TC-Helicon VoiceDoubler User Manual

USER’S MANUAL

VoiceDoubler

Automatic Vocal Doubling

and Overdub Tool

1

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 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
are 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 Unplug this apparatus during lightning

storms or when unused for long periods of
time.

13 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.

• This equipment should be installed near
the socket outlet and disconnection of the
device should be easily accessible.

• Do not install in a confined space.

• Do not open the unit - risk of electric shock
inside.

Caution:

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

Service

• There are no user-serviceable parts inside.

• All service must be performed by qualified
personnel.

Warning!

• To reduce the risk of fire or electric shock,
do not expose this apparatus to rain or
moisture.

• 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. See table below:

Voltage Line plug according to standard

110-125V UL817 and CSA C22.2 no 42.

220-230V CEE 7 page VII, SR section

107-2-D1/IEC 83 page C4.

240V BS 1363 of 1984.

Specification for 13A fused
plugs and switched and
unswitched socket outlets.

The lightning flash with an arrowhead
symbol within an equilateral triangle, is

intended to alert the user to the
presence of uninsulated "dangerous voltage"
within the product's enclosure that may be of
sufficient magnitude to constitute a risk of
electric shock to persons.

The exclamation point within an
equilateral triangle is intended to alert

the user to the presence of important
operating and maintenance (servicing)
instructions in the literature accompanying the
product.

2

IMPORTANT SAFETY INSTRUCTIONS

Certificate Of Conformity

TC Electronic A/S, Sindalsvej 34, 8240
Risskov, Denmark, hereby declares on its
own responsibility that the following product:

VoiceDoubler - Automatic Vocal

Doubling Processor

- that is covered by this certificate and
marked with CE-label conforms with
following standards:

EN 60065 Safety requirements for mains
(IEC 60065) operated electronic and

related apparatus for household
and similar general use

EN 55103-1 Product family standard for

audio,video, audio-visual and
entertainment lighting control
apparatus for professional
use. Part 1: Emission.

EN 55103-2 Product family standard for

audio, video, audio-visual and
entertainment lighting control
apparatus for professional
use. Part 2: Immunity.

- with reference to regulations in following
directives: 73/23/EEC, 89/336/EEC

Issued in Risskov, 12 - 2005

Mads Peter Lübeck

Chief Executive Officer

EMC / EMI.

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:

• Reorient or relocate the receiving antenna.

• Increase the separation between the
equipment and receiver.

• Connect the equipment into an outlet on a
circuit different from that to which the
receiver is connected.

• Consult the dealer or an experienced
radio/TV technician for help.

For the 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.

3

TABLE OF CONTENTS

SAFETY INSTRUCTIONS . . . . . . . . . . . . .1

INTRODUCTION . . . . . . . . . . . . . . . . . . . .5

FRONT PANEL DIAGRAM . . . . . . . . . . . . .6

REAR PANEL DIAGRAM . . . . . . . . . . . . . .8

HOOKUP DIAGRAM . . . . . . . . . . . . . . . . . .9

QUICKSTART . . . . . . . . . . . . . . . . . . . . . .10

DETAILED EDIT DESCRIPTIONS

Overdub . . . . . . . . . . . . . . . . . . . . . . . . . .11

Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Energy . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

µMod . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

De-ess . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

MIDI IMPLEMENTATION CHART . . . . . .16

MIDI CONTROLLER CHART . . . . . . . . . .17

TECHNICAL SPECIFICATIONS . . . . . . . .18

SIGNAL FLOW DIAGRAM . . . . . . . . . . . .19

Rev 1.00 – SW – V 1.00English Version

Prod. No: 606114011

5

INTRODUCTION

Thank you for purchasing VoiceDoubler, a product designed to recreate, in real time, the
effect of overdubbing and multitracking the human voice. Live performances can now sound
more like the original recording with thick, lush vocal parts. Recordings can be completed
sooner with less time spent multitracking “double” tracks. We hope you and your fans enjoy
VoiceDoubler.

Features:



4 “Overdub” voices available simultaneously



Exclusive TC-Helicon pitch, timing and energy

humanization that effectively mimics singing groups



Microtuning, chorus, flange and more available with

the internal µMod effects processor.



De-esser algorithm to reduce consonant “splatter”



Easy, top level editing with 4 master controls



50 Factory / 50 User presets and MIDI control



Stereo analog and 24 bit digital I/O



Optional footswitch control

We update our manuals and various support material on a regular basis. For the most up to date

information we encourage you to visit our website at www.tc-helicon.com

Enjoy!

The TC-Helicon Team

www.tc-helicon.com

6

FRONT PANEL

The top two LEDs show when the input or
output audio stream has confirmed clipped
samples. Because of the additive nature of
VoiceDoubler’s effects, the Output LED can
show clipping even when the Input does not. If
either LED lights, reduce send level to the unit.
The Input LED stack confirms audio levels are
at or below its 0dB maximum input sensitivity.
The MIDI indicator shows the presence of any
MIDI at the input regardless of whether it is on
the correct control channel.

5. Program Display

This 16 character by 2 line LCD display shows
preset names, edit menus, parameter values
and STORE button functionality. When the
RECALL button is lit, the top line shows the
preset name and the bottom row shows the
values of the Timing, Pitch, Overdub and µMod
parameters mapped to the EDIT knobs. When
editing, the top line shows the current
parameter name(s) and the bottom line shows
from one to four parameter values. See the
Quickstart for more info on preset levels.

1 2 3 4 5

1. Power Button

Press the power button to turn the unit on.
Turning off the unit with the POWER button as
opposed to pulling the power cable stores
current setup and preset information. Pulling
the plug results in these settings not being
stored.

2. Edit Menu List

This list displays the letters representing the
editing pages available in Edit mode. Each edit
screen has a letter and number address to
allow faster edit menu navigation.

3. Preset Number LED Display

This is a two character LED used to display
the current preset number or edit menu page.
The dots at the bottom show whether the
current preset is stored in the Factory or User
bank. If the preset number flashes while the
STORE button is lit, this indicates that you will
overwrite the current user preset or create a
new one with the next press of the STORE
button.

4. Status LEDs

7

FRONT PANEL

10. Recall Button

This button activates presets after scrolling
with the Data Wheel. The RECALL Button can
also be pressed to restore an edited preset to
its stored state. Flashing LCD characters when
this button is pressed indicate you will be
loading a different preset than the one
currently loaded with the next press of this
button.

11. Edit Button

This button places VoiceDoubler in Editing
mode. The Edit screen containing the last
parameters viewed will be displayed in the
LCD.

12. Data Wheel/Button

When the RECALL Button is lit, the Data
Wheel previews the names of presets. In Edit
mode, this wheel scrolls through the list of edit
windows. Pushing on the wheel is only used to
activate MIDI dump and Utility functions.

13. Store Button

Storing an edited preset is done by pressing
this button, choosing a name and location
number and pressing the button again to
confirm. During naming, EDIT 1 controls the
cursor and EDIT 2 scrolls through the available
alphanumeric characters. The data wheel
scrolls through the User preset locations.
Pressing the RECALL or EDIT buttons cancels
the operation.

14. Bypass Button

Pressing BYPASS mutes the overdub voices
and any µMod processing. The dry signal may
or may not be heard in Bypass depending on
the setting of the DryVoice parameter in edit
screen S1.

6. Edit 1 / Timing Control

In the main operation mode (RECALL Button is
lit), this control allows convenient master
adjustment of the Timing Random values of all
four voices. As such, it can be used to tighten
or loosen the attacks of the overdub voices.
When VoiceDoubler is in Edit mode, this
control adjusts the leftmost parameter value in
the LCD display.

7. Edit 2 / Pitch Control

In the main operation mode, this control allows
convenient master adjustment of several pitch­related parameter values at once. When
VoiceDoubler is in Edit mode, this control
adjusts the middle left parameter value in the
LCD display.

8. Edit 3 Overdub Level Control

In the main operation mode, this control allows
master adjustment of the level of the overdub
voices in relation to the µMod effect. When in
Edit mode, this control adjusts the middle right
parameter value in the LCD display.

9. Edit 4 µMod Level Control

In the main operation mode, this control allows
master adjustment of the level of the µMod
(micromod) effect in relation to the Overdub
voices. When in Edit mode, this control adjusts
the right parameter value in the LCD display.

6 7 8 9 10

11

13

14

12

8

REAR PANEL

4. Digital I/O

S/PDIF In/Out - Sends and receives digital
audio to S/PDIF or AES\EBU standards. Using
digital I/O (inputs and outputs) instead of the
analog I/O bypasses VoiceDoubler’s converter
circuitry for audio improvement when used with
compatible systems.

5. MIDI I/O

This is the standard MIDI in, out and thru
interface used for editing, preset control and
data storage and recall.

6. Pedal In

This input accepts single or triple function
footswitches. Any normally-open passive
footswitch will work for the single function. A
triple function footswitch is available from TC­Helicon called Switch 3. The switch type is
detected automatically on power up.

1 Button: Bypass only

3 Button: Preset Down, Preset Up, Bypass

1 2 3 4 5 6

1. Voice Input

This is the main analog input to VoiceDoubler.
It accepts a balanced line level XLR cable
carrying a monophonic vocal source.

2. Auxilliary Input

This input can be used to send any
instruments or audio sources through
VoiceDoubler’s µMod (micromod) processing
block. The level control for this input is in the
Edit menu.

3. Main Outputs

This is the balanced analog, line level stereo
output of VoiceDoubler. Mono operation is
possible by switching the Output system
parameter in the Edit menu.

9

HOOKUP DIAGRAM

AUXILLIARY send and stereo return method

This is the most common hookup method. It
allows you to control levels and muting of the
effect at the console. One singer’s voice can
be received at the input due to the
requirements of the pitch detection algorithm.

This method also allows a separate aux send
from your console to share VoiceDoubler’s
µMod processor through the Auxilliary input.
Any audio type can be received at this input as
opposed to the single-voice-only audio
requirement of the Voice input.

Ensure that the DryVoice setting in edit screen
S1 is turned Off.

INSERT send and stereo return method

This connection allows you to engage the
VoiceDoubler’s internal dry path (Edit screen
S1) and optional dry delay compensation (S2)
through VoiceDoubler for enhanced time
realism. This setup is also excellent for digital
recording. See page 14 for more discussion of
the Delay Compensation feature.

The Delay Compensation feature is normally
intended for recording use, where individual
tracks can be advanced in time, but it can also
be used in live performance if the delay is
acceptable.

In this scheme, ensure that the lead voice
channel is muted in the console’s main buss to
prevent flanging as the two dry paths (one
from the channel and one from VoiceDoubler)
mix.

There are two primary connection schemes when using VoiceDoubler: as an aux send processor
and as an insert processor. The diagram and discussion below details the differences.

10

QUICKSTART

The first time you connect VoiceDoubler, read through the following steps to ensure a rewarding
experience.

Mount it.

Mount VoiceDoubler in a rack or place it on a sturdy surface and make the AC and audio
connections according to the hookup diagram.

Connect and apply power

Press the power button. The front panel LED and LCD should light. If not, check AC power
connections.

Audio safety

Lower the channel faders where VoiceDoubler’s returns appear. Ensure that the BYPASS button is
not lit and play an audio track or sing into the mic routed to VoiceDoubler.

Set levels

Check VoiceDoubler’s level meters for sufficient level or clipping. In and out levels are pre-set for
unity gain but if you need to trim them press EDIT and use the wheel to locate screen S0 which
shows the parameters InSens (input sensitivity) and OutRange (output range). When both values
are the same, there is unity gain from input to output. The Input Clip LED shows when the signal
has clipped, not that it is near clipping.

Raise returns

Raise your channel faders and you should hear VoiceDoubler’s effect on the input audio. By
default, the dry path through VoiceDoubler is muted and most of the presets are designed to be
mixed with an external dry signal. Accordingly, raise the dry level on your console if it’s not already
done. If you hear a flanged dry signal when you raise the level on your console, press EDIT, cycle
to screen S1 and turn the DryVoice parameter Off. More information on levels is on page 14. If you

hear nothing, check that the input is not set to Digital in edit screen S3.

Tweak the preset values

The four EDIT knobs on the front panel allow master trimming of the various facets of the overdub
effect in the current preset. The range of values for the TIMING and PITCH controls is Off, -49 to

-1, Nominal, +1 to +49, Max. “Nominal” represents the midpoint at which many presets were

created. Numbers above the nominal setting increase the associated parameter settings to 50%
more. The OVERDUB and µMOD control the levels of those blocks respectively; they range from ­60 (Off) to 0dB.

Audition presets

Turn the data wheel to preview the name of the other presets and press RECALL to load any you
prefer.

Edit

Press the EDIT button and try some edits. The individual parameters are discussed in more detail
in the Detailed Edit Descriptions following this Quickstart.

Store your edited preset

Press the Store button to save your edits to the next free location in the User preset bank.

11

DETAILED EDIT DESCRIPTIONS

Introduction:

The following paragraphs describe each parameter in the Edit menu in detail. The parameters are
accessed by pressing the EDIT button and scrolling up and down with the Data wheel. The EDIT
knobs correspond to the parameters shown in the LCD from left to right. Many screens display two
parameters and these are accessed by the left two knobs.

Each description will be listed by its address in the LED display e.g. P2 showing parameters in the
Pitch edit group.

Ensure that the master control associated with the effect block you are editing is turned up. These
are the front panel TIMING, PITCH, OVERDUB LEVEL, µMOD LEVEL controls accessed by
pressing the RECALL button.

O4

Overdub Correct - This feature retunes any
voices set to values above 0 to a chromatic
scale. A value of 100 percent introduces a
stepped pitch from a gliding pitch input. At
percentages in between, this feature
introduces a subtle pitch difference between
the lead voice and the overdub voices that
simulates singers varying naturally.

O5

Overdub Style - A style is a pre-set collection
of timing, pitch and energy parameter values
used to speed editing. There are a number of
styles to choose from and each voice can
have a different style assignment or all can
have the same. While these styles can be
modified in the TIMING, PITCH and ENERGY
edit screens following, there are parameters
not shown that effect the sound. Because of
this, it’s best to find a style that is close to
what you desire and edit from there.

Timing Group

T0

Time Random - Because no singer can exactly
match the timing of the start of their sung
notes, a timing randomization parameter is
offered. This parameter sets the maximum
time in 10 ms (millisecond) increments that
each overdub voice will be delayed. Each time
the input voice starts a new note, the
randomization algorithm chooses a delay time

Overdub Group

O0

Overdub Levels - This screen allows you to
vary the balance and mute the four overdub
voices. Maximum level is +6 dB and muted is
Off which corresponds to -61 dB. At 0 dB,
each voice is the same level as the internal dry
path if it is activated.

O1

Overdub Pan - Each voice can be panned in
the stereo spectrum between the Left and
Right outputs. Ensure that the Output
parameter in edit screen S1 is set to Stereo to
hear panning.

O2

Overdub Detune - The overdub voices can
have their pitches detuned individually by +/­25 cents. A “cent” is 1/100 of a semitone. A
single voice could be detuned from the lead or
multiple voices could be detuned from each
other for a lush chorusing effect.

O3

Overdub Octave - Each voice can have its
pitch shifted to one octave below the input
pitch (-1), no shift or “unison” (UNI) , or one
octave above the input pitch (+1). Note that
adjusting the Gender Amount of octave shifted
voices in edit screen P2 can add authenticity.

12

DETAILED EDIT DESCRIPTIONS

between 0 and the value you have set in this
screen and applies it to the overdub voice. 200
ms of delay is offered and this can sound
sloppy if this in the intention. Note that the
maximum time delay set in any of the four
voices will be applied to the dry voice in
certain conditions. For more detail on this, see
descriptions of screens S1 and S2.

T1

Time Rate - The timing of the overdub voices
can also be randomized during the sustained
portion of sung notes. This parameter sets the
rate at which the delay is modulated from no
delay to the maximum set in the Time Random
parameter. At maximum percentage settings,
this effect sounds like hesitant stuttering, but at
medium settings, a natural timing slew is
introduced sounding much like real singers
would in performance.

Pitch Group

P0

Pitch Randomization - A randomizing algorithm
modulates the pitch of each overdub voice to
simulate the sliding pitch differences occuring
when people sing together or when singers
overdub themselves. The value range spans
zero to 600 cents or 6 semitones. This is much
wider than required for typical singing,
however it is useful for shouted effects or
unique special effects. The speed of the pitch
modulation is controlled by the Pitch Rate
parameter detailed below.

P1

Pitch Rate - This parameter sets the speed of
the Pitch Random effect. It is expressed in
percentage as opposed to Hz (cycles per
second) because it too is randomized. Note
that a higher rate setting will “disguise” large
amounts of Pitch Random because the shifted
pitch lingers at its widest only for a moment.
The opposite is also true; a slow pitch
modulation will tend to sound more out of tune
if the Pitch Random is set wide.

P2

Gender Amount - “Gender” also known as
“formant shifting” is used to describe the effect
where the timbre of the overdub voice is
nudged in a more female, thinner direction or
in more of a male or deeper direction. This
effect can be applied to an unshifted overdub
voice to make it sound like a slightly different
take or person performing the overdub. When
used on an octave-shifted voice, it can add
realism.

P3

Scoop - The Scoop algorithm adds a pitch
event to the onset of the overdub voices to
simulate different takes or singers. While the
actual shape of the scoop is contained in the
current Overdub Style, the value of the
beginning of the pitch swing is presented for
editing in this screen. The range of values is 0
to +/- 500 cents (5 semitones). Negative
values mean that the pitch starts lower than
the input and ramps up and positive values
mean a downwards ramp. A value of 0 can
indicate that scooping is randomized but only
when Scoop Time is at a non-zero value.

P4

Scoop Time - This screen allows you to control
the onset event’s duration from 0 to 1600
milliseconds. A value of 0 for this parameter
disengages the effect.

P5

Scoop Random - A value of 100% varies
Scoop parameters by the full amount specified
in the Overdub Style. This setting allows you to
reduce randomness if you prefer.

Energy Random Group

E0

Energy Randomization - This allows you to
introduce a randomized level modulation to the
overdub voices to increase realism. In this
screen, you set the maximum amount of swing

13

DETAILED EDIT DESCRIPTIONS

U4

Left and Right Delay times - Up to 80 ms of
stereo delay is available here to create
everything from flange to slapback effects.

U5

Feedback - FBL and FBR set the amount of
output fed back into the left and right delay
lines respectively. XFL and XFR indicate cross­feedback for the left and right delay lines.
Cross feedback returns the delayed audio to
the opposite side’s delay line for ping pong
type effects and more.

U6

Modulation - The Mod Phase parameter
defines the phase relationship between the left
and right modulation LFOs (oscillators). In a
flange style, setting this to 0 degrees puts all
of the effect in the center while setting it to 180
degrees pulls the effect far into the stereo field.
The Wave setting determines the shape of the
modulation wave.

U7

Left and Right Low Cut - These steep
highpass filters allow you to limit the amount of
low frequencies sent to the µMod block to
constrain the effect to a narrow bandwidth.

U8

Left and Right Hi Cut - These filters the high
end of the frequency range sent to the µMod
effect to constrain the effect to a narrower
frequency band.

U9

Phase Invert and Spread - The Phase Invert
setting puts the output of the left and right
sides out of phase, creating more 3D sound
space around the effect while potentially
limiting the effect’s ability to collapse to mono.
Spread allows you to “mono-ize” the µMod
effect without affecting panning of the overdub
voices; a value of zero is mono and 100 is
stereo.

between attenuation and gain i.e. a setting of
12 dB would add or remove a maximum of 6
dB to the level. Higher settings of this
parameter may require reducing send to the
unit.

E1

Energy Rate - This varies the speed of level
modulation. It is expressed in percentage
because the waveform is randomized.

µMod (microMod) Group

This is the global effects processor in
VoiceDoubler. It is capable of adding chorus,
flange, detune and feedback effects that help
simulate groups of singers and add some wild
effects.

U0

µMod Style - Here you browse preprogrammed
effects to layer onto your vocal. All of the edit
parameters following this one are captured in
the styles.

U1

Sends - The µMod effect can be layered onto
the dry voice (Dry), the overdub voices (Vox)
and the auxilliary input (Aux) in varying
amounts. If no effect is heard, press the
RECALL button and check that the µMOD
LEVEL value is up. The unit value is in dB
therefore 0 indicates full send level.

U2

Left and Right Detune - There is a range of +/­25 cents of stereo detuning available.

U3

Speed and Depth - These set the modulation
values for the delay times found on the
following edit screen.

14

DETAILED EDIT DESCRIPTIONS

The Output setting allows you to choose
whether the outputs are stereo or summed to
mono. Both the left and right output jacks
would carry the mono signal.

S2

Delay Compensation - This feature increases
realism by introducing delay in the dry voice
path. This allows the overdub voices to
sometimes sound before the dry voice. This is
most useful in an audio workstation recording
environment where tracks can be advanced in
time but, with shorter delay times, it can also
be used live.

The Dry Voice parameter must be set to On
and VoiceDoubler should be connected as an
insert. At “Centered” the dry voice delay is
exactly half of the value of the Time Random
parameter (T0) plus the processing delay of
the unit (22ms). For example, when Time
Random equals 50 ms, a Delay Compensation
value of Centered introduces a fixed delay of
47 ms to the dry. If Time Random is 0, any
value of Delay Compensation except Off will
compensate for the normal latency in the
product.

Note that different presets will have different
Time Random values and delay on the dry
voice will change when Delay Compensation is
activated.

This table shows the dry delay in ms at various
Time Random (TR column) and Delay
Compensation settings. Note: 50* indicates the
value of “Centered”.

S3

Input and Clock - The analog and digital inputs
can be used one at a time. This parameter
chooses which is preferable. The Clock setting
would be changed from the default when a)
your input is digital and you want to sync

De-Ess Control

D0

De-ess control - The de-esser can reduce the
level of, or remove, consonants and ess
sounds produced by the overdub voices. This
feature is very helpful in reducing the “splatter”
that blurs note onsets when multiple singers
are not exactly in sync.

Setup Group

All parameters preceding the Setup Group are
stored and recalled uniquely within each
preset. The Setup Group controls global
parameters that act upon the overall features
of the product.

S0

Levels - These settings work together to
maximize signal to noise ratio while interfacing
optimally with your mixer. You should only
need to change the default value of the InSens
(Input Sensitivity) parameter when the
optimum send level from your console is
indicating too low or lighting the Input Clip LED
on VoiceDoubler meters. To increase the
sensitivity when compensating for a low send
level from your mixer, turn the EDIT 1 knob
clockwise and the opposite to pad
VoiceDoubler’s input when sent an extra hot
signal from your mixer.

The OutRange parameter is used to preserve
unity gain from input to output when the Input
Sensitivity setting has been adjusted.
Optimally, setting both values the same will
ensure unity gain.

S1

Dry Voice and Output - This left setting in this
screen allows you to add or remove the dry
voice from the outputs. Turning the dry voice
on is useful when connecting VoiceDoubler as
a channel insert. (see the Hookup diagram
page 9) Using this connection scheme has the
extra benefit of allowing use of the Delay
Compensation feature detailed in the next
description.

15

DETAILED EDIT DESCRIPTIONS

VoiceDoubler’s clock to the incoming clock
(Ext.) or b) your input is analog and you are
using the digital output to feed another device
at a specific clock rate. The digital output is
always on regardless of the Input setting.

S4

Status and Tuning Reference - When you are
using VoiceDoubler’s digital outputs to drive a
downstream device, The StatusBits parameter
changes the output format from AES/EBU to
S/PDIF when required. The TunRf (Tuning
Reference) setting adjusts the Overdub
Correct frequency to compensate for vocals
sung to backing tracks not tuned to A=440Hz.

S5

MIDI Channel and System Exclusive ID - If you
are using an external MIDI device to change
presets or to control VoiceDoubler, the MIDI
channels of the two devices should match. The
SysexID parameter is only used when you
have multiple VoiceDoublers on a MIDI In/Thru
chain and are using an editor program to make
changes in one and not the others.

S6

MIDI Filter and CC enable - The MIDI Filter
allows selected parts of the MIDI stream to be
ignored by VoiceDoubler. The CC setting
enables or disables MIDI continuous
controllers. These CCs offer convenient
remote control of certain settings from a MIDI
sequencer or remote control surface. See the
MIDI Implementation Chart at the end of this
manual for details.

S7

MIDI Dump - This screen allows you to copy
presets and setup data to an external MIDI
device for safe storage or editing. Choose from
the range of values with EDIT 1 knob and
push the Data wheel to execute the dump or to
cancel.

Restoring individual presets is done by
sending them from an editor or sequencer via
MIDI; the only setup required by VoiceDoubler
is that the SysEx filter (S6) be turned off.

Restoring an entire bank of user presets
requires that the user bank be erased prior to
sending the MIDI data. To erase the user bank

see the following description.

S8

Utility - This screen allows you to return
VoiceDoubler to its factory defaults. Choose to
restore all the values for the Setup menus or
to erase the User presets with EDIT 1 and
then push on the Data wheel to execute.

16

MIDI IMPLEMENTATION

TC-Helicon VoiceDoubler - December 2005

Function Transmitted Recognized Remarks
Basic Channel Default 1 1

Changed 1-16 1-16

Mode Default

Messages X X
Altered

Note Number XX

True Voice X X

Velocity Note ON X X

Note OFF X X

Aftertouch Key’s X X

Ch’s X X

Pitch Bend X X
Control Change X O See MIDI Controller Chart
Prog Change O O

System Excl. O O
Common :Song Pos X X

:Song Sel X X
:Tune X X

System real time :Clock X X

:Commands X X

Aux Messages :Local ON/OFF X X

:All Notes OFF X X
:Active Sense X X
:Reset X X

O:YES Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO
X:NO Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

17

MIDI CONTROLLER CHART

* Value Ranges are mapped according to the following scales:

Range 1: Parameter range in product is linearly mapped from 0-127
Range 2: Parameter range in product is directly mapped from 0-# of available values
Range 3: Parameter range in product is linearly mapped from 0-63, center is 64, then 65-127
Range 4: Off=0, On=1

µMod Style 3 2
DryVoice On/Off 14 4
De-Ess Amount 15 2
Master Pitch Amount 16 1
Master Time Amount 17 1
Master Overdub Level 18 1
Master µMod Level 19 1
Voice 1 Pan 20 3
Voice 1 Level 21 1
Voice 2 Pan 22 3
Voice 2 Level 23 1
Voice 3 Pan 24 3
Voice 3 Level 25 1
Voice 4 Pan 26 3
Voice 4 Level 27 1
Voice 1 Detune 28 3
Voice 2 Detune 29 3
Voice 3 Detune 30 3
Voice 4 Detune 31 3
Voice 1 Octave 35 3
Voice 2 Octave 41 3
Voice 3 Octave 46 3
Voice 4 Octave 47 3
Voice 1 Overdub Correct 48 3
Voice 2 Overdub Correct 49 3
Voice 3 Overdub Correct 50 3
Voice 4 Overdub Correct 51 3
Voice 1 Overdub Style 52 2
Voice 2 Overdub Style 53 2
Voice 3 Overdub Style 54 2
Voice 4 Overdub Style 55 2
Voice 1 Time Random 56 1
Voice 2 Time Random 57 1
Voice 3 Time Random 58 1
Voice 4 Time Random 59 1

Voice 1 Time Rate 60 1
Voice 2 Time Rate 61 1
Voice 3 Time Rate 62 1
Voice 4 Time Rate 63 1
Voice 1 Pitch Random 80 1
Voice 2 Pitch Random 81 1
Voice 3 Pitch Random 82 1
Voice 4 Pitch Random 83 1
Voice 1 Pitch Rate 85 1
Voice 2 Pitch Rate 86 1
Voice 3 Pitch Rate 87 1
Voice 4 Pitch Rate 88 1
Voice 1 Gender 89 3
Voice 2 Gender 90 3
Voice 3 Gender 102 3
Voice 4 Gender 103 3
Voice 1 Scoop 104 3
Voice 2 Scoop 105 3
Voice 3 Scoop 106 3
Voice 4 Scoop 107 3
Voice 1 Scoop Time 108 1
Voice 2 Scoop Time 109 1
Voice 3 Scoop Time 110 1
Voice 4 Scoop Time 111 1
Energy Random 112 1
Energy Random 113 1
Energy Random 114 1
Energy Random 115 1
µModSend Dry 116 1
µModSend Vox (Overdub) 117 1
µModSend Aux 118 1

Parameter Name CC Range

Table*

Parameter Name CC Range

Table*

18

TECHNICAL SPECIFICATIONS

Digital Inputs and Outputs

Connectors:
Formats:
Sample Rates:
Frequency Response DIO:

Analog Inputs

Connectors:
Impedance:
Input Level @ 0 dBFS:
Sensitivity @ 12 dB headroom:
Dynamic Range @ Min gain:
THD:
Line Frequency Response:
Crosstalk:
A to D Conversion:
A to D Delay:

Analog Outputs

Connectors
Output Impedance:
D to A Conversion:
D to A Delay:
Max. Output Level:
Output Range:
Dynamic Range:
THD:
Frequency Response:
Crosstalk:

EMC

Complies with:

Safety

Certified to:

Environment

Operating Temperature:
Storage Temperature:
Humidity:

Control Interface

MIDI:
Pedal:

Supplementary

Display:
Dimensions:
Weight:
Mains Voltage:
Power Consumption:
Warranty Parts and labor:

RCA Phono (S/PDIF)
S/PDIF (24 bit), EIAJ CP-340, IEC 958

44.1 kHz, 48 kHz
DC to 22/23.9 kHz ± 0.01 dB @ 44.1/48 kHz

XLR balanced
Balanced 21 Unbalanced 13 kOhm
24 dBu to 0 dBu
12 dBu to -12 dBu
> 92 dB, 20 Hz - 20 kHz
< -100 dB (0,001 %) @ 1 kHz
+0/-0.1 dB, 20 Hz to 20 kHz
<-85 dB, 20 Hz to 20 kHz
24 bit, 128 x oversampling bitstream

0.65/0.70 ms @ S.R. = 48/44.1 kHz

XLR balanced
40 Ohm
24 bit, 128 x oversampling bitstream

0.63/0.68 ms @ S.R.= 48/44.1 kHz
bal. 20 dBu, unbal. 14 dBu, R-load = 1200 Ohm
14 dBu / 8 dBu / 2 dBu / -4 dBu
> 104 dB, 20 Hz to 20 kHz
<-98 dB (0.0013 %) @ 1 kHz
+0/-0.3 dB, 20 Hz to 20 kHz
<-100 dB, 20 Hz to 20 kHz

EN 55103-1 and EN 55103-2
FCC part 15, Class B, CISPR 22, Class B

IEC 65, EN 60065, UL6500 and CSA E60065
CSA FILE #LR108093

32° F to 122° F (0° C to 50° C)

-22° F to 167° F (-30° C to 70° C)
Max. 90 % non-condensing

In/Out/Thru: 5 Pin DIN
1/4" TRS phone jack

2 character LED, 16 character x 2 line LCD

19" x 1.75" x 8.2" (483 x 44 x 195 mm)

4.1 lb. (2.7 kg)
100 to 240 VAC, 50 to 60 Hz (auto-select)
<15 W
1 year

Due to continuous development these specifications
are subject to change without notice.

19

SIGNAL FLOW DIAGRAM