VoiceWorks

Harmony | Correction | Effects

USER’S MANUAL

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 IMPORTANT SAFETY INSTRUCTIONS
The lightning flash with an arrowhead The exclamation point within an
symbol within an equilateral triangle, is equilateral triangle is intended to alert
intended to alert the user to the the user to the presence of important
presence of uninsulated "dangerous voltage" operating and maintenance (servicing)
within the product's enclosure that may be of instructions in the literature accompanying the
sufficient magnitude to constitute a risk of product.
electric shock to persons.

1 Read these instructions. Warning!

2 Keep these instructions. • To reduce the risk of fire or electric shock,
3 Heed all warnings. do not expose this apparatus to rain or
4 Follow all instructions. moisture.
5 Do not use this apparatus near water. • This apparatus must be earthed.
6 Clean only with dry cloth. • Use a three wire grounding type line cord
7 Do not block any ventilation openings. like the one supplied with the product.
Install in accordance with the • Be advised that different operating voltages
manufacturer's instructions. require the use of different types of line
8 Do not install near any heat sources such cord and attachment plugs.
as radiators, heat registers, stoves, or • Check the voltage in your area and use the
other apparatus (including amplifiers) that correct type. See table below:
produce heat.
9 Do not defeat the safety purpose of the Voltage Line plug according to standard
polarized or grounding-type plug. A
110-125V UL817 and CSA C22.2 no 42.
polarized plug has two blades with one
wider than the other. A grounding type plug 220-230V CEE 7 page VII, SR section
has two blades and a third grounding 107-2-D1/IEC 83 page C4.
prong. The wide blade or the third prong 240V BS 1363 of 1984.
are provided for your safety. If the provided Specification for 13A fused
plug does not fit into your outlet, consult an plugs and switched and
electrician for replacement of the obsolete unswitched socket outlets.
outlet.
10 Protect the power cord from being walked • This equipment should be installed near
on or pinched particularly at plugs, the socket outlet and disconnection of the
convenience receptacles, and the point device should be easily accessible.
where they exit from the apparatus. • Do not install in a confined space.
11 Only use attachments/accessories • Do not open the unit - risk of electric shock
specified by the manufacturer. inside.
12 Unplug this apparatus during lightning
storms or when unused for long periods of Caution:
time. You are cautioned that any change or
13 Refer all servicing to qualified service modifications not expressly approved in this
personnel. Servicing is required when the manual could void your authority to operate
apparatus has been damaged in any way, this equipment.
such as power-supply cord or plug is
damaged, liquid has been spilled or Service
objects have fallen into the apparatus, the • There are no user-serviceable parts inside.
apparatus has been exposed to rain or • All service must be performed by qualified
moisture, does not operate normally, or personnel.
has been dropped.

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 IMPORTANT SAFETY INSTRUCTIONS
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. Certificate Of Conformity
These limits are designed to provide TC Electronic A/S, Sindalsvej 34, 8240
reasonable protection against harmful Risskov, Denmark, hereby declares on own
interference in residential installations. This responsibility that following products:
equipment generates, uses and can radiate
radio frequency energy and, if not installed and VoiceWorks - Harmony, Correction and
used in accordance with the instructions, may Effects Processor
cause harmful interference to radio
communications. However, there is no - that is covered by this certificate and
guarantee that interference will not occur in a marked with CE-label conforms with
particular installation. If this equipment does following standards:
cause harmful interference to radio or television
reception, which can be determined by turning EN 60065 Safety requirements for mains
the equipment off and on. The user is (IEC 60065) operated electronic and
encouraged to try to correct the interference by related apparatus for household
one or more of the following measures: and similar general use
EN 55103-1 Product family standard for
• Reorient or relocate the receiving antenna. audio,video, audio-visual and
• Increase the separation between the entertainment lighting control
equipment and receiver. apparatus for professional
• Connect the equipment into an outlet on a use. Part 1: Emission.
circuit different from that to which the EN 55103-2 Product family standard for
receiver is connected. audio, video, audio-visual and
• Consult the dealer or an experienced entertainment lighting control
radio/TV technician for help. apparatus for professional
use. Part 2: Immunity.
For the customers in Canada:
This Class B digital apparatus complies with With reference to regulations in following
Canadian ICES-003. directives:
Cet appareil numérique de la classe B est 73/23/EEC, 89/336/EEC
conforme à la norme NMB-003 du Canada.
Issued in Risskov, 01 - 2003
Mads Peter Lübeck
Chief Executive Officer

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 TABLE OF CONTENTS

INTRODUCTION SONG MODE

Table of Contents . . . . . . . . . . . . . . . .3 Song Mode . . . . . . . . . . . . . . . . . . . .21

Text Conventions . . . . . . . . . . . . . . . .3
Introduction . . . . . . . . . . . . . . . . . . . . .5 HARMONY AND TUNING

BASIC OPERATION Harmony . . . . . . . . . . . . . . . . . . . . . .22

Harmony Hold . . . . . . . . . . . . . . . . . .22
Front Panel . . . . . . . . . . . . . . . . . . . . .6 Harmony Modes . . . . . . . . . . . . . . . .22
Rear Panel . . . . . . . . . . . . . . . . . . . . .8 Notes Mode . . . . . . . . . . . . . . . . . . .22
Signal Flow . . . . . . . . . . . . . . . . . . . . .9 Shift Mode . . . . . . . . . . . . . . . . . . . .22
Applications . . . . . . . . . . . . . . . . . . .10 Chord (Chordal) Mode . . . . . . . . . . .22
Scale (Scalic) Mode . . . . . . . . . . . . .23
Preset Handling Diatonic and Chromatic . . . . . . . . . . .24
Parameter Types . . . . . . . . . . . . . . . .12 Just Tuning . . . . . . . . . . . . . . . . . . . .25
Preset Types . . . . . . . . . . . . . . . . . . .12
Global Effect Presets . . . . . . . . . . . .12 CIFICATIONS
Recall . . . . . . . . . . . . . . . . . . . . . . . .12
Edit . . . . . . . . . . . . . . . . . . . . . . . . . .13 SPECIFICATIONS
Store . . . . . . . . . . . . . . . . . . . . . . . . .13
Preset Backup via MIDI . . . . . . . . . . .13 MIDI Implementation . . . . . . . . . . . . .26
Technical Specifications . . . . . . . . . .29
VOICES & EFFECTS EDIT PARAMETERS

Introduction . . . . . . . . . . . . . . . . . . . .14 TEXT CONVENTIONS

Individual Voice Keys . . . . . . . . . . . .14
Harmony Key . . . . . . . . . . . . . . . . . .15 Names of front panel controls, and keys are
Thicken Key . . . . . . . . . . . . . . . . . . .15 written in CAPITALS. Parameter names are in
Effects Key . . . . . . . . . . . . . . . . . . . .16 SMALL CAPITALS. Parameter values are in
Pitch Correct Key . . . . . . . . . . . . . . .18 underline. Special notes appear in italic.

SETUP

Introduction . . . . . . . . . . . . . . . . . . . .19
Lead Voice Level/Pan . . . . . . . . . . .19
Input Low Cut . . . . . . . . . . . . . . . . . .19
Dynamics Processing . . . . . . . . . . . .19
EQ . . . . . . . . . . . . . . . . . . . . . . . . . .19
Lead Delay Compensation . . . . . . . .19
Mic Sensitivity . . . . . . . . . . . . . . . . . .19
Output Level/Mode . . . . . . . . . . . . . .19
Sample Rate Selection . . . . . . . . . . .19
Analog/Digital Input Selection . . . . . .19
Global Effects . . . . . . . . . . . . . . . . . .19
Tuning . . . . . . . . . . . . . . . . . . . . . . .19
MIDI Parameters . . . . . . . . . . . . . . . .20
Footswitch . . . . . . . . . . . . . . . . . . . .20
Midi Dump . . . . . . . . . . . . . . . . . . . .20
Erase Song . . . . . . . . . . . . . . . . . . . .20
Restore Factory Preset . . . . . . . . . . .21
Viewing Angle . . . . . . . . . . . . . . . . . .21
English Version Rev 1.00 – SW – V 1.00
Prod. No: E60502401 3
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 INTRODUCTION
Thank you for purchasing the TC-Helicon VoiceWorks Harmony, Pitch Correction and Effects
processor. Designed for live and recording situations where superior vocals are a must,
this state-of-the-art product creates the world's most natural sounding harmonies while
offering innovative processing for the lead voice as well. VoiceWorks is an end-to-end
solution. The signal path includes a studio-quality mic pre-amp, transparent pitch
correction, superior manual and automatic pitch-shifting, as well as critically-acclaimed TC
Electronic Compression/Gate, EQ, Delay and Reverb. We hope you will enjoy using the
VoiceWorks as much as we enjoyed designing it.

Features:
• HybridShift(TM) harmony generation for smooth, natural sound
• 4 distinct harmony Modes: Scalic, Chordal, Shift and MIDI Notes
• Humanization of harmony voices utilizing:
- FlexTime(TM)
- Vibrato
- Inflection - (scoop)
- Pitch randomization
- Portamento
• Equal temperament and Just tuning for harmonies
• Harmony Hold(TM)- like a vocal sustain pedal
• Scale Based Pitch Correction
• Fully adjustable voicing and gender per voice
• Lead Voice Thickening - one voice above and one voice below
• HIgh Quality Mic Preamp with 48V phantom power
• TC Electronic 3-band EQ plus low cut
• TC Electronic Compressor/Gate
• TC Electronic Reverb/Tap-tempo Delay
• Song Mode for live performance lets you save internal
'sequences'- up to 50 songs with 30 presets per song
• MIDI CC control over all parameters
• MIDI CC 'echo' of all front-panel controls

Please refer to this manual often, as there are many features and variations to explore.
Our website is another good source for applications, support and other user services.
Enjoy!

The TC-Helicon Team

www.tc-helicon.com

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 FRONT PANEL

POWER KEY LCD TEXT DISPLAY THICKEN KEY

On/Off switch for the unit. Displays top-level preset On/Off/Edit functions for lead
information (preset recall voice thickening.
Note: In order for SETUP and mode), detailed preset
current preset parameters to be information (edit menus), EFFECTS/TAP TEMPO KEY
saved, the unit must be system configuration (setup On/Off/Edit/Tap functions for
powered off using this switch. menu), song data (song Reverb and Delay. Tap
Powering down by removing AC mode), and any important Tempo is available when
power will result in the loss of status messages or user alerts. editing specific delay
changes to these parameters. parameters from the effects
edit menu.
LINE INPUT LEVEL KNOB VOICES AND EFFECT KEYS
Adjusts the Line Input level. (GENERAL INFORMATION) PITCH CORRECT KEY
Range: 24dB A VoiceWorks preset is made On/Off/Edit functions for
up of eight audio processing pitch correction.
INPUT METER components represented by
Peak meter shows Input level. the eight VOICES & EFFECTS
The Meter range is: 0 to -40dB. keys. Each key has an LED
that is lit when its component is
INPUT CLIP LED enabled in the current preset.
Indicates that the input level is A single click will toggle
too high possibly causing digital (enable or disable) the
distortion. Reduce the input corresponding component.
level to correct this condition. Double clicking on a key will
enter its edit menu.
OUTPUT CLIP LED
Indicates an internal DSP VOICES AND EFFECT KEYS
overflow. Reduce the overall (SPECIFICS)
level of the harmony voices and
vocal effects to correct this VOICE KEYS (1-4)
condition. On/Off/Edit functions for each
harmony voice. Edit per-voice
MIDI IN LED harmony parameters.
Indicates valid incoming MIDI
information. HARMONY KEY
On/Off/Edit functions for overall
preset harmony settings. Edit
parameters that affect all four
harmony voices.

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 FRONT PANEL

SONG MODE KEY current preset to the displayed BYPASS

Press to enter song mode. location. The STORE key Press to toggle (bypass /
Step through sequenced LED blinks when the current unbypass) all effects.
presets during live preset has been edited.
performance (using a MIC INPUT
footswitch or MIDI controller). ARROW KEYS Press to select Mic input for
These buttons are used to processing (the line input
SETUP KEY navigate through parameters becomes an AUX input when
Press to enter the setup from the edit menus, the the MIC input is enabled)
menu. Setup contains all setup menu, song mode, or
global parameters not stored store mode. +48V
in individual presets including Press and hold to quickly Press and hold for 2
parameters relating to EQ, navigate through menus. seconds to enable +48V
Comp/Gate, Audio, digital I/O, phantom power on the
MIDI, and footswitch In recall mode, pressing up microphone input.
configuration. or down will instantly recall
the next or previous preset. -20dB
Pressing this key repeatedly Press to enable a -20dB pad
will advance to the first DATA WHEEL on the microphone input. If
parameter in the next logical Edits the value of the current the Mic Sensitivity (MICSENS)
group of parameters. Use the parameter from any menu or under the setup menu is set
ARROW KEYS to access mode. to high, pressing this button
each individual parameter. will change the sensitivity to
In recall mode, turning the normal and enable the -20dB
RECALL KEY wheel previews presets (top pad.
Press RECALL from any level preset information is
menu (edit or setup), or from flashed on the display but MIC GAIN
song or store mode to return preset data is not loaded until Adjusts Mic Input Gain.
to top-level preset recall RECALL is pressed again). Range: 35dB. This in
mode. Press RECALL from combination with the -20dB
recall mode to recall a preset ENTER pad and the MICSENS
(overwriting the current Can be used to recall the parameter under the setup
preset) when the current current preset in recall mode, menu provides 65dB range of
preset has been edited or or to store the current preset gain to accommodate most
when previewing a different in store mode. Parameters microphones in most
preset. surrounded by triangular recording situations.
brackets (eg. Midi Dump
STORE <P25>) perform their actions
Press STORE to enter store when the ENTER key is
mode. Pressing store when pressed. The enter key blinks
in store mode will store the to indicate a possible action.

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 REAR PANEL

Balanced Balanced External

Balanced Digital MIDI
Mic Input Jack Control
Jack S/PDIF In, Out, Thru
with +48V Analog Analog Input/
Phantom Input Outputs Output
Power

Note!
The microphone input on the VoiceWorks
MIDI Cable
has +48V phantom power capability. DIN CONNECTOR
5POLE - MALE
Never plug single ended (unbalanced) DIN CONNECTOR 45 degrees
5POLE - MALE
microphones or instruments or signal 45 degrees
max. 10m

processors (balanced or unbalanced) SHIELDED CABLE (3 or 5 wires + screen)

into the mic input if +48V phantom
power is on.

The 1/4” analog Input and Output

connectors on the VoiceWorks are balanced
1/4” jacks.

Optimal connection to balanced equipment

is achieved using balanced cables.
However, if your equipment is NOT
balanced you will generally have no
problems using standard mono-to-mono
cables as illustrated below.

Mono 1/4” Cable TRS (Tip Ring Balanced XLR Cable

Sleeve) 1/4” - 3 Pin Type
balanced Cable

TIP
TIP
RING
GND
GND

GND
TIP GND
RING
TIP

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 SIGNAL FLOW

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 APPLICATIONS
Live Setups

Using the VoiceWorks live is like bringing 4 professional backup singers to your gig! You’ve got
several options when it comes to controlling the VoiceWorks Live. For best results you can use (in
various combinations) the Switch-3 footpedal, a MIDI keyboard, a MIDI CC controller, and of course
the controls on the box itself. We’ve provided setup examples below for a few common situations.

Live Setup with a MIDI Keyboard

• Connect a microphone to the XLR mic input on
the VoiceWorks and enable MIC input from the
front panel.
• Connect the keyboard MIDI Output to the
VoiceWorks MIDI input.
• Plug the Switch-3 footpedal into the
VoiceWorks Pedal In jack. This allows foot
control of the Harmony Hold feature as well as
various other VoiceWorks functions. See the
FOOTSWITCH parameter description in the “Setup”
section of the manual for details.
• Connect the VoiceWorks stereo outputs to a
stereo channel (or two mono channels) on
your mixer. For mono operation use the
either of the VoiceWorks outputs and set the
unit to mono operation with the OUTPUT
parameter under the setup menu.

Live Setup with Guitar

• Connect a microphone to the XLR mic input on
the VoiceWorks and enable MIC input from the
front panel.
• Plug the Switch-3 footpedal into the
VoiceWorks Pedal In jack. Using song mode
you can create sequences of presets to handle
chord changes and then step through them
with the footpedal.
• Connect a guitar to your mixer and enable its
effect send.
• Take an effects send from your mixer and
connect it to the VoiceWorks Line input (it acts
as the Aux input when the MIC input is
enabled). Anything connected to the Line input
in this mode can be mixed through the
VoiceWorks’ Reverb and Delay effects.
• Connect the VoiceWorks stereo output to a
stereo channel (or two mono channels) on
your mixer. For mono operation use the
either of the VoiceWorks outputs and set the
unit to mono operation with the OUTPUT
parameter under the setup menu.

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 APPLICATIONS
Computer Based Digital Studio Setup
The VoiceWorks’ pristine -128dB EIN (Equivalent Input Noise) mic preamp and 24 bit A/D
conversion alone justifies its place in your Studio rack. The industry’s best sounding pitch correction
and the ability to create harmony vocals with quality good enough to solo in a mix make this unit a
a must-have for anyone working with Vocals. We’ve put together an example setup below for a
basic digital studio setup.

Digital Studio Setup

• Connect a microphone to the XLR mic input
on the VoiceWorks.
• Connect the S/PDIF out from your computer
to the S/PDIF in on the VoiceWorks and the
S/PDIF out from VoiceWorks to the S/PDIF
in on your computer.
• If you’re recording/sequencing software has
the capability to echo incoming MIDI to MIDI
out (most do), connect the MIDI out of your
controller Keyboard to the MIDI in on your
computer and configure it to pass the
Keyboard’s MIDI messages through to the
VoiceWorks.
• Connect the MIDI out from the computer to
the MIDI in on the VoiceWorks.
• If your computer has multiple MIDI inputs,
connect the MIDI out from the VoiceWorks
to the extra MIDI in. The VoiceWorks
outputs MIDI when parameters are being
changed so that during a recording session
it is possible to record parameter changes
that you make from the VoiceWorks into
your sequences. The parameter changes
can then be adjusted to perfection in your
sequencer program!
• Connect the right and left outputs of the
VoiceWorks to your mixer and monitor in
real time what the VoiceWorks is doing
without dealing with the time delay
associated with routing the signal in and out
of the computer.
• Connect the computer stereo audio outputs
to your mixer.

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 PRESET HANDLING
Parameter types
The VoiceWorks has over 100 useful
parameters and a user interface that lets you
view and edit efficiently. Some parameters are
preset based and some are setup based.

Preset parameters are all the parameters See the INDIVIDUAL VOICE KEYS description
found under the eight Voices & Effects keys. for more on Harmony Voicing.
Each preset has its own set of these
parameters. After a few seconds the first line changes to
display the harmony mode, the
Setup parameters are global and do not root/scale/chord information, or when in
change when a different preset is recalled. Harmony Notes Mode, the currently detected
Setup parameters are all the parameters found notes coming from MIDI.
under the setup menu including Lead input
level and pan, Compression/Gate, and EQ
parameters among many others. If you
change your microphone (or singer!) the
EQ/Compression settings need to only be
adjusted once in the setup menu. If you wish
to backup your setup settings, the VoiceWorks
is able to MIDI dump setup parameters to
sysex for later retrieval. All presets may be restored to their factory
default from the setup menu.
Preset Types
It’s important to understand the concept of the Global Effect Presets
current preset versus stored presets. If you select a preset for the GLOBAL EFF
parameter in the setup menu, its effect
The current preset is the preset that is always settings will be used regardless of the current
active in the VoiceWorks. Recalling a preset preset effect settings.
copies preset data from one of the 100 stored
presets into the current preset. As you change If you store the current preset while a Global
the current preset, the underlying stored Effect is active, the current preset data will be
presets are not affected until you choose to stored to the selected preset number, but any
store the current preset back to a stored changes to the effect data (which come from
preset. the Global preset) will be stored to the global
preset.
When dumping and receiving presets via MIDI,
data is dumped from and received to stored
RECALL
presets. The current preset remains
Recalling a preset means loading/activating a
untouched. For example, if you are looking at
stored preset. The stored preset data is
preset 5 and receive a SYSEX preset to preset
copied into the current preset.
5, it will seem as if nothing has changed. The
preset you are looking at is still the current
• Press RECALL to enter recall mode.
preset. Press RECALL to copy the new data
• Use the DATA WHEEL to preview presets.
from the stored preset 5 to the current preset.
Blinking preset names/information indicates
It is possible to directly receive and dump from a previewed preset. Previewing means that
the current preset. Refer to the SYSEX MIDI you have not actually loaded the preset.
documentation available on our website. • Press ENTER or RECALL to recall/activate
the currently previewed preset. This
When presets are recalled or previewed, the transfers the stored preset to the current
first line of the LCD display shows the preset preset.
name and the second line displays the
harmony voicings.

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 PRESET HANDLING
Press any other key at any time during • If connected to a sequencer, arm it to record
previewing to return to the currently recalled SYSEX data and press ENTER on the
preset. VoiceWorks.

All 100 presets shipped with the VoiceWorks The VoiceWorks is always ready to receive
can be modified or overwritten. You can MIDI System Exclusive Dumps.
always restore a preset to its factory default Simply connect MIDI Out from the device you
from the setup menu. are dumping from to the MIDI In on the
VoiceWorks and send the Sysex dump at any
Edit time.
To edit preset parameters:

• Double click any one of the Voices &

Effects keys.
• Tab through the menu of parameters using
the ARROW KEYS. A flashing cursor will
appear over the data that you can edit using
the DATA WHEEL.

STORE
To store a preset:

• Press STORE.
• You can store to the current location, or you
can select a different location using the
DATA WHEEL.
• If you want to change the preset name, use
the ARROW KEYS to step through each
character of the name and use the DATA
WHEEL to edit each character.
• When you are ready, press STORE again to
store the preset to the chosen location and
name.

Presets Backup via MIDI

The VoiceWorks allows MIDI dumping of all or
individual presets, all or individual songs and
the VoiceWorks setup parameters.

• Connect the VoiceWorks MIDI Out to MIDI

In on either another VoiceWorks or an
external MIDI device.
• Enter the setup menu by pressing the
SETUP key and scroll to the MIDIDump
parameter.
• Select what you would like to backup using
the DATA wheel. Pn indicates a preset; Sm
indicates a song, and Setup indicates all
setup parameters.
• If connected to another VoiceWorks simply
press ENTER and your data will be copied
to the other VoiceWorks.

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 VOICES & EFFECTS EDIT PARAMETERS
Introduction E. The range of values goes from Dn5 (Down
5) to U (unison) to Up6. Additional values are
A VoiceWorks Preset is made up of all param- Rt1 and Rt2 which give the root as the harmo-
eters under the eight Voices & Effects keys. ny voice, and Bs1 and Bs2 (bass voicing)
These include INDIVIDUAL VOICES (4), over- which give the lowest MIDI note received. Rt2
all HARMONY, lead voice THICKENING, and Bs2 are the higher pitch root and Bass
EFFECTS, and PITCH CORRECTION keys. settings.

A single click on a Voices & Effects key will Shift Mode Presets
activate/deactivate its processing, a Double In this mode the voices are shifted relative to
click will enter its edit menu. Lit key LEDs the input note. The values range from -24
indicate that the respective processing is semitones to +24 semitones.
enabled. Notes Mode Presets
In this mode there is no selectable voicing,
INDIVIDUAL VOICE KEYS instead you will see the currently decoded
These are the keys with the four human body MIDI note for the selected voice.
icons. They allow the enabling/disabling/editing
GENDER
of individual harmony voices.
This parameter sets the formant of the
A single click will turn on/off an individual har- Harmony Voice. Use it to alter the character of
mony voice. Double clicking a key gives the voice ranging from -50 (a big person with a
access to the following parameters: deep voice) to 0 (no change) to +50
LEVEL (mice/alien sound).
Sets the output level of the selected voice. VIB
Please note that there is also a master harmo- Vibrato Style. A list of Vibrato styles based on
ny voice level found under the HARMONY key. the analysis of real singers.
VOICING VIB AMT
This parameter is used to set the voicing of the Vibrato amount. The depth of vibrato applied to
selected voice. This parameter means different the voice.
things depending on the harmony mode of the
PAN
preset.
L100 (panned fully left) to R100 (panned fully
Scale Mode Presets right)
In this mode the Voicing parameter specifies
MAP
the interval of the harmony note with respect
Custom Voice Mapping (Scale Mode Only).
to the input note in the scale. The range of val-
Scale mode harmonies are basically pitch
ues goes from --8, which is 2 octaves below
maps. For each input note in a scale you can
the input note, to ++8 which is two octaves
define a resulting harmony note. The
above the input note, or Cus, which means
VoiceWorks has pre-defined pitch maps for all
custom voicing (See MAP description). For
the offered scale roots, types, and intervals.
example, a setting of +3 will result in a harmo-
The Custom voicing feature allows you to cre-
ny voice a third above the input voice, related
ate your own pitch maps. For example, you
to the current scale.
could define a pitch map so that a C input pro-
Chord Mode Presets duces an E output and a D input produces an
In this mode the Voicing parameter specifies A output. The best way to work with custom
the relation of the harmony note to the input voicing is as follows:
note with respect to the current chord. In chord
• For a given harmony voice, select the scale
mode presets, the harmony voices are always
root, type, and interval that most closely
notes in the chord. A setting of Up1 will result
matches the desired voicing.
in the harmony voice being the next note
above the input voice in the chord. For • Go to the MAP IN parameter and select the
instance if the Chord was C Major and the input note that requires a different harmony
input note was an E, an Up1 setting would pro- note.
duce a G harmony voice, just above the input • Go to the OUT parameter and change the

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 VOICES & EFFECTS EDIT PARAMETERS
harmony note as desired. STYL AMT
• Select various other input notes and remap The amount that the humanization style is
as desired. Repeat the above steps for each applied to the harmony voices.
harmony voice.
BEND
• The custom map can be transposed under
Pitch Bend Wheel assignment. Allows assign-
the Harmony Edit page by changing the
ment of the pitch bend wheel to Pitch (applica-
SCALE ROOT.
ble in Notes and Chord harmony modes) or
Gender.
HARMONY KEY
This key allows the enabling/disabling/editing PORTA
of the harmony parameters that affect all 4 Portamento. This is defined in milliseconds as
harmony voices. the time to reach a target note when a harmo-
ny voice needs to change pitch.
A single click will turn on/off the all harmony
voices. Double clicking gives access to the LATCH
following parameters: When enabled in chordal mode, the last chord
played remains active after the notes have
HARMONY MODE been released from the MIDI keyboard. When
Change the current harmony mode. Available enabled in Notes mode, the harmony voices
parameters: Scale (Scalic presets), Chord will only respond to MIDI note input when the
(Chordal presets), Shift, and Notes (Shift and number of notes being played equals the har-
Notes presets). mony voices enabled. This ensures logical
voice assignment when voices change.
See the “Harmony, and Tuning” section of the
manual for a full description of each harmony When Latch is On, the envelope parameters
mode. Attack and Release are not applicable.
ROOT ATK
In Scalic presets this sets the scale root. In Sets the envelope attack time for harmony
Chordal presets sets the chord root. voices. Available in Notes and Chords mode.
SCALE/CHORD REL
In Scalic presets this sets the scale type. In Sets the envelope release time for harmony
Chordal presets this sets the chord type. (The voices. Available in Notes and Chords mode.
Chord will change if incoming MIDI notes are
detected as representing Valid chords). TUNING
This gives the option of either Equal tempera-
LEVEL ment, Just intonation, or Barbershop tuning
Sets the overall harmony voice level. modes. See the “Harmony, and Tuning” sec-
tion of the manual for a full description of each
SMOOTH
tuning mode.
Sets how much of the input pitch nuance is
applied to the output voice. Not applicable to THICKEN KEY (Lead Voice)
Shift presets.
This key allows enabling/disabling/editing of
LEAD
lead voice thickening parameters.
This allows turning the lead voice On or Off,
independent of the Lead Level parameter in Thickening Block Diagram
the setup menu. This is useful in creating pre-
sets where you want to hear harmony voices
only.
STYL
Humanization style. This is a list of humaniza-
tion style types, each made up of a combina-
tion of FlextimeTM based time randomization,
pitch randomization and pitch inflection
(scoop).
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 VOICES & EFFECTS EDIT PARAMETERS
LEV FX LEVEL
Sets the volume level of the lead voice Sets the overall volume of the combined
thickening effect. Reverb and Delay effects.

DET REV/DLY
Sets the amount of lead voice detuning. Reverb/Delay mix.

SPRD LE-REV SND

Sets the amount that the detuned voices are Lead to Reverb effects send.
panned. A value of 100% results in the
detuned voices being hard panned R and L. HA-REV SND
A value of 0% results in the detuned voices Harmony to Reverb effects send.
panned to center.
AU-REV SND
Auxiliary to Reverb effects send.
EFFECTS Tap tempo KEY
This key allows the enabling/disabling/editing LE-DLY SND
of the effect parameters and can be used to Lead to Delay effects send.
tap the tempo of the delay time.
HA-DLY SND
A single click will turn on/off the Reverb/Delay Harmony to Delay effects send.
effects. Double clicking gives access to
parameters related to the Reverb and Delay AU-DLY SND
effects. Once in this edit menu, double Auxiliary to Delay effects send.
clicking will advance to the next logical group
of parameters. Pressing ARROW KEYS will DLY2REV SND
move to the next or previous parameter, and Delay output to Reverb effects send.
holding down arrows will quickly scroll through
the parameters.

Effects Block Diagram

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 VOICES & EFFECTS EDIT PARAMETERS
REVERB TYPE PingPong1 and PingPong2 Delay
The list of reverb types includes the following
acoustic simulations:
Living Room, Chamber, Club, Classic Hall, ay Send HF Damping Delay Left Delay Out

Concert Hall, Large Cathedral, Vocal Studio,

Vocal Room, Vocal Hall, Ambience, Live
Reverb, Plate1, Plate2, and Spring.
Feedback
Amount

REVPREDLYT
Reverb Pre-delay time. Sets the delay time
prior to the reverb output. Large rooms
ay Send
typically have reverbs that start much later
HF Damping Delay Right Delay Out

than the initial signal.

DECAY DLY (ms)

Reverb Decay Time. Using the DATA WHEEL, you can fine adjust
the current delay time.
L
Reverb Low Color. Specifies the characteristics DELAY TEMPO SOURCE
of the reverbs low frequencies. TAP: the DLY time comes from the last tapped
tempo.
H
Reverb High Color. Specifies the MCLK: the Dly time comes from incoming MIDI
characteristics of the reverbs high frequencies. clock messages.

DELAY TYPE IGNORE: the Dly time always comes from the
DualMono Delay- maintains the panning of the value manually entered into preset using the
sends. DATA WHEEL.
PingPong1 sends the lead voice to the left
effect end only. DELAY TEMPO RATIO
PingPong2 sends the lead voice to the sends Sets the ratio between the Tapped or MIDI
depending on the lead pan setting. tempo and the resulting delay.

With TAP selected as a tempo source, the

tempo may be tapped in when any of the
Dual Mono Delay three above parameters are selected.

Left Delay Send HF Damping Delay Left Delay Out

FB
Delay feedback amount.
Feedback
Amount
D
High Frequency Damping.

Right Delay Send HF Damping Delay Right Delay Out

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 VOICES & EFFECTS EDIT PARAMETERS
PITCH CORRECT KEY AM
Pitch Correction Amount. Scales the amount of
This key allows the enabling/disabling/editing
automatic correction applied to the input voice.
of the pitch correction parameters.
The range is 0% to 100%. However, 0% does
not mean that the correction is turned off. The
The VoiceWorks will listen to the pitch of your
amount of applied correction depends on how
voice, compare it to the selected correction
far out of tune the input note is.
scale, and then apply pitch correction in real-
This allows for a very musical way of
time. The amount of correction applied is gov-
correcting pitch. It corrects the large pitch
erned by the various amount and timing set-
errors while preserving the natural micro
tings available.
variations around the target pitch. For
example:
Pitch correcting your lead voice not only
makes for great sounding lead vocals, it can
With the amount set to 100%, a 10 cent flat
also benefit your harmonies in that the pitch
input will be corrected by 10 cents and a 50
correction is applied prior to harmony voice
cent flat input will be corrected by 50 cents.
generation.
With the amount set to 80%, a 10 cent flat
A single click will enable/disable pitch
input will be corrected by approximately 5
correction. Double clicking gives access to
cents and a 50 cent flat input will be corrected
the following parameters:
by approximately 40 cents.
ROOT
With the amount set to 0%, a 10 cent flat input
Pitch Correction scale root.
will not be corrected and a 50 cent flat input
will be corrected by approximately 10 cents.
SCALE TYPE
Pitch Correction scale type. Maj (Major), Min1 The line below the WN, AT and AM
(natural minor), Min2 (harmonic minor), Min3 parameters graphically shows in real-time
(ascending melodic minor), Chro (Chromatic) the pitch correction that is being applied by
and Custom. This setting in combination with the VoiceWorks. The maximum correction
scale root determines which notes your input displayed is +/- 200 Cents.
vocal will be corrected to.
PITCH CORRECTION SCALE MAP
WN
This page indicates the actual notes of the of
Correction Window. Specifies the maximum
current correction scale (Maj, Min1, Min2,
distance (above or below) in cents an out-of-
Min3, Chrom or Cust). It provides a chromatic
tune note can be from the closest correction
list of notes beginning with the scale root.
note and still be corrected. A very small
Below this list a series of “o”s and “x”s
window setting will cause correction to occur
indicating which notes are in the pitch correct
only when the singer is singing very close to
scale and which are ignored. “o” indicates that
the correct pitch. The maximum window size is
the note is in the scale and “x” indicates that
200 cents or a whole tone above and below
the note is ignored. The scale may be modified
the target pitch.
by moving the cursor to an “x” or “o” and
turning the DATA WHEEL to change its state.
AT
Modified (custom) scales are stored with
Pitch Correction attack rate. Sets the
presets.
responsiveness of the correction. 0% is slow,
and 100% is fast. Settings of between 16%
and 40% give the most transparent pitch
correction. High settings can give you a robotic
sounding effect.

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 SETUP PARAMETERS
Introduction EQ
EQ assignment. The options are: Off, Lead &
Parameters in the setup menu are global and
Harmony, Harmony or Lead.
are not stored within the preset. They are
parameters that would typically be set for a
L
given situation based on the singer, micro-
Low Shelving Frequency.--- Cut/boost
phone or studio configuration and then left that
way as a basis for the presets within the
H
VoiceWorks. Setup parameters can be backed
High Shelving Frequency.--- Cut/boost
up via MIDI sysex dumps. (see the “Preset
Handling” section of the manual for details).
M
Pressing the SETUP key gives access to:
Mid band Frequency.--- Cut/boost
Lead Voice Level and Pan Q
LEAD LEV Resonance of the midband. Range is .1 (wide
This parameter sets the Lead Voice Level. band) to 10 (very narrow band).
Range: Dryoff, Off, -30db - 0dB. The setting
DryOff mutes the dry input vocal, but allows LEAD DELAY COMPENSATION
the thickening voices to pass through the unit Turning this on delays the lead vocal so that
as if the lead level was set to 0dB. See the the humanized harmony voices will be
“Signal Flow Diagram” for the location of the randomly ahead and behind the lead voice.
Dry Lead Mute. Turning this off results in minimum lead voice
processing delay.
LEAD PAN
Adjusts panning for the lead voice. MICSENS
High or Normal. High gives an additional 10db
LOW CUT of gain. Normal mode should be used
Low cut filter. 12dB per octave. Cutoff whenever possible for the best audio quality.
frequency options include 60, 80 and 120 Hz.
OUTLEV
Dynamics Processing This is like a multi-turn output level pot for the
The VoiceWorks has dynamics processing analog outputs. Range -80dBu to +20dBu.
optimized for vocals. Please note that some mixers will produce a
distorted signal with a +20dB signal. If you
DYNAMICS experience distortion and neither the input nor
Compressor/Gate assignment. The options output clip lights are flashing on the
are: Off, Lead & Harmony, Harmony or Lead. VoiceWorks, try adjusting this parameter to a
The compressor has auto-makeup gain. lower setting.

COMP THRESHOLD OUTPUT

Compressor Threshold. Range: 0 to -60 dB. Output Mode: Stereo or Mono.

RATIO SAMPLE RATE:

Compression ratio. Range: 1.1:1 to 64:1 44.1kHz, 48kHz or External.

GATE INPUT
Gate Threshold. Range: Off, -70dB to 0dB Analog or Digital. Please note that selecting
Digital input will automatically change the
EQ Sample Rate to external. The sample rate may
The VoiceWorks has an extremely flexible 3 at that point be adjusted back to what is
band EQ with frequency adjustable high and desired.
low shelving bands as well as a fully paramet-
ric band with Q frequency and Gain controls.

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 SETUP PARAMETERS
GLOBAL EFF BEND RANGE
Global Effects. This makes the effect Sets in semitones the range that MIDI pitch
parameters of the chosen preset global for all bend information will alter the pitch of the
recalled presets. harmonies in Notes mode.

TUNING NOTES4CHAN
Sets the tuning reference based on A-440. 4 Channel Notes Mode.
Off: All harmony voices in Notes Mode will
MIDI Parameters respond to the base MIDI channel.
MIDI CHANNEL On: In Notes mode, Harmony Voice 1 responds
Sets the base MIDI Send and Receive to the base MIDI channel; Harmony Voice
channel. 2 responds to the base MIDI channel +1
etc. All Harmony Voices will respond to
MIDI FILTER unique MIDI channels.
With this parameter you can cause the
VoiceWorks to ignore certain MIDI commands FOOTSWITCH 1-2-3
and data. For fully functional footpedal control, use the
P ignore program changes. Switch-3 three button foot pedal (other 3 but-
ton footswitches may work also). Each button
SX ignore system exclusive messages.
can be assigned to a special function. The
P+SX ignore program changes and system footswitch assignment options are listed below
exclusive messages. and can be applied to each of the three but-
tons.
SYSEX ID
This parameter sets the MIDI sysex ID for the
None Ignore this button.
VoiceWorks.
SS+/- Increment/Hold:
KEYBOARD ZONE Press and release: Increments
This parameter defines the note range of a (changes on release).
MIDI keyboard that the VoiceWorks will Press and hold: After pressing for 2
recognize when creating harmonies. seconds it will start to decrement.
In Song Mode this changes the Song
For Example: Step.
Above C4- would specify that the VoiceWorks In Recall Mode this changes the
would respond only to MIDI notes current Preset number.
above C4 on the Keyboard. SS+ Song Mode: Increment Song Step
Recall Mode: Increment current
VIB CONTROL preset.
Vibrato Control. This control sets whether the
SS- Song Mode: Decrement Song Step
vibrato follows the onset and attack of the
Recall Mode: Decrement current
model (Boost) or is instantaneous (Manual).
preset.
The Mod Wheel on most keyboards controls
the vibrato in both modes, boosting the preset Byp Bypass
value in the Boost setting and starting from a EffL Effect toggle mute - latched
value of 0 in the Manual Setting for full manual EffM Effect toggle mute - momentary
control. (effects are on only when the pedal is
pressed)
NOTES TRANS
Notes Mode Transpose. This transposes the HarL Harmony toggle mute
harmony voices in notes mode. The value HarM Harmonies toggle mute - momentary
corresponds to octaves. This is useful when (harmonies are on only when the pedal
used in conjunction with Keyboard Zone. is pressed)
Hsus Harmony Hold.

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 SETUP PARAMETERS / SONG MODE
MIDI DUMP • SNG:n indicates the song number. There is a
Allows SYSEX MIDI dumping of all or maximum of 50 songs in the VoiceWorks.
individual presets, all or individual songs and • < STEP INS>, <STEP DEL>, <NAME S ONG>:
the VoiceWorks setup. Select the function that you need using the
• Select what you would like to backup using DATA WHEEL and then press ENTER to
the DATA WHEEL. Pn denotes a preset; Sn either insert a song step identical to the
Denotes a song; Setup is all setup data. current one, delete the current song step or
• If connected to another VoiceWorks simply name the song.
press ENTER and your data will be copied • S:m indicates the song step number. There
to the other VoiceWorks. are a maximum 30 steps per song.
• If connected to a sequencer, arm it to record • P-- is the selected preset for the step. A
SYSEX data and press ENTER on the preset number followed by an s indicates it
VoiceWorks. is a Scalic preset while a c following the
number indicates a Chordal preset.
ERASE SONG • The remaining field displays the Scale
• Select what song you would like to erase Root/Type for Scalic presets, or the Chord
using the DATA WHEEL and press ENTER. Root/Type information for Chordal presets or
RESTORE SHIFT / NOTES to denote their respective
Restore a Preset to its Factory setting preset types.
• Select what preset you would like to restore Perform the following to create a sequence of
using the DATA WHEEL. steps:
• Press ENTER to restore the preset. • Start by pressing the SONG MODE button
and using the DATA WHEEL to select a
VIEW ANGLE
blank song.
Adjusts the optimal viewing angle for the LCD.
• Using the ARROW KEYS move the cursor
to P-- and set the desired preset number for
SONG MODE the first step.
The song mode feature allows you to control • If the first preset you wish to use is a Scalic
your VoiceWorks with a footswitch. This is or chordal preset, set the desired Root and
helpful if you do not use a MIDI sequencer Chord /Scale type.
during performances. You can pre-program a • You can now either go to the STEP:INS field
sequence of presets, scale, root, or chord to insert multiple occurrences of the same
changes, and step forwards and backwards preset and then edit the musical information
through them as needed. for each, or you can go to the S: step field
and advance the step number to create a
This feature also allows you to use a single
new blank step, allowing you to manually
preset throughout a sequence of footswitch
specify a different preset with different
steps while changing only the musical informa-
musical settings.
tion. I.e. the chord, root, and type information
• Once you have created a number of steps,
in chordal presets, and the key and scale infor-
using the S: parameter you can go back
mation in scalic presets.
through the steps to modify the musical
Song mode is best used with a three button information for each step as desired.
footswitch. This will allow you to step forward
All changes are automatically saved as you
and backward in the sequence as well as let
make them. Use MIDI SYSEX to back up your
you mute the harmonies or bypass the box or
songs.
processing components when necessary.
Once a series of song steps have been creat-
ed, you can then use your footswitch (or an
external MIDI controller) to step through them
during a live performance.

The display above is an example of a blank

song.
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 HARMONY AND TUNING
Harmony that pitch. The method of creating harmonies,
using a fixed number of semitones relative to
Here's where we can go into a little more
an input note or pitch, is called chromatic har-
depth about harmonies. We've tried to keep it
mony, the theory of which we'll go into later.
practical, focusing on what VoiceWorks can do
We consider this type of harmonizing to be
for you.
non-intelligent because VoiceWorks is not set
Harmony Hold to any particular key or scale. These are pure,
Truly an innovation, the Harmony Hold feature parallel harmonies. The most common shift
lets you (on a whim) sustain the backing har- harmony voices are the 5th (7 semitones) and
mony voices while you continue to sing octave (12 semitones), ranging from two
through them. On activation (press and hold octaves below the input to two octaves above
an assigned footpedal button or use the the input pitch.
Harmony Hold MIDI CC), you can freeze what-
ever the harmony voices are doing, and they Below is The C Major scale, showing third
will hold their notes (in a very natural way) until above chromatic scale harmony, as used in
you let go (of the pedal button or by sending VoiceWorks Shift Mode.
the proper CC value). See the FOOTSWITCH
parameter description in the “Setup” section of
the manual and the “MIDI Implementation”
section of the manual for more information.
Harmony Modes Black = Lead & Grey = Harmony
VoiceWorks has five different harmony modes,
which give five unique methods of creating Chord (Chordal) Mode
harmony. Once we get into describing the Chordal harmonies take your chord information
more complex harmony modes, we’ll be show- to create intelligent, diatonic harmonies based
ing you examples based on the C major scale. on your voice. To make “Chordal” harmonies,
If you are unfamiliar with this scale we’ve you need to input in real time the chords of the
shown C major here. song. This may be done either via MIDI or
through a programmed sequence of chord
roots and types in song mode. Chord informa-
tion consists of the chord root and type, which
define the 3 or 4 notes in a given chord. In
Chordal mode the Voiceworks will only create
harmony voices that fall on the notes of the
Notes Mode chord. Chordal harmonies are “intelligent”
In this Mode, you provide the VoiceWorks with because they decipher the chord you’re play-
specific MIDI note information to determine the ing and the note you’re singing to produce
pitch of the harmony voices. VoiceWorks has musically pleasing harmonies. When 1 above
two “Manual/Notes” harmony modes, single is defined as a harmony voice (Up1), the next
and 4 channel. The VoiceWorks may be set to note from the chord above the input note is
Notes 4 Channel mode through the setup output for that harmony voice.
menu. Notes 4 Channel mode allows you to The subsequent illustration shows the harmo-
send 4 channels of MIDI information, one for ny notes for the C major scale with a voicing
each individual harmony voice. This is the selection of a C major chord and a single “one
most direct and flexible way of creating har- above”.
monies, allowing you to weave complex
melodies and counter harmonies irrespective Root: C, Chord Type: Maj, Voicing: Up1
of your lead vocal.

Shift Mode
Also known as “Fixed Interval”, this takes the
pitch of your lead voice and creates harmonies
a set number of semitones away, based on Black = Lead & Grey = Harmony

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 HARMONY AND TUNING
You might have noticed that each harmony
note can cover more than one input note, or
that each input note doesn’t necessarily have
a unique harmony note. For instance, C and D
both have E as the 3rd above, E and F share
G, and so on. This gives a more stepped Black = Lead & Grey = Harmony
sound to the harmony as the changes are both
Under the HARMONY Key, is a parameter
greater in magnitude and less frequent than
called SMOOTHING. When set to 100% the har-
when using other harmony methods (shift
mony voices follow your input pitch, errors and
mode for example). The benefit of this method
all, but when set to 0% the harmonies will jump
is that it is very easy to integrate vocal har-
directly to the scalic harmony notes, kind of like
monies into your songs if you already know
a hard pitch correction on the harmony voice.
their chord progressions! The following lists the
Setting the SMOOTHING parameter between 0
chords available with respect to the root of “C”:
and 100% is like having variable amounts of
pitch correction on the harmonies. VoiceWorks
has five preprogrammed harmony scales: three
Maj C E G major, three minor and one custom per preset.
Maj6 C E G A To create a custom scale or pitch map see the
Maj7 C E G B MAP parameter description under the Individual
Maj7sus4 C F G B Voice Key description in the manual.
Min C Eb G It is also tricky to pick out the key in some
Min6 C Eb G A songs. An example is “Sweet Home Alabama”.
Min7 C Eb G Bb Listening, you might think this song is in the
Min7b5 C Eb Gb Bb key of “D”, as that’s the first chord, but the har-
Dim C Eb Gb monies actually work best in the key of “G” --
try running the song through VoiceWorks to
Dim7 C Eb Gb Bbb
hear for yourself.
(equiv. to A)
Dom7 C E G Bb Setting the scale can also take a bit of practice:
Dom7b5 C E Gb Bb for songs centered around the third or root of
Aug C E G# the scale it might not sound like there’s any
noticeable differences between the three major
Aug7 C E G# Bb
or three minor scales. This is because your
Sus C F G song doesn’t hit any of the scale’s altered
Sus2 C D G notes. A melody centered around the fifth of the
Sus7 C F G Bb scale, (such as B in the key of E), highlights
Scale (Scalic) mode the differences between the scales. Try the
Harmonies use key and scale information to “Sha Lala Lala ...La Tee Daa” chorus of Van
create musically correct, diatonic harmonies. Morrison’s “Brown Eyed Girl” (key: E, scale:
Most popular music uses a single scale, so major, 3rd above voicing) with each major
you usually only have to input the information scale to hear the audible difference between
at the beginning of your song. “Scalic” har- them. For the minor scales, Santana’s “Evil
monies are more dynamic than the chordal Ways” (key: G, scale: minor, 3rd above voicing)
harmonies because there are unique harmony highlights the differences between the three
notes for each input note. The subsequent minor scales.
illustration shows the harmony notes for the C The following table illustrates the third and fifth
major scale with a voicing selection of a C above for a given input note to illustrate the dif-
major scale and a single “third above” harmo- ferences between the six different scales. “nc”
ny voice. You can see from the next diagram means no change, in that the harmony voice
that the “Scalic” harmonies are intelligent and will simply keep its previous pitch until the lead
closely follow your lead voice for a tighter voice pitch changes to a non “nc” note. For
sound. complete voicing information see our website
at www.tc-helicon.com
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 HARMONY AND TUNING
Diatonic and Chromatic
We've described scalic and chordal harmonies
as diatonic, and shift harmonies as chromatic;
but what do those words mean?

nc
nc
nc
nc
nc
nc
B
D

D
F

F
Look at a piano keyboard. Between middle "C"
and the next "C" there are twelve keys - 7
white keys and 5 black keys. Each of those
Bb

keys are pitched one semitone apart for a total

D

D
F

F
of, you guessed it, 12 semitones. The chro-
matic scale uses all twelve semitone notes
opposed to the diatonic scales. Thus there is
nc
nc
nc
nc
nc
nc
A
C

C
E

only one chromatic scale, but 12 each of the

major, minor, etc. diatonic scales (C major, C#
major, D major, etc). Most of us have grown up
G#

Eb

Eb

Eb

hearing the traditional "doh ray me fah so la

nc
nc
nc
nc
nc
nc
C

tee doh" diatonic scale, so that harmonies

based on the diatonic scale sound correct.
What does this mean, harmony-wise?
Bb

Bb

Bb
G

D
C

D
B

Diatonic scale harmonies can only use notes

within specified scale or chord, so a “third
above” harmony voice actually varies between
F#

3 and four semitones above the lead note

nc
nc
nc
nc
nc
nc
nc
nc
nc
nc
nc
nc

where the chromatic harmony would stay

exactly 4 semitones (a major 3rd) above each
note.
Ab

Ab
F

C
A

To recap: we have three different harmony

modes that use chromatic or diatonic scales.
Bb
nc
nc
nc
nc
nc
nc
E
G

G
C
B

Shifting, which uses the chromatic, 12 semi-

tone scale, changes the input pitch by a fixed
Eb

Bb

Bb

Bb
nc
nc
nc
nc
nc
nc
G

number of semitones:
Bb
D

A
F

F
C#
nc
nc
nc
nc
nc
nc
nc
nc
nc
nc
nc
nc

Chordal, which uses the root, third, fifth and

sometimes seventh of the many diatonic
scales, pitches the harmony voice to the
closest note contained within the chord:
Eb

Eb

Eb
Lead Voice C

G
E

E
3rd Above
5th Above
3rd above

3rd above

3rd above

3rd above

3rd above
5th above

5th above

5th above

5th above
5th above

Scalic, which uses one of many diatonic

MAJ1

MAJ2

MAJ3

MIN1

MIN2

MIN3

scales, pitches the harmony voice to the near-

est note contained within the scale:

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 HARMONY AND TUNING
harmonically sounds with other singers. The
natural tendency, and what sounds best, is to
sing with “just tuning” so that beating is mini-
mized. One of the goals in barbershop quartet
singing is to strive for “just relative intonation”
so that a sub-frequency is audible. Achieving
this goal results in what barbershop fans often
Theory aside, the best way to get great sound describe as the coveted "ring and lock" sound.
is to experiment with all of VoiceWorks' possi- In barbershop music it is the lead singer's
ble harmony modes. Not only will you develop responsibility to try to sing the melody as close
an intuitive sonic sense of what works best to the tuning of a piano (equal temperament)
where, but by investigating different permuta- as possible. The other singers must then tune
tions and combinations you could discover their harmonies to the melody using “just rela-
some delightful sounds you might otherwise tive intonation”. The VoiceWorks is able to do
have missed. this in both the Just and Barbershop tuning
modes.

Just Tuning When the Just or Barbershop Modes are

Why just tuning? Although probably no one selected in the VoiceWorks, the harmony tun-
has ever told you this, your expensive grand ings are based on the following relationships:
piano and the last great keyboard synthesizer
you bought are both out of tune! Well, to be Minor 3rd = 3 cycles for every 4 cycles of the
fair we can say instead that they are all tuned input
using Equal temperament. Major 3rd = 5 cycles for every 4 cycles of the
input
Harmony is the result of the interaction 5th = 3 cycles for every 2 cycles of the input.
between differing audible frequencies in ratios
that sound musical to the human ear. A more Barbershop differs from Just tuning in Chordal
exact ratio leads to a nicer sounding harmony. mode. Just tuning will use the root of the chord
Most instruments (like the piano) are absolute for the tuning reference, while Barbershop tun-
by nature. Each note on the keyboard has a ing uses the input notes as the tuning refer-
specific pitch. Equal temperament tuning uses ence. For this reason it is better to use
approximations for the tuning of each note, Barbershop in an a-cappella situation and Just
allowing us to easily alter the key of our music when playing with other instruments, because
without re-tuning our instruments. Just tuning sounds more in-tune with the other
Unfortunately, with this method of tuning we instruments that most likely have equal tem-
lose the ability to create perfect ratios when perament tuning.
playing multiple notes. As a result, much of the
harmony you’ve heard in music has not been Our best advice is to experiment and use your
perfectly in tune! ears!

The bottom line is that the approximations of

equal temperament tuning are practical, but
imperfect. Using the VoiceWorks with Just tun-
ing will definitely expand your musical hori-
zons!

Just tuning is practice of maintaining the rela-

tive (and perfect) ratios between pitches, cre-
ating perfect harmonies.

Singers, especially when performing multi-part

a cappella music, base their tuning on how it

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 MIDI IMPLEMENTATION
Parameter Name CC# Range / Description

Voice 1 Level 11 0-127

Voice 1 Voicing 12 Harmony Mode Dependent
Voice 1 Gender 13 0-127
Voice 1 Vibrato Style 89 0-Number of Styles
Voice 1 Vibrato Amount 90 0-100
Voice 1 Pan 16 0-127
Voice 1 Active 106 0-63 Off, 64-127 On

Voice 2 Level 17 0-127

Voice 2 Voicing 18 Harmony Mode Dependent
Voice 2 Gender 19 0-127
Voice 2 Vibrato Style 92 0-Number of Styles
Voice 2 Vibrato Amount 93 0-100
Voice 2 Pan 20 0-127
Voice 2 Active 107 0-63 Off, 64-127 On

Voice 3 Level 21 0-127

Voice 3 Voicing 22 Harmony Mode Dependent
Voice 3 Gender 23 0-127
Voice 3 Vibrato Style 94 0-Number of Styles
Voice 3 Vibrato Amount 15 0-100
Voice 3 Pan 24 0-127
Voice 3 Active 108 0-63 Off, 64-127 On

Voice 4 Level 25 0-127

Voice 4 Voicing 26 Harmony Mode Dependent
Voice 4 Gender 27 0-127
Voice 4 Vibrato Style 3 0-Number of Styles
Voice 4 Vibrato Amount 105 0-100
Voice 4 Pan 28 0-127
Voice 4 Active 109 0-63 Off, 64-127 On

Harmony Mode 29 0-3

Harmony Root 30 0-11
Harmony Type 31 Harmony Mode Dependent
Harmony Level 35 0-127
Harmony Smooth 36 0-127
Harmony Lead 37 0-63 Off, 64-127 On
Harmony Style 40 0-Number of Styles
Harmony Style Amount 41 0-127
Harmony Tuning 42 0-2
Harmony Portamento 43 0-127
Harmony Notes Attack 44 0-127
Harmony Notes Release 45 0-127
Harmony Latch 95 0-63 Off, 64-127 On
Harmony Bypass 110 0-63 Off, 64-127 On

Thickening Level 47 0-127

Thickening Detune 48 0-127
Thickening Spread 49 0-127
Thickening Bypass 111 0-127

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 MIDI IMPLEMENTATION
Parameter Name CC# Range / Description

Effects Level 50 0-127

Effects Rev:Delay Mix 51 0-127
Effects Lead2Reverb Send 52 0-127
Effects Harmony2Reverb Send 53 0-127
Effects Aux2Reverb Send 54 0-127
Effects Lead2Delay Send 55 0-127
Effects Harmony2Delay Send 56 0-127
Effects Aux2Delay Send 57 0-127
Effects Delay2Reverb Send 58 0-127
Effects Reverb Type 59 0-13
Effects Reverb PreDelay Level 60 0-127
Effects Reverb Decay Time 61 0-127
Effects Reverb Color Low Freq 62 0-6
Effects Reverb Color High Freq 46 0-6
Effects Delay Type 63 0-2
Effects Delay Time 14 0-127
Effects Delay Feedback 65 0-127
Effects Delay High Freq Damp 66 0-127
Effects Delay Source 116 0-22
Effects Bypass 112 0-63 Off, 64-127 On

Correction Scale Root 67 0-11

Correction Scale Type 68 0-5
Correction Window 69 0-127
Correction Attack 70 0-127
Correction Amount 71 0-127
Correction Scale LSB 117 *Special
Correction Scale MSB 118 *Special
Correction Bypass 113 0-63 Off, 64-127 On

Setup Dry Level 72 0-127

Setup Lead Pan 73 0-127
Setup Low Cut 74 0-3
Setup Dynamics 75 0-3
Setup Compression Threshold 76 0-127
Setup Compression Ratio 77 0-13
Setup Gate 78 0-127
Setup EQ Routing 79 0-3
Setup Low Shelf Freq 80 0-127
Setup Low Cut Boost 81 0-127
Setup High Shelf Freq 82 0-127
Setup High Cut Boost 83 0-127
Setup Mid Freq 84 0-127
Setup Mid Boost 85 0-127
Setup EQ Q 86 0-127
Setup Output Level 87 0-127
Setup Global Effect 88 0-100

Note:
Wherever applicable, the entire CC range is mapped to a given parameter.

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 MIDI IMPLEMENTATION
Parameter Name CC# Range Description

Setup FootSwitch 1 Assignment 102 0-9

Setup FootSwitch 2 Assignment 103 0-9
Setup FootSwitch 3 Assignment 104 0-9

Global Bypass All 114 0-63 Bypassed ,64-127 Enabled

Global Harmony Hold Control 119 0-63 Off, 64-127 On
Global Vibrato Control 1 0-127

Song Step Forward 115 >63, Song Steps Forward”

Song Step Back 9 >63, Song Steps Backward”

*Special CC’s

Pitch Correction Scale Notes 118 MSB 0nnopqrsB (Binary Pattern)

nn reserved
o=1 C note on
p=1 C#/Db note on
q=1 D note on
r=1 D#/Eb note on
s=1 E note on

117 LSB 0tuvwxyzB

t=1 F note on
u=1 F#/Gb note on
v=1 G note on
w=1 G#/Ab note on
x=1 A note on
y=1 A#/Bb note on
z=1 B note on

o...z=0 notes off use 0 value

Example Custom Scale Message:

Intended scale: C, E, G, B based on a C root. This scale may be transposed by changing
the scale root.
Message: CC#118, 00010001 (converts to 17 decimal), CC#117, 00010001
(17 decimal)

MIDI Program Change messages result in a Song Number change while in song mode.
In any other mode, MIDI Program Change messages result in a Preset Number change.

Note: To capture the desired correction scale you can change the correction scale from the front
panel and record the MIDI out.

Other MIDI messages:

Program Change: Received/Transmitted. In song mode only received
- changes song number.
Pitch Bend: Received. Controls Pitch or Gender, assignable in preset.
Note On/Off: Received.

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 TECHNICAL SPECIFICATIONS

Digital Inputs and Outputs

Connectors: RCA Phono (S/PDIF)
Formats: S/PDIF (24 bit), EIAJ CP-340, IEC 958
Sample Rates: 44.1 kHz, 48 kHz
Frequency Response DIO: DC to 22/23.9 kHz ± 0.01 dB @ 44.1/48 kHz

Analog Inputs
Connectors, balanced: Mic.: XLR, Line: ¼"phone jack
Impedance: Balanced/Unbalanced Mic.: 3.6/1.8 kOhm, Line: 21/13 kOhm
Line Input Level @ 0 dBFS: 24 dBu to 0 dBu
Line Sensitivity @ 12 dB headroom: -12 dBu to 12 dBu
Mic. Input Level @ 0 dBFS: Pad Off/On -14 dBu/6 dBu to -51 dBu/-31 dBu
Mic. Sensitivity @ 12 dB headroom: Pad Off/On -26 dBu/-6 dBu to -63 dBu/-43 dBu
Line, Mic. @ Min gain, Dynamic Range: > 92 dB, 20 Hz - 20 kHz
NF/Vi @ Max. micamp. gain, Rg = 200 Ohm: < 2 dB / -127.4 dBu
THD: < -100 dB (0,001 %) @ 1 kHz
Line Frequency Response: +0/-0.1 dB, 20 Hz to 20 kHz
Mic. Frequency Response, max gain: -1.5 dB @ 40 Hz, +0/-0.1 dB (200 Hz to 20 kHz)
Crosstalk: <-85 dB, 20 Hz to 20 kHz
A to D Conversion: 24 bit, 128 x oversampling bitstream
A to D Delay: 0.65/0.70 ms @ S.R. = 48/44.1 kHz

Analog Outputs
D to A Conversion: 24 bit, 128 x oversampling bitstream
D to A Delay: 0.63/0.68 ms @ S.R.= 48/44.1 kHz
Connectors, balanced: ¼"phone jack
Output Impedance: 40 Ohm
Max. Output Level: Balanced/Unbalanced 20 dBu/14 dBu, R-load = 1200 Ohm
Output Range: Variable up to +20 dBu
Dynamic Range: > 104 dB, 20 Hz to 20 kHz
THD: <-98 dB (0.0013 %) @ 1 kHz
Frequency Response: +0/-0.3 dB, 20 Hz to 20 kHz
Crosstalk: <-100 dB, 20 Hz to 20 kHz

EMC
Complies with: EN 55103-1 and EN 55103-2
FCC part 15, Class B, CISPR 22, Class B

Safety
Certified to: IEC 65, EN 60065, UL6500 and CSA E60065
CSA FILE #LR108093

Environment
Operating Temperature: 32° F to 122° F (0° C to 50° C)
Storage Temperature: -22° F to 167° F (-30° C to 70° C)
Humidity: Max. 90 % non-condensing

Control Interface
MIDI: In/Out/Thru: 5 Pin DIN
Pedal: 1/4" phone jack

Supplementary
Display: 16x 2 character LCD display
Dimensions: 19" x 1.75" x 8.2" (483 x 44 x 195 mm)
Weight: 4.1 lb. (1.85 kg)
Mains Voltage: 100 to 240 VAC, 50 to 60 Hz (auto-select)
Power Consumption: <15 W
Warranty Parts and labor: 1 year

Due to continuous development these specifications

are subject to change without notice.

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