Version 1.1
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PLUG INTO A 13 AMP POWER SOCKET. Do not use the mains plug without the fuse cover in place. Replacement fuse covers can be obtained from
your local retailer. Replacement fuses are 13 amps and MUST be ASTA
approved to BS1362.
This unit conforms to the Product Specifications noted on the Declaration of
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• this device may not cause harmful interference, and
• this device must accept any interference received, including
interference that may cause undesired operation. Operation of
this unit within significant electromagnetic fields should be
• use only shielded interconnecting cables.
This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to Part 15 of the FCC Rules. These limits are
designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there
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which can be determined by turning the equipment off and on, the user is
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SERVICING: To reduce the risk of fire or electric shock, the user should not
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CAUTION: To reduce the risk of fire replace only with same type fuse.
ATTENTION: Utiliser un fusible de recharge de même type.
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Notice For Customers If Your Unit Is Equipped With A Power Cord.
The cores in the mains lead are coloured in accordance with the following
GREEN and YELLOW - Earth
BLUE - Neutral
BROWN - Live
As colours of the cores in the mains lead of this appliance may not correspond
with the coloured markings identifying the terminals in your plug, proceed as
• The core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E, or
with the earth symbol, or coloured green, or green and yellow.
• The core which is coloured blue must be connected to the terminal marked N or coloured black.
• The core which is coloured brown must be connected to the
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This equipment may require the use of a different line cord, attachment plug,
or both, depending on the available power source at installation. Connect this
equipment only to the power source indicated on the equipment rear panel. If
the attachment plug needs to be changed, refer servicing to qualified service
personnel who should refer to the table below. The green/yellow wire shall be
connected directly to the unit's chassis.
WARNING: If the ground is defeated, certain fault conditions in the unit or in
the system to which it is connected can result in full line voltage between
chassis and earth ground. Severe injury or death can then result if the chassis
and earth ground are touched simultaneously.
Manufacturer’s Name:
Manufacturer’s Address:
IVL Technologies Ltd.
per DigiTech specifications
6710 Bertram Place
Victoria, B.C.
Canada V8M 1Z6
declares that the products:
DigiTech Vocalist Performer
conform to the following product specifications:
EN 55022 (1987):
CISPR 22 (1993) Class B
EN 50082-1 (1992)
Supplementary Information:
The product herewith complies with the requirements of the EMC Directive
89/336/EEC (1989) as amended by the CE Marking Directive 93/68/EEC (1993).
IVL Technologies Ltd.
6710 Bertram Place
Victoria, B.C.
Canada V8M 1Z6
February 19, 1997
Peter George, Vice President of Engineering
European Contact: Your local DigiTech Sales and Service Office or
International Sales Office
3 Overlook Drive Unit #4
Amherst, New Hampshire 03031, USA Tel (603) 672-4244 Fax (603) 672 4246
Digitech Vocalist Performer User’s Manual
Table of Contents
Jump Start ........................................................................1
Front panel description ........................................................2
Back panel description.........................................................5
Setting the input level ..............................................7
Setting the harmony level ........................................7
The reverb effect......................................................7
The Harmony options ..............................................7
Choosing key and scale ...........................................8
Part A and B.............................................................9
Stereo voice panning..............................................10
Storing your programs ...........................................10
The optional footswitch and micstand mount .......10
Specifications .....................................................................11
DigiTech Vocalist Performer User’s Manual v1.1, April 7, 1997
The warranty registration card must be mailed within ten days after purchase date to validate the
DigiTech warrants this product, when used solely within the U.S., to be free from defects in materials and workmanship under normal use and service.
DigiTech liability under this warranty is limited to repairing or replacing defective materials that
show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return
Authorization number may be obtained from DigiTech by telephone. The company shall not be
liable for any consequential damage as a result of the product’s use in any circuit or assembly.
Proof-of-purchase is considered to be the burden of the consumer.
DigiTech reserves the right to make changes in design, and make additions or improvements to this
product without incurring any obligation to install the same on products previously manufactured.
The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes
nor authorizes any person to assume any obligation or liability in connection with the sale of this
product. In no event shall DigiTech or its dealers be liable for special or consequential damages, or
from any delay in the performance of this warranty due to causes beyond their control.
IMPORTANT! The information contained in this manual is subject to change at any time without
notification. Some information in this manual may also be inaccurate due to undocumented changes
in the product or operating system since this version of the manual was completed. The information
contained in this version of the manual supersedes all previous versions.
Thank you and congratulations on your purchase of the Digitech Vocalist Performer. This vocal harmony product is a breakthrough in ease-of-use, sound quality and affordability. Whether you sing
for your own entertainment or for the entertainment of others, Performer can be your “singing partner” who can effortlessy hit the high notes and provide full-sounding backup hour after hour.
Performer offers the latest vocal harmony technology that has made DigiTech the world leader in
natural-sounding vocal harmony processing. In addition, Performer features a high quality reverberation effect to further enhance your vocals.
Performer’s features include:
• Two assignable voices for harmony, automatic doubling and special effects
• Built-in stereo reverb with three preset types
• Stereo harmony and reverb output
• 50 user programs
• Part A and Part B switching
• Easy user interface
• Sound source for cue-in note and guitar tuning reference
• Optional microphone stand mounting bracket
• Optional DigiTech FS300 footswitch
Jump Start
1) Connect Performer as shown on page 6. The Signal LED will glow red during the ~5 second power-up delay.
2) Press the Mute button so it lights and adjust the Harmony and Reverb knobs
to 12 O’Clock.
3) Sing into your mic and adjust the Input knob so that the Signal LED shows
red only on the loudest notes you will sing.
4) Sing a song you know. For a starting pitch, press the cue button.
The cue button volume is controlled by the Reverb Level knob.
5) You can change the harmony sound by using the buttons from the Harmony
6) Select a different Key or Scale from the respective button groups.
Enjoy! Don’t forget to read this whole manual to make the most of Performer.
••• 1 •••
Front Panel
1) Harmony buttons
These allow you to turn on and off up to two harmony voices at a time. The High and Higher buttons produce harmonies above your voice. the Double button produces slightly detuned copies of
your voice on the same note. The Low, Lower and Bass buttons produce harmonies below your
2) Scale selection buttons
Choose a Major or Minor scale that sounds correct with your song. The difference between the 3
Major or 3 Minor scales is fairly subtle and may not be obvious right away but, for some songs, one
scale will sound “right” where another might not. Whether a certain scale “works” or not depends on
what note you sing in relation to the key you have chosen.
See “Choosing Key and Scale” description in the Operations section for more information.
••• 2 •••
3) Store button
This is used when you want to save the settings you have chosen. In each program you may store
the Key, Harmony voicing and Scale settings. When pressed, the number in the program window
will flash. The flashing indicates that you have a choice of program number in which to store your
new program. You can press the store button one more time to accept the current number or use the
data wheel to choose another number before accepting. Press any other button to cancel the store
4) Program window
This window displays the currently loaded program. There are 50 user program locations.
5) Part A and B buttons
The A and B buttons allow you to change harmony settings in the middle of a song without changing programs. The A and B parts can have different keys, scales and harmony settings if desired, and
these buttons allow you to select one or the other. This function can also be selected by the
footswitch. For information on storing programs see page 10.
6) Data wheel
Turning this wheel cycles through the programs and loads them automatically.
7) Cue-in note
This is the on/off button for the sound generator that can be used to derive a starting pitch for the
key you have chosen. It’s also handy for a reference pitch to tune your guitar with. When pressed,
the sound will continue until this button is pressed again.
The volume of the cue note is determined by the Reverb level control.
8) Key Select keyboard
These buttons allow you select the “key” of your song. For most songs, the key needs to be set only
once before you begin singing. If you are unsure of the key of your song, a good bet is to enter the
first chord you will play on your accompanying instrument.
9) Mute button
You can turn the harmony effect on and off with this button. When the Mute button is lit, your voice
minus the harmonies will be heard. If the Harmony control is set fully clockwise (fully “wet”) no
sound will be heard. The Mute function can also be activated via an optional footswitch. The
footswitch feature is described on page 5.
••• 3 •••
10) Harmony level control
This knob allows you to control the blend between your voice and the harmony voices. Turning this
control to the right adds progressively more harmony voice level to the mix while keeping the volume of your voice constant. Your voice and the harmonies are equal volume at approximately one
o’clock. At its furthest right position, the output is 100% harmony.
11) Reverb level control
This knob allows you to vary the amount of reverb effect blended in with yours and the harmony
voices. At the maximum setting, the mix is approximately 50/50. Reverb is present on your voice
even when the harmony voices are turned off. This also controls the cue note volume.
12) Reverb type buttons
There are three pre-set reverb settings adjusted for general usefulness and simplicity. You can
choose one type at a time or bypass the reverb effect by selecting any lit button.
13) Input level control
This controls the analog level before it goes into the digital circuitry. If the input signal level is too
high, you will see the Signal indicator glow red and you will hear distortion from the audio outputs.
14) Signal indicator
This is a bi-color LED that glows green when Performer has recognized the pitch of your voice and
red when the input signal is in danger of distorting. The proper setting is reached when this is green
more often than not with red showing only on the loudest notes you sing.
The Signal LED also indicates that the unit is in its power-up sequence. The LED will glow red for
approximately 5 seconds and then turn off when the Performer is ready to produce harmonies.
••• 4 •••
Back panel
1) Power entry jack
Insert the plug from the supplied adaptor here. This turns the unit on and off.
2) Footswitch jack
You may connect a standard momentary footswitch for harmony muting only or a DigiTech FS300
footswitch for extra features. The three switches on the FS300 do the following:
Switch A - Toggles between the A and B settings you have programmed
Switch B - Turns the reverb effect off and on
Switch C - Mutes and unmutes the harmonies (Bypass)
3) Output jacks
The output of Performer is stereo or mono as desired. Use one or two mono 1/4” cables to connect
to your mixer or amplifier. The stereo output consists of:
Your voice in the center
Stereo reverb with independent left/right decay processing
Two harmony voices panned to the left and right when two voices are enabled
One harmony voice appearing in the center when only one voice is enabled
Inserting a cable into the left output jack only will sum the stereo harmony voices and reverb to
mono. When an additional jack is connected to the right output, you will hear the stereo image. If
you wanted mono and you accidentally plugged your output cable into the right output, you will
hear only the one harmony voice that is panned to that side and not the other.
4) Line input jack
If you have connected your microphone to an external mixer, or you will be running a pre-recorded vocal
track through Performer, you would insert the cable from the external line-level source here. Inserting a plug
into the Line Input jack will override the microphone input. See the Connection diagrams for more details.
5) Microphone input jack
Connect a balanced XLR-equipped cable from your microphone to this input.
••• 5 •••
Live performance
The graphic below shows the typical connection scheme. Your voice is fed through the microphone
directly into Performer where it is harmonized and sent to your mixer/power amp. The output from
Performer can be either mono (one cable) or stereo (two cables).
Studio or alternate live setup
The graphic below shows how you can drive Performer with an effects send from your mixer. This
is useful if you want to add equalization to your voice before it is sent to Performer. If your mixer
has multiple effects sends, you could have different effects on your voice and the harmony voices.
This setup also allows you to add harmonies to a recorded vocal track. A vocal track recorded on a
ministudio, reel to reel or digital multitrack can be harmonized as if it was being sung live.
••• 6 •••
Setting the input level
Adjust the input level control until only the loudest notes you sing cause the Signal LED to turn
orange briefly. The LED shows green when it hears a signal, orange at 3 dB below clipping (distortion) and red when the input signal has clipped.
Setting the harmony level
You can adjust the Harmony control to find the blend you like when at least one harmony voice is
activated. Unlike standard mix controls, Performer’s Harmony control has a “smart” volume curve.
As you adjust the volume of the harmonies with this control, your voice does not reduce in volume
as it would with a standard mix control. Past 1 o’clock of the Harmony control’s travel, the volume
of your voice is reduced quickly until it becomes zero at the fully right position. This allows you to
produce only harmony voices for special effects and alternate mixing arrangements.
Note: With the control at full right position, you will not hear your unharmonized voice when you
press the Mute button.
The Reverb effect
Reverberation is an important effect that makes sounds appear bigger by adding the simulation of an
acoustic space. The three reverb effects in Performer have been chosen to allow you a broad range
of acoustic spaces. The “Room” reverb type is a medium-size, highly reflective room that adds richness with a very short duration “tail”. The “Hall” type emulates a large concert hall that has high
frequency damping for a darker, longer effect. The “Plate” reverb type copies the classic effect
whereby a metal plate is hung on springs to produce a bright and slightly longer “tail” than the Hall
setting. While Performer’s reverb is very good, too much reverb in the mix is annoying to the listener and it is best to be conservative in how much you add.
The Harmony options
Double. This is an effect often used in recording where the singer sings exactly the same vocal
melody on several tracks so that, when they are mixed together, the combination sound is richer.
When you select the Double Harmony button on Performer, you can achieve the same type of effect.
When singers perform in a recording studio, they never sing perfectly in tune on each track (and
indeed this the key to the fuller sound) so Performer introduces small pitch imperfections to the doubling voices in order to sound more natural and full.
••• 7 •••
Bass (Octave down). This setting produces the same melody as your input voice but in the octave
below. Adding the Bass harmony to your voice produces a sound reminiscent of gospel music.
Adding one of the other harmony choices produces an even bigger sound.
If you want to be the Bass singer in your group but you just can’t sing that low, try adjusting the
Harmony level control all the way to the right. This way you can sing the part in a range you are
comfortable in but the sound will be an octave lower.
Note: There is no need to set key or scale when the Double or Bass voice are the only ones selected.
High and Lower. These are the “smart” voices that produce the 3rd intervals. The High button is a
third above your voice and the Lower button is a 3rd in the octave below. Much of contemporary
popular music features “3rd above” harmony where the main vocal is closely followed in choruses
and selected lines with this harmony. The “3rd in the octave below” harmony produced by the
Lower harmony voice produces a sound reminiscent of the Beatles.
They are referred to as being “smart” because once you tell them what key and scale your song is in,
they will vary their harmony intervals to sound correct over your music. It’s important to pick the
correct key and scale because some notes may sound “offkey” otherwise. See the section on
“Choosing the right key and scale” for more details.
Higher and Low. These voices produce the 5th intervals. The Higher button produces a 5th above
your voice and the Low button produces a 5th in the octave below. The Minor 2 scale is an exeption
where the Low voice is actually a 6th in the octave below and the Lower voice becomes the 5th.
Used by themselves, these voices produce a Gregorian monk type of harmony sound. When used in
conjunction with the High and Lower harmony voices (3rds) you can produce a sound more like the
Eagles or Crosby, Stills and Nash. A fun special effect is to enable only the Low voice and turn the
Harmony mix fully to the right. This can make your talking voice sound a little deeper for announcing and effects.
Choosing Key and Scale
Don’t let the musical terms of key and scale scare you. Just as you tell fellow musicians what key
you’re in before you start into a song, you should tell Performer the same. Though the chords in a
song may change from moment to moment, most songs remain in one key. Determining the key is
usually easy because it often is the first chord in the song. Once you have found the key you can
press the appropriate button on the Performer’s keyboard.
Setting the scale may take a little experimentation. In many of the songs you sing, the difference
may not be noticeable between one Major scale and the next or one Minor scale and the next. This is
because your melody doesn’t land on the one or two altered notes in each scale. If your melody centers around the root note (an E in the key of E) and maybe the 3rd (G# in E major or G in E minor),
you might not hear any difference between the scales. When you find a song where the melody centers around the 5th of the scale (B in key of E), the difference becomes more obvious. Instead of
jumping into the theoretical descriptions, let’s try a tutorial.
••• 8 •••
To give you an example of the difference between the three Major scales, let’s try with a song everybody knows called “Louie Louie”. Set the key to E, pick the Major 3 scale and enable only the High
voice. Push the cue button for a moment if you need a starting note. Now sing: “Louie Louie (pronounced Lou-eye), Whoa Baby I said we gotta go now.” The difference between the three scales
occurs on the word “...Whoa...” which is the 5th of the scale. Sing it again and listen closely for the
harmony note on this word. Now change to the Major 1 or Major 2 scales and sing the same thing.
You should hear the difference when you sing the “Whoa” note. For a further test try the “Sha Lala
Lala....La Tee Daa” part in Van Morrison’s “Brown Eyed Girl”. This one works best with the Major
2 scale which you’ll probably find is the most versatile of the three Majors.
Now let’s explore the difference between the three Minor scales. We’ll use the song “Summertime”
from the broadway show “Porgy and Bess” as our first example. Set the Performer to key of G,
High voice on and the scale to Minor 1. Now sing the first two lines of the song: “Summertime and
the livin’ is easy, Fish are jumpin’ and the cotton is high”. Neat huh? This scale works well for this.
Sing the line again while you try the other two scales. You should notice that the scales sound different on the words “Summertime...” and “...Jumpin”. Now if you know the song “Evil Ways” by
Santana you can explore the Minor 2 scale. This song will really illustrate the difference for you.
Rather than give you a technical explanation of the scales, let’s express the differences as chord
changes you could generally use as accompaniment.
Major 1- E major / B major
Major 2- E major / B suspended
Major 3- E major / B minor
Minor 1- E minor / A minor / B minor
Minor 2- E minor / A major / B minor
Minor 3 - E minor / A minor / B major
Experiment with all the scales in as many songs as you can. This should give you an intuitive sense
about what will work for a particular song and what won’t. If you’re still having trouble with a particular song, you may also want to try entering a different key than the one you figure the song is in.
A good example of this is “Sweet Home Alabama”. You would think that this song is in the key of D
because that’s the starting chord but the harmony actually works best when set to the key of G. Try
it for yourself - set the Performer for Major 2 scale, High voice on and the key to D. Sing the chorus
a couple of times and then change the key to G.
Part A and B
Songs sometimes change to another key or use a different scale somewhere in the song. Perhaps you
would like to stay in the same key but change to a higher or lower harmony voice in the bridge of
your song. These are the reasons for A/B switching. With A/B switching you can pre-select an alternative harmony sound in each program and switch back and forth using the front panel buttons or,
more conveniently, with the optional FS300 footswitch.
••• 9 •••
To create a program with unique settings for the A and B parts, press the Part A button and select
settings that will work for the main part of your song. Now press the Part B button and do the same
for the alternate harmony. Store as described below. When you change programs using the data
wheel, Part A is automatically loaded first.
Stereo voice panning
All stereo panning is pre-set in Performer. Your input voice is panned center and the harmony voice
pan position depends on how many voices are on. When only one harmony voice is activated, it will
be panned to the center. Two harmony voices will be panned hard right and left. If you prefer the
harmony voices to appear closer to the center of the stereo image, adjust the pan controls on your
mixer accordingly.
Although there is no built-in way to adjust the volume difference between any two harmony voices,
you can use this mixer trick to adjust the volume relationship between them:
First of all, connect Performer according to the Studio/Alternate live setup graphic at the beginning
of this manual. Turn up the effects send control on the channel your mic is connected to.
Set the pan controls for the on the mixer to the center. Set Performer up for a two-voice harmony
and sing. You can now adjust the volume of each voice using the two faders on the mixer.
Storing your programs
When you’ve found a selection of songs you would like have Performer sing with you, you can
store the Key, Scale and Harmony settings into a memory slot for instant recall at your next performance. Press the Store button when you have found settings you like. This will cause the program
number to flash. At this point you can choose to store your settings at this location by pressing Store
again or use the Data Wheel to find another location before pressing Store again.
Although Performer can be easily used without programming, you may find it easier to write down
the program number you have chosen for each song to save you from having to remember exactly
what your settings were.
The optional Footswitch and Mic Stand Mount
If you perform live, it is strongly recommended that you invest in the FS300 footswitch. The FS300
has three buttons that allow you to bypass the harmony voices, switch between the A and B parts of
each program and mute the reverb effect to talk to your audience between songs.
The Mic Stand Mount is handy if you have nothing to rest Performer upon. It brings all the controls
within easy reach.
••• 10 •••
Microphone Input
Balanced XLR, 1 KOhm
Line Input
Unbalanced 1/4 TS, -10 dBV level, 2.2 KOhm
Microphone Input Range
-39 dBV minimum to -17 dBV maximum
Line Input Range
-29 dBV minimum to -7 dBV maximum
Line Outputs
Unbalanced 1/4” stereo or mono, -10 dBV nominal
16 bit A/D conversion @ 48 KHz
Frequency Response (dry)
20 - 20KHz
Signal to Noise
>92 dB A weighted
Total Harmonic Distortion + Noise
< 0.04%
Power Requirements
9 VDC, 500 mA, tip negative
6.75” H x 6.8” W x 1.75” D
1 lb
Specifications subject to change without notice.
••• 11 •••