Owner’s Manual
1
2 3
6
7
4 5
9
8
10
11
12
14
13
16
15
18
17
20
19
Front panel
1
D BEAM
2
VOLUME
p. 37
You can apply various effects to the sound by waving your hand over this sensor.
p. 20
This knob adjusts the overall volume of the VP-550.
3
SOUND CHECK
p. 34
Here you can record and check the sound that’s sent from the OUTPUT jacks.
4
BASS & PERCUSSION
p. 31
These buttons select bass sounds or voice percussion.
5
OCTAVE
p. 36
These buttons raise or lower the keyboard range in one-octave steps.
6
VOCAL DESIGNER
7
ENSEMBLE
p. 21
Here you can select the tonal character of the vocal designer, and adjust the mic level.
p. 27
Here you can select the ensemble sound and adjust the volume.
8
REGISTRATION
p. 43
Here you can register combinations of vocal designer and ensemble settings.
9
AMBIENCE
p. 33
Here you can adjust the type and depth of ambience.
10 Pitch bend / modulation lever
p. 38
Use this lever to vary the pitch or apply vibrato.
* The VP-550’s pitch bend range is fixed at a whole note (two semitones).
11 Keyboard
Perform. *The VP-550 does not respond to aftertouch.
Rear panel
12 POWER ON Switch
p. 18
Press to turn the power on/off.
13 AC Inlet
p. 12
Connect the included power cord to this inlet.
14 MIDI connectors
p. 54
Connect your MIDI equipment to these connectors.
15 TUNE knob
p. 42
This knob adjusts the pitch of the VP-550 over a range of 415.3 Hz–466.2 Hz.
16 PEDAL jacks
p. 16, p. 39
Connect an expression pedal and hold pedal to these jacks.
17 EXT IN jack
p. 15, p. 50
Connect an external synthesizer or mic (phone plug) to this jack.
18 MIC jack
p. 14, p. 22
Connect a mic (XLR plug) to this jack.
19 OUTPUT jacks
p. 13
These jacks output the sound of the VP-550 in stereo (L/R).
20 PHONES jack
p. 13
Connect your headphones to this jack.
1
Contents
The ancestry of the VP ....................................................................................................................5
Features of the VP-550 ...................................................................................................................6
An overview of the VP-550 ...........................................................................................................7
About Vocal Designer .....................................................................................................................8
Sound list ............................................................................................................................................9
Making connections
11
Making connections .......................................................................................................................12
Connect the power cord (AC IN).................................................................12
Connecting your amp or speakers (OUTPUT/PHONES) .....................13
Connecting your mic (MIC) ..........................................................................14
Connecting a pedal (HOLD PEDAL/EXP PEDAL)...................................16
Performing
17
Turning on/off the power (POWER ON) ...................................................................................18
Adjusting the volume (VOLUME) ...............................................................................................20
Performing with Vocal Designer (VOCAL DESIGNER) .........................................................21
Selecting a sound ............................................................................................21
Adjusting the mic input level (MIC LEVEL) .............................................22
Performing with Vocal Designer.................................................................23
Adding your unprocessed voice (DIRECT)..............................................24
Switching off the mic (MIC ON/OFF).........................................................25
Raising Vocal Designer’s pitch by one octave (8va) ............................26
Performing with Ensemble (ENSEMBLE) .................................................................................27
Selecting a sound ............................................................................................27
Performing with Ensemble...........................................................................28
Adjusting the Ensemble volume (ENSEMBLE LEVEL) .........................29
Using the mic to add expression to the Ensemble
(VOICE EXPRESSION).......................................................................................30
About the VP-550’s strings (STRINGS 1) ...................................................30
Performing with Bass & Percussion (BASS & PERCUSSION) ..............................................31
Selecting a sound ............................................................................................31
Performing with Bass & Percussion ...........................................................32
Adjusting the Bass & Percussion volume ................................................32
Adjusting the ambience (AMBIENCE).......................................................................................33
Checking the output sound (SOUND CHECK) .......................................................................34
2
Using controllers
35
Shifting one octave up or down (OCTAVE) .............................................................................36
Using the D Beam (D BEAM) ........................................................................................................37
Using the pitch bend / modulation lever (PITCH BEND)....................................................38
Using pedals (HOLD PEDAL / EXP PEDAL) ..............................................................................39
Using a mic to control expression (VOICE EXPRESSION) ...................................................40
Changing the settings
41
Tuning (TUNE) ...................................................................................................................................42
Registering sounds and settings (REGISTRATION) ...............................................................43
Adjusting the mic expression sensitivity.................................................................................44
Example applications
45
Simulating a large classical choir ...............................................................................................46
Simulating a gospel chorus ..........................................................................................................47
Adding a backing chorus to your voice ...................................................................................48
Simulating a jazz scat solo ............................................................................................................49
Using the sound of an external synthesizer (EXT IN) ..........................................................50
“Performing” sound from drums or a portable music player ...........................................52
Appendix
53
Connecting the VP-550 with MIDI equipment ......................................................................54
MIDI Implementation .....................................................................................................................56
MIDI Implementation Chart .........................................................................................................58
Main specifications ..........................................................................................................................59
Troubleshooting ...............................................................................................................................60
Index .....................................................................................................................................................62
Information ........................................................................................................................................64
Before using the VP-550, please read the sections, “USING THE UNIT SAFELY” and
“IMPORTANT NOTES” (separate sheet). They provide important information concerning proper
operations of the VP-550. This Owner’s manual should be read in its entirety in order for you to
understand all features and operations. Keep the manual on hand for reference purposes.
All product names mentioned in this document are trademarks or registered trademarks of their
respective owners.
Copyright © 2006 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of ROLAND CORPORATION.
3
Play like you’re singing.
4
Th e a ncestr y of t he V P
1939 marks the invention of the “vocoder,” a method of compressing a vocal signal. Subsequently
used during World War II as a way to scramble communications, the vocoder began to achieve
popularity as an electronic musical instrument in the 1970’s. Most vocoders of that time didn’t provide
a keyboard or carrier signal (analogous to the vocal cords of a human), so you had to separately
provide a synthesizer in order to produce sound.
1979 was the year in which Roland released the VP-330, a new idea that combined a vocoder with
a strings-type keyboard, making it simple to produce sound without needing to use other equipment.
The VP-330 enabled you to create distinctive vocal sounds without specialized knowledge of vocoder
parameters, and still continues to be loved by musicians around the world.
2006 marks the birth of the VP-550, going beyond the vocoder to utilize Roland’s “Vocal Designer”
human vocal modeling technology, and featuring a simple interface designed for musicians.
“Ultimate vocals for all musicians” – that’s the mission of the VP-550.
5
Features of the VP-550
The VP-550 is a keyboard featuring cutting-edge “Vocal Designer” human vocal modeling technology. Just connect a mic, play the keyboard while you sing, and let the VP-550 model incredibly
realistic and natural vocals.
Highest quality vocals
Unlike the choir sounds you’ve heard from samplers and synthesizers, the “Vocal Designer” modeling technology built into the VP-550 lets you actually “sing the lyrics” — and it generates natural
and realistic vocals that are simply beyond all comparison with conventional vocoders.
In other words, the VP-550 lets you do it all; from beautiful choirs echoing in a cathedral, to funky
gospel, to background choruses for pop and rock bands.
No longer will you need to call multiple vocalists to your live performances or recording sessions.
Simply play the VP-550 and start enjoying the top quality vocal sounds you’ve dreamed of.
Rich ensembles
In addition to “Vocal Designer,” the VP-550 also provides an “Ensemble” part with carefully selected
high-quality PCM sounds (digital sampled sounds).
By using the “Ensemble” part to layer richly expressive strings and superb choir sounds with “Vocal
Designer,” you can create unbelievably rich ensembles.
In addition, you can use the “Bass & Percussion” part to play voice bass or voice percussion.
This means that all by itself, the VP-550 lets you rival an orchestra or a cappella group.
Easy operation
The VP-550 doesn’t have the display screen you often see on a synthesizer. Take a look at the panel.
The knobs and buttons you see are all that there is! The complex hierarchies and menus that obstruct your creativity have been completely eliminated.
All you need to do is connect a mic, use the buttons to select a sound, and then play the keyboard
while you sing.
6
An overview of the VP-550
The VP-550 has three parts, and each part occupies its own section of the front panel.
• VOCAL DESIGNER
• ENSEMBLE
• BASS & PERCUSSION
BASS & PERCUSSION
VOCAL DESIGNER
ENSEMBLE
If you turn on a sound button for a part, you’ll be able to play that part.
If you turn on a sound button for two or more parts, you’ll be able to play those parts simultaneously.
By combining these parts, you can make the VP-550 produce an incredible range of vocal sounds.
These parts are mixed as follows.
VOCAL DESIGNER
This part uses the keyboard and the mic input to model vocal sounds.
Use the keyboard to control the pitch, and use the mic to control all
other aspects of the sound.
Carrier
Modulator
This has the same role that the
“vocal cords” play in a human
voice. According to the pitches
you play on the keyboard,
this generates the signal that
forms the basis of the sound
(tone and pitch). Use the sound
buttons to switch between different vocal characters such as
classic or pop.
From the voice you input via
the mic input, this extracts the
resonances (formants) that
result from the shape of your
throat and larynx and the movement of your mouth, and uses
these formants to modulate the
signal produced by the carrier.
This will reproduce not only the
loudness of your voice, but also
let the lyrics be heard clearly
and intelligibly
AMBIENCE
This section applies
the ambience of a hall
or studio to the sound
from the three parts.
f you don’t want ambience to be added, turn
he knob all the way to
the left.
ENSEMBLE
This part lets you play high-quality PCM sounds (digitally sampled sounds) from the keyboard. Use the
sound buttons to switch between sampled sounds
such as strings or choir. By layering the Ensemble
part with the Vocal Designer you can create even
richer sounds.
BASS & PERCUSSION
If you turn on one of these sound buttons, the
seventeen left-most keys of the keyboard will play
voice bass or voice percussion sounds. You can easily
do things such as using your left hand to play a bass
line while using your right hand to play the melody.
7
About Vocal Designer
“Vocal Designer” human vocal modeling technology is a further evolution of the “vocoder.” Here’s a simple
explanation of the vocoder.
What’s a vocoder?
The “vocoder” was invented by the physicist H. Dudley in 1939 as a technology for compressing a voice
communication signal. Subsequently, musical instruments based on this technology were developed,
allowing you to play melodies and harmonies using a human voice. Of course, the audio source can be
anything (not just a human voice) but because the vocoder has its basis in the sound-producing structure
of the human voice, we’ll be talking about it in terms of how a human voice is produced.
If we ignore differences of loudness, pitch, and variation between individuals, the waveform produced by
our vocal cords is essentially identical regardless of what you’re saying (e.g., “ahh” or “eeh”). We can distinguish spoken or sung words because of the various resonances (formants) created by our vocal tract (the
shape of our throat and the movement of the larynx and mouth) and additional sounds called “fricatives,”
“plosives,” and “sibilants” that are added in varying ways over time. The effect of the waveform created by
the vocal cords actually has a rather minimal effect on what the listener hears.
A vocoder analyzes these time-varying changes, electrically synthesizes the
shape of the throat and movements of the mouth (the formant movements),
and uses these formants to modulate a musical signal (the carrier) rather than
the waveform produced by the vocal cords. The vocoder “voice” produced in
this way was closer to that of a robot in a science fiction movie rather than the
voice of an actual human.
Vocal Designer uses cutting-edge modeling technology to bring about a revolutionary leap in the accuracy of this synthesis, succeeding in generating a
“human voice” that is incomparably more realistic and natural than the sounds
produced by vocoders of the past.
Resonances (formants)
produced by the vocal
tract (shape of the
throat and larynx) and
movements of the mouth
Vocal cords (carrier)
Play like you’re singing
Vocal Designer is constructed so that elements other than pitch are expressed by your voice via the mic.
You play the keyboard to control the pitch.
Vocal Designer won’t produce sound if you are only vocalizing into the mic or only playing the keyboard.
This means that in order to take advantage of Vocal Designer, the timing at which you play the keyboard
and vocalize into the mic is extremely important. When you’re performing a rapid passage, you will probably find it best to hold down the keys (or press the hold pedal ➞ p. 39) and use your voice to play the
rhythm.
Unlike on typical synthesizers, the volume is controlled by the mic. Use your voice to draw the curve. Using
your voice, you can produce a range of expression that you might even find extreme.
The most important technique for taking advantage of Vocal Designer is to
“Play like you’re singing”
8
Sound list
VOCAL DESIGNER
Sound
Description
CLASSIC
A large choir suitable for classical music. This is also a good choice for any choral sound — not
just classical— and will match nearly any style of music. It has a clear sound, and is a good
choice when you want the lyrics to be heard.
MALE &
FEMALE
A mixed choir with independent male and female parts. With sparser chords, it produces a
deeper and more three-dimensional sound than “CLASSIC.” You’ll hear the female voices in the
high range, and the male voices in the low range. Female voices will be heard in the right side
of the stereo, and male voices in the left side.
GOSPEL
This choir includes the distinctive phrasings and irregularities that are distinctive of gospel
music. It’s an ideal choice for jazz or gospel.
POP
A choir with a fewer number of members, broadly useful for popular music as well as songs that
contain rapid passages. The sound is clear, making this a good choice when the lyrics need to
be heard.
VOCODER 1
A talkbox sound with a metallic character. This is a more modern sound than “VOCODER 2,” and
is suitable for styles with a groove, such as R&B.
VOCODER 2
A vintage vocoder sound, broadly useful for pop music of the 1980’s as well as songs that contain rapid passages. It’s a good choice for chordal playing.
* If you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound be-
ing received from the rear panel EXT IN jack will be used as the carrier (➞ p. 50).
ENSEMBLE
Sound
Description
STRINGS 1
This is an acoustic string sound that emphasizes the expressive playability that is inherent to
strings. Performance nuances such as your keyboard touch or pedal operation will automatically control the attack, release, legato, and tonal changes of the sound. This sound is suitable
for playing phrases, but can be broadly used for chordal playing and other purposes. (p. 30).
STRINGS 2
This is a synthesizer string sound. It is a bright string sound that evokes the Roland JP-8000
synthesizer, and is a good choice for chordal playing.
JAZZ SCAT
This sound provides samples of jazz scat singing. It’s great for songs that contain rapid passages
and for scat soloing. Your keyboard dynamics will switch between long “Doo” sounds, short “Bap”
sounds, and falls “Fall.”
MIXED
CHORUS
This provides samples of a large choir that’s excellent for classical music. You can get an even
more majestic effect by layering this with one of the sounds of the Vocal Designer part.
BOYS CHOIR
This is a sampled boys choir. To take the fullest advantage of this sound, play notes in the upper
half of the keyboard.
HUMMING
This is a sampled humming sound. You can use the expression pedal or the “Voice Expression
function” (p. 40) to vary the sound through a range of “mmh” ➞ “Ooh” ➞ “Aah” for a very expressive performance.
9
BASS & PERCUSSION
Sound
Description
BASS 1
This is a bass voice with short-duration notes, good for up-tempo songs across a wide range of
styles.
BASS 2
This is a bass voice with long-duration notes, good for slower-tempo songs across a wide range of
styles.
BASS 3
This is a jazz scat bass sound. Your keyboard dynamics will switch between long “Doo” sounds, short
“Bap” sounds, and falls “Fall.”
PERC
This provides a collection of voice percussion sounds.
PERC sounds
10
Note
Sound
D#3
Vox Cymm
C#3
V C
Vox
Cymbal
b l
A#2
V Hih
Vox
Hihat 3
G#2
Vox Hihat 1
F#2
Vox Hihat 2
D#2
Vox Snare 2
C#2
VoxKickSweep
M a k i n g conne c t ions
In this chapter you’ll connect the VP-550 to your external equipment and set it up.
11
Making connections
Connect the power cord (AC IN)
1.
Connect the included power cord to the VP-550’s [AC Inlet], and plug
the other end into an AC outlet.
to AC outlet
12
Connecting your amp or speakers (OUTPUT/PHONES)
The VP-550 doesn’t contain an amp or speakers. In order to hear sound, you’ll need to connect it to monitor
speakers (with a built-in amp), a stereo set or other audio system, or headphones.
* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume,
and turn off the power on all devices before making any connections.
1.
Make connections as shown.
Headphones
INPUT
Monitor speaker (with built-in amp)
✍
✍
If you’re outputting in mono, connect your equipment to the [L/MONO] jack.
Audio cables and headphones aren’t included with the VP-550. You’ll need to obtain them separately.
13
Connecting your mic (MIC)
A mic is indispensable for performing with the VP-550. The VP-550 models vocal sounds by using your voice
that’s input via the mic. This means that using a high-quality mic will correspondingly improve the quality
of the result. The connector of the VP-550 you use will depend on the type of plug your mic provides. (In
order to use the full capability of the VP-550, we recommend using a “balanced (XLR) type” plug.)
* For more about mics recommended for the VP-550, refer to the separate leaflet “Mics recommended for the VP-550.”
Headset or hand mic?
The VP-550 (Vocal Designer) controls the volume of the sound according to the loudness of your voice in
the mic. This means that a headset mic is the ideal choice, since the distance between the mic and your
mouth will remain the same even during the most intense moments of your keyboard performance! With a
headset mic, you’ll be free to sing and dance on stage to your heart’s content.
If you’re using a balanced (XLR) plug mic (MIC)
1.
Connect it to the [MIC] jack as shown.
* The VP-550 is equipped with a balanced (XLR) type jack. Wiring diagrams for this
jack is shown at right. Make connections after first checking the wiring diagrams of
other equipment you intend to connect.
* The VP-550’s MIC jack does not provide phantom power. If you’re using a condenser mic, you’ll need to
obtain a separate phantom power supply unit or switch to using a dynamic mic.
* Howling could be produced depending on the location of microphones relative to speakers. This can
be remedied by:
1. Changing the direction of the microphone(s).
2. Relocating microphone(s) at a greater distance from speakers.
3. Lowering volume levels.
14
If you’re using a phone plug mic (EXT IN)
1.
Connect it to the [EXT IN] jack as shown.
2.
Turn the [EXT IN] knob to “MIC.”
✍
3.
This knob adjusts the level of the sound from the [EXT IN] jack. (Turn the knob toward “MIC” to
increase the level, or toward “LINE” to decrease it.) If you’ve connected a mic, you should turn this
to “MIC.”
➞ Refer to “Adjusting the mic input level” (p. 22) for more about this adjustment.
Set the [MIX TO MIC] switch “ON.”
✍
The [MIX TO MIC] switch setting determines whether the sound from the [EXT IN] jack will be used
as a mic input (modulator; the ON setting) or as the carrier (the OFF setting).
We’ll be using it as a mic input, so select the “ON” position here.
Carrier
Modulator
This is the signal that is the
basis of the sound and determines its timbre and pitch.
If you press the [VOCODER
1] and [VOCODER 2] sound
buttons simultaneously, the
sound being received from
the rear panel EXT IN jack will
be used as the carrier.
The tonal character (formants) of the
voice from the mic input is extracted,
and these formants are used to
modulate (transform) the carrier
signal.
If you want the sound from the rear panel
[EXT IN] jack to be the carrier, set the [MIX
TO MIC] switch “OFF” (➞ p. 50).
If you want the sound from the
rear panel [EXT IN] jack to be the
modulator, set the [MIX TO MIC]
switch “ON” (➞ p 52)
15
Connecting a pedal (HOLD PEDAL/EXP PEDAL)
You can connect a hold pedal (sold separately: DP series, BOSS FS-5U) and an expression pedal (sold separately: EV-5) to the VP-550.
Using a hold pedal lets you hold the notes.
Using an expression pedal lets you add expression to your performance.
➞ Refer to “Using pedals” (p. 39) for more information.
1.
Make connections as shown.
Expression pedal
(sold separately: EV-5)
✍
16
Hold pedal
(sold separately: DP series, BOSS FS-5U)
Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
Per fo r m i n g
In this chapter you’ll learn the basics of playing the VP-550. When you’ve finished it, you will
have mastered the basics of the VP-550!
17
Turning on/off the power
(POWER ON)
Here’s how to turn the VP-550’s power on or off.
Turning on the power
* After completing the connection explained in the previous chapter, make sure to turn on the power
by following the steps below. By turning on devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
1.
Before you turn on the power, check the following.
2.
On the VP-550’s rear panel, turn the [POWER] switch “on.”
Is the VP-550 correctly connected to your peripheral equipment?
Have you turned down the volume of the VP-550 and the connected audio system to the minimum settings?
ON
OFF
* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
3.
Use the [VOLUME] knob to adjust the volume appropriately.
While you play the keyboard to produce sound, adjust the volume of the VP-550 and of the audio equipment you’ve connected.
If you don’t hear sound, check the following.
• Is the VP-550 correctly connected to your amp, speaker, or headphones?
• The Vocal Designer part won’t produce sound when you play the keyboard unless you are vocalizing
into the mic. ➞ For details, refer to “Performing with Vocal Designer” (➞ p. 23)
• If there’s no mic connected, try selecting an Ensemble part sound and playing it from the keyboard
(➞ p. 28).
18
Turning off the power
1.
Before you turn off the power, check the following.
2.
On the VP-550’s rear panel, turn the [POWER] switch “off.”
Have you turned down the volume of the VP-550 and the connected audio system to the minimum settings?
ON
✍
OFF
If you need to turn off the power completely, first turn off the POWER switch, then unplug the
power cord from the power outlet. Refer to Power Supply (separate sheet p. 4, “IMPORTANT
NOTES”).
19
Adjusting the volume
( VOLUME)
Here’s how to adjust the volume of the entire VP-550.
1.
20
Adjust the volume of the entire VP-550.
✍
For best results, adjust the volume of your amp or speaker system so that you get the desired
loudness when the [VOLUME] knob is between the 12 o’clock and 2 o’clock positions as shown.
Turn the knob toward the right if you want to increase the volume further, or toward the left if you
want to decrease the volume.
Performing with Vocal Designer
( VOCAL DESIGNER)
Let’s go ahead and try performing with the Vocal Designer part. While vocalizing into the mic, play the
keyboard and you’ll hear realistic and natural voices.
For more about how Vocal Designer works, refer to “About Vocal Designer” (➞ p. 8).
Selecting a sound
Here’s how to select a Vocal Designer sound.
To play the Vocal Designer part, press a Vocal Designer sound button to make it light.
If you press the Vocal Designer sound button that’s already lit, the button will go dark and you will no longer hear the Vocal Designer part.
✍
You can play multiple parts simultaneously by turning on sound buttons for the Ensemble part
and/or Bass & Percussion part. If you want to play only the Vocal Designer part by itself, turn off
the sound buttons of the other parts (make the buttons go dark).
Sound
Description
CLASSIC
A large choir suitable for classical music. This is also a good choice for any choral sound — not
just classical— and will match nearly any style of music. It has a clear sound, and is a good
choice when you want the lyrics to be heard.
MALE &
FEMALE
A mixed choir with independent male and female parts. With sparser chords, it produces a
deeper and more three-dimensional sound than “CLASSIC.” You’ll hear the female voices in the
high range, and the male voices in the low range. Female voices will be heard in the right side
of the stereo, and male voices in the left side.
GOSPEL
This choir includes the distinctive phrasings and irregularities that are distinctive of gospel
music. It’s an ideal choice for jazz or gospel.
POP
A choir with a fewer number of members, broadly useful for popular music as well as songs that
contain rapid passages. The sound is clear, making this a good choice when the lyrics need to
be heard.
VOCODER 1
A talkbox sound with a metallic character. This is a more modern sound than “VOCODER 2,” and
is suitable for styles with a groove, such as R&B.
VOCODER 2
A vintage vocoder sound, broadly useful for pop music of the 1980’s as well as songs that contain rapid passages. It’s a good choice for chordal playing.
* If you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound be-
ing received from the rear panel EXT IN jack will be used as the carrier (➞ p. 50).
21
Adjusting the mic input level (MIC LEVEL)
Here’s how to adjust the input level of the mic connected to the rear panel [MIC] jack.
1.
Vocalize into the mic.
✍
2.
3.
Check the indicator status.
Indicator significance
Red
The signal level from the mic input is too great.
Yellow
The signal level from the mic input is just right.
Green
A signal is being input from the mic input.
Adjust the [LEVEL] slider so that the yellow indicator lights at the
peak of your vocalizing into the mic.
* The [LEVEL] slider doesn’t affect the rear panel [EXT IN]
jack. If you’ve connected your mic to the [EXT IN] jack,
use the rear panel [EXT IN] knob to adjust the input level.
Turning the knob toward “MIC” will increase the input
level, and turning the knob toward “LINE” will decrease it.
✍
22
Once you’ve adjusted the mic input level, you should generally leave it untouched. Adjust the
[VOLUME] knob if you want to raise or lower the volume of the Vocal Designer part.
Performing with Vocal Designer
Now you’re ready to perform with Vocal Designer.
1.
Select a sound.
• To ensure that you can clearly hear the sound of Vocal Designer, turn off the sound buttons of the Ensemble part and the Bass & Percussion part.
• To ensure that you’re hearing just Vocal Designer and not your own voice, move the [DIRECT] slider to
the very lowest position.
• Turn the [MIC ON/OFF] switch (p. 25) on (lit).
2.
3.
Hold down one or more notes on the keyboard.
While holding
g down the notes, vocalize into the mic.
The Vocal Designer part will sound according to the volume of your vocalizing.
Even if yyou’re holding
g down notes,, Vocal Designer
g
won’t produce
p
sound unless you
y are vocalizing
g into the mic.
Conversely,
y, Vocal Designer
g
won’t produce
p
sound if you’re
y
not holding
g down notes,, even if you
y are vocalizing.
g
Play the keyboard to control the pitch. Try vocalizing a continuous “aah” into the mic while you play different
keys. The pitch will change according to the notes you play.
This time, hold down notes on the keyboard while you vocalize in a more staccato manner; “ah, ah, ah, ...” Vocal
Designer will produce sound at the pitches of the chord you’re holding down, but at the staccato rhythm you
vocalized. That’s right — the rhythm is produced by your voice, not by the keyboard. This technique is particularly useful when you’re performing phrases with rapid passages.
Unlike typical synthesizers, the volume is controlled from the mic. Use your voice to draw the curve. Using
your voice, you can produce a range of expression that you might even find extreme.
There are just two secrets to using Vocal Designer skillfully.
• Match the timing of the keyboard and your voice
(use your voice to play the rhythm)
• Use your voice to control the volume (expression)
You can adjust the sensitivity at which
the volume from the mic will affect
the expression. (➞ p. 44)
If you don’t hear sound, check the following
•
•
•
•
•
•
•
Is the VP-550 correctly connected to your amp, speaker, or headphones?
Is the VP-550’s volume raised?
Is one of the Vocal Designer sound buttons lit?
Is the power switch of your mic turned on?
Is your mic connected correctly? (➞ p. 14)
Is the mic input level raised? (➞ p. 22)
Is the [MIC ON/OFF] switch lit? (➞ p. 25)
23
Adding your unprocessed voice (DIRECT)
Now let’s add your voice from the mic directly to the output.
1.
Vocalize into the mic.
2.
Your voice will be output directly from the VP-550.
This time, try singing a favorite song into the mic. While doing so, choose one of the Vocal Designer sounds
(we recommend [GOSPEL] or [POP]) and hold down the appropriate chord progressions on the keyboard
while you sing.
Vocal Designer will add a backing chorus to your vocal according to the chords you play.
24
Switching off the mic (MIC ON/OFF)
mic input is on.
1.
Press [MIC ON/OFF] to make the button go dark; the mic input will
turn off.
2.
Press the button again to make it light; the mic input will turn on.
✍
✍
When you power-on the VP-550, this button will be lit and the mic input will be on.
You can check the mic expression sensitivity by holding down [MIC ON/OFF] for one second or
longer
(➞ p. 44).
25
Raising Vocal Designer’s pitch by one octave (8va)
Here’s how to raise Vocal Designer’s pitch by one octave.
1.
Press the [8va] button; it will light, and the pitch of Vocal Designer
will rise one octave.
2.
Press the button once again; it will go dark, and Vocal Designer will
return to its original pitch.
“8va” is a symbol meaning “play one octave higher.”
✍
26
Unlike the OCTAVE [DOWN]/[UP] buttons, the [8va] button applies only to the Vocal Designer part.
Use this when you want to raise the Vocal Designer part one octave higher than the ensemble
part.
Performing with Ensemble
(ENSEMBLE)
Use the sound buttons to switch sounds.
Selecting a sound
Press a button to select a sound.
To play an Ensemble sound, press one of the buttons to make it light. If you press a button that’s already lit,
it will go dark and the Ensemble part will no longer produce sound.
✍
You can simultaneously play more than one part by turning on a sound button for the Vocal Designer and/or Bass & Percussion parts. If you want to hear only the Ensemble part, simply turn off
the sound buttons for the other parts so that they are dark.
Sound
Description
STRINGS 1
This is an acoustic string sound that emphasizes the expressive playability that is inherent to
strings. Performance nuances such as your keyboard touch or pedal operation will automatically control the attack, release, legato, and tonal changes of the sound. This sound is suitable
for playing phrases, but can be broadly used for chordal playing and other purposes. (p. 30).
STRINGS 2
This is a synthesizer string sound. It is a bright string sound that evokes the Roland JP-8000
synthesizer, and is a good choice for chordal playing.
JAZZ SCAT
This sound provides samples of jazz scat singing. It’s great for songs that contain rapid passages
and for scat soloing. Your keyboard dynamics will switch between long “Doo” sounds, short “Bap”
sounds, and falls “Fall.”
MIXED
CHORUS
This provides samples of a large choir that’s excellent for classical music. You can get an even
more majestic effect by layering this with one of the sounds of the Vocal Designer part.
BOYS CHOIR
This is a sampled boys choir. To take the fullest advantage of this sound, play notes in the upper
half of the keyboard.
HUMMING
This is a sampled humming sound. You can use the expression pedal or the “Voice Expression
function” (p. 40) to vary the sound through a range of “mmh” ➞ “Ooh” ➞ “Aah” for a very expressive performance.
27
Performing with Ensemble
Now let’s try performing with the Ensemble part.
1.
Select a sound.
• To ensure that you can clearly hear the sound of the Ensemble part, turn off the sound buttons of the
Vocal Designer part and the Bass & Percussion part.
• Raise the Ensemble [LEVEL] slider (p. 29).
2.
Play the keyboard.
You’ll hear the Ensemble part.
Playing the Ensemble part by itself will give you a wonderful sound, but layering it with the Vocal Designer
part will raise this to the level of truly amazing! By layering powerful strings or beautiful choir sounds
together with Vocal Designer, your performance on the VP-550 can sound unbelievably rich.
Vocal Designer will stop sounding when your voice is not being input from the mic (such as when you take
a breath), but the Ensemble part will sound as long as you are playing the keyboard (regardless of the mic
input). Layering the Ensemble part with the Vocal Designer ensures that the sound will not be interrupted.
If you don’t hear sound, check the following
• Is the VP-550 correctly connected to your amp, speaker, or headphones?
• Is the VP-550’s volume raised?
• Is the Ensemble [LEVEL] slider raised?
• Is one of the Ensemble sound buttons lit?
28
Adjusting the Ensemble volume (ENSEMBLE LEVEL)
Here’s how to adjust the volume of the Ensemble part.
1.
Play the keyboard.
2.
Move the [LEVEL] slider to adjust the volume.
Unlike the [VOLUME] knob, this slider only affects the Ensemble part. You can use this slider to make adjustments when you want the Ensemble part to be louder (or softer) than the Vocal Designer or the direct
output of the mic (your voice).
Step on a pedal!
The expression pedal will vary not only the volume of the Ensemble part but also
its “tone.” This means that using the pedal will make your Ensemble part performance enormously more expressive.
➞ For details, refer to “Using pedals (HOLD PEDAL / EXP PEDAL)” (p. 39).
29
Using the mic to add expression to the Ensemble (VOICE EXPRESSION)
You can use your voice via the mic to add expression to the sound of the Ensemble part.
➞ For details, refer to “Using a mic to control expression (VOICE EXPRESSION)” (p. 40).
About the VP-550’s strings (STRINGS 1)
Just as string sound was provided on the VP-330 that went on sale in 1979, this VP-550
also provides an extremely powerful string sound. This string sound was newly developed
specifically for the VP-550.
The sound is distinctive in having a far richer level of performance expression than conventional synthesizers. Furthermore, the sound is designed so that this dynamic expression
will naturally become part of your performance without you having to be aware of it. No
need for complex operations. Simply play the keyboard like you feel, and the VP-550 will
respond.
Dynamics control
On a conventional synthesizer, the string sound might switch between “softly bowed sounds” and “strongly
bowed sounds” according to your playing dynamics. However, pressing the expression pedal simply changes
the volume without affecting the tone. This can produce an unnatural impression when a soft sound gradually becomes a loud sound.
In contrast, the string sound built into the VP-550 use the expression pedal (or “Voice Expression” function) to
smoothly change the sound between “softly bowed sounds” and “strongly bowed sounds,” creating a much
more natural-sounding crescendo or decrescendo. Tonal changes produced by using the expression pedal
will occur in a smooth, natural curve that follows the movement of your foot, giving your performance a
whole new dimension of expressive reality.
Intelligent legato
When you play the keyboard legato (pressing the next key before releasing the preceding key), the sound
automatically switches to a dedicated legato sound that creates a smooth transition between notes. The
degree of expression will change intelligently according to the speed of your performance. In the violin register, a portamento effect that smoothly connects the pitch from one note to the next is automatically added
according to the content of your performance. Packed inside the VP-550 is a polished string ensemble that’s
waiting for you to direct it.
30
Performing with Bass & Percussion
(BASS & PERCUSSION)
bass and voice percussion sounds. This makes it easy to use your left hand to play a bass line while using
your right hand to play the melody.
Selecting a sound
Here’s how to select a Bass & Percussion sound.
When you press a Bass & Percussion sound button to make it light, the left-most seventeen notes of the
keyboard will play bass and percussion sounds.
BASS & PERC
VOCAL DESIGNER
ENSEMBLE
If you press a sound button that is already lit, the button will go dark and the Bass & Percussion part will
not produce any sound.
Sound
Description
BASS 1
This is a bass voice with short-duration notes, good for up-tempo songs across a wide range of
styles.
BASS 2
This is a bass voice with long-duration notes, good for slower-tempo songs across a wide range of
styles.
BASS 3
This is a jazz scat bass sound. Your keyboard dynamics will switch between long “Doo” sounds, short
“Bap” sounds, and falls “Fall.”
PERC
This provides a collection of voice percussion sounds.
31
Performing with Bass & Percussion
Now you can try playing the Bass & Percussion part.
1.
Select a sound.
2.
Play a note in the keyboard region shown below.
The Bass & Percussion part will sound.
The Bass & Percussion part is distinctive in that it splits the keyboard to obtain its own dedicated range of
keys. This means that you can use your right hand to play melody or chords while playing a bass line or
voice percussion with your left hand.
In other words, you can simulate an entire a cappella group all by yourself!
Adjusting the Bass & Percussion volume
You can adjust the volume of the Bass & Percussion part over a range of four steps.
1.
This completes the setting. This setting is
remembered even if you turn off the power.
While holding down [MIC ON/OFF],
press one of the Bass & Percussion
sound buttons.
* Don’t power-off the VP-550 during this
process; doing so may cause a malfunction.
3.
The four-stage volume adjustment will be
set to a value corresponding to the button
you pressed (1–4). Higher numbers correspond to a higher volume (default value: 3).
2.
The sound button you pressed will
blink, and all the remaining sound
buttons will light.
To check the current setting, hold
down [MIC ON/OFF] for one second or
longer.
The sound button corresponding to the
current value will blink, and the remaining
sound buttons will light.
You can also press a sound button to change
the setting at this time.
32
Adjusting the ambience
(AMBIENCE)
To each part, you can add the acoustic ambience that is typical of a hall or studio.
When you want to switch the type of ambience, turn the knob all the way toward the left.
1.
Switch the type of ambience.
Each press of this button cycles the type of ambience as follows:
HALL 1 ➞ HALL 2 ➞ STUDIO ➞ HALL 1
These types have the following characters.
2.
Type
Description
HALL 1
The reverberation of a church
HALL 2
The reverberation of a large hall
STUDIO
The reverberation of a studio
Adjust the depth of ambience.
Turn the [DEPTH] knob toward the right to make the ambience deeper.
Turn the [DEPTH] knob toward the left to make the ambience shallower.
To switch the ambience off, turn the [DEPTH] knob all the way to the left.
This high-quality ambience effect that is so indispensable for vocal sounds was newly developed for the
VP-550. It processes the sound in stereo rather than in mono, and is tuned so that human voices will resonate as beautifully as possible. The result is a spacious sound field with excellent clarity and definition.
33
Checking the output sound
(SOUND CHECK)
Here’s how you can record and play back the sound that’s being sent from the [OUTPUT] jacks. While you’re
using a mic, it’s difficult for you to tell exactly what the audience is really hearing, but this function provides
an easy and accurate way of checking the output sound.
1.
Press the [REC] button to start recording.
The sound being sent from the [OUTPUT] jacks will be recorded.
The [REC] button will light red during recording.
Maximum recording time is ten seconds.
2.
Start performing.
3.
To stop recording, press the [REC] button once again.
4.
Press the [PLAY] button to play back the recorded sound.
Alternatively, recording will automatically stop after ten seconds.
If you press the [PLAY] button during recording, recording will stop and playback will begin.
When you’ve held down the [PLAY]
button for approximately two seconds, the button will blink, and loop
playback will begin.
The [PLAY] button will light green during playback.
5.
Press the [PLAY] button once again to stop playback.
Alternatively, playback will automatically stop when it ends.
If you press the [REC] button during playback, playback will stop and recording will begin.
* The recorded sound is lost when you turn off the power.
34
Using controllers
This section explains the numerous controllers provided by the VP-550.
35
Shifting one octave up or down
(OCTAVE)
You can shift the pitch of the keyboard higher or lower by one octave.
Shifting one octave upward
1.
Press the [UP] button; the button will light and the keyboard will
shift upward one octave.
Press the [DOWN] button to return to the original pitch.
Shifting one octave downward
1.
Press the [DOWN] button; the button will light and the keyboard will
shift downward one octave.
Press the [UP] button to return to the original pitch.
✍
36
Pressing the [OCTAVE] buttons won’t change the range of the Bass & Percussion part.
Using the D Beam
(D BEAM)
By waving your hand above this sensor you can apply a variety of effects to the VP-550’s sound.
1.
Press a button to select a D Beam effect.
If you press an unlit button, that D Beam effect (see table below) will be selected.
If you press a lit button once again, the D Beam will be turned off.
2.
While you perform, slowly move your hand up and down over the
[D BEAM] controller.
The effect will be applied when you place your hand over the controller, and will revert to the previous
state when you move your hand away. The selected button will blink when the [D BEAM] controller is
responding.
1 ft. (approx.)
* The usable range of D Beam controller will become
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
The illustration above shows the effective range of the [D BEAM] controller. There won’t be any effect if you
move your hand outside of this range.
D Beam effects
Vocal
Designer
Ensemble
Bass &
Percussion
Transmitted
MIDI message
Range
PITCH
Pitch down
Pitch down
No change
CC#17 (General purpose
controller 2)
0–127
EXPRESSION
Fade out
Fade out
No change
CC#11 (Expression)
0–127
FILTER
Tonal change
Tonal change
No change
CC#16 (General purpose
controller 1)
0–127
(initial value: bold)
* For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54).
37
Using the pitch bend / modulation lever
(PITCH BEND)
You can vary the pitch or apply vibrato (pitch modulation).
Changing the pitch in real time
You can use the lever to smoothly change the pitch while you perform.
1.
While you play the keyboard, move the lever toward the left to lower
the pitch, or toward the right to raise the pitch.
* The VP-550’s pitch bend range is fixed at one whole step (two semitones).
Adding vibrato
Vibrato is the effect of modulating the pitch.
1.
While you play the keyboard, move the lever away from yourself to
apply vibrato.
Pitch bend / modulation lever functions
Vocal
Designer
Ensemble
Bass &
Percussion
Transmitted
MIDI message
Range
Pitch bend
Pitch change
Pitch change
No change
Pitch bend
-8192–0–8191
Modulation
Vibrato
Vibrato
No change
CC#01 (Modulation)
0–127
(initial value: bold)
* For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54)
38
Using pedals
(HOLD PEDAL / EXP PEDAL)
The VP-550 lets you connect a hold pedal (sold separately: DP series, BOSS FS-5U) and an expression pedal
(sold separately: EV-5). Using a hold pedal lets you hold the notes. Using an expression pedal lets you add
expression to your performance.
Holding notes
1.
While playing the keyboard, press the hold pedal.
The notes will be held while you are pressing the hold pedal.
✍
Vocal Designer won’t produce sound if you’re not holding down notes, even if you are vocalizing,
but by pressing the hold pedal at the right moment before releasing a note, you can prevent gaps
between notes.
Adding expression to your performance
1.
While playing the keyboard, raise and lower the
expression pedal.
The expression pedal will vary not just the volume of the Ensemble part but also the
tonal character.
This is particularly easy to experience if you select “HUMMING” for the Ensemble part. Depending on how
you advance the pedal, the sound will shift through the range of “mmh” ➞ “Ooh” ➞ “Aah.” By using this in
conjunction with Vocal Designer you can achieve an even more expressive performance. (The amount of
this effect will differ depending on the sound you choose.)
The sustained portion of the “STRINGS 1” sound following your keystroke will also change its tone dynamically according to how you operate the pedal (p. 30). The “STRINGS 1” sound is designed to change their
tone in a smooth, natural curve according to pedal movement. This powerful string sound was newly
developed for the VP-550. Try operating the pedal, and experience the difference.
Hold/expression pedal functions
Vocal
Designer
Ensemble
Bass &
Percussion
Transmitted
MIDI message
Range
Hold pedal
Carrier hold
(sustain)
Hold (sustain)
No change
CC#64 (Hold 1)
0, 127
Expression
pedal
No change
Volume and
tonal change
No change
CC#04 (Foot type)
0–127
(initial value: bold)
* For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54).
39
Using a mic to control expression
( VOICE EXPRESSION)
You can use the loudness of your voice via the mic to add expression to the Ensemble part.
1.
Press the [VOICE EXPRESSION] button to make it light.
You can adjust the depth at which the
loudness of the mic will affect expression (➞ p. 44).
• To hear the result as clearly as possible, turn on an Ensemble part sound, and turn off the sound buttons of the Vocal Designer part and the Bass & Percussion part.
• To hear the result as clearly as possible, move the [DIRECT] slider (which sends your own voice directly from the output) all the way down.
2.
Play the keyboard.
3.
While continuing to hold down notes, vocalize into the mic.
Try varying the loudness of your voice.
The volume and tone of the Ensemble part will change according to the loudness of your vocalizing.
It will be particularly easy to experience this effect if you choose the “HUMMING” sound button. The sound
will shift through the range of “mmh” ➞ “Ooh” ➞ “Aah” according to the loudness of your voice. By using this in conjunction with Vocal Designer you can achieve an even more expressive performance. (The
amount of this effect will differ depending on the sound you choose.)
The “STRINGS 1” sound will also change its tone dynamically according to the loudness of your voice (p. 30).
This powerful string sound was newly developed for the VP-550. Try vocalizing into the mic. You’ll hear the
difference.
Voice Expression functions
VOICE
EXPRESSION
Vocal
Designer
Ensemble
No change
Volume and
tone change
Bass &
Percussion
Transmitted
MIDI message
Range
No change
CC#02 (Breath type)
0–127
(initial value: bold)
* For details on MIDI, refer to “Connecting the VP-550 with MIDI equipment” (p. 54)
40
Ch a n gi ng th e se t t ings
The VP-550 has only three things you’ll ever need to set: a tuning knob, four registration
buttons, and mic expression sensitivity.
41
Tuning
( TUNE)
Here’s how to tune the entire the VP-550.
1.
Turn the TUNE knob to raise or lower the overall pitch of the VP-550.
Turn the knob toward “#” to raise the pitch.
Turn the knob toward “b” to lower the pitch.
When the knob is in the center position, the pitch of the A4 key (middle A) will be 440.0 Hz.
The adjustment range is 415.3 Hz–466.2 Hz.
42
Registering sounds and settings
(REGISTRATION)
You can register and recall the sound combination and settings you’ve chosen for Vocal Designer and Ensemble.
✍
This will register the following four settings.
• [8va] on/off (p. 26)
• Vocal Designer sound (p. 21)
• [VOICE EXPRESSION] on/off (p. 40)
• Ensemble sound (p. 27)
* You can’t register the settings of the ENSEMBLE LEVEL slider and MIC LEVEL slider.
Registering a combination of sounds and settings
1.
2.
Choose the Vocal Designer and Ensemble sounds and settings that you want to register.
Press and hold down the desired [REGISTRATION] button for two seconds or longer.
When you’ve held down the button for approximately two seconds, the button will blink, and the registration
will be completed.
* Don’t power-off the VP-550 during this process. Doing so may cause a malfunction.
Recalling a combination of sounds and settings
1.
Press the [REGISTRATION] button that you want to recall.
Release the button within two seconds. (If you hold down the button for two seconds or longer, the current
sounds and settings will be registered.)
✍
Convenient ways to use [REGISTRATION]
[REGISTRATION] number 1 is automatically selected when you power-on the VP-550. You’ll find it convenient to register your favorite combination of sounds and settings in number 1.
43
Adjusting the mic expression sensitivity
Vocal Designer setting
Voice Expression setting
You can adjust the depth to which changes in mic input
loudness affect Vocal Designer’s expression (dynamics) over
a range of six steps.
You can adjust the sensitivity at which the Voice Expression
effect will begin applying in response to changes in mic
input loudness over a range of six steps.
Higher dynamics settings give Vocal Designer a greater
range between loud and soft sounds, which gives you more
expressive power but also means that you must control the
mic more accurately with the loudness of your voices.
Higher sensitivity settings mean that the Voice Expression
effect will begin applying even when your voice is still at a
low loudness level.
Lower dynamics settings give Vocal Designer a narrower
range of volume change, meaning that you will obtain a
stable volume even if there are changes in the loudness of
your voice, making it easier for you to sing.
1.
While holding down [MIC ON/OFF], press
one of the Vocal Designer sound buttons.
The six levels of the dynamics setting correspond
to the numbers (1–6) marked on the buttons in the
illustration. Higher numbers mean greater dynamics (default: 4).
2.
Lower sensitivity settings mean that the Voice Expression
effect will begin applying only when your voice reaches a
fairly high loudness level. You’ll find it easier to control Voice
Expression if you set this to a sensitivity that’s appropriate
for your singing voice.
1.
While holding down [MIC ON/OFF], press
one of the Ensemble sound buttons.
The six sensitivity levels correspond to the numbers
(1–6) marked on the buttons in the illustration.
Higher numbers mean higher sensitivity (default: 4).
The sound button you pressed will blink, and all of the other sound buttons will light.
This completes the setting. This setting will be remembered even when you turn off the power.
* Don’t power-off the VP-550 during this process. Doing so may cause a malfunction.
3.
To check the current setting, hold down [MIC ON/OFF] for one second or longer.
The sound button corresponding to the current setting will blink, and the remaining sound buttons will light.
You can also press a sound button at this time to change the setting.
44
Example applications
Here you’ll learn about some specific settings for taking advantage of the VP-550.
45
Simulating a large classical choir
When you need a large classical-style choir, you’ll want to choose the “CLASSIC” Vocal Designer sound.
“CLASSIC” has a broad range of usable pitches and will allow the lyrics to be heard clearly, so it’s suitable for
a wide variety of styles. To get an even denser sound, choose the “MALE & FEMALE” Ensemble sound.
1.
SELECT [CLASSIC] and [MIXED CHORUS].
For an even richer sound
As a combination that’s just as highly recommended as “CLASSIC” and “MIXED CHORUS,” we
also suggest “MALE & FEMALE” together with
“STRINGS 1.” (In this case, the secret is to raise the
octave of “MALE & FEMALE” by turning the [8va]
button on.) The audience will be stunned by the
richness of the sound emanating from you and
the VP-550.
2.
While you perform using the mic and keyboard, adjust the Ensemble
level downward.
The Ensemble part not only makes the sound richer, but also fills the gaps in the Vocal Designer sound that
occur when you take a breath. You’ll want to set the level fairly low (about 2 or 3).
3.
4.
46
Apply the “HALL 1” ambience fairly heavily.
“HALL 1” simulates the reverberation of a church. Classical music usually has fairly deep reverberation, so
turn the knob toward the right to increase the reverb. If you want even deeper reverberation, choose “HALL 2.”
Perform.
Make a point of using your voice via the mic to add expression.
Simulating a gospel chorus
For gospel-style songs, choose the “GOSPEL” Vocal Designer sound and the “HUMMING” Ensemble sound.
“GOSPEL” is a choral sound containing the distinctive upward swoops that occur at the beginning of notes,
and is a particularly good complement to the softer attacks of “HUMMING.”
1.
Choose “GOSPEL” and “HUMMING”
How about a cappella?
If you also choose a bass sound in the “Bass &
Percussion” part, you’ll be able to simulate an
a cappella group all by yourself! Play the bass
line with your left hand while you use your
right hand to play the melody and chords.
2.
Use the expression pedal to reduce the volume of the “HUMMING”
sound.
“HUMMING” will vary its character through the range of “mmh” ➞ “Ooh” ➞ “Aah” as you operate the expression pedal, but the “mmh” sound that you get when the pedal is in the fully returned (upward) position is
particularly good with “GOSPEL.” You’ll want to leave the pedal in the upward position most of the time,
and advance the pedal to accentuate musically intense passages.
3.
Apply an appropriate amount of “HALL 1” ambience.
4.
Perform.
If you want only light reverberation, “STUDIO” is also a good choice.
Use your voice via the mic to control the volume. For a funky rhythmic backing chorus, hold down the
chords on the keyboard and use your voice in the mic to produce the rhythm. You’ll also want to use the
pitch bend lever aggressively.
47
Adding a backing chorus to your voice
Here’s how the VP-550 can add a backing chorus to your singing voice via the mic input.
1.
2.
Choose [GOSPEL].
The “GOSPEL” sound has an appropriate amount of “irregularity” built into it, and is a good choice for adding a dense backing chorus. If you don’t require this much density, or if you want the lyrics to be heard
clearly, you might want to choose “CLASSIC.” For songs with rapid passages, try “POP” which has a faster
attack and less irregularity. You’ll want to find the sound that’s most appropriate for the style of song you’re
performing.
While you perform using the mic and keyboard, adjust the [DIRECT]
slider.
When you raise the DIRECT slider, your singing voice from the mic input will be output from the VP-550. Set
the DIRECT slider fairly low (about 2 or 3) to create the appropriate overall volume balance.
3.
Perform.
Try singing a favorite song into the mic. While you sing, use the keyboard to play the chord progression for
the backing chorus.
Vocal Designer will add a backing chorus to your voice according to the chords you hold down.
48
Simulating a jazz scat solo
You won’t be able to perform skillfully using Vocal Designer unless your mic vocalizing and keyboard performance are at the appropriate timing. This can make it rather difficult to play rapid solo passages. In such
cases, you can turn up the volume of “JAZZ SCAT,” which has the sharpest attack of the Ensemble sounds.
This setting is ideal for jazz scat solos (which don’t have lyrics).
1.
Choose [POP] and [JAZZ SCAT].
2.
While you perform using the mic and keyboard, adjust the Ensemble
level upward.
3.
Perform.
In Vocal Designer choose “POP” (ideal for rapid passages), and for the Ensemble sound choose “JAZZ SCAT.”
Being careful to match the timing of your mic and keyboard performance, play fast phrases on the keyboard while you vocalize a rapid passage using “doo ba, doo ba” –type vocalizations. The “JAZZ SCAT” Ensemble part will switch between scat sounds according to your keyboard dynamics, but you should simply
play a bit softer without paying too much attention to this. Then, at the moments where you want to add
musical emphasis to your solo, play the keyboard strongly to produce the “Fall” scat sound. The secret is to
scatter these accents at the appropriate points in your performance.
49
Using the sound of an external synthesizer
If you press the [VOCODER 1] and [VOCODER 2] sound buttons simultaneously, the sound being received
from the rear panel [EXT IN] jack will be used as the carrier (the signal that is the foundation of the sound).
In this case, turn the rear panel [MIX TO MIC] switch “OFF.”
1.
Connect your external synthesizer to the [EXT IN] jack as shown.
OUTPUT
* If you’re using a mic that’s equipped with a phone plug, you won’t be able to connect your synthesizer
since the [EXT IN] jack will be occupied by your mic. In order to connect an external synthesizer, you
must use a mic with an XLR plug and connect it to the [MIC] jack.
2.
Turn the [EXT IN] knob to “LINE.”
✍
3.
Turn the [MIX TO MIC] switch “OFF.”
✍
4.
50
This knob adjusts the level of the signal that’s input from the [EXT IN] jack. (Turn the knob toward
“MIC” to increase the level, or toward “LINE” to decrease it.) If you’re connecting a line-level device
such as a synthesizer, set the knob toward the “LINE” position.
The [MIX TO MIC] switch selects whether the sound from the [EXT IN] jack is used as the mic input
(modulator) (ON) or as the carrier (OFF). Since we’re using this sound as the carrier, select the “OFF”
position.
Press [VOCODER 1] and [VOCODER 2] simultaneously.
(EXT IN)
5.
Play the keyboard of your external synthesizer.
6.
While holding down a note, vocalize into the mic.
If you don’t hear sound, check the following
• Is the mic input level raised? (➞ p. 22)
• Is the [MIC ON/OFF] switch lit? (➞ p. 25)
✍
You can also connect a synthesizer that doesn’t have a keyboard (often called a “sound module”).
In this case, connect the VP-550’s [MIDI OUT] connector to the [MIDI IN] connector of your sound
module, and use the VP-550’s keyboard to play the sound module.
➞ Refer to “Connecting the VP-550 with MIDI equipment” (p. 54) for more about MIDI connections.
Adjusting the volume of your external synthesizer
Adjust the volume of your external synthesizer so that the sound isn’t distorted.
The VP-550’s [MIC
[
LEVEL]] indicator won’t respond
p
if the [[MIX TO MIC]] switch is “OFF,,” so you’ll need
to make this adjustment in the following way.
1. Set the [MIX TO MIC] switch “ON.”
2. Play your external synthesizer, and adjust its volume so that
the yellow [LEVEL] indicator lights at the peaks in the sound.
3. Return the [MIX TO MIC] switch to “OFF.”
51
“Performing” sound from drums or a portable music player
Here’s a really cool trick. The VP-550 lets you “perform” using the sound from a V-drum (electronic drum) or
a portable music player connected to the mic input instead of your voice.
1.
Connect your audio source to the [EXT IN] jack as shown.
OUTPUT
2.
Set the [EXT IN] knob to “LINE.”
✍
3.
Turn the [MIX TO MIC] switch “ON.”
✍
4
This knob adjusts the level of the sound that is input from the [EXT IN] jack. (Turning the knob
toward “MIC” increases the level, and turning it toward “LINE” decreases the level.) If you’ve connected a line-level device, you should set this knob to the “LINE” position.
The [MIX TO MIC] switch specifies whether the sound from the [EXT IN] jack will be used as a mic
input (modulator; the ON setting) or as the carrier (the OFF setting). Since we’re using the sound
as a mic input, select the “ON” setting.
Choose a Vocal Designer sound.
The character of the output sound will depend on the sound you choose.
You’ll want to try out various sounds.
5.
6.
7.
Play your audio source.
Adjust the input level.
While you watch the VP-550’s [LEVEL] indicator, adjust
the volume of your external audio source.
Play the VP-550’s keyboard.
The sound from your external audio source will be heard according
to the pitch you play on the keyboard.
That’s right — the VP-550 lets you “perform” absolutely any sound.
52
If you don’t hear sound, check
the following
• Is the [MIC ON/OFF] switch lit?
(➞ p. 25)
Appendix
Here you’ll find information about connecting and using external MIDI equipment, the MIDI
implementation, troubleshooting, and the main specifications.
53
Connecting the VP-550 with MIDI equipment
✍
What’s MIDI?
MIDI (Musical Instrument Digital Interface) is a world-wide standard for transferring performance
data and other musical information between electronic musical instruments and computer. By using MIDI cables to connect devices that are equipped with a MIDI connector, you can use a single
MIDI keyboard to play multiple instruments, create ensembles using multiple MIDI instruments,
automatically switch settings as a song progresses, and do much more.
Connecting a synthesizer via MIDI
Here’s how you can use the VP-550’s keyboard to play an external MIDI-connected synthesizer, for example
to layer a piano with the VP-550’s vocal sounds.
MIDI IN
INPUT
OUTPUT
INPUT
External synthesizer
1.
2.
Make connections as shown above.
Monitor speaker
(with built-in amp)
Set the “MIDI receive channel” of your external synthesizer to 1, and
select a piano sound.
The performance data of the Vocal Designer part (MIDI channel 1) will play your external synthesizer.
✍
3.
Part
MIDI transmit channel (fixed)
MIDI receive channel (fixed)
Vocal designer
CH1
CH1
Ensemble
CH2
CH2
Bass & Percussion
CH3
CH3
Play the VP-550’s keyboard.
You’ll hear the piano sound from your synthesizer together with the sound of the VP-550.
✍
54
The VP-550’s MIDI transmit/receive channels
Alternatively, you can connect your external MIDI keyboard’s [MIDI OUT] connector to the VP-550’s
[MIDI IN] connector, and use your external MIDI keyboard to play the VP-550.
Connecting a sequencer via MIDI
You can use your MIDI sequencer to record the keyboard performance data from the VP-550, and record
your vocal via the mic as you listen to the sequencer playback. With the VP-550 connected to your sequencer, you’ll be able to use it as part of your studio setup.
✍
For details on MIDI messages, refer to “MIDI Implementation” on the following page.
INPUT
Audio interface
MIDI OUT MIDI interface
Sequencer
MIDI IN
1.
2.
Make connections as shown above.
Perform on the VP-550 as you listen to the song on your sequencer, and record the
performance data from the VP-550 on a MIDI track of the sequencer.
There are two advantages to recording just your keyboard performance ahead of time.
• You’ll be able to concentrate on the keyboard (or mic)
• You’ll be able to use your sequencer to edit (correct) your keyboard performance
For example if you’ve already recorded the backing chorus or melody, all you have left to do is sing!
3.
Play back your sequencer, and vocalize into the mic that’s connected to the VP-550.
Then record the VP-550’s [OUTPUT] signal onto an audio track of your sequencer.
✍
An example of more sophisticated studio work
Record the backing chorus part on a MIDI track, and route the audio track containing a previouslyrecorded main vocal to the VP-550’s rear panel [EXT IN] jack (as the mic input). Now you can listen
through your monitor speakers while trying out various settings on the VP-550, and continue
experimenting with different variations of backing chorus as long as you wish.
The VP-550 system is extremely simple; the audio from the mic input is played according to the
notes of the MIDI data. This very simplicity allows a virtually infinite range of uses.
55
MIDI Implementation
Model:
Date:
Version:
● Program Change
VP-550
Feb. 01, 2006
1.00
■ System Realtime Message
Status
2nd byte
CnH
ppH
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
pp = Program number: 00H - 7FH (prog.1 - prog.128)
* Switches sounds.
1. Receive Data
■ Channel Voice Messages
● Pitch Bend Change
● Note Off
Status
2nd byte
3rd byte
8nH
kkH
vvH
9nH
kkH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
kk = Note number:
00H - 7FH (0 - 127)
vv = Note off velocity: 00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
EnH
llH
mmH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH
(-8192 - 0 - +8191)
* Changes the pitch
■ Channel Mode Messages
● Note On
Status
2nd byte
3rd byte
9nH
kkH
vvH
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
kk = Note number:
00H - 7FH (0 - 127)
vv = Note on velocity: 01H - 7FH (1 - 127)
● Active Sensing
Status
FEH
* When Active Sensing is received, the unit will begin monitoring the intervals of all further messages. While monitoring,
if the interval between messages exceeds 420 ms, the same
processing will be carried out as when All Sounds Off, All
Notes Off and Reset All Controllers are received, and message
interval monitoring will be halted.
■ System Exclusive Message
Status
F0H
Data byte
iiH, ddH, ......, eeH
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* When this message is received, all notes currently sounding
on the corresponding channel will be turned off.
F0H:
SystemExclusiveMessageStatus
ii = ID number:
an ID number (manufacturer ID) to indicate
the manufacturer whose Exclusive message
this is. Roland’s manufacturer ID is 41H. ID
numbers 7EH and 7FH are extensions of the
MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages
(7FH).
● Control Change
● Reset All Controller (Controller number 121)
❍ Modulation (Controller number 1)
Status
2nd byte
3rd byte
BnH
01H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Modulation depth: 00H - 7FH (0 - 127)
* Changes the vibrato depth.
❍ Breath type (Controller number 2)
Status
2nd byte
BnH
02H
n = MIDI channel number: 1H (ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Changes the volume and tone.
3rd byte
vvH
❍ Foot type (Controller number 4)
Status
2nd byte
BnH
04H
n = MIDI channel number: 1H (ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Changes the volume and tone.
3rd byte
vvH
❍ Expression (Controller number 11)
Status
2nd byte
3rd byte
BnH
0BH
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Expression:
00H - 7FH (0 - 127)
* Changes the volume.
❍ General purpose controller 1 (Controller number 16)
Status
2nd byte
3rd byte
BnH
10H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
00H - 7FH (0 - 127)
vv = Control value:
* Changes the tone.
❍ General purpose controller 2 (Controller number 17)
Status
2nd byte
3rd byte
vvH
BnH
10H
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
00H - 7FH (0 - 127)
vv = Control value:
* Changes the pitch.
❍ Hold 1 (Controller number 64)
Status
2nd byte
3rd byte
BnH
40H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Control value:
00H - 7FH (0 - 127)
0-63 = OFF, 64-127 = ON
* In Vocal Designer, sustains the carrier sound.
* In Ensemble, sustains the sound.
56
Status
F7H
● All Sounds Off (Controller number 120)
Status
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* When this message is received, the following controllers will
be set to their reset values.
Controller
Pitch Bend Change
Modulation
Breath type
Foot type
Expression
General purpose controller 1
General purpose controller 2
Hold 1
Reset value
+/-0 (center)
0 (off )
0 (min)
0 (min)
127 (max)
0 (min)
0 (min)
0 (off )
● All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* When All Notes Off is received, all notes on the corresponding
channel will be turned off. However, if Hold 1 is ON, the sound
will be continued until these are turned off.
● OMNI Off (Controller number 124)
Status
2nd byte
3rd byte
BnH
7CH
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* The same processing will be carried out as when All Notes Off
is received.
dd,..., ee = data: 00H - 7FH (0 - 127)
F7H:
EOX (End Of Exclusive)
Of the System Exclusive messages received by this device, the
Universal Non-realtime messages.
■ Universal Non-realtime System Exclusive Message
❍ Identity Request Message
Status
F0H
Data byte
7EH, dev, 06H, 01H
Status
F7H
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
dev
Device ID (dev: 10H, 7FH)
06H
Sub ID#1 (General Information)
01H
Sub ID#2 (Identity Request)
F7H
EOX (End Of Exclusive)
* When this message is received, Identity Reply message (p. 57)
will be transmitted.
2. Data Transmission
■ Channel Voice Messages
● Note Off
● OMNI On (Controller number 125)
Status
2nd byte
3rd byte
BnH
7DH
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* The same processing will be carried out as when All Notes Off
is received. OMNI ON will not be turned on.
Status
2nd byte
3rd byte
8nH
kkH
vvH
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
kk = Note number: 00H - 7FH (0 - 127)
vv = Note off velocity: 00H - 7FH (0 - 127)
● Note On
● MONO (Controller number 126)
Status
2nd byte
3rd byte
BnH
7EH
mmH
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
mm = mono number: 00H - 10H (0 - 16)
* The same processing will be carried out as when All Notes Off
is received. MONO will not be turned on.
Status
2nd byte
3rd byte
9nH
kkH
vvH
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
kk = Note number: 00H - 7FH (0 - 127)
vv = Note on velocity: 01H - 7FH (1 - 127)
● Control Change
● POLY (Controller number 127)
❍ Modulation (Controller number 1)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - 2H (ch.1 - ch.3)
* The same processing will be carried out as when All Notes Off
is received.
Status
2nd byte
3rd byte
BnH
01H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Modulation depth: 00H - 7FH (0 - 127)
* Transmitted when the Modulation lever is operated.
❍ Breath type (Controller number 2)
Status
2nd byte
3rd byte
BnH
02H
vvH
n = MIDI channel number: 1H (ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Transmitted according to mic volume when Voice Expression is on.
❍ Foot type (Controller number 4)
Status
2nd byte
3rd byte
BnH
04H
vvH
n = MIDI channel number: 1H (ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Transmitted when the Expression pedal is operated.
❍ Expression (Controller number 11)
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
dev
Device ID (dev: 10H)
06H
Sub ID#1 (General Information)
02H
Sub ID#2 (Identity Reply)
41H
ID number (Roland)
18H 02H
Device family code
00H 00H
Device family number code
00H 01H 00H 00H Software revision level
F7H
EOX (End Of Exclusive)
<Example4> What is the nibbled expression of the decimal
value 1258?
3. Supplementary Material
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number.
Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note-on message
with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.
■ Decimal and Hexadecimal Table
Status
2nd byte
3rd byte
BnH
0BH
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Transmitted when D Beam / Expression is on.
❍ General purpose controller 1 (Controller number 16)
Status
2nd byte
3rd byte
BnH
10H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Transmitted when D Beam / Filter is on.
(An “H” is appended to the end of numbers in hexadecimal
notation.)
In MIDI documentation, data values and addresses/sizes of
Exclusive messages, etc. are expressed as hexadecimal values
for each 7 bits.
The following table shows how these correspond to decimal
numbers.
Status
2nd byte
3rd byte
BnH
40H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Control value:
00H - 7FH (0 - 127)
0-63 = OFF, 64-127 = ON
* Transmitted when the Hold pedal is operated.
* Control value is transmitted only as 00H (off ) or 7FH (on).
+------+------++------+------++------+------++------+------+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+------+------++------+------++------+------++------+------+
|
0 | 00H ||
32 | 20H ||
64 | 40H ||
96 | 60H |
|
1 | 01H ||
33 | 21H ||
65 | 41H ||
97 | 61H |
|
2 | 02H ||
34 | 22H ||
66 | 42H ||
98 | 62H |
|
3 | 03H ||
35 | 23H ||
67 | 43H ||
99 | 63H |
|
4 | 04H ||
36 | 24H ||
68 | 44H || 100 | 64H |
|
5 | 05H ||
37 | 25H ||
69 | 45H || 101 | 65H |
|
6 | 06H ||
38 | 26H ||
70 | 46H || 102 | 66H |
|
7 | 07H ||
39 | 27H ||
71 | 47H || 103 | 67H |
|
8 | 08H ||
40 | 28H ||
72 | 48H || 104 | 68H |
|
9 | 09H ||
41 | 29H ||
73 | 49H || 105 | 69H |
|
10 | 0AH ||
42 | 2AH ||
74 | 4AH || 106 | 6AH |
|
11 | 0BH ||
43 | 2BH ||
75 | 4BH || 107 | 6BH |
|
12 | 0CH ||
44 | 2CH ||
76 | 4CH || 108 | 6CH |
|
13 | 0DH ||
45 | 2DH ||
77 | 4DH || 109 | 6DH |
|
14 | 0EH ||
46 | 2EH ||
78 | 4EH || 110 | 6EH |
|
15 | 0FH ||
47 | 2FH ||
79 | 4FH || 111 | 6FH |
|
16 | 10H ||
48 | 30H ||
80 | 50H || 112 | 70H |
|
17 | 11H ||
49 | 31H ||
81 | 51H || 113 | 71H |
|
18 | 12H ||
50 | 32H ||
82 | 52H || 114 | 72H |
|
19 | 13H ||
51 | 33H ||
83 | 53H || 115 | 73H |
|
20 | 14H ||
52 | 34H ||
84 | 54H || 116 | 74H |
|
21 | 15H ||
53 | 35H ||
85 | 55H || 117 | 75H |
|
22 | 16H ||
54 | 36H ||
86 | 56H || 118 | 76H |
|
23 | 17H ||
55 | 37H ||
87 | 57H || 119 | 77H |
|
24 | 18H ||
56 | 38H ||
88 | 58H || 120 | 78H |
|
25 | 19H ||
57 | 39H ||
89 | 59H || 121 | 79H |
|
26 | 1AH ||
58 | 3AH ||
90 | 5AH || 122 | 7AH |
|
27 | 1BH ||
59 | 3BH ||
91 | 5BH || 123 | 7BH |
|
28 | 1CH ||
60 | 3CH ||
92 | 5CH || 124 | 7CH |
|
29 | 1DH ||
61 | 3DH ||
93 | 5DH || 125 | 7DH |
|
30 | 1EH ||
62 | 3EH ||
94 | 5EH || 126 | 7EH |
|
31 | 1FH ||
63 | 3FH ||
95 | 5FH || 127 | 7FH |
+------+------++------+------++------+------++------+------+
● Pitch Bend Change
D:
H:
❍ General purpose controller 2 (Controller number 17)
Status
2nd byte
3rd byte
BnH
10H
vvH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
vv = Control value: 00H - 7FH (0 - 127)
* Transmitted when D Beam / Pitch is on.
❍ Hold 1 (Controller number 64)
Status
2nd byte
3rd byte
EnH
llH
mmH
n = MIDI channel number: 0H - 1H (ch.1 - ch.2)
mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH
(-8192 - 0 - +8191)
* Transmitted when the pitch bend lever is operated.
■ System Realtime Message
● Active Sensing
Status
FEH
* This message is transmitted at intervals of approximately 250
msec.
■ System Exclusive Message
Universal Non-realtime System Exclusive Message is the only
System Exclusive messages transmitted by this device.
● Universal Non-realtime System Exclusive Message
❍ Identity Reply Message
Receiving Identity Request Message, this device send this message.
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 18H, 02H,
00H, 00H, 00H, 01H, 00H, 00H
Status
F7H
decimal
hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as one greater than the values given
in the above table.
* A 7-bit byte can express data in the range of 128 steps. For
data where greater precision is required, we must use two
or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x
128+bb.
* In the case of values which have a +/- sign, 00H = -64, 40H =
+/-0, and 7FH = +63, so that the decimal expression would
be 64 less than the value given in the above chart. In the case
of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH =
+8191. For example, if aa bbH were expressed as decimal, this
would be aa bbH - 40 00H = aa x 128+bb - 64 x 128.
* Data marked “Use nibbled data” is expressed in hexadecimal
in 4-bit units. A value expressed as a 2-byte nibble 0a 0bH has
the value of a x 16+b.
16 ) 1258
16 )
78 ...10
16 )
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =
0AH, the result is: 00 04 0E 0AH.
■ Examples of Actual MIDI Messages
<Example2> C0 01
CnH is the Program Change status, and n is the MIDI channel
number. Since 0H = 0, 01H = 01, this is a Program Change message with MIDI CH = 1, program number 2.
<Example3> E1 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel
number. The 2nd byte (00H = 0) is the LSB and the 3rd byte
(28H = 40) is the MSB, but Pitch Bend Value is a signed number
in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend
Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 =
-3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H)
will cause the pitch to change -200 cents, so in this case -200 x
(-3072) ? (-8192) = -75 cents of Pitch Bend is being applied to
MIDI channel 11.
<Example4> B1 01 00 01 01 01 02 01 03 01 04
BnH is the Control Change status, and n is the MIDI channel
number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more
messages consecutive messages have the same status, MIDI has
a provision called “running status” which allows the status byte
of the second and following messages to be omitted. Thus, the
above messages have the following meaning.
B1
(B1)
(B1)
(B1)
(B1)
01 00
01 01
01 02
01 03
01 04
MIDI CH = 2 Modulation:
MIDI CH = 2 Modulation:
MIDI CH = 2 Modulation:
MIDI CH = 2 Modulation:
MIDI CH = 2 Modulation:
00H
01H
02H
03H
04H
It is not desirable for performance data (such as Standard MIDI
File data) to contain many events with running status as given
in <Example 4>. This is because if playback is halted during
the song and then rewound or fast-forwarded, the sequencer
may not be able to transmit the correct status, and the sound
generator will then misinterpret the data. Take care to give each
event its own status.
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
<Example2> What is the decimal expression of the value 12 34H
given as hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
<Example3> What is the decimal expression of the nibbled
value 0A 03 09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9,
0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
57
MIDI Implementation Chart
Date : Feb. 01, 2006
Version : 1.00
Model: VP-550
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
1–3
X
1–3
X
Default
Messages
Altered
Mode 3
Mode 3
Mode
Remarks
CH1: VOCAL DESIGNER
CH2: ENSEMBLE
CH3: BASS & PERCUSSION
**************
Note
Number :
True Voice
**************
0–127
0–127
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key's
Channel's
X
X
X
X
O
O
1
O
O
Modulation
2
O
O
Breath type
4
O
O
Foot type
11
O
O
Expression
16
O
O
General purpose controller 1
17
O
O
General purpose controller 2
64
O
O
Hold 1
X
**************
O
0–6, 7–127
O
O
X
X
X
X
X
X
X
X
X
X
X
X
X
X
O
X
O
O
X
O (123–127)
O
X
24–96
Pitch Bend
Control
Change
Program
Change
: True Number
System Exclusive
System
Common
: Song Position
: Song Select
: Tune Request
System
Realtime
: Clock
: Commands
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Program No.1–7, OFF
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
58
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
Main specifications
VP-550: Vocal & Ensemble Keyboard
Keyboard
Connectors
49 keys (with velocity)
Headphones Jack (Stereo 1/4 inch phone type)
Tones
Output Jacks (L/MONO, R) (1/4 inch phone type)
MIC Jack (XLR type)
Vocal Designer (7 tones)
CLASSIC, MALE & FEMALE, GOSPEL, POP, VOCODER 1,
VOCODER 2, EXT IN
Ensemble (6 tones)
STRINGS 1, STRINGS 2, JAZZ SCAT, MIXED CHORUS, BOYS
CHOIR, HUMMING
External Input Jack (1/4 inch phone type)
MIDI Connectors (IN, OUT)
Hold Pedal Jack
Expression Pedal Jack
AC Inlet
Power Supply
AC 115 V, AC 117 V, AC 220 V, AC 230 V, AC 240 V (50/60 Hz)
Bass & Percussion (4 sets)
BASS 1, BASS 2, BASS 3, PERC
Ambience (3 types)
Power Consumption
14 W
HALL 1, HALL 2, STUDIO
Dimensions
Maximum Polyphony
865.4 (W) x 346.3 (D) x 98.6 (H) mm
34-1/8 (W) x 13-11/16 (D) x 3-15/16 (H) inches
128 voices
(Changes depending on the sound and the playing
technique)
Controllers
D Beam Controller
Pitch Bend / Modulation Lever
Octave Shift
Weight
8.5 kg / 18 lbs 12 oz
Accessories
Owner’s Manual
Leaflet “USING THE UNIT SAFELY”
Leaflet “Mics recommended for the VP-550”
Power Cord
±1 Octave
Options
Number of Registration memories
4
Keyboard Stand: KS-12
Pedal Switch: DP Series
Foot Switch: BOSS FS-5U
Master Tune
415.3 Hz to 466.2 Hz
Sound Check Function
Expression Pedal: EV-5
* In the interest of product improvement, the specifications and/or appearance of this unit are subject to
change without prior notice.
Records OUTPUT signal for 10 seconds and plays it back.
Nominal Input Level
INPUT (MIC): -50 to -10 dBu
INPUT (EXT IN): -36 to +4 dBu
(0 dBu = 0.775 V rms)
59
Troubleshooting
Problem
Explanation
Power won’t turn on!
Is the power cord connected correctly? (➞ p. 12)
No sound!
Is the VP-550 correctly connected to your amp, speaker, or headphones? (➞ p. 13)
Is the VP-550’s volume raised? (➞ p. 20)
Vocal Designer won’t
sound!
Even if you’re playing the keyboard, the Vocal Designer part won’t sound unless
you’re vocalizing into the mic. ➞ For details, refer to “Performing with Vocal Designer” (➞ p. 23)
Is a Vocal Designer sound button lit? (➞ p. 23)
Is your mic switched on?
Is your mic connected correctly? (➞ p. 14)
Is the mic input level raised? (➞ p. 22)
Is the [MIC ON/OFF] switch lit? (➞ p. 25)
Ensemble won’t sound!
Is the Ensemble [LEVEL] slider raised? (➞ p. 29)
Is an Ensemble sound button lit? (➞ p. 28)
Bass & Percussion won’t
sound!
Is a Bass & Percussion sound button lit? (➞ p. 31)
Bass & Percussion won’t sound outside its range of keys (➞ p. 31).
The volume level of the
instrument connected to
[EXT IN] jack is too low.
Could you be using a connection cable that contains a resistor?
Use a connection cable that does not contain a resistor.
Mic input level is too low!
Could you be using a condenser mic?
The VP-550’s MIC jack does not supply phantom power. You’ll need to provide a
separate phantom power supply unit, or use a dynamic mic instead.
Mic [LEVEL] slider doesn’t
work!
The mic [LEVEL] slider does not affect the rear panel [EXT IN] jack.
If your mic is connected to the [EXT IN] jack, use the rear panel [EXT IN] knob to
adjust the mic input level. (➞ p. 22)
[LEVEL] indicator does not
light!
If the [MIX TO MIC] switch is “OFF,” the [LEVEL] indicator will no longer respond
to the sound from the [EXT IN] jack. In this case, temporarily set the [MIX TO MIC]
switch “ON” and adjust the input level. (➞ p. 51)
Voice Expression doesn’t
work!
Is the mic input level raised? (➞ p. 22)
Is the [MIC ON/OFF] switch lit? (➞ p. 25)
Increase the mic expression sensitivity (➞ p. 44). This will allow the Voice Expression effect to start applying when your voice is still at a lower volume.
Could you be operating the Expression pedal?
Advancing the Expression pedal all the way to the maximum position means that
the same effect as Voice Expression is already applied to the maximum extent, so
no further effect can be obtained.
60
Voice Expression works
too much!
Lower the mic expression sensitivity (➞ p. 44). This will prevent the Voice Expression effect from applying until your voice reaches a louder volume.
Vocal Designer is too
expressive, making it difficult to sing!
Lower the mic expression sensitivity (➞ p. 44). This will decrease the volume
change in Vocal Designer, producing a more stable volume regardless of how
your voice becomes louder or softer. This will make it easier for you to sing.
Problem
Explanation
Octave buttons and other
controllers don’t affect
the Bass & Percussion!
The Bass & Percussion part is not affected by the octave buttons, pitch bend, D
Beam, pedals, or Voice Expression (➞ p. 36–40).
The pitch is wrong!
Could an [OCTAVE] button be on? (➞ p. 36)
Could the Vocal Designer [8va] button be on? (➞ p. 26)
Is the rear panel [TUNE] knob set correctly? (➞ p. 42)
Could something be resting on the D Beam? (➞ p. 37)
Sound continues even
though I’m not playing
the keyboard!
Could you be using a hold pedal that has the incorrect polarity? Please use a
Roland DP series or BOSS FS-5U hold pedal.
The volume decreases
when I switch sounds!
Could you be pressing the expression pedal?
When you switch sounds, the expression pedal value is reset to the minimum
position. After you’ve switched sounds, please operate the expression pedal once
again.
The notes sound strange
in the upper registers of
the keyboard.
Sometimes when playing the keys in the upper part of the VP-550’s keyboard,
the sound may stop, or the pitch may stop rising; or with certain keys, there may
be intermittent noise. This occurs mainly when the VP-550’s upper pitch limit is
exceeded, so this issue doesn’t arise in the ranges normally used. But, in any case,
it does not indicate a malfunction.
When the volume is
raised, there are noises!
Could the [EXT IN] knob on the rear panel be turned all the way to the “MIC” side?
If the [EXT IN] knob (➞ p. 15) is set maximum to the “MIC” side, there may be
noises. There might be noises even if there is nothing connected to the [EXT IN]
jack, but this not a malfunction. The noise can be reduced in the following way.
• Turn the [EXT IN] knob to the “LINE” side until the noise is less noticeable.
• If a mic is connected to the [MIC] jack, set the [MIX TO MIC] switch to “OFF.”
Q&A
How do I perform a factory reset?
The VP-550 does not have a Factory Reset function. This is because it does not
have complex parameters that would require resetting.
How do I change the pitch
bend range?
The VP-550’s pitch bend range is fixed at a whole step (two semitones). This cannot be changed.
Is aftertouch supported?
The VP-550’s keyboard does not support aftertouch.
How do I change the MIDI
receive/transmit channel?
The VP-550’s MIDI receive/transmit channels (➞ p. 54) are fixed. They cannot be
changed.
61
Index
Numerics
G
8va 26
GOSPEL 9, 21
A
H
AC IN 12
Aftertouch 61
AMBIENCE 33
HALL 1 33
HALL 2 33
HOLD PEDAL 16, 39
HUMMING 9, 27
B
BASS&PERCUSSION 7, 10, 31
Bass & Percussion volume 32
BASS 1 10, 31
BASS 2 10, 31
BASS 3 10, 31
BOYS CHOIR 9, 27
I
Intelligent legato 30
J
JAZZ SCAT 9, 27
L
C
LEVEL 22, 29
Carrier 7
CLASSIC 9, 21
M
D
D BEAM 37
DEPTH 33
DIRECT 24
Dynamics control 30
E
ENSEMBLE 7, 9, 27
ENSEMBLE LEVEL 29
EXP PEDAL 16, 39
EXPRESSION 37
External synthesizer 50
EXT IN 15, 50, 52
F
Factory Reset 61
FILTER 37
MALE & FEMALE 9, 21
MIC 14
Mic: balanced (XLR) plug 14
Mic: phone plug 15
Mic: Voice expression 40
MIC LEVEL 22
MIC ON/OFF 25, 32, 44
Mic expression sensitivity 44
MIDI 54
MIDI Implementation 56
MIDI Implementation Chart 58
MIDI transmit/receive channels 54
MIXED CHORUS 9, 27
MIX TO MIC 15, 50, 52
Modulation 38
Modulator 7
O
OCTAVE 36
OUT PUT 13
62
PEDAL 16, 39
PERC 10, 31
PHONES 13
PITCH 37
Pitch bend 38
Pitch bend range 38
PLAY 34
POP 9, 21
Portable music player 52
POWER ON 18
R
REC 34
REGISTRATION 43
S
SOUND CHECK 34
Sound list 9
STRINGS 1 9, 27, 30
STRINGS 2 9, 27
STUDIO 33
T
Troubleshooting 60
TUNE 42
V
VOCAL DESIGNER 7, 8, 9, 21
Vocoder 8
VOCODER 1 9, 21
VOCODER 2 9, 21
VOICE EXPRESSION 40
VOLUME 20
VP-550 7
63
Information
64
B l o ck di a gra m
MIC
DIRECT
MIC
LEVEL LED
MIC
LEVEL
MIC
MIC ON / OFF
MIC
EXT IN
EXT IN
LEVEL
EXT IN
ON
KBD
OFF
MIX TO MIC
AMBIENCE
DEPTH
CTRL
ON / OFF
8va
MIDI
VOICE EXPRESSION
EXP
PEDAL
HOLD
PEDAL
BASS & PERCUSSION
ON
OFF
PITCH
BEND
D-BEAM
ENSEMBLE
LEVEL
VOICE EXPRESSION
DOWN / UP
OCTAVE
KBD
CTRL
MIDI
BASS & PERCUSSION
LEVEL
VOLUME
OUTPUT
KBD
MIDI IN
MIDI
REC
PLAY
SOUND CHECK
MIDI OUT
*
0
4
2
3
2
8
7
8
-
0
1
*
04232878 ’06-02-1N