Voiceworks: U Us Se Er R''S S M Ma An Nu Ua Al L
Voiceworks: U Us Se Er R''S S M Ma An Nu Ua Al L
USER’S MANUAL
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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
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!
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FRONT PANEL
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FRONT PANEL
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REAR PANEL
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
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.
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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.
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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:
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.
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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.
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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
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
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.
FB
Delay feedback amount.
Feedback
Amount
D
High Frequency Damping.
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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.
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.
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
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
Eb
Eb
Eb
Bb
Bb
G
D
C
D
B
Ab
F
C
A
G
C
B
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
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
MAJ2
MAJ3
MIN1
MIN2
MIN3
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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.
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MIDI IMPLEMENTATION
Parameter Name CC# Range / Description
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MIDI IMPLEMENTATION
Parameter Name CC# Range / Description
Note:
Wherever applicable, the entire CC range is mapped to a given parameter.
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MIDI IMPLEMENTATION
Parameter Name CC# Range Description
*Special CC’s
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.
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TECHNICAL SPECIFICATIONS
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
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