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Roland VS-2000 Appendices

Roland VS-2000 Appendices

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Download this manual See also: Owner's Manual
Appendices
Before using this unit, carefully read the sections entitled: "USING THE
UNIT SAFELY" (Owner's Manual p. 2) and "IMPORTANT NOTES"
(Owner's Manual p. 5). These sections provide important information
concerning the proper operation of the unit. Additionally, in order to feel
assured that you have gained a good grasp of every feature provided by your
new unit, Owner's Manual, and Appendices should be read in its entirety.
The manual should be saved and kept on hand as a convenient reference.
Copyright © 2003 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
Roland International Web Site: http://www.Roland.com
Roland US Web Site:
http://www.RolandUS.com

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Summary of Contents for Roland VS-2000

  • Page 1 The manual should be saved and kept on hand as a convenient reference. Copyright © 2003 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland International Web Site: http://www.Roland.com Roland US Web Site:...

  • Page 2: Table Of Contents

    Contents About MIDI ... 3 Troubleshooting... 4 Error Messages ... 9 Glossary... 12 Shortcut Key Operations... 14 Effect Preset Patch List ... 16 Algorithm List... 21 MIDI Implementation ... 58 Track Sheet... 101 About the Demo Performances ... 103 SPECIFICATIONS ... 104 Index...

  • Page 3: About Midi

    MIDI messages (the data handled by MIDI) are transmitted and received using the following three types of connectors. On the VS-2000, MIDI OUT and MIDI THRU are handled by a single connector, which can be switched to act as the desired connector.

  • Page 4: Troubleshooting

    ❍ Could one or more channel faders be set to “-∞ dB”? ➔ The volume levels in the track mixer are controlled by the VS-2000’s channel faders. However, the position of the VS-2000’s faders may differ from the actual fader values. Check the values in the Mixer Channel View screen.
  • Page 5 ➔ Some digital audio devices do not output a digital signal unless they are in Play mode. If so, put your digital audio device in standby (pause) mode, and then put the VS-2000 in record mode. ❍ Could the digital audio signal be in the wrong format? ➔...
  • Page 6 ❍ Backup data saved on a CD-R/RW disc is not recognized by the CD-ROM drive in your personal computer. ➔ The VS-2000 backup data format is specific to the Roland VS series. This data cannot be used by devices other than the VS series.
  • Page 7 ➔ You cannot change the connection order of the effect algorithm. You can only switch effects on/off. For the connection order of each algorithm, refer to “Algorithm list” (p. 21). USB connection When connected to your computer via USB, the VS-2000’s internal CD-RW drive is detected ➔ If this occurs, re-connect using one of the following methods (A–C).
  • Page 8 ❍ Are the two devices using different types of MTC? ➔ In order to synchronize via MTC, the VS-2000 and your MIDI sequencer must be set to use the same type of MTC.The VS-2000’s MTC is specified by the Sync Parameter screen’s “FRAME RATE” setting.

  • Page 9: Error Messages

    ■ Drive Busy! If this message appears when you first begin using a disk drive with the VS-2000, the disk drive is not fast enough. You may still be able to use this disk with projects that have a lower sample rate or use a different recording mode.
  • Page 10 ■ Error Disc! There is a problem with the hard disk or CD. The device or media in question cannot be used with the VS-2000. In the case of a hard disk, you may be able to recover from this error by executing Drive Check. Please read “Drive Check” (Owner’s Manual).
  • Page 11 ■ Track 0 Not Found! There is a problem with the disk drive media or CD. This disk cannot be used by the VS-2000. In some cases, data in the disk drive can be recovered using the Drive Check operation.

  • Page 12: Glossary

    By connecting this control jack to the foot switch jack of the VS-2000 and setting the Foot Switch Assign to “GPI,” the connected device will be able to play back/stop the...
  • Page 13 This keyboard and mouse can be connected to the connectors furnished on PS/2 computers developed by IBM in the United States. The VS-2000 allows you to use a PS/2 keyboard, input names, and perform operations using the PS/2 mouse. RSS stands for Roland Sound Space. This is an effect which allows a sound source to be placed in three-dimensional space when played back on a conventional stereo system.

  • Page 14: Shortcut Key Operations

    Shortcut Key Operations Here is a list of the functions that can be performed by pressing multiple buttons, or using the TIME/VALUE dial in conjunction with a button. ■ FUNCTION buttons [F1 (PROJ)] [F2 (TRACK)] [F3 (EFFECT)] [F4 (UTIL)] [F5 (WAVE)] [F6 (MARKER)] ■...
  • Page 15 [SHIFT] + [SOLO] [SHIFT] + [SHIFT]+[SOLO (MUTE)] [CLEAR] + Fader [HOME] + The VS-2000 turn on (*6) [HOME] + [F6 (VGA↔LCD)] (*6) (*6) When the VS20-VGA (sold separately) VGA/mouse expansion is installed. The VS20-VGA (sold separately) will be supported by system version 2.00 and later.

  • Page 16: Effect Preset Patch List

    Effect Preset Patch List On the VS-2000, you can access the range of effects listed below. The Patches using algorithm shown below cannot be selected on the EFFECT 2, 4, and 6. Reverb/Gate Reverb/Vocoder2 (19)/Voice Transformer/Mastering Tool Kit The Patches cannot be selected on the EFFECT 2, 4, and 6, when the Algorithm shown below is used on the EFFECT 1, 3, and 5.
  • Page 17 Deep phaser effective for electronic piano and clavinet sounds. Insert Stereo Models analog phaser with oscillation on purpose. Type Input Comment Insert Stereo Stereo flanger with slight modulation. Insert Stereo Deeper stereo flanger for metallic jet swooshing sound. Insert Stereo Models Roland SBF-325 analog flanger.
  • Page 18 Cancels the characteristics of D.mic, giving the sound a flat frequency response. Insert Converts a Roland DR-20 to an instrumental D. mic. For drums and guitar amp. Insert Converts a Roland DR-20 to a small C. mic. For acoustic guitar and cymbals.
  • Page 19 Parametric Equalizer P211 PEQ:SmallCho Parametric Equalizer Type Input Comment Insert Mono Roland JC-120 amp. Sounds more authentic when used with chorus for mixdown. Insert Mono U.S. tube combo amp circa “black panel.” Insert Mono ’50s U.S. tube amp overdrive. Insert Mono Old British amp crunchy overdrive.
  • Page 20 Effect Preset Patch List ■ Graphic Equalizer (3 presets) Patch Name Algorithm P212 GEQ:TotalEQ1 Graphic Equalizer P213 GEQ:TotalEQ2 Graphic Equalizer P214 GEQ:Space EQ Graphic Equalizer ■ Stereo Multi (5 presets) Patch Name Algorithm P215 CL:Comp Stereo Multi P216 CL:Limiter Stereo Multi P217 EQ:Loudness Stereo Multi...

  • Page 21: Algorithm List

    Algorithm List This section describes the effects associated with the respective algorithms and internal terminations. Read this section when you need to check the algorithms in the built-in library (pre-set library) or before creating a new library. ■ To add reverbs (Reverb-related) Reverb ...
  • Page 22 Algorithm List Reverb This feature adds reverberation to the sound to model the size of space such as a hall and a room. fig.08-04 Input L Input R Sound types Sounds around us can be analyzed and categorized into three types: direct sounds, early reflections and reverberation. A direct sound is the sound that reaches the listener directly from the source.
  • Page 23 Parameter (full name) Setting EQ (Equalizer) Sw (Switch) On, Off Low Gain -12– +12 dB Low Freq (Low Frequency) 20 - 2000 Hz Low Q 0.3–10.0 Low Type Shlv, Peak Mid Gain (Middle Gain) -12– +12 dB Mid Freq (Middle Frequency) 200–8000 Hz Mid Q (Middle Q) 0.3–10.0...
  • Page 24 Algorithm List Reverb2 This gate reverb works in either of two modes of gate operation (Gate/Ducking). In the Gate mode, the gate opens when a certain volume (Threshold Level) is exceeded while in the Ducking mode, the gate opens when the volume becomes as low as or lower than Threshold Level.
  • Page 25 Gate Reverb This is a reverb in which the reverberation is muted during its decay. Its reverse mode can be used in conjunction with Accent sounds to obtain sounds like from reverse play back of a tape. fig.08-42 Input L Input R Gate Reverb fig.08-43e...
  • Page 26 Algorithm List Delay Delay is a feature to add a delayed sound to the direct sound in order to add thickness to the sound or to yield a special effect. fig.08-08 Input L Input R Delay sounds and the spread of sound As a delay is output in the stereo mode, it sounds from the right and the left sides.
  • Page 27 Stereo Pitch Shifter Delay Changes the pitch of the direct sound. Corrects vocals out of tune or adds thickness to the sound by mixing the direct sound and a sound at a shifted pitch. fig.08-12 Input L Input R Setting up pitch Chromatic Pitch (Chromatic) is used for major pitch variation while Fine Pitch (Fine) is used for fine adjustment.
  • Page 28 Algorithm List Delay RSS The right-side, left-side and center Delay sounds can be set separately. As RSS (p. 37) is connected to both the right and left outputs, the sound image of the sound from the left-side channel is localized at 90˚ to the left and that of the sound from the right-side channel at 90˚...
  • Page 29 Tape Echo 201 Models the tape echo section of the Roland RE-201 Space Echo. Capable of reproducing very subtle behavior at the measuring instrument level as well as adding subtle changes in pitch due to deterioration of the tape or inconsistency in tape rotation fig.08-71...
  • Page 30 Algorithm List Multi Tap Delay This is a Delay feature that can set 10 delay sounds separately. fig.08-45 Input L Input R Parameter (full name) Setting MTD (Multi-Tap Delay): Issues 10 delay sounds separately. Time Ch1 – Ch10 (Delay Time 1 – 10) 0–1200 ms Level Ch1 –...
  • Page 31 Stereo Delay Chorus Delay and Chorus can be combined to create spaciousness. fig.08-10 Input L Cross FB Level Lch Cross FB Level Rch Input R How feedback works for Delay and Chorus Feedback is the feature to return the effect sound to its input. The amount of feedback is set with FBLevel (Feedback Level). Cross-Feedback is the feature to return the effect sound from the right input to the left input and the effect send from the left input to the right.
  • Page 32 Refer to the column “Precautions for using RSS” (p. 38). Space Chorus This is a chorus effect simulating Roland SDD-320. The effect to be changed can be reproduced by turning the four buttons 1 to 4 on or off. fig.08-51...
  • Page 33 Stereo Phaser A phaser adds a phase-shifted sound to the direct sound, producing a twisting modulation that creates spaciousness and depth. fig.08-36 Input L Phaser L Phaser R Input R Phaser and Flanger The effects obtained with Phaser and Flanger are very similar. Both add twisting modulation effects to the sound, creating spaciousness and depth.
  • Page 34 Algorithm List Analog Phaser Two units of analog phasers are placed in parallel to accommodate stereo sounds. Surges unique to Phaser is created by adding sounds with the phase shifted periodically. fig.08-75 Input L Input R Number of stages of Phaser As the number of sages of Phaser increases, the number of frequency points suppressed increases as well, generating sharper effect.
  • Page 35 Stereo Flanger fig.08-38Parameter (full name)SettingFunction Input L Flanger L Flanger R Input R Flg (Flanger): Adds effect similar to ascending/descending sound of a jet. Sw (Switch) On, Off Pol (Polarity) Sync, Inv Rate (Rate) 0.1–10.0 Hz Depth (Depth) 0–100 Manual (Manual) 0–100 Reso (Resonance) 0–100...
  • Page 36 Algorithm List Analog Flanger Models Roland SBF-325 Analog Flanger. Provides three types of flanger effects as well as chorus-like effect. fig.08-73 Input L Input R (Mode=FL1) Types of Flanger Effect Analog Flanger provides a variety of flanger effects or chorus effects. Selecting the desired flanger effect type in Mode.
  • Page 37 What is RSS? It stands for Roland Sound Space. This is one of the Roland’s proprietary effect technologies that enables three-dimensional location of the sound source on the ordinary stereo system. Not only control on effect for the front and the sides of the audience, this technology provides controls on directions (azimuth) such as up, down and rear as well as control on distance to localize the sound source.
  • Page 38 Algorithm List Precautions for using RSS When you use RSS with Phones Off, please notice the following points. • Acoustically “dead” rooms are most suitable. • A single-way speaker is suited. However, a multi-way type will do if it incorporates the coaxial or virtual coaxial system. •...
  • Page 39 Input B Selecting the microphone used for recording. Input of Mic Converter selects the type of microphone to be used recording. DR-20: Roland DR-20 (dynamic microphone manufactured by Roland) Sml.Dy: Small Dynamic Microphone (dynamic microphone used for instruments and vocal) Hed.Dy: Head-worn Dynamic Microphone (headset-type dynamic microphone) Min.Cn:...
  • Page 40 Algorithm List Guitar Multi 1–3 These provide multi-effects for guitar sounds suited for rock. Guitar Multi 1 through 3 differ in the degree of sound distortion. Guitar Multi 1 provides the Highest degree of distortion and Guitar-Multi 3 the lowest. fig.08-26 Input L Compressor...
  • Page 41 Parameter (full name) Setting Comp (Compressor):Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) On, Off Sustain (Sustain) 0–100 Attack (Attack) 0–100 Tone (Tone) -50–50 Level (Level) 0–100 Metal (Heavy Metal) / Dstr (Distortion) / Ovd (Overdrive): Gives distortion to the sound. Sw (Switch) On, Off Gain (Gain)
  • Page 42 Algorithm List Guitar Amp Modeling (Guitar Amplifier Modeling) Models a guitar amplifier. fig.08-34 Input L Input R Parameter (full name) Setting NS (Noise Suppressor): Mutes noise in the silent mode. Sw (Switch) On, Off Thresh (Threshold) 0–100 Release (Release) 0–100 AMP (Pre-Amplifier): Models the pre-amplifier section of a guitar amplifier.
  • Page 43 Models the pre-amplifier section of a guitar amplifier. 14 types of pre-amplifiers that can be modeled are listed below: The type can be set with pre-amplifier Type. JC-120: The sound of a Roland. Clean Twin: The sound of standard built-in type vacuum tube amplifier.
  • Page 44 Algorithm List Vocal Multi This feature provides a multi-effect suited for vocals. fig.08-30 Input L Noise Limiter/ Suppressor De-esser Input R Cutting distortion in vocals Limiter can be used to suppress signals at a High level to prevent sound distortion. To do this, follow the steps below: Mode (Mode): Limiter Threshold (Thresh): Limiter Release (Release):...
  • Page 45 Dly(Delay):Adds a delayed sound to the direct sound, adding depth to the sound or creating special effects. Sw (Switch) On, Off Time (Delay Time) 0–1000 ms FBLvl (Feedback Level) -100–100 FX Lvl (Effect Level) -100–100 DirLvl (Direct Level) -100–100 Cho (Chorus): Adds spaciousness and thickness to the sound.
  • Page 46 Algorithm List Vocal Canceler When a stereo source is being input from CD or DAT and so on, this cancels the sound which is located in the stereo center, such as the vocal or bass. fig.08-61 Input L Vocal Canceler Input R Depending on the music source, sounds that you do not wish to be canceled may be canceled as well.
  • Page 47 Vocoder The vocoder creates “talking instrument” effects. To use Vocoder, input an instrumental sound into the left channel and a vocal sound into the right channel. The instrumental sound is split into ten frequency bands to be processed according to its frequency components.
  • Page 48 Algorithm List Vocoder2 (19) This is a 19-band vocoder. Provides clear sounds that used to be impossible with the previous vocoders. fig.08-65 Input L (Instrument) VOCODER Input R(Mic) Noise Suppressor • Instrumental sounds are input into the L channel side of Effect. Therefore, it is required to insert-connect “Lch” of Effect to the channel handling instrumental sounds.
  • Page 49 Lo-Fi Processor This allows you to create a “lo-fi” sound by lowering the sample rate and/or decreasing the number of bits. fig.08-53Parameter (full name)SettingFunction Input L Lo-Fi Processor Lo-Fi Processor Input R Creating lo-fi sounds Follow the steps below to create lo-fi sounds essential to dance music including hip-hop and DJ music. ●...
  • Page 50 Algorithm List 3band Isolator Sharply cuts off components by frequency band to eliminate undesired sounds. Useful to eliminate undesired sounds and take out only specific sounds from a CD. Isolator can make sounds completely perish, unlike ordinary equalizers that leave some sounds even with the gains of the respective frequency bands set to the minimum.
  • Page 51 Dual Compressor/Limiter Compressors suppress signals at High levels. Limiter is used to control excessive input. Each of the above is used to prevent sound distortion or to control dynamics. fig.08-40 Input A Input B Input A is input into the L-channel side of the effect. Therefore, it is required to insert and connect “Lch” of the effect to the channel handling Input A. Similarly, Input B is input into the R-channel side of the effect.
  • Page 52 Algorithm List Parametric Equalizer (4-Band Parametric Equalizer) This is an equalizer that can freely change the cutoff frequency or the band width (Q). With this equalizer, you can create sounds with subtlety. fig.08-55 Input A 4Band EQ A 4Band EQ B Input B Cutting noise.
  • Page 53 Graphic Equalizer (10-Band Graphic Equalizer) This Equalizer sets the boost/cut amount by each segment of the frequency divided into ten bands. In performing PA at a live, this feature is useful to prevent howling by cutting the site-specific resonance frequency. fig.08-57 Input A 10BAND EQ A...
  • Page 54 Algorithm List Stereo Multi fig.08-47 Input L Noise Suppressor Noise Suppressor Input R Parameter (full name) Setting NS (Noise Suppressor): Mutes noise in the silent mode. Sw (Switch) On, Off Thresh (Threshold) 0–100 Release (Release) 0–100 Cmp (Compressor/Limiter): Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) On, Off Thrsh (Threshold Level)
  • Page 55 BassCut Freq Input R Speaker Modeling is adjusted so that its optimal effect is achieved when a Roland Powered Monitor DS-90 is used in digital connection. Its effect may not be fully achieved with other types of speakers. Speaker types applicable for modeling The characteristics of the following types of speakers can be modeled.
  • Page 56 Algorithm List Mastering Tool Kit This Kit is a compressor that splits sounds into different frequency band to unify their volumes. With this feature, you can perform mastering at the optimized level when mixing down into an MD or a CD or when producing your original audio CD using the CD-R disk. fig.08-78 Input L 4Band EQ...
  • Page 57 Exp (Expander): Expands the dynamic range at a certain ratio. Sw (Switch) On, Off Low Thre (Low Threshold) -80–0 dB Low Ratio (Low Raito) 1:1.0–1:16, 1:INF Low Atck (Low Attack) 0–100 ms Low Rel (Low Release) 50 ms–5.000 s Mid Thre (Middle Threshold) -80–0 dB Mid Ratio (Middle Ratio) 1:1.0–1:16, 1:INF...

  • Page 58: Midi Implementation

    MIDI Implementation Model VS-2000 Version 1.00 Oct. 31, 2003 1. TRANSMITTED DATA AND RECOGNIZED RECEIVE DATA ■ Channel Voice message ● Note On/Off If the UTILITY mode METRONOME screen's METRONOME OUT setting is set to MIDI, the metronome will be output as the specified note number and velocity on the specified MIDI channel.
  • Page 59 = PART4 Formant : -> PLAY ❍Hold1 PLAY -> PLAY VS-2000 can receive when EFFECT C.C. Rx Sw in the UTILITY condition MIDI screen is -> PLAY “On”, effect patch Vocoder2 effect (algorithm 28) is selected, and Vocoder2’s Hold parameter is “MIDI.”...
  • Page 60 MIDI Implementation ❍General Purpose Controller 5 If the HARMONY ASSIGN screen's USE EFFECT BOARD setting is On, this message is received on the MIDI channel number specified by the HARMONY ALGORITHM VIEW screen's MIDI setting, and will control the formant value for HARMONY PART 5. Status Second Third...
  • Page 61 -------------------------------------------------------------------------------------------------------------------------- NRPN and Mixer Parameters -------------------------------------------------------------------------------------------------------------------------- +—————————————————————————————————————————————————————————————————+ NRPN | Data Entry | |=========+=========+=============================================| | ccH 00H | mmH llH | EQ SWITCH |—————————+—————————+—————————————————————————————————————————————| | ccH 01H | mmH llH | EQ LOW GAIN —150,,,150 = —15.0,,,15.0dB| |—————————+—————————+—————————————————————————————————————————————| | ccH 02H | mmH llH | EQ LOW FREQUENCY 20,,,88 = 20Hz,,,1.00kHz(*1)| |—————————+—————————+—————————————————————————————————————————————| | ccH 03H | mmH llH | EQ LOWMID GAIN...
  • Page 62 MIDI Implementation |—————————+—————————+—————————————————————————————————————————————| | 00H 08H | mmH llH | Delay: LF Damp Frequency |—————————+—————————+—————————————————————————————————————————————| | 00H 09H | mmH llH | Delay: LF Damp Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 0AH | mmH llH | Delay: HF Damp Frequency |—————————+—————————+—————————————————————————————————————————————| | 00H 0BH | mmH llH | Delay: HF Damp Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 0CH | mmH llH | Delay: Direct Level |—————————+—————————+—————————————————————————————————————————————|...
  • Page 63 |—————————+—————————+—————————————————————————————————————————————| | 00H 18H | mmH llH | EQ: High EQ Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 19H | mmH llH | EQ: High EQ Frequency 14,,,200 = 1.4,,,20.0kHz| |—————————+—————————+—————————————————————————————————————————————| | 00H 1AH | mmH llH | EQ: High EQ Q |—————————+—————————+—————————————————————————————————————————————| | 00H 1BH | mmH llH | EQ: Out Level |—————————+—————————+—————————————————————————————————————————————| | 00H 1CH | 00H 00H | (Reserved)
  • Page 64 MIDI Implementation |—————————+—————————+—————————————————————————————————————————————| | 00H 12H | mmH llH | Auto Wah: Sens |—————————+—————————+—————————————————————————————————————————————| | 00H 13H | mmH llH | Auto Wah: Rate |—————————+—————————+—————————————————————————————————————————————| | 00H 14H | mmH llH | Auto Wah: Depth |—————————+—————————+—————————————————————————————————————————————| | 00H 15H | mmH llH | Guitar Amp Modeling: Mode 0,,,3 = Small,BultIn,2Stack,3Stack| |—————————+—————————+—————————————————————————————————————————————| | 00H 16H | mmH llH | Flanger: Rate...
  • Page 65 ❍Algorithm 12 Rotary +—————————————————————————————————————————————————————————————————+ NRPN | Data Entry | |=========+=========+=============================================| | 00H 00H | mmH llH | Noise Suppressor SW |—————————+—————————+—————————————————————————————————————————————| | 00H 01H | mmH llH | Over Drive SW |—————————+—————————+—————————————————————————————————————————————| | 00H 02H | mmH llH | Noise Suppressor: Threshold |—————————+—————————+—————————————————————————————————————————————| | 00H 03H | mmH llH | Noise Suppressor: Release |—————————+—————————+—————————————————————————————————————————————|...
  • Page 66 MIDI Implementation |—————————+—————————+—————————————————————————————————————————————| | 00H 10H | mmH llH | EQ: Mid EQ Q |—————————+—————————+—————————————————————————————————————————————| | 00H 11H | mmH llH | EQ: High EQ Type |—————————+—————————+—————————————————————————————————————————————| | 00H 12H | mmH llH | EQ: High EQ Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 13H | mmH llH | EQ: High EQ Frequency |—————————+—————————+—————————————————————————————————————————————| | 00H 14H | mmH llH | EQ: High EQ Q |—————————+—————————+—————————————————————————————————————————————|...
  • Page 67 |—————————+—————————+—————————————————————————————————————————————| | 00H 12H | mmH llH | M.Tap Delay: Pan 6 |—————————+—————————+—————————————————————————————————————————————| | 00H 13H | mmH llH | M.Tap Delay: Time 7 |—————————+—————————+—————————————————————————————————————————————| | 00H 14H | mmH llH | M.Tap Delay: Level 7 |—————————+—————————+—————————————————————————————————————————————| | 00H 15H | mmH llH | M.Tap Delay: Pan 7 |—————————+—————————+—————————————————————————————————————————————| | 00H 16H | mmH llH | M.Tap Delay: Time 8 |—————————+—————————+—————————————————————————————————————————————|...
  • Page 68 MIDI Implementation |—————————+—————————+—————————————————————————————————————————————| | 00H 12H | mmH llH | EQ: Low EQ Frequency |—————————+—————————+—————————————————————————————————————————————| | 00H 13H | mmH llH | EQ: Low EQ Q |—————————+—————————+—————————————————————————————————————————————| | 00H 14H | mmH llH | EQ: Mid EQ Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 15H | mmH llH | EQ: Mid EQ Frequency |—————————+—————————+—————————————————————————————————————————————| | 00H 16H | mmH llH | EQ: Mid EQ Q |—————————+—————————+—————————————————————————————————————————————|...
  • Page 69 |—————————+—————————+—————————————————————————————————————————————| | 00H 03H | mmH llH | EQ Ach: Input Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 04H | mmH llH | EQ Ach: 31.25Hz Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 05H | mmH llH | EQ Ach: 62.5Hz Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 06H | mmH llH | EQ Ach: 125Hz Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 07H | mmH llH | EQ Ach: 250Hz Gain |—————————+—————————+—————————————————————————————————————————————|...
  • Page 70 MIDI Implementation ❍Algorithm 28 Vocoder 2 (FX1,FX3,FX5) +—————————————————————————————————————————————————————————————————+ NRPN | Data Entry | |=========+=========+=============================================| | 00H 00H | mmH llH | Chorus SW |—————————+—————————+—————————————————————————————————————————————| | 00H 01H | mmH llH | Vocoder: Envelope Mode |—————————+—————————+—————————————————————————————————————————————| | 00H 02H | mmH llH | Vocoder: Pan Mode 0,,,3 = Mono,Stereo,L—>R,R—>L| |—————————+—————————+—————————————————————————————————————————————| | 00H 03H | mmH llH | Vocoder: Hold...
  • Page 71 |—————————+—————————+—————————————————————————————————————————————| | 00H 07H | mmH llH | Isolator Anti Phase Low Level |—————————+—————————+—————————————————————————————————————————————| | 00H 08H | 00H 00H | (Reserved) | 00H 7FH | 00H 00H | +—————————————————————————————————————————————————————————————————+ ❍Algorithm 31 Tape Echo 201 +—————————————————————————————————————————————————————————————————+ NRPN | Data Entry | |=========+=========+=============================================| | 00H 00H | mmH llH | Tape Echo SW |—————————+—————————+—————————————————————————————————————————————|...
  • Page 72 MIDI Implementation |—————————+—————————+—————————————————————————————————————————————| | 00H 0BH | mmH llH | EQ: Low Mid EQ Gain |—————————+—————————+—————————————————————————————————————————————| | 00H 0CH | mmH llH | EQ: Low Mid EQ Frequency 2,,,54 = 20,,,8000Hz(*1 Frequency Table)| |—————————+—————————+—————————————————————————————————————————————| | 00H 0DH | mmH llH | EQ: Low Mid EQ Q 0,,,31 = 0.3,,,16.0(*2 Q Table)| |—————————+—————————+—————————————————————————————————————————————| | 00H 0EH | mmH llH | EQ: High Mid EQ Gain...
  • Page 73 (RQ1) and Data set (DT1) as the System Exclusive Message. ❍About Model ID The Model ID of the VS-2000 is 00H,61H as for Data Request (RQ1) and Data set (DT1). The VS-2000 also can receive 00H,61H (VS-2000) and 00,36H (VE-7000).
  • Page 74 The message is used to request the particular information of the VS-2000. The VS-2000 does not transmit the message. If the VS-2000 received the message and the device ID of the message is same as its device. ID or 7FH, the VS-2000 transmits the following Identify Reply message.
  • Page 75 2. Data Transfer Address Map ■ Address Block <Model ID = 00H 70H (VS-2000)> Address are expressed in 7bit hexadecimal values. +———————————————————————————————————————————————————————————————+ Address |———————————————+———————————+———————————+———————————+———————————+ Binary | 0aaa aaaa | 0bbb bbbb | 0ccc cccc | 0ddd dddd | 7 Bit Hex +———————————————————————————————————————————————————————————————+...
  • Page 76 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 02 07 00 05 | 00 — 02 | METRONOME TONE TYPE |—————————————+—————————+—————————————————————————————————————————| | 02 07 00 06 | 00 — 0F | METRONOME MIDI CHANNEL |—————————————+—————————+—————————————————————————————————————————| | 02 07 00 07 | 0C — 7F | METRONOME MIDI ACCENT NOTE |—————————————+—————————+—————————————————————————————————————————| | 02 07 00 08 | 01 —...
  • Page 77 = total Marker number, ss = check sum (HOST) <= F0 41 10 00 61 12 02 09 00 08 aa bb cc dd ee ff gg hh ii jj kk ll ss F7 <= (VS-2000) abcdefghijkl = name of Marker #3, ss = check sum If the mark point is less than 3, the VS-2000 does not return the block of “abcdefghijkl.”...
  • Page 78 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 04 00 00 04 | 00 — 01 | INPUT CHANNEL |—————————————+—————————+—————————————————————————————————————————| | 04 00 00 05 | 00 — 01 | INPUT CHANNEL |—————————————+—————————+—————————————————————————————————————————| | 04 00 00 06 | 0aaaaaaa| INPUT CHANNEL | 04 00 00 07#| 0bbbbbbb| less than —905,—905,,,60 = |—————————————+—————————+—————————————————————————————————————————| | 04 00 00 08 | 0aaaaaaa| INPUT CHANNEL...
  • Page 79 |—————————————+—————————+—————————————————————————————————————————| | 04 00 01 00 | 0aaaaaaa| INPUT CHANNEL 1 EQ HIGHMID Q | 04 00 01 01#| 0bbbbbbb| 30,,,96 = 0.36,,,16.0(*4) | |—————————————+—————————+—————————————————————————————————————————| | 04 00 01 02 | 0aaaaaaa| INPUT CHANNEL 1 EQ HIGH GAIN | 04 00 01 03#| 0bbbbbbb| —150,,,150 = —15.0,,,+15.0dB | |—————————————+—————————+—————————————————————————————————————————| | 04 00 01 04 | 0aaaaaaa| INPUT CHANNEL...
  • Page 80 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 04 20 00 52 | 00 | (Reserved) | 04 20 00 5B | 00 | (Reserved) |—————————————+—————————+—————————————————————————————————————————| | 04 20 00 5C | 00 — 01 | TRACK CHANNEL |—————————————+—————————+—————————————————————————————————————————| | 04 20 00 5D | 00 — 01 | TRACK CHANNEL |—————————————+—————————+—————————————————————————————————————————| | 04 20 00 5E | 00 —...
  • Page 81 |—————————————+—————————+—————————————————————————————————————————| | 04 40 00 2B | 01 — 7F | RETURN CHANNEL 1 FX1/2 SEND PAN |—————————————+—————————+—————————————————————————————————————————| | 04 40 00 2C | 01 — 7F | RETURN CHANNEL 1 FX3/4 SEND PAN |—————————————+—————————+—————————————————————————————————————————| | 04 40 00 2D | 01 — 7F | RETURN CHANNEL 1 FX5/6 SEND PAN |—————————————+—————————+—————————————————————————————————————————| | 04 40 00 2E | 00...
  • Page 82 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 04 50 00 54 | 00 | (Reserved) | 04 50 00 57 | 00 | (Reserved) |—————————————+—————————+—————————————————————————————————————————| | 04 50 00 58 | 00 — 01 | MASTER FX1 INSERT SWITCH |—————————————+—————————+—————————————————————————————————————————| | 04 50 00 59 | 00 — 01 | MASTER FX2 INSERT SWITCH |—————————————+—————————+—————————————————————————————————————————| | 04 50 00 5A | 00 —...
  • Page 83 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 02 | 20 — 7F | EFFECTOR — 1 Name —1 | 05 00 00 0D | 20 — 7F | EFFECTOR — 1 Name —12 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 0E | 00 — 7F | EFFECTOR — 1 Parameter Area (See Below) | | 05 00 7F 7F | 00 —...
  • Page 84 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1E | 0aaaaaaa| Delay: Rch Cross Feedback Level | 05 00 00 1F#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 20 | 0aaaaaaa| Delay: Effect Level | 05 00 00 21#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 22 | 0aaaaaaa| Delay: Direct Level | 05 00 00 23#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 24 | 0aaaaaaa| Chorus: Rate...
  • Page 85 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 14 | 0aaaaaaa| 2CH RSS: Bch Elevation | 05 00 00 15#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 16 | 0aaaaaaa| 2CH RSS: Phones SW | 05 00 00 17#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 18 | 0aaaaaaa| 2CH RSS: RSS Type | 05 00 00 19#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1A | 00...
  • Page 86 MIDI Implementation ❍Algorithm 11 Vocal Multi +—————————————————————————————————————————————————————————————————+ | 05 00 00 0E | 0aaaaaaa| Noise Suppressor SW | 05 00 00 0F#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 10 | 0aaaaaaa| Limiter/De—esser SW | 05 00 00 11#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 12 | 0aaaaaaa| Enhancer SW | 05 00 00 13#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————|...
  • Page 87 ❍Algorithm 14 Stereo Phaser +—————————————————————————————————————————————————————————————————+ | 05 00 00 0E | 0aaaaaaa| Phaser SW | 05 00 00 0F#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 10 | 0aaaaaaa| EQ SW | 05 00 00 11#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 12 | 0aaaaaaa| Phaser: Mode | 05 00 00 13#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 14 | 0aaaaaaa| Phaser: Rate...
  • Page 88 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 18 | 0aaaaaaa| G.Reverb: Mode | 05 00 00 19#| 0bbbbbbb| 0,,,4 = Normal,L—>R,R—>L, |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1A | 0aaaaaaa| G.Reverb: Thickness | 05 00 00 1B#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1C | 0aaaaaaa| G.Reverb: Density | 05 00 00 1D#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1E | 0aaaaaaa| G.Reverb: Accent Delay...
  • Page 89 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 22 | 0aaaaaaa| Comp/Limit: Ratio | 05 00 00 23#| 0bbbbbbb| 0,,,3 = 1.5:1,2:1,4:1,100:1| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 24 | 0aaaaaaa| Enhancer: Sens | 05 00 00 25#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 26 | 0aaaaaaa| Enhancer: Frequency | 05 00 00 27#| 0bbbbbbb| 10,,,100 = 1.0,,,10.0kHz| |—————————————+—————————+—————————————————————————————————————————|...
  • Page 90 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1C | 0aaaaaaa| EQ Ach: Low EQ Q | 05 00 00 1D#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1E | 0aaaaaaa| EQ Ach: Low Mid EQ Gain | 05 00 00 1F#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 20 | 0aaaaaaa| EQ Ach: Low Mid EQ Frequency | 05 00 00 21#| 0bbbbbbb|...
  • Page 91 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1C | 0aaaaaaa| EQ: Low EQ Frequency | 05 00 00 1D#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1E | 0aaaaaaa| EQ: Low EQ Q | 05 00 00 1F#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 20 | 0aaaaaaa| EQ: Mid EQ Gain | 05 00 00 21#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 22 | 0aaaaaaa| EQ: Mid EQ Frequency...
  • Page 92 MIDI Implementation |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 28 | 0aaaaaaa| Distance Ach: Proximity Effect | 05 00 00 29#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 2A | 0aaaaaaa| Distance Ach: Timelag | 05 00 00 2B#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 2C | 0aaaaaaa| Limiter Ach: Detect HPF Frequency | 05 00 00 2D#| 0bbbbbbb| 1,,,200 = Thru,20,,,2000Hz| |—————————————+—————————+—————————————————————————————————————————|...
  • Page 93 |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1C | 0aaaaaaa| Speaker Modeling Phase | 05 00 00 1D#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 1E | 0aaaaaaa| Bass Cut Frequency | 05 00 00 1F#| 0bbbbbbb| 1,,,200 = Thru,20,,,2000Hz| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 20 | 0aaaaaaa| Low Frequency Trimmer Gain | 05 00 00 21#| 0bbbbbbb| |—————————————+—————————+—————————————————————————————————————————| | 05 00 00 22 | 0aaaaaaa| Low Frequency Trimmer Frequency...
  • Page 94 MIDI Implementation ● Sync Track Data +—————————————————————————————————————————————————————————————————+ | Start address | Data Contents and remarks |=============+=========+=========================================| | 06 00 00 00 | 0000aaaa| Sync Track Data 1 | 06 00 00 01#| 0000bbbb| aaaabbbbccccdddd | 06 00 00 02#| 0000cccc| | 06 00 00 03#| 0000dddd| |—————————————+—————————+—————————————————————————————————————————| | 06 00 00 04 | 0000aaaa| Sync Track Data 2...
  • Page 95 If the device ID on the message was as same as that of the receiving device or 7FH, the VS-2000 goes into the following condition. The VS-2000 is in the play back condition. Start Recording the tracks that status are the record standby mode.
  • Page 96 If the device ID on the message was as same as that of the receiving device or 7FH, the VS-2000 locates the specified time location received from the command. If the efficient locate number or marker number is selected, the VS-2000 transmits as the device ID 7FH.
  • Page 97 4. Bulk Dump VS-2000 can transfer and receive the scenes, the EZ ROUTING User Templates and the User Effect Patches by bulk dump. In order to make bulk dump transmit, a transmitting function is performed on UTILITY- MIDI BULK DUMP screen.
  • Page 98 These messages are transmitted when V-LINK function turns to enable. VS-2000 doesn’t receive these messages. (*1) 00H(ch.1) fixed (*2) 00H(OFF) fixed (*3) 01H(ON) fixed (*4) It depends on MMC mode(OFF, MASTER or SLAVE) of VS-2000 as followings. 00H(OFF) MASTER 01H(SLAVE) SLAVE 02H(MASTER) (*5) It depends on SYNC mode(INT or EXT) of VS-2000 as followings.
  • Page 99 ● Example of system exclusive message and Checksum calculation On Roland system exclusive message (DT1), checksum is added at the end of transmitted data (in front of F7) to check the message is received correctly. Value of checksum is defined by address and data (or size) of the system exclusive message to be transmitted.
  • Page 100 Digital Studio Workstation Model VS-2000 Funcition... Transmitted Basic Default 1–16 Channel: Changed 1–16 *1 Default Mode 3 Mode: Message Altered ************** 12–127 *1 Note Number: True Voice 0–127 *19 Note On o (9n, v=1–127 *1) Verocity: Note Off x 9n, v=0...

  • Page 101: Track Sheet

    Track Sheet V-Tracks fig.16-03...
  • Page 102 Track Sheet V-Tracks fig.10-04...

  • Page 103: About The Demo Performances

    Unfortunately, it may be impossible to restore the contents of data that was stored on a hard disk once it has been lost.In case you execute erasing the projects or disk format, the data of demo projects will be lost. Roland Corporation assumes no liability concerning such loss of data.

  • Page 104: Specifications

    SPECIFICATIONS VS-2000CD Digital Studio Workstation Tracks Sample Rate Recording Mode Maximum Simultaneous Recording / play back Tracks Internal Hard Disk Drive Capacity Recording Time (Partition size: 10 GB, calculated for 1 track, unit: minutes) Frequency Response Projects Marker Locator Scene...
  • Page 105 18-3/8 (W) x 14-5/8 (D) x 4-9/16 (H) inches 6.7 kg 14 lbs 13 oz Owner's Manual Appendices Mixer Block Diagram Application Software CD (VS-2000 Wave Converter) Short Cut Seal Power Cord AC Adaptor (PSB-3U) 24-bit Effect Expansion Boards: VS8F-2, VS8F-3 Foot Switch: FS-5U (BOSS)

  • Page 106: Index

    Index Numerics ... 53 10-Band Graphic Equalizer ... 37 2ch RSS ... 50 3band Isolator ... 52 4-Band Parametric Equalizer ... 36 Analog Flanger ... 34 Analog Phaser ... 12 ... 12 ATAPI ... 19 Bass ... 12 CD-R ... 12 CD-RW ...
  • Page 108 It is built into MD recorders and other consumer digital-audio equipment as a copyright- protection feature.) • Do not use this unit for purposes that could infringe on a copyright held by a third party. Roland assumes no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

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