Knobs under the display to control the following functions:

Cursor (assigned to Mix Knob 1)

Use Mix Knob 1 to move the cursor (the currently selected character). This is handy for quickly navigating to a position in the Preset name.

Letter (assigned to Mix Knob 2)

Use Mix Knob 2 to select the letter, number or symbol for the current cursor position.

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Getting to know VL3X

Ins(ert) / Del(ete) (assigned to Mix Knob 3)

► Turn Mix knob 3 clockwise (right) to insert an

empty character (a blank) to the left of the currently highlighted character.

► Turn Mix knob 3 counter-clockwise (left) to the

left to delete the currently highlighted characte r.

Store to (assigned to Mix Knob 34)

Use Mix Knob 4 to select the Preset number where the current Preset will be stored.

► If you want to save the Preset where it current-

ly is, do not change this value.

► If you would like to save the Preset to another

location, change “Store To” to another num-

ber. The name of the selected Preset slot will be

displayed in the upper part of the screen.

Using Store To is handy when you would like to make several Presets with similar sounds. You can create a “master” Preset and store it so a few different locations using Store To. You can then edit those copies further if you wish.

Storing Presets and HIT Behavior

When you have set HIT Behavior to “Snapshot” mode, you must save the Preset for each HIT state – on and off – in order for your changes to be stored. Prepare both variations of the Preset (on and off) and store them, like this:

► Turn HIT off. ► Turn the effects on that you would like to use

when HIT is off.

► Press the Store button twice. ► Turn HIT on. ► Turn the effects on that you would like to use

when HIT is on.

► Press the Store button twice.

Store menu

When you are finished naming and assigning your Preset, simply press Store again to complete the operation.

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Getting to know VL3X

Tapping tempo

You can use Tap Tempo to have the tempo-based effects align with the tempo of your song.

► Press and HOLD the Delay footswitch. ► You should see the Delay footswitch pulse

with a purple LED, and the current tempo (in beats per minute) will be displayed.

► Tap the Delay footswitch in time with the song

you are performing (or about to perform).

► After a few beats, stop tapping the footswitch

and wait for the Tempo display to disappear.

► If it is not already on, activate the Delay effect

with its footswitch.

► You should hear your Delay “taps” trail off in

time with the music.

There is another function in the tap tempo window that you may find handy. Let’s try it.

► Enter Tap Tempo mode the same way you just

did.

► You will notice that the Preset up and Preset

down footswitches are lit solid blue.

► These footswitches allow you to increase or

decrease the tempo in 1 BPM increments.

► For example, press the Preset down footswitch

to decrease the tempo.

Manually adjusting the Tap Tempo can be handy if you want to set a specific tempo, e.g. when you have to follow a click track. And of course, both methods can be combined: Use tapping to “get close” to the desired tempo and use the Preset footswitches for fine-tuning.

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Using Global Tempo

Depending on how you would like to manage tempo within VL3X, you can choose whether tempo information is recalled from each individual Preset or managed globally.

If you would like to store specific tempos within your Presets, simply set the tap tempo as described in “Tapping tempo” and save the Preset.

If you would like to set one tempo and have all Presets “follow” it, you will need to head into the System menu.

► Press the Setup button. ► Use < or > to navigate to the System tab. ► Use the Control Knob to scroll down to the

Global Tempo option.

► Use the Mix Knob to change the value to ON. ► Press the Home button.

Global Tempo on

Now, any tempo you tap will immediately be effective and be used for whatever Preset you choose.

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Getting to know VL3X

Editing an Effect

Now that we have heard some sounds, let’s edit an effect in a Preset. You can choose to edit either the Vocal or Guitar effects, whichever you like.

To edit the Vocal effects within a Preset, press the Vocal button.

Editing Vocal effects

To edit the Guitar effects within a Preset, press the Guitar button.

Editing Guitar effects

Both effect layers (Vocal and Guitars) have a series of “tabs”. There is a tab for each effect within a Preset, and there are a couple of extra tabs for other Preset options like Button Mapping and Expression Pedal assignment.

All the effect edit screens that you can access using these tabs have a similar structure. On

top of each edit screen, you will find simple and easy-to-use controls, while scrolling down using the Control Knob will show more parameters that offer more advanced parameters for deeper editing.

On the top level, most effects have four main parameters:

1. Style: Style sets the “sound” of the effect. For example, you might choose a “Hall” or “Studio” reverb type.

2. Parameter 1: The first parameter shown varies from effect to effect and will have a different name – it will not be called “Parameter 1”. To continue with the Reverb example, Decay time is located here.

3. Parameter 2: Again, this control will vary from effect to effect, but is commonly the Level control, which controls the overall volume of the effect.

4. Control: control sets the “state” of the effect and how it is controlled.

► Off: The effect is inactive. ► On: The effect is active, regardless of the

status of the HIT button.

► HIT On: This effect is active only when the

HIT button is ON.

► HIT Off: This effect is active only when the

HIT button is OFF.

You may also change this control by press-

ing the footswitch associated with this effect (if it is mapped to a footswitch). This can be a quick way to set up several effects to come on or off when HIT is pressed.

The concept of “HIT on” and “HIT off” can be a little confusing at first – but you will soon get the hang of things. A user suggested this analogy:

“It can be useful to think of HIT on as “throwing a bunch of effects onto a table” and HIT off as “knocking or wiping a bunch of effects off of the table”. Effects that are on simply can’t be knocked off the table – and effects that are off can’t be put onto it using HIT.

Back to editing…

► Turn off ALL effect blocks but one. It doesn’t

matter which effect you leave on, so long as you can clearly hear the effect. For this example, we assume that you are using the Harmony effect in the Vocal Layer.

► Press the Vocal button. ► Navigate to the Harmony tab.

Switching off all effect blocks except for Harmony

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► Change the Style parameter using the Mix

Knob directly below “Style” on the screen. Notice how the sound of the effect changes. It can be a subtle change or a drastic one, depending on the Style.

Changing the Harmony Style parameter

Once you have chosen a Style that you like,

you are 90% of the way there. We will skip over to the Level parameter now.

► Using the Mix Knob directly below the “Level”

parameter, change the level (volume) of the effect. Find a setting that sounds good to you.

► Now, turn on another effect. It still doesn’t

matter which one. Notice how the two effects interact with each other.

Navigating to the Delay tab

► Use the < or > Arrow buttons to navigate to

the effect you just activated. In the image above, that’s Delay.

► Try changing the Style of the newly activated

effect. Find a style that sounds good with the other effect you had turned on.

► Adjust the Level control of the new effect to

blend it with the first.

From here on in, EVERYTHING is advanced, specific editing. Try manipulating the other parameter on the screen, be it decay time, lead level, speed or whatever is shown there. Notice how it changes the sound of the effect.

Use the Control Knob to scroll down. You will see many, many different controls and parameters on each effect tab. DON’T PANIC!

Typically, advanced parameters are defined and loaded with the Style you choose and should sound pretty darned good as they are. If you have got some audio engineering experience or

own one of our other products, like VoiceLive 2, you may recognize some or all of the advanced controls.

If you don’t recognize anything, there are two paths you can take:

1. Don’t touch anything you don’t recognize. Slowly back away from the advanced menu. There be dragons in that cave!

2. Turn every parameter as far as it will go in each direction and see what happens!

Whether you choose #1 or #2: It’s totally fine. We can’t tell you how fast or far to venture into the depths of VL3X. All we can do is recommend that you treat VL3X like any other instrument or skill you would try to learn and give things some time.

From our own experience, you know it’s a good time to venture deeper into the menus and controls when you say to yourself: “Hmm. This would sound perfect if only the [X] was a bit more/less [Y]…”

Once you start thinking like that, you will know that your skills have moved beyond using Style, and you will likely find the experience of editing advanced parameters more thrilling than daunting.

Remember to go through the Store procedure after you have made changes to a Preset. Changes are not stored automatically. If you edit a Preset and switch to another Preset without storing, all changes you made will be lost.

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Getting to know VL3X

Defining and using Global Effects

Each effect in VL3X can load and use Global settings. Global settings make editing effects much easier and faster, but you need to understand the concept to use it effectively.

How do Global Effects work?

First, you define a “Global Preset” in the System menu. This Preset is the Preset from which any other Preset can “pull” settings for any effect. Think of this Global Preset as a template or master.

In the screen shot below, you will see that Preset 491 has been defined as the Global Preset. You can change this to any other Preset if you like. However, we recommend making yourself familiar with editing the Global Preset and turning Global ON in other Presets before you reassign the Global Preset.

Global Preset set to Preset no. 491

Tip: Keep your Global Preset safe

We suggest placing the global Preset in a location quite far from your other Presets in the box, so you don’t accidentally overwrite it. Any Presets that depend on the information in the Global Preset will be affected if you delete or change it.

If you invest some time into creating effects that you like in your Global Preset, you can then access these effects in any other Preset by simply setting one parameter.

We have defined a Global Preset for you already (the factory default is 491), but you can make your own.

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Getting to know VL3X

Defining the Global Preset

► Press the Setup button. ► Use < or > to navigate to the System tab. ► Use the Control Knob to highlight “Global Pre-

set”

► Use the Mix Knob below “Global Preset” to

change its value to represent the Preset number you would like as your Global Preset.

Using an effect from the Global Preset

► Select a Preset that you would like to link to

the Global Preset.

► Press the Vocal or Guitar button (depending

on which effect you would like to edit).

► Navigate to the effect tab for the effect that

you would like to link to the Global Preset – e.g. Delay.

Delay effect block settings

► Use the Control Knob to scroll down to the

“Global” parameter. It should say “Off”.

Setting Global to On for the Delay block

► Settings from the Global Preset will be applied

to this effect immediately.

► You will also see that the tab name has

changed from “Delay” to “Delay-GBL” – indicating that this particular effect is using Global settings.

Global set to Off in the Delay block

► Change it to “On” using the mix knob right be-

low the parameter.

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Important: The link between the Global Preset and other Presets goes both ways

Before you make any tweaks to the effect you have just made Global, there is something you should know.

If Global is ON in any Preset and you make changes to the settings of the respective effect, this will change the settings of the Global Preset (and all other Presets where that particular effect is set to Global on).

That can be really handy – or a disaster, if you are not prepared for it.

Using the Global Preset to copy effect settings into a Preset

As you just read, the link between the Global Preset and other Preset goes both ways. However, you can also use this feature temporarily to copy effect settings from the Global Preset to another Preset and then edit them independently.

► Select a Preset. ► Select an effect that should use the settings

from the Global Preset as a starting point.

► Set Global for this effect to on.

This will copy the settings for this effect from

the Global Preset to the current Preset.

► Set Global for this effect to off again.

This “breaks the link” between Global and

current Preset, allowing you to modify the settings locally.

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Getting to know VL3X

MIDI Sync

MIDI sync allows you to send tempo information from an external device (computer, keyboard, sampler etc.) to VL3X and have it maintain the same tempo as the Master device.

To enable MIDI Tempo, navigate to the SETUP – MIDI menu and turn MIDI Tempo ON.

Setup – MIDI menu

VL3X can act as a MIDI Tempo slave only. It cannot generate or send MIDI Tempo.

For more information, see “Looping and MIDI Sync”.

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Getting to know VL3X

Backing Track Import

Let’s now tackle the very first step in working with Backing Tracks: Getting them into your VL3X. For working with Backing Tracks, see “Using Backing Tracks”.

First, you will need to get your hands on a USB

flash drive (also called a USB memory stick or

thumb drive). An external hard disk drive should work too, but please note that there is no official support for using external hard disk drives.

Supported USB flash drive file systems

The USB flash drive needs to be formatted using the FAT32 file system. NTFS, HFS+ (the OSX file system) or other file systems cannot be read by VL3X.

Instructions for formatting a USB flash drive with FAT32 can be found here:

wikihow.com/Format-FAT32

Next, you need to copy some Backing Tracks to the USB flash drive.

Copying audio tracks to your USB flash drive

Your VL3X can only import MP3 or WAV audio files.

► Insert the USB flash stick into your computer

and drag/drop your Backing Tracks onto the drive. You can also use a file manager application.

► Make sure to copy all audio files to the root

directory of the flash drive. That means you should not put audio files into folders or subfolders. Your VL3X will not find these files.

► Insert the USB flash drive stick into the USB

Host Port on VL3X.

► Your VL3X will recognize all valid audio files in

the root directory of the flash drive and make them available for import.

► Press the Store button once. ► Use the arrow buttons below the Control Knob

to navigate to the TRACK IMPORT tab.

Backing Track Import

► You will see a list of available Backing Tracks

to import.

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Please note that if the TRACK IMPORT tab was already selected when you inserted the USB flash drive, you will need to exit and re-enter that tab for the tracks to show up. The track list is not updated in real time, so the menu needs to redraw.

Importing all tracks from a USB flash drive

► To import all tracks from the flash drive,

choose “IMPORT ALL” on the TRACK IMPORT tab.

► Press and HOLD the Control Knob to begin

the import process.

► A confirmation dialogue will appear.

Importing a single track or selected tracks from a USB flash drive

► Use the Control Knob to scroll the list of tracks

on the TRACK IMPORT tab.

► To select a track for import, tap the Control

Knob when this track is highlighted. A small “x” will appear next to each selected track.

► Press and HOLD the Control Knob to begin

the import process.

► A confirmation dialogue will appear.

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Getting to know VL3X

Backing Track audio format

The internal audio file format of VL3X for Backing Tracks is 16 bit resolution and 48 kHz sampling rate. If you convert your audio files to this format directly from the signal source (e.g. your DAW), you can save up to 60% of the import time.

If your audio files are MP3 files or WAV files with another resolution or sampling rate, they need to be converted. When the conversion is done, you can start using these tracks. This process can take a while.

Please note that VL3X will NOT show up as a hard drive when connected to your computer. A USB flash drive must be used for Backing Track import.

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Getting to know VL3X

Using Backing Tracks

Backing Tracks and Presets

In this section we will discuss how Backing Tracks and Automation (Sequences) relate to VL3X Presets.

Think of the Preset as a “container” for…

► the vocal/guitar effects settings, ► the Backing Track and ► the performance data that you have recorded.

Accordingly, when you load the Preset, all of these components are loaded too.

If a Backing Track is associated with a Preset, holding the “Layer” button will enter the Backing Track player (rather than the looper). From the Backing Track player, you can control playback and sequence recording for that Preset.

Associating a Backing Track with a Preset

► Press the Looper touch button. ► Use the > Arrow button (below the Control

Knob) to navigate to the far right BACKING TRACK tab.

► On the BACKING TRACK tab, you will find a

Backing Track parameter that allows you to choose a Backing Track.

Selecting a Backing Track

► Use the Control Knob to highlight the Backing

Track parameter.

► Use one of the Mix Knobs to select the Back-

ing Track you would like to use from the list of tracks you have previously imported (see “Backing Track Import”).

► Save the Preset by pressing the Store button

twice.

menu when you choose a Backing Track. This is to simplify the menus and only show what is relevant to your current setup.

If you change the Backing Track parameter back to NONE, the LOOPER and PRESET tabs will reappear.

Backing Track set to “None”

Now each time you load the Preset, the Backing Track will also be loaded. Press/hold of the Layer button now takes you to the Backing Track player instead of the Looper.

You will also notice that the LOOPER and PRESET tabs disappear from the Looper button’s

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Getting to know VL3X

Backing Track Gain

Track gain allows you to adjust the gain of a particular Backing Track on a per-Preset basis.

Please note that the first place you should go to adjust the overall level of your Backing Tracks is the MIX page(s). There is a TRACK control in the Main and Headphone mix screens.

Track level control on the Main mix screen

Once you have got the general balance between your Vocal, Guitar, Loop, MET, Aux and Track levels, you can use the Track Gain parameter to tweak an individual track to blend optimally in a particular Preset.

If you associate a Backing Track with multiple presets, you’ll need to adjust the Track Gain parameter in each one.

Playing Backing Tracks associated with a Preset

There are three ways to play Backing Tracks.

Playing Backing Tracks using the Backing Track interface

Press and hold the LAYER button to enter the Backing Track player.

Backing Track interface

You will now see transport and sequence recording controls as described here:

Backing Track player controls – bottom row, left to right

► Track Selection Menu: Opens a screen that al-

lows you to choose a track – similar to the file selector dialog box in your computer’s operating system with the following controls (from left to right):

Backing Track Selection menu

► Backing Track list (right half of the screen): ► Use the Preset UP/DN footswitches to

browse the available Backing Tracks.

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Getting to know VL3X

► Press the STEP footswitch to select the cur-

rently highlighted Backing Track.

► Press the LAYER footswitch to cancel Back-

ing Track selection.

► Skip Back ► Skip Forward ► Stop: Stop playback of the Backing Track. ► Play: Start Backing Track playback.

Backing Track player controls – top row, left to right:

► Function Menu: Opens a menu with Backing

Track related functions with the following controls (from left to right):

Backing Tracks Function menu

► Door icon: Back to the Backing Track player

transport control screen

► Trash icon: Delete Sequence. You need to

hold this button to perform this action.

► Disk icon: Save Sequence.

► USB icon: Export Sequence to USB. ► Home icon: Exit the Backing Track player. ► Disk icon: Save Sequence Recording ► Undo icon: This is an (unlimited) Multi-layer

Undo feature.

► Circle/R icon: Use this to initiate Sequence

recording. Press and hold to change to “Sequence Overdub” mode. More on this under “Overdubbing”.

Playing Backing Tracks using a footswitch Buttonmap assignment

Once you have associated a Backing Track with a Preset, you can map any of the six effect footswitches in this Preset to play, pause and stop the Backing Track.

Here is how to assign footswitches to Backing Track control functions:

► Press the Vocal or Guitar button (depending

on which Layer you’d like to assign the track playback button to). If you want to, you can put a track playback button on both layers.

► Use the left or right Arrow buttons to navigate

to the BUTTONMAP tab.

► On the BUTTONMAP tab, you can assign the

“TRACK START” function to any button.

Assigning Backing Track control to an effect footswitch using the Buttonmap

Use the assigned button to control Backing Track playback as follows:

► Press: Play ► Press again: Pause ► Press again: Play ► Press & Hold: Stop and return to the begin-

ning.

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Getting to know VL3X

Playing Backing Tracks using a Switch-3, Switch-6 or the STEP footswitch

Here is how to assign Backing Track playback to a Switch-3, a Switch-6 or the STEP footswitch on your VL3X.

► Press the SETUP button. ► Use the left or right Arrow to navigate to the

FOOTSWITCH tab.

► Use the Control Knob to select the row con-

taining the switch that you would like to modif y.

► Use the Mix knob to change the button as-

signment to TRACK START.

► There are also controls for STOP, FWD and

BACK if you want more control.

Assigning Backing Track control to a footswitch on a Switch-3 using the Buttonmap

If a Backing Track is playing and a sequence exists, it’s not possible to change presets. You’ll need to pause or stop the Backing Track playback before presets can be changed.

Please note that the Switch-3, Switch-6 and STEP assignments are global and will work for any Preset that you have assigned a Backing Track to. This is useful because you don’t have to sacrifice an effect footswitch in each Preset that has a Backing Track.

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Getting to know VL3X

Backing Track Sequence Recording (Automation)

First, a definition of automation as it relates to VL3X:

► You can record your button presses on both

the Vocal and Guitar layers (including Steps) within a Preset while the Backing Track is playing.

► When you play back the track in the future,

your recorded button presses are executed automatically.

This means that you can theoretically perform an entire song with just one touch of a button on your VL3X. To do so, you would simply press the track start button – and everything else happens as you recorded it into the sequence.

What gets recorded into the sequence?

When recording a Sequence, any vocal or guitar effect footswitch you toggle (including HIT and ALL HIT, plus any STEP changes) will be recorded.

What does not get recorded into the sequence?

Parameter changes (like panning etc.) are not recorded. We don’t track real-time changes to things that are “under the hood”.

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Getting to know VL3X

How should I approach sequence recording?

There are two schools of thought for recording performances.

a.) The “experienced live performer approach”: You already know the exact “moves” you would normally make during the performance of a song and just want to go for it.

b.) The “studio wizard approach”: You want to “build” the song one part at a time, perhaps using controls that would be physically impossible to replicate in real-time.

If you fall under a) above, you would simply

► fire up the Backing Track player screen, ► press the RECORD button, ► perform your song as normal, pressing all but-

tons and

► press STOP when you are finished.

Now when you press PLAY, you’ll see that your “moves” have been recorded and any effect or STEP changes will happen automatically as the song progresses.

You can still use any of the Record/Overdub methods described below – but stick to just the one instrument until it’s just right. Then, make sure you’re in Overdub recording mode (so the guitar or vocal changes you have already recorded will be preserved), change to the other Layer (Guitar or Vocals) and begin building up the remaining effects.

Fixing Sequence Recording mistakes

If you have made an error when recording your Sequence, there are three ways to fix it.

Redo it

Simply go back to the beginning of the track and press RECORD again. Please note that this is a destructive recording process – so everything you previously recorded will be overwritten. You would have to do this as many times as necessary until you get everything right. This is the most time consuming approach.

Punch in and out

Using the Control Knob, scroll through the Backing Track until you find the location of the error. Move the play head slightly before the mistake using the Backing Track playback controls and press RECORD. This will “punch in” and begin recording new sequence data at that point. You can press STOP when you’re finished. Any existing sequence data that exists after you press stop will remain in place. You can replace small or large sections of the sequence using this method.

If you fall under b), you may want to take your time to build the perfect Sequence. When doing so, you may not know what effects to use or when exactly to make changes. In that case, we

Overdubbing

Use Overdub mode. To activate Overdub mode,

press and hold the RECORD button. suggest working on “just the vocals” or “just the guitar” first. Work your way through the song, focusing on guitar or vocal effect changes.

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Getting to know VL3X

Overdub Mode activated (indicated by the Circle icon)

Once you are in overdub mode, pressing the button again will begin an overdub recording. This will add any new button presses into the sequence while preserving existing ones. To deactivate Overdub mode, press and hold the RECORD button again.

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Getting to know VL3X

Importing and Exporting Performances

We’ve made it really easy to import and export

► a Preset, ► the associated Backing Track and ► Sequence information.

The file format is called “package”, with the “.VL3pkg file” suffix.

You can use the Import/Export feature to back up your own work or share it with other people.

TC-Helicon is NOT responsible for maintaining copyright integrity on audio tracks. If you don’t own the track, don’t share it without express permission of the owner!

Performance Export

► From the Backing Track screen, press the Pre-

set UP button to enter the Function menu.

► Press the Reverb button (USB flash stick icon)

to export your performance.

► A notification is shown when export is com-

plete.

Performance Export function (USB flash stick) in the Backing Track function menu

Performance Import

► With your USB flash stick inserted, press the

STORE button.

► Use the > arrow button to navigate to the PER-

FORMANCE IMPORT tab.

PERFORMANCE IMPORT tab

► On the PERFORMANCE IMPORT tab, you can

select the performance package(s) you would like to import and also choose the Preset number destination.

► Use the far right MIX knob to select the desti-

nation Preset location.

Keep in mind that if you choose a Preset location

that already contains Preset data (with or without

a sequence) that Preset data will be overwritten.

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Getting to know VL3X

Direct to USB Recording

Another great feature of VL3X is the ability to stream stereo audio directly to a connected USB flash drive.

Here is how to use Direct to USB Stereo Recording:

► Simply connect your FAT32-formatted USB

flash drive to the host port.

► Wait about 5 seconds for the device to be de-

tected and set up.

► To initiate recording, press and hold the

GENRE and SETUP buttons simultaneously for about 2 seconds.

► To stop recording, press and hold the GENRE

and SETUP buttons simultaneously again for about 2 seconds.

Notes about Direct to USB Recording

Each time you start and stop recording, a new file is generated on your USB flash drive.

The audio captured is a direct mirror of the main output signal. This recording is always in two channel stereo format and also includes Backing Tracks or loops, if you are using these features.

Recordings have a maximum length of 120 minutes.

If you bring a camera to your show, you can easily capture video from the camera and audio from the VL3X, making for a super easy performance video with good quality! Simply mute the camera audio in your editor and replace it with the VL3X audio. Just don’t call TC-Helicon for video edit-

ing support…

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USB Audio

Getting to know VL3X

USB Audio in VL3X acts similarly to the equivalent function in other TC-Helicon devices. It utilizes the generic USB Audio drivers in Windows and OS X to provide 2 Channel Stereo Input and Output.

Notes about USB Audio

USB Audio is always Stereo / 16 bit / 48 kHz in both directions.

Please note that USB Audio and the Backing Tracks feature are mutually exclusive – i.e., you cannot use them at the same time.

Audio sent to the device can be used in two

ways:

Using USB Audio as an Aux

To use USB audio as an Aux, simply connect

VL3X to your computer using a USB cable and

designate it as the audio output device in your

computer. With this setup, a stereo audio sig-

nal will be streamed to VL3X that you can sing/

play along with. This audio signal will also guide

NaturalPlay if no guitar or MIDI signal is present.

Using USB Audio as

Input(s) to VL3X effects

In this mode, the audio signal coming in over

USB will be sent down the vocal and guitar sig-

nal paths. The signal on the LEFT side of the

USB Audio stream is processed via the vocal

path. The signal on the RIGHT side of the USB

Audio stream is processed via the guitar path.

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Getting to know VL3X

USB Input Mode

To control the way USB audio is handled inside the unit, you have three modes to choose from. They are located directly beneath the “INPUT TYPE” parameter on the SETUP > INPUT page under the “USB MODE” parameter.

Stereo setting

The Stereo setting works as described under“Using USB Audio as an Aux”. Incoming USB audio is routed to the XLR and Headphone outputs. This is best used when you want the audience to hear the USB audio signal, too. NaturalPlay is driven by this input if there’s no Guitar or MIDI data.

DAW (Digital Audio Workstation) Tracking setting

This mode operates in the same was as Stereo with one exception: Incoming audio is not passed to the XLR outputs. It is still present in the headphone output. This allows you to listen to tracks from your recording software, sing/play along, then record the vocal and guitar back to your DAW without the guide tracks.

DAW Insert setting

Use this mode for “post processing” a previously recorded vocal or guitar from your DAW.

Typically, a dry vocal or guitar part (i.e., a part that may have been edited and re-timed, but has no effects) is sent to the USB L (vocal) or USB R (guitar) output from your DAW to your VL3X where it heads down the signal path and gets effects added to it.

Notes about DAW Insert mode

To receive and record the processed audio back in your DAW, you will need to create a new “destination” track.

Please note that sending and processing audio via USB will introduce latency, so you’ll likely have to “nudge” the processed track back a bit to line it up with the other tracks.

USB Output Mode

In DAW TRACKING mode only, you may change

the USB OUTPUT MODE setting (on the Setup

> Output tab) from SAME AS XLR to Dry Vox L/

Guitar R. This will send your dry, unprocessed

vocals to the Left USB out channel and the pro-

cessed guitar signal to the Right USB channel.

Attempting to change this parameter in the oth-

er USB INPUT modes will result in a <LOCKED>

message.

Please note that if you want guitar and vocal recorded on separate tracks in your DAW, you’ll need to perform two passes of performance, each recorded to a separate new track, once for singing and once for guitar playing.

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Getting to know VL3X

Setting up USB Audio

Setting up USB Audio in Windows

When Windows detects a new audio device, it will automatically set the device as “Disabled”. The Audio Device Manager also “Hides Disabled Devices” by default. This means that you may not see VoiceLive 3 in your “Playback” or “Recording” devices tabs.

To fix this, right-click on the Playback or Recording tab and uncheck “Hide Disabled Devices”. Then, click on VoiceLive 3 in both your Playback and Recording tabs and “Enable” the device.

Here’s a video that shows you how:

youtube.com/watch?v=8-M5WBc3qJE

This will allow you to use VL3X as your input and output device.

vices. If you are using VL3X with no other audio devices connected to your DAW – i.e., like a regular external audio interface –, then you should choose a WDM, Direct Sound or “Generic Low Latency ASIO Driver” (Cubase) setting.

It is not advisable to use WASAPI – especially with Audacity – since it puts the audio into “Loopback mode” and feeds input into output.

Round-trip audio latency

There is roughly 70 milliseconds of round-trip latency through VL3X. When you have recorded vocal/guitar parts to tracks in your DAW, you’ll need to offset them accordingly in order for them to line up with other audio.

Programs like Cubase allow you to offset tracks individually. Otherwise, manually “sliding” the track works very well.

the metronome from Ableton coming from the

VL3X. Then, activate the internal MET in VL3X

on the Loop Layer. In Ableton, go to the Setup/

MIDI page and use MIDI Send Offset until you

hear the audio metronome from Ableton and the

internal VL3X metronome line up perfectly. It may

take some experimentation, but +70ms or so is a

good starting point.

DAW Audio + MIDI Data Timing

Setting up USB Audio in OS X (Mac)

Your Mac should automatically detect VL3X as an audio device when it is connected, and install the correct driver. You will then have to open the Audio MIDI Setup utility and set your VoiceLive 3 as the “Playback” and “Recording” device(s), depending on how you’d like to use VL3 in your setup.

If you are using MIDI data/sync from a DAW such as Ableton alongside USB audio (as you might do when performing live), you may need to adjust Ableton’s MIDI offset in order to have the USB audio line up correctly with the internal VL3X metronome. The USB audio takes a tiny fraction of time to go “through” VL3 to the outputs, so you’ll need to delay MIDI data from your computer to compensate.

DAWs

The best way to achieve the above is to send an When using a Digital Audio Workstation, you’ll need to choose the driver type for your audio de-

VL3X – Reference manual (updated 2015-10-20) 87

audio metronome (along with MIDI clock) from

Ableton via USB to your VL3X. You should hear

Getting to know VL3X

Using the Mix Controls

As you probably have realized by now, there is a lot going on under the hood of your VL3X. Wouldn’t it be great if you could control the levels of the signals going in and out of VL3X?

As it turns out, you can – and you do not even have to press any buttons.

► While on the Home screen, touch (move) any

of the four Mix knobs right below the display to enter the Mix screen.

There are actually three separate mix pages or

“tabs”:

► Main Mix ► Headphone Mix ► Effects Mix

Select the mix you want to control using the Arrow buttons under the Control knob. The last selection will be remembered, so when you use the Mix knobs later, you will be editing the previously selected mix.

Main Mix

Main Mix controls the sounds that come from the

XLR Out and Guitar Out jacks.

Main Mix controls

Use the Mix knobs to adjust the levels of the

signals shown on screen. Scroll down using the

control knob to see and adjust additional levels.

► Guitar ► Looper ► Aux ► Main Out ► Metronome ► Track

Keep in mind that if you are connecting the Gui-

tar Out jack to a guitar amplifier, you likely want

a fixed output level. In the Guitar tab of the Set-

up menu, you will find a parameter called Output

Mode that controls this.

Output Mode set to Unity Gain

► If you wish to vary the output level of the Gui-

tar Out (e.g. when you are connecting VL3X to a mixer or recording interface), change the setting to Variable Level.

Output Mode set to Variable Level

You can set the levels of both Aux and Metronome signals to Off if you wish to remove their sounds from the XLR outputs and only use them over your headphones or IEMs.

► If you set Output Mode to Unity Gain (this is

the default), this will set one master output volume for the guitar signals coming from the Guitar Out jack.

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Getting to know VL3X

Headphone Mix

Headphone Mix allows you to independently set the signal levels for the headphones or IEM connected to the Headphone jack. In other words: You can have a headphone or in-ear-monitoring mix that is independent of what goes out to the XLR outputs.

Headphone Mix controls

Use the Mix knobs to adjust the levels of the signals shown on screen. Scroll down using the control knob to see and adjust additional levels.

► Guitar Trim ► Loop Trim ► Metronome ► Headphones ► Main (Trim) ► Monitor ► Aux Level ► Track Level ► RoomSense ► Room Limit ► Room LoCut ► HP Limit (Headphone Limiter)

limitation this imposes is that you cannot set the

Guitar or Loop controls in the Main Mix to Off

and still hear them in your headphones.

Headphone Limiter parameter

Use the Headphone Limiter parameter to set the

limiter level for the headphone output.

0 dB allows for maximum potential headphone

output. Levels below 0dB (-3dB etc) will restrict

or “limit” the maximum potential headphone out-

put. When using in-ear monitors, you may want

to set the limiter in order to prevent hearing dam-

age by transient loud noises such as feedback.

Effects Mix

Effects Mix allows you to adjust the overall sound of your presets.

► Voices: Controls the overall level of any voic-

es generated by VL3X. This includes Harmony, Double and Choir.

► Voc Reverb: Controls the overall level of the

Vocal Reverb effect across your presets. If you find yourself in a venue that has a lot of (or very little) natural Reverb, you may not have the time to adjust the Reverb settings in all your Presets manually. Instead, use this control to better match the Reverb settings in your Presets to the physical space you are in.

► Guitar Reverb: Performs the same function

as Voc Reverb for the Guitar Reverb in all your Presets.

The Guitar Trim and Loop Trim controls allow you to increase or decrease the levels of Guitar and Loop relative to the Main Mix settings. The one

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Getting to know VL3X

Tips and tricks for working with layers and effects

As we discussed in “Concepts” and “Footswitches overview” , VL3X is comprised of three “Layers”: Vocal, Guitar and Looper.

Tapping the Layer button will give you access to the Layer you would like to control: Guitar or Vocal. Press and hold the Layer button to access the Looper.

Keep in mind that as we discuss editing Vocal or Guitar effects, the editing process is inde-

pendent of the Layer you are currently controlling.

Put another way: You can have the Vocal Layer active (blue LEDs will show that you can use footswitch to control the vocal effects), but simply press the Guitar button (the blue one on the top panel) to enter and edit the Guitar effects.

General Vocal & Guitar Layer usage

The basic concepts of accessing effect settings and going from simple to advanced editing are explained in “Editing an Effect”.

In addition to the effects tabs in the Vocal and Guitar edit screens, you will find the Buttonmap, Expression and Preset tabs.

Editing Vocal effects while on the Guitar Layer

As there are no effects linked to the Looper Lay-

er, we will cover Looper operations in a separate

section of this manual.

Editing Guitar effects while on the Vocal Layer

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Getting to know VL3X

Footswitch tab: Remapping footswitches

We have already made some changes on the Buttonmap tab in “Remapping a footswitch” – so you have seen it before. Let’s dig a little deeper into it now.

► Enter the Vocal or Guitar edit screen. ► Navigate to the Mic Control or Footswitch tab.

Earlier in the “VL3X overview”, we remapped a footswitch and changed the Mode from Latched to Momentary.

On the Footswitch tabs, each effect footswitch is represented by sets of two lines. Use the Control Knob to select a set, for example µMod.

The first word in the first column is the name of the effect footswitch, as it is printed on the device. The name of the effect currently assigned to this footswitch is shown directly below it.

For now, you should see µMod with µMod directly underneath. If you are on the Guitar edit page, you will see µMod and G µMod respectively.

► Press the Home button to return to the Home

screen.

You will see that the effect you have chosen is

now shown in the top left corner of the screen and will activate if you press the µMod button.

Typically, remapping footswitches is great for

three situations:

► “That darn button is in the wrong place! I hate

where it is and want to move it!”

► “I would like footswitch access to an effect

that isn’t already assigned to a button.”

For example, you might want access to Synth

– so you decide to remap the Delay button.

► “I want access to a guitar effect on the vocal

page.”

For example, remapping the Double footswitch

to Guitar HIT will give you access to guitar effects on the Vocal Layer – right beside Vocal HIT.

Parm1 and Parm2

By now, you know how to remap footswitches and choosing between Latched and Momentary mode. But what are the other two parameters – Parm1 and Parm2 – good for?

Parm 1 and Parm 2 are part of the Loop Trigger Buttonmap. If you assign Loop Trigger to a footswitch, you need to choose which loop and which track you would like to trigger when you tap that footswitch.

► Parm 1 defines which Loop Slot you are using

(see “Basic loop concepts and terms”).

► Parm 2 defines which track (or combination of

tracks) you would like to trigger when pressing the button.

The available options are Loop A, Loop B,

Loop C, A&B or A&C.

Learn more about the Looper in “The Looper”.

► Assign another effect to the µMod footswitch

by turning the Mix Knob directly below the parameter.

It doesn’t matter if the effect you choose here

is already mapped to another button. For example, if you choose Harmony, you will now have Harmony mapped to both the µMod button and the Harmony button (default). That’s OK – it just shows how remapping works.

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Getting to know VL3X

Expression Pedal tab: Getting the most out of your expression pedal

If you have connected an expression pedal to your VL3X, you can define what the expression pedal should control in each Preset.

Being able to define the expression pedal “target” in each Preset gives you a lot of flexibility from one pedal.

Setting the Expression Pedal target

► Use the Expression pedal parameter to choose

from many controllable “targets”.

► Use the Exp MinPos parameter to define the

parameter value that should be associated with the minimum (down) position of the expression pedal.

► Use the Exp MaxPos parameter to define the

parameter value that should be associated with the maximum (up) position of the expression pedal.

The MinPos and MaxPos parameters can be useful when you would like to limit the effective range of the pedal.

For example, if you assign the expression pedal to control harmony volume, you may want the harmonies to turn down slightly when you rock the pedal all the way back – but not turn them off

completely. To achieve this effect, you would set

MinPos to something higher than 0% (try some-

thing like 50 or 70%). This allows you to make

large (easy to perform) movements with the ped-

al without changing the level of the harmonies

too drastically.

Setting Expression Pedal MinPos and MaxPos

It can be useful to limit the expression pedal

range for parameters such as Guitar Volume,

Harmony Volume, Delay Feedback, Rhythmic

Depth etc.

Working with a second expression pedal

If you want to, you can use a second expression

pedal with your VL3X. Connect this second Ex-

pression pedal to the Footswitch jack.

As opposed to the expression pedal connected

to the Expression jack (which can be used dif-

ferently in each Preset), the pedal connected to

the footswitch jack only has a global setting – it

will control all Presets in the same way. To use a

second expression pedal:

► Press Setup. ► Navigate to the Buttonmap tab.

► Select the Footswitch Jack parameter and set

it from Switch-3 to Expression pedal.

Calibrating your expression pedal

If you are connecting an expression pedal, it must be calibrated.

► To enter the calibration screen, press the Set-

up button.

► Use the < and > arrows to navigate to the

“Pedal Calibration” tab.

Expression Pedal Calibration

► Follow the on-screen instructions.

The Preset tab

The Preset tab allows you to make changes to the Preset as a whole.

Most importantly, you can adjust the overall level of the Vocal or Guitar signals within a Preset. This allows you to balance your Presets so they all have the same apparent volume.

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Getting to know VL3X

Preset tab for the Vocal Layer

Preset tab for the Guitar Layer

When you are adding effects to the (Vocal or Guitar) signal path, each of these effects inevitably adds some gain (volume) to the signal chain. This means that after adding several effects, your Preset may end up louder than it started. At this point, you may want to compare the apparent level of the current Preset to other Presets in VL3X – and then use the Level Trim controls on the Preset tab for Vocal or Guitar to make adjustments.

to one side and then add effects. There’s a De-

lay Pan control in the Delay edit parameters too.

Try panning the lead vocal to the far right and the

Delay Pan to the far left for interesting results.

There is also a Pan control available in both the Vocal and Guitar Preset tabs that allow you to pan the vocal or guitar signal left or right. The default setting is “C” (for “Center”). It can be especially useful to assign Guitar Pan to an expression pedal if you would like to create stereo guitar loops, which we will discuss later.

Additionally, you can create some interesting vocal sounds by panning the lead vocal completely

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Editing the Vocal Layer

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Editing the Vocal Layer

Introduction

Press the Vocal button to enter the Vocal edit screen.

For more information about editing Style, Level, Control and other parameters associated with each effect, see “Editing an Effect”.

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Editing the Vocal Layer

Harmony effect block / tab

Harmony is TC-Helicon’s most popular effect – and some might argue the most impressive one, too.

The Harmony effect creates harmony vocals from your lead voice. This harmony can contain up to four voices, each with different intervals, key/scale sources, pan, humanization and other settings.

Harmony can be used to add a single voice of harmony, up to a larger “group” sound depending on your application.

Harmony effect block parameters

The Harmony effect block has the following pa-

rameters that allow you to adjust the effect:

► Harmony Style ► Lead Level ► Level ► Hit Control ► Humanization Style ► Humanization Amount ► Vibrato Style ► Vibrato Amount ► NaturalPlay Source ► Tuning ► Mode (for each voice) ► Voicing (for each voice) ► Level (for each voice) ► Gender (for each voice) ► Pan (for each voice) ► Portamento (for each voice) ► Portamento Smoothing (for each voice) ► Attack ► Release ► Hold Release ► Low Gain ► Low Frequency ► High Gain ► High Frequency ► Mid Gain ► Mid Frequency ► Mid Bandwidth ► Global

Tips and tricks for working with the Harmony effect

► “Subtle” is often better when using any Har-

mony effect. Typically, when we hear complaints about the created voices sounding “robotic” or “fake”, it can be attributed partially to the Harmony voices being overly loud in the vocal mix.

► Level settings of -6 or dB lower can often yield

great results, even if the voices aren’t immediately obvious.

► “High” and “Low” styles are the most com-

monly used harmonies in popular music. If you are a male or have a lower voice, try “High”. If you are female or have a higher voice, try “Low”.

► When using a multi-voice Harmony style like

“High & Low” or “High & Higher”, try adjusting the Pan and Level parameters in the Vocal Edit screen to adjust the location and volume of each voice.

► To expand on the above, try turning on Voice

3 and Voice 4. Set each to copy the settings of the existing two voices. Pan them opposite to the existing voices and reduce their level slightly. This puts one “High & Low” pair on the Left and Right of the stereo field with “High” being slightly dominant on one side and “Low” on the other.

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Editing the Vocal Layer

High Low Lead High Low

Harm. (1) Harm. (2) Voice Harm. (3) Harm. (4)

< Left Right >

Panning Harmony Voices

To further expand, try adjusting the Smoothing and Humanization parameters for each of the four voices, so that each voice ends up a bit different from the other.

► On the Buttonmap tab of the Setup menu,

you can remap the Step footswitch to various controls. Try remapping the Step footswitch to Harmony Hold. When the Harmony effect is active, press the Step footswitch (now assigned to Harmony Hold) to “fix” the current harmony note and hold it. You can then sing other notes as the Harmonies continue to sing the note you held.

► We suggest to also changing the Step But-

ton Mode to Momentary to avoid accidentally turning Harmony Hold on and letting it hold a note indefinitely. You will find that brief use of the effect is typically the best approach.

NaturalPlay, Scale, Fixed

& Pedal Modes

VL3X offers a completely new way of combining

harmony voice modes that allows you to make

some really great sounds.

In previous products, all harmony voices were

defined by a single “type” – i.e., they were guid-

ed by an instrument (NaturalPlay) or defined by

a fixed key and scale. In VL3X, you can define

a different method of harmony note output for

each voice!

The new “Mixed Mode” harmonies allow you to,

for example,

► set one voice to follow your guitar (Natu-

ralPlay),

► the second voice to follow a key/scale, ► a third voice to only sing a single “Fixed” note

and

► a fourth voice to only sing the “root” note

of any chords you are playing on your guitar (Pedal).

Mixing NaturalPlay, Fixed, Pedal and Scale modes in one Preset

Keep in mind that when you are using mixed mode harmony, you will need to define the correct key/scale (Scale) or note (Fixed) and play your instrument (NaturalPlay/Pedal) in order for the combination of voices to sound good together. Otherwise, a Fixed voice could be singing a completely inappropriate note for your song.

Harmony can suffer from “warbles” when sound other than your voice is picked up via your microphone. Check out this “Craig’s Corner” video for a bit of TC-Helicon Harmony history and some advice on reducing warble:

youtube.com/watch?v=pT-CCTmv2ZM

This flexibility allows you to create some very so-

phisticated setups and vocal arrangements.

You can mix and match any of the available

modes for the four harmony voices. You could

have three NaturalPlay voices and a fixed voice,

Changing Step Button Mode to Momentary

or two scale-based voices, one fixed and one

NaturalPlay voice. It’s completely up to you!

VL3X – Reference manual (updated 2015-10-20) 97

Tc-helicon VL3X User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Safety information

Important safety instructions

EMC / EMI

Explanation of graphic symbols

Before you begin

About this document (VL3X reference manual)

Getting support

VoiceSupport

Please register your VL3X

Introduction

Welcome!

Concepts

Top panel overview

Footswitches overview

Back panel inputs and outputs

VL3X overview

Setting up

Diagram legend

Diagrams

Quick troubleshooting tips

Getting to know VL3X

Amazing Grace

A guided tour

There’s no place like Home

Using the Control knob

Using the Arrow buttons

What is a Preset?

Using Steps

Using Preset Genres and Favorites

What is NaturalPlay?

Using Global Key/Scale

Setting Key/Scale manually

Let’s try Harmony!

Using the HIT footswitch

Using individual effects

Change a button from Latched to Momentary mode

Remapping a footswitch

Talk/Tuner Mode

Guitar Effects

Editing HIT

Using ALL HIT

HIT – Dynamic versus Snapshot

Storing Presets

Tapping tempo

Using Global Tempo

Editing an Effect

Defining and using Global Effects

MIDI Sync

Backing Track Import

Using Backing Tracks

Backing Track Sequence Recording (Automation)

Importing and Exporting Performances

Direct to USB Recording

USB Audio

Using the Mix Controls

Tips and tricks for working with layers and effects

Footswitch tab: Remapping footswitches

Expression Pedal tab: Getting the most out of your expression pedal

Editing the Vocal Layer

Introduction

Harmony effect block / tab