Roland VS-2480 Supplementary Manual
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Roland VS-2480 Supplementary Manual

Digital studio workstation
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See also: Owner's Manual , Service Notes
Version 2.0
Appendices
Before using this unit, carefully read the sections entitled: "IMPORTANT SAFETY
INSTRUCTIONS" (Owner's Manual p. 2), "USING THE UNIT SAFELY" (Owner's
Manual p. 3), and "IMPORTANT NOTES" (Owner's Manual p. 4). 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, User Guide, Owner's Manual, and Appendices
should be read in its entirety. These manuals should be saved and kept on hand as a
convenient reference.
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Web site: http://www.roland.co.jp/

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  • Page 1 These manuals should be saved and kept on hand as a convenient reference. Copyright © 2002 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

  • Page 2: Table Of Contents

    Contents About MIDI ... 3 About SCSI ... 4 Troubleshooting ... 5 Error Messages ... 9 Glossary... 12 Shortcut Key Operations... 16 Parameter List ... 18 Preset Patch List ... 27 Algorithm List... 33 MIDI Implementation ... 88 Track Sheet... 95 SPECIFICATIONS ...

  • Page 3: About Midi

    These messages are used to play notes. On a keyboard, these message transmit the key (note number) that was pressed, and how strongly it was pressed (velocity). On the VS-2480/ 2480CD, these messages are used when you use a MIDI sound source to play the metronome sound.

  • Page 4: About Scsi

    Please be sure to read the manual for your disk drive. A disk drive being used for the first time with the VS-2480 must be formatted by the VS-2480. When a disk drive is formatted, all data on that disk drive is lost.

  • Page 5: Troubleshooting

    Troubleshooting When the VS-2480/2480CD does not perform the way you expect, check the following points before you suspect a malfunction. If this does not resolve the problem, contact servicing by your dealer or qualified Roland Service Center. Recording and Playback No Sound •...
  • Page 6 Take precautions such as sticking labels on disks saved as project backup data disks to distinguish the from other disks. • The VS-2480/2480CD project data saved on Zip disks cannot use the computer’s internal Zip drive. → The VS-2480/2480CD project data format is particular to the VS-2480/2480CD.

  • Page 7: Internal Effects

    • The MIDI cable is broken. • You are trying to synchronize using the MIDI clock. → The VS-2480 cannot be run in slave mode using a method other than MTC. • The EXT indicator is off (“SYNC MODE” is set to “INT”).

  • Page 8: Other Problems

    • The MTC frame rate of the video device differs from that of the SI-80SP (Roland Video MIDI Sync Interface), or the video and the VS-2480/2480CD are not set to the same type of MTC. • MTC reception is in poor condition.

  • Page 9: Change To Internal Clock

    Drive Busy! If this message appears when you first begin using a disk drive with the VS-2480/2480CD, 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: Found Illegal Track Pair

    Delete unneeded markers. Medium Error! There is a problem with the disk drive media. This disk cannot be used by the VS-2480/2480CD. In some cases, data can be recovered using the Drive Check operation. No CD-R Drive! Either no Roland CD recorder (CD-R/RW drive) is connected, or its power is not turned on.

  • Page 11: Drive Unformatted

    The CD already has 98 markers, the maximum number of markers it can hold. Drive Unformatted! The disk drive has not yet been initialized by the VS-2480/ 2480CD. Initialize the disk drive. If the disk drive has already been initialized by the VS-2480/ 2480CD, there is a problem with its connections.

  • Page 12: Active Terminator

    Stands for Composite Object Sound Modeling. This is “a technology which combines multiple sound models to create new sounds,” which was first used on the Roland’s VG-8 V- Guitar System. For example, sounds created on the VG-8 are the result of a variety of sound models (elements) such as the pickup, the body of the guitar, the guitar amp, mic, and speaker etc.

  • Page 13: Ntsc Format

    By connecting this control jack to the foot switch jack of the VS-2480/ 2480CD and setting the Foot Switch Assign to “GPI,” the connected device will be able to playback/stop the VS-2480/ 2480CD.

  • Page 14: Phantom Power

    SCSI stands for Small Computer System Interface. This is a data transmission method that can transmit large amounts of data in a short time. Since the VS-2480/2480CD has a SCSI connector, external SCSI devices such as hard disks or removable disk drive etc. can be connected.

  • Page 15: Smpte Time Code

    Today, rather than designating a particular graphics system, VGA has instead come to mean a standard of high-resolution graphics. The VS-2480/2480CD is equipped with a VGA output connector, allowing you to connect a VGA monitor and display the information with a resolution of 640 x 480 pixels in 256 colors.

  • Page 16: 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. CH EDIT/SELECT/PHRASE SEQ STATUS/AUTOMIX STATUS buttons Hold [STATUS]: [SHIFT] + [CH EDIT]: [SHIFT] + [SOLO (IN1-16)]: [CLEAR] + [SOLO (IN1-16)]: [SHIFT] + [MUTE (IN 17-24 AUX MST)]:...
  • Page 17 ■ Other [SHIFT] + [MASTERING (CD-RW)]: [SHIFT] + [DISPLAY (HOME)]: [SHIFT] + [REDO (UNDO)]: [SHIFT] + [TAP]: [SHIFT] + [PROJECT TOP (PREVIEW TO)]: [SHIFT] + [PROJECT END (PREVIEW FROM)]: [SHIFT] + [EXT SYNC]: [SHIFT] + [LOOP]: [SHIFT] + [AUTO PUNCH]: [SHIFT] + [ [SHIFT] + [ [SHIFT] + TIME/VALUE dial:...

  • Page 18: Parameter List

    Parameter List ■ Input Mixer [IN 1-16] (or [IN 17-24 AUX MST]) → [CH EDIT] (IN 1–16, 17–24)] Parameter name Patchbay Channel Link Attenuator Phase Fader Group Fader Link Level Meter Solo Mute Offset Level Fader Mix Send Switch Offset Pan Mix Send Pan Dynamics Switch Dynamics Type...
  • Page 19 Valid when Dynamics Type is “EXP+COMP.” Max +6.0dB when compressor auto gain switch is "On." Valid when Dynamics Type is “EXPANDER.” Changes in parameter settings accepted at anytime. However, the settings are reflected in the outcome only when the Equarizer switch is “on.” *10 Valid when Filter Switch is except “Off.”...
  • Page 20 Parameter List Effect Insert Switch Effect Insert Send Level Effect Insert Return Level Surround Pan Surround Depth Surround LR:C Rate Surround Sub Woofer Level Valid when Channel Link is “On.” If Channel Link is On, the “Pan” parameter will change to the offset pan parameter. When the dynamics type is "EXP+COMP,"...
  • Page 21 ■ Master Block [MASTER EDIT (TR 1-16)] Parameter name Master Level Master Balance Monitor Level Monitor Balance AUX Master Position AUX Master Level AUX Bus Link AUX Master Balance DIR Master Position DIR Master Level DIR Master Balance Rec Bus Attenuator Monitor Source AUX A AUX B...
  • Page 22 Parameter List ■ System Parameter [UTILITY] → [(Page1) F1 (SYSTEM)] Parameter name Analog Input Phantom Switch ANALOG INPUT External Level Meter Display Section Meter Position MB-24 Time Display MB-24 Meter Scale IDE Drive SCSI Self ID VGA Out Refresh Rate Holizontal Position Vertical Position Operation Target...
  • Page 23 ■ Play/Recording Parameter [UTILITY] → [(Page1) F4 (PlyRec)] Parameter name Record Monitor Marker Stop Fade Curve Fade Length Vari Pitch Switch Vari Pitch Solo/Mute Switch Type Scrub Length Preview To Length Preview From Length ■ MIDI Parameter [UTILITY] → [(Page1) F5 (MIDI)] Parameter name MIDI through Switch Device ID...
  • Page 24 Parameter List ■ Metronome Parameter [UTILITY] → [(Page2) F2 (Metro)] Parameter name Metronome Out Internal Level Metronome Mode Tone Type Metronome MIDI Channel Accent Note Accent Velocity Normal Note Normal Velocity Valid when Metronome Out is “INT.” Valid when Metronome Out is except “Off.” When the tone type is "CLICK (NOTE),"...
  • Page 25 ■ Scene [UTILITY] → [(Page3) F1 (SCENE)] Parameter name Scene Active Channel ■ Automix [UTILITY] → [(Page3) F2 (A.MIX)] Parameter name Writing Parameter After Punch Out Return Time Master Block Input Mixer Track Mixer Effect Return Mixer AUX Master Direct Path Effect Switch ■...
  • Page 26 Parameter List ■ Parameter Initialize [UTILITY] → [(Page3) F6 (PrmIni)] Parameter name Initialize Section ■ Project New [PROJECT] → [(Page1) F2 (NEW)] Parameter name Project Name Copy Utility Parameter Copy Mixer/Scene Parameter Sample Rate Recording Mode A new number which is not designated to the projects which are already stored is allocated to 000. ■...

  • Page 27: Preset Patch List

    Preset Patch List On the VS-2480/2480CD, you can access the range of effects listed below. Direct Level is set to “0.” Connect this Patch to the effects bus. Loop: Insert: This Patch mixes the direct sound and effected sound. Insert it into a channel.
  • Page 28 Preset Patch List ■ Reverb (18 presets) Patch Name Algorithm P036 RV:LargeHall Reverb P037 RV:SmallHall Reverb P038 RV:Strings Reverb P039 RV:PianoHall Reverb P040 RV:Orch Room Reverb P041 RV:VocalRoom Reverb P042 RV:MediumRm Reverb P043 RV:LargeRoom Reverb P044 RV:CoolPlate Reverb P045 RV:Short Plt Reverb P046 RV:Vocal Plt...
  • Page 29 Converts a Roland DR-20 to a small C. mic. For acoustic guitar and cymbals. Insert Converts a Roland DR-20 to a large C. mic. For vocals and acoustic inst. Insert Converts a headset mic to a vocal D. mic. Insert Converts a headset mic to a large C.
  • Page 30 Mono Clean sound featuring distinctive compression and delay. 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.
  • Page 31 ■ Special Effects (11 presets) Patch Name Algorithm P175 LFP:BreakBts Lo-Fi Processor P176 LFP:1bitDist Lo-Fi Processor P177 LFP:TeknoFlt Lo-Fi Processor P178 LFP:Reso Flt Lo-Fi Processor P179 LFP:FatBotom Lo-Fi Processor P180 VOP22:M19Band Vocoder2 (19) P181 VOP22:S19Band Vocoder2 (19) P182 HC:Quiet60Hz Hum Canceler P183 HC:Quiet50Hz Hum Canceler...
  • Page 32 Preset Patch List ■ Speaker Modeling (11 presets) Patch Name Algorithm P220 SPM:SuperFlt Speaker Modeling P221 SPM:P.GenBlk Speaker Modeling P222 SPM:P.E-Bs Speaker Modeling P223 SPM:P.Mack Speaker Modeling P224 SPM:SmalCube Speaker Modeling P225 SPM:WhiteCon Speaker Modeling P226 SPM:W.C+tiss Speaker Modeling P227 SPM:S.Radio Speaker Modeling P228...

  • Page 33: 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 34 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 3BAND EQ Input R Sound types Sounds around us can be analyzed and categorized into three types: direct sounds, early reflections and reverberation.
  • Page 35 Parameter (full name) EQ (Equalizer) Sw (Switch) Low Gain Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) Reverb: Adds reverberation.

  • Page 36: Reverb Types

    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 37 Parameter (full name) Rev (Reverb 2): Gate reverb with two modes of gate operation Sw (Switch) Type (Reverb Type) Gate (Gate) Mode (Gate Mode) Time (Reverb Time) PreDLY (Pre-Delay) Densty (Density) HPF (High Pass Filter) LPF (Low Pass Filter) Thresh (Threshold) Attack (Attack) Releas (Release) HoldT (Hold Time)

  • Page 38: Gate Reverb

    Algorithm List 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 playback of a tape. fig.08-42 Input L Input R Gate Reverb fig.08-43e...
  • Page 39 Parameter (full name) GRev (Gate Reverb): Mutes the revert sound midway. Sw (Switch) Mode (Gate Mode) Time (Gate Time) PreDLY (Pre-Delay) Thick (Thickness) Densty (Density) AcDLY (Accent Delay Time) AcLvl (Accent Level) AcPan (Accent Pan) FX Lvl (Effect Level). DirLvl (Direct Level) EQ (Equalizer) Sw (Switch) Low Gain (Low Gain)
  • Page 40 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 41 EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) *1: The sum of the Delay Time (Time) value and the Delay Shift (Shift) value should not exceed the setting range of Delay Time.

  • Page 42: Stereo Pitch Shifter Delay

    Algorithm List 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 43 EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) *1: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shlv (Shlving Type),”...

  • Page 44: Delay Rss

    Algorithm List Delay RSS The right-side, left-side and center Delay sounds can be set separately. As RSS (p. 58) 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 45: Tape Echo 201

    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 46: Multi Tap Delay

    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) MTD (Multi-Tap Delay): Issues 10 delay sounds separately. Time Ch1 – Ch10 (Delay Time 1 – 10) Level Ch1 –...
  • Page 47 EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) *1: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shlv (Shlving Type),”...
  • Page 48 Algorithm List Stereo Delay Chorus Delay and Chorus can be combined to create spaciousness. fig.08-10 Input L 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).
  • Page 49 Chorus: Adds spaciousness and depth to the sound. Sw (Switch) Rate (Rate) Depth (Depth) PreDLY (Pre-Delay) Lch FeedbackLvl (Lch Feedback Level) Rch FeedbackLvl (Rch Feedback Level) Lch CrossFeedbackLvl (Lch Cross-Feedback Level)-100–100 Rch CrossFeedbackLvl(Rch Cross-Feedback Level)-100–100 FX Lvl (Effect Level) DirLvl (Direct Level) EQ (Equalizer) Sw (Switch) Low Gain (Low Gain)

  • Page 50: Chorus Rss

    Algorithm List Chorus RSS RSS (p. 58) is connected to the Chorus output. The sound image is defined with the sound from the left-side channel located at left 90˚ and the sound from the right-side channel at right 90˚. fig.08-22 Input L Input R •...

  • Page 51: Space Chorus

    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 Input L Space Chorus Input R Parameter (full name) Spcho (Space Chorus): Adds a chorus effect simulating SDD-320.

  • Page 52: Stereo Phaser

    Algorithm List 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 53 EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) *1: An excessively great values for Resonance (Reso) may cause oscillation.

  • Page 54: Analog Phaser

    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 55: Stereo Flanger

    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) Pol (Polarity) Rate (Rate) Depth (Depth) Manual (Manual) Reso (Resonance) CrossFBLvl (Cross-Feedback Level) FX Lvl (Effect Level). DirLvl (Direct Level) EQ (Equalizer) Sw (Switch)

  • Page 56: Analog Flanger

    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 Types of Flanger Effect Analog Flanger provides a variety of flanger effects or chorus effects. Selecting the desired flanger effect type in Mode.
  • Page 57 Rotary Models a rotary speaker. Behaviors of High and low frequency band Roters can be set up separately, allowing realistic modeling of unique surging sensation. This effect is suited for organ sounds. fig.08-32 Input L Noise Suppressor Input R Parameter (full name) NS (Noise Suppressor): Mutes noise in the silent mode.

  • Page 58: Ch Rss

    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 59 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 60 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 61 Parameter (full name) Lnk (Link): Channel B follows the settings for Channel A. Link (Link Switch) CnvA, CnvB (Mic Converter):Converts the characteristics of the low-end general-purpose microphone into the characteristics of the High-end microphone for studio application. Sw (Switch) Input (Input) Output (Output) Phase (Phase) BCutA, BCutB (Bass Cut Filter): Cuts off undesired low frequency band sounds such as pop noise.

  • Page 62: Guitar Multi

    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 63 Parameter (full name) Comp (Compressor):Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Sustain (Sustain) Attack (Attack) Tone (Tone) Level (Level) Metal (Heavy Metal) / Dstr (Distortion) / Ovd (Overdrive): Gives distortion to the sound. Sw (Switch) Gain (Gain) Low Gainain (Low Gain)
  • Page 64 Algorithm List Dly (Delay):Adds a delayed sound to the direct sound, adding depth to the sound or creating special effects. Sw (Switch) Time (Delay Time) shift (shift) FBTim (Feedback Delay Time) FBLvl (Feedback Level) FX Lvl (Effect Level) DirLvl (Direct Level) *1: The sum of the Delay Time value and the Delay shift value should not exceed the setting range of Delay Time.

  • Page 65: Speaker Simulator

    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 66: Vocal Multi

    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):...
  • Page 67 EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) Pshift (Pitch shifter): shifts the pitch.

  • Page 68: Voice Transformer

    Algorithm List Voice Transformer You can convert male voice into female voice, female voice into male voice, and human voice into mechanical voice to create sounds of various qualities by controlling the base pitch and the formant separately. fig.08-63 Input L Input R •...

  • Page 69: Vocal Canceler

    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 70 Algorithm List *1: Setting to “Unlimit” means that the frequency that can be played back on this unit is the lower limit. *2: Setting to “Unlimit” means that the frequency that can be played back on this unit is the upper limit. *3: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shlv (Shlving Type),”...
  • Page 71 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. fig.08-14 Input L (Instrument)
  • Page 72 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 73 Parameter (full name) Voc (Vocoder 2): The pitch is specified as in the instrumental sound while the tone is output in the human voice. Envelope (Envelope) PanMode (Pan Mode) Hold (Hold) MicSens (Microphone Sensitivity) SynInLvl (Synthesizer In Level) Character Ch1 – 19 (Voice Character Channels 1 - 19) Mic (Microphone Mix) MicHPF (Microphone HPF)

  • Page 74: Lo-Fi Processor

    Algorithm List 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 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. Lo-fi Processor •...

  • Page 75: Band Isolator

    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. fig.08-69 Input L 3 Band...

  • Page 76: Dual Compressor/Limiter

    Algorithm List 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.
  • Page 77 Parameter (full name) CmpA, CmpB (Compressor): Compresses the entire output signals when the input volume has exceeded a preset value. (Limiter): Suppresses the volume of the section where the input volume has exceeded the preset value. Sw (Switch) Thrsh (Threshold Level) Ratio (Ratio) Attack (Attack Time) Release (Release Time)
  • Page 78 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 79 *1: If Low Type (Low Type) or High Type (High Type) is set to “Shlv (Shlving Type),” the setting for Lo Q or High Q is invalid. 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.
  • Page 80 Algorithm List Hum Canceler Eliminates annoying hum (or “surge” sounding “boon”). fig.08-59 Input A Hum Canceler Hum Canceler Input B Removing hum Hum is a noise with a certain low frequency. Hum is generated mostly due to ingression of part of alternating current into signals as alternating current is converted into direct current in the power circuit.

  • Page 81: Stereo Multi

    Stereo Multi fig.08-47 Input L Noise Suppressor Noise Suppressor Input R Parameter (full name) NS (Noise Suppressor): Mutes noise in the silent mode. Sw (Switch) Thresh (Threshold) Release (Release) Cmp (Compressor/Limiter): Compresses the entire output signals when the input volume exceeds a specified value.
  • Page 82 Algorithm List EQ (Equalizer) Sw (Switch) Low Gain (Low Gain) Low Freq (Low Frequency) Low Q Low Type Mid Gain (Middle Gain) Mid Freq (Middle Frequency) Mid Q (Middle Q) High Gain High Freq (High Frequency) High Q Hi Type (High Type) Level (Output Level) *1: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shlv (Shlving Type),”...

  • Page 83: Speaker Modeling

    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. • “Mic Modeling” cannot be used on the projects with 64kHz or higher sampling rate.
  • Page 84 Algorithm List Parameter (full name) SpMod (Speaker Modeling): Selects the speaker subject to characteristics modeling. Sw (Switch) Model (Model) Output Speakers (Output Speakers) Phase (Phase) BCut (Bass Cut Filter): Cuts off undesired low sounds such as pop noise. Sw (Switch) Freq (Frequency) LFT (Low Frequency Trimmer): Adjusts the low frequency band sounds.

  • Page 85: Mastering Tool Kit

    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.
  • Page 86 Algorithm List HiMid Q (High Middle Q) High Gain (High Gain) High Freq (High Frequency) High Q (High Q) Hi Type (High Type) Level (Level) BCut (Bass Cut Filter): Cuts off undesired low frequency band sounds such as pop noise. Sw (Switch) Freq (Frequency) Enh (Enhancer):...
  • Page 87 Cmp (Compressor):Compresses the entire output signals when the input volume exceeds a specified value. SW (Switch) Low Thre (Low Threshold) Low Ratio (Low Raito) Low Atck (Low Attack) Low Rel (Low Release) Mid Thre (Middle Threshold) Mid Ratio (Middle Ratio) Mid Atck (Middle Attack) Mid Rel (Middle Release) High Thre (High Threshold)

  • Page 88: Midi Implementation

    = 1,3,5,7 (FX1,3,5,7): Voice Transformer: Chromatic Formant ll = 24H - 3CH (C2 - C4) mm = Ignored ●Polyphonic Key Pressure Transmits the level meter value of VS-2480/2480CD according to the value of “DISPLAY SECTION.” (MIDI ch. is fixed to 16.) Ignored when received. Status ll = Note No.:...
  • Page 89 59 | —10.6 89 | — 2.6 119 | +——————+————————++——————+————————++——————+————————++——————+————————+ (*2) Value and switching Track status corresponds as follows. (Track status cannot be switched when tracks are assigned to Phrase Pads.) (1) While VS-2480/2480CD stops Value: 0-41 42-83 84-127 Status: OFF ->...
  • Page 90 00H | 04H | 00H - 63H (0 - 99) | User #100 - #199 ❍Hold1 VS-2480/2480CD can receive when EFFECT C.C. Rx Sw” in the UTILITY condition MIDI screen is “OUT,” effect patch Vocoder2 effect (algorithm 28) is selected, and Vocoder2’s Hold parameter is “MIDI.”...
  • Page 91 (*2) Mixer Q Table +——————+————————++——————+————————++——————+————————++——————+————————+ | Data | || Data | || Data | || Data | +——————+————————++——————+————————++——————+————————++——————+————————+ 30 | 0.36 50 | 1.12 70 | 3.55 31 | 0.38 51 | 1.20 71 | 3.76 32 | 0.40 52 | 1.25 72 | 4.00...
  • Page 92 MIDI Implementation |—————————+—————————+———————————————————————————————————————————————————| | 00H 06H | mmH llH | P.ShifterDelay: Lch Feedback Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 07H | mmH llH | P.ShifterDelay: Lch Cross Feedback Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 08H | mmH llH | P.ShifterDelay: Rch Chromatic Pitch |—————————+—————————+———————————————————————————————————————————————————| | 00H 09H | mmH llH | P.ShifterDelay: Rch Fine Pitch |—————————+—————————+———————————————————————————————————————————————————| | 00H 0AH | mmH llH | P.ShifterDelay: Rch Pre Delay...
  • Page 93 |—————————+—————————+———————————————————————————————————————————————————| | 00H 1DH | mmH llH | Delay: Feedback Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 1EH | mmH llH | Delay: Effect Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 1FH | mmH llH | Delay: Direct Level |—————————+—————————+———————————————————————————————————————————————————| * (Delay Time) + (Absolute value of Shift) should be 1000 or less. ❍Individual for Algorithm 8 Guitar Multi 1 |—————————+—————————+———————————————————————————————————————————————————| | 00H 20H | mmH llH | Metal: Gain...
  • Page 94 MIDI Implementation |—————————+—————————+———————————————————————————————————————————————————| | 00H 02H | mmH llH | Phaser: Mode |—————————+—————————+———————————————————————————————————————————————————| | 00H 03H | mmH llH | Phaser: Rate |—————————+—————————+———————————————————————————————————————————————————| | 00H 04H | mmH llH | Phaser: Depth |—————————+—————————+———————————————————————————————————————————————————| | 00H 05H | mmH llH | Phaser: Polarity |—————————+—————————+———————————————————————————————————————————————————| | 00H 06H | mmH llH | Phaser: Manual |—————————+—————————+———————————————————————————————————————————————————|...
  • Page 95 |—————————+—————————+———————————————————————————————————————————————————| | 00H 0BH | mmH llH | M.Tap Delay: Level 4 |—————————+—————————+———————————————————————————————————————————————————| | 00H 0CH | mmH llH | M.Tap Delay: Pan 4 |—————————+—————————+———————————————————————————————————————————————————| | 00H 0DH | mmH llH | M.Tap Delay: Time 5 |—————————+—————————+———————————————————————————————————————————————————| | 00H 0EH | mmH llH | M.Tap Delay: Level 5 |—————————+—————————+———————————————————————————————————————————————————| | 00H 0FH | mmH llH | M.Tap Delay: Pan 5 |—————————+—————————+———————————————————————————————————————————————————|...
  • Page 96 MIDI Implementation |—————————+—————————+———————————————————————————————————————————————————| | 00H 06H | mmH llH | Lo—Fi Processor: Effect Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 07H | mmH llH | Lo—Fi Processor: Direct Level |—————————+—————————+———————————————————————————————————————————————————| | 00H 08H | mmH llH | Realtime Modify Filter: Filter Type |—————————+—————————+———————————————————————————————————————————————————| | 00H 09H | mmH llH | Realtime Modify Filter: Cut Off |—————————+—————————+———————————————————————————————————————————————————| | 00H 0AH | mmH llH | Realtime Modify Filter: Resonance...
  • Page 97 ❍Algorithm 27 Voice Transformer (FX1,FX3,FX5,FX7) +———————————————————————————————————————————————————————————————————————+ NRPN | Data Entry | |=========+=========+===================================================| | 00H 00H | mmH llH | Voice Transformer SW |—————————+—————————+———————————————————————————————————————————————————| | 00H 01H | mmH llH | Reverb SW |—————————+—————————+———————————————————————————————————————————————————| | 00H 02H | mmH llH | (Reserved) |—————————+—————————+———————————————————————————————————————————————————| | 00H 03H | mmH llH | MIDI Control SW |—————————+—————————+———————————————————————————————————————————————————|...
  • Page 98 MIDI Implementation |—————————+—————————+———————————————————————————————————————————————————| | 00H 08H | mmH llH | Tape Echo Tape Head S Pan |—————————+—————————+———————————————————————————————————————————————————| | 00H 09H | mmH llH | Tape Echo Tape Head M Pan |—————————+—————————+———————————————————————————————————————————————————| | 00H 0AH | mmH llH | Tape Echo Tape Head L Pan |—————————+—————————+———————————————————————————————————————————————————| | 00H 0BH | mmH llH | Tape Echo Tape Distortion |—————————+—————————+———————————————————————————————————————————————————|...
  • Page 99 00H - 63H (0 - 99) n = 0H - 7H pp = Program No.: 00H - 63H (0 - 99) n = FH (*1) If received while VS-2480/2480CD is playing, playback stops, and then restarts after the scene switched. Never receives while recording. ●Pitch Bend Change...
  • Page 100 Request (RQ1) and Data set (DT1) as the System Exclusive Message. ❍About Model ID The Model ID of the VS-2480/2480CD is 00H,40H as for Data Request (RQ1) and Data set (DT1). The VS-2480/2480CD also can receive 00H,40H (VS-2480/2480CD) and 00,36H (VE- 7000).
  • Page 101 Address are expressed in 7bit hexadecimal values. Address Binary 0aaa aaaa 0bbb bbbb 0ccc cccc 7 Bit Hex ■Address Block <Model ID = 00H 40H (VS-2480/2480CD)> +———————————————————————————————————————————————————————————————————————————+ | Start address | Contents and remarks |=============+=============================================================| | 00 00 00 00 | (Reserved) |—————————————+—————————————————————————————————————————————————————————————| | 02 00 00 00 | Utility Parameter |—————————————+—————————————————————————————————————————————————————————————|...
  • Page 102 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 02 09 00 08 | 20 — 7F | MARKER NAME —1 | 02 09 00 13 | 20 — 7F | MARKER NAME —12 |—————————————+—————————+———————————————————————————————————————————————————| | 02 09 01 00 | 00 — 04 | MARKER COMMAND (*4) 00=MARKER READ 01=MARKER WRITE 02=MARKER CLEAR...
  • Page 103 = total Marker number, ss = check sum to ZERO, | (HOST) <= F0 41 10 00 40 12 02 09 00 08 aa bb cc dd ee ff gg hh ii jj kk ll ss F7 <= (VS-2480/2480CD) to Last Phrs:0s, |...
  • Page 104 MIDI Implementation ●Mixer Parameter +———————————————————————————————————————————————————————————————————————————+ | Start address | Data Contents and remarks |=============+=========+===================================================| | 04 00 00 00 | 0aaaaaaa| INPUT CHANNEL 1 ATT | 04 00 00 01#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 04 00 00 02 | 00 — 01 | INPUT CHANNEL 1 PHASE |—————————————+—————————+———————————————————————————————————————————————————| | 04 00 00 03 | 00 —...
  • Page 105 |—————————————+—————————+———————————————————————————————————————————————————| | 04 20 00 14 | 00 — 01 | TRACK CHANNEL 1 AUX3 SEND SWITCH |—————————————+—————————+———————————————————————————————————————————————————| | 04 20 00 15 | 00 — 01 | TRACK CHANNEL 1 AUX4 SEND SWITCH |—————————————+—————————+———————————————————————————————————————————————————| | 04 20 00 16 | 00 — 01 | TRACK CHANNEL 1 AUX5 SEND SWITCH |—————————————+—————————+———————————————————————————————————————————————————| | 04 20 00 17 | 00 —...
  • Page 106 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 04 40 00 2E | | (Reserved) | 04 40 00 55 | | (Reserved) |—————————————+—————————+———————————————————————————————————————————————————| | 04 40 00 56 | 01 — 7F | RETURN CHANNEL 1 SURROUND PAN |—————————————+—————————+———————————————————————————————————————————————————| | 04 40 00 57 | 01 — 7F | RETURN CHANNEL 1 SURROUND DEPTH |—————————————+—————————+———————————————————————————————————————————————————| | 04 40 00 58 | 01 —...
  • Page 107 | 04 50 01 0A | 00 — 09 | R—BUS1 5/6 SOURCE MASTER,MONITOR,AUX1/2,,,AUX7/8,DIR1/2,,,DIR7/8 | |—————————————+—————————+———————————————————————————————————————————————————| | 04 50 01 0B | 00 — 09 | R—BUS1 7/8 SOURCE MASTER,MONITOR,AUX1/2,,,AUX7/8,DIR1/2,,,DIR7/8 | |—————————————+—————————+———————————————————————————————————————————————————| | 04 50 01 0C | 00 — 09 | R—BUS2 1/2 SOURCE MASTER,MONITOR,AUX1/2,,,AUX7/8,DIR1/2,,,DIR7/8 | |—————————————+—————————+———————————————————————————————————————————————————| | 04 50 01 0D | 00 —...
  • Page 108 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 36 | 0aaaaaaa| Reverb: LF Damp Gain | 05 00 00 37#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 38 | 0aaaaaaa| Reverb: HF Damp Frequency | 05 00 00 39#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 3A | 0aaaaaaa| Reverb: HF Damp Gain | 05 00 00 3B#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 3C | 0aaaaaaa| Reverb: HI Cut Frequency...
  • Page 109 |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 24 | 0aaaaaaa| Chorus: Rate | 05 00 00 25#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 26 | 0aaaaaaa| Chorus: Depth | 05 00 00 27#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 28 | 0aaaaaaa| Chorus: Pre Delay | 05 00 00 29#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 2A | 0aaaaaaa| Chorus: Feedback Level...
  • Page 110 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 32 | 0aaaaaaa| Enhancer: Level | 05 00 00 33#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 34 | 0aaaaaaa| EQ: Low EQ Type | 05 00 00 35#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 36 | 0aaaaaaa| EQ: Low EQ Gain | 05 00 00 37#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 38 | 0aaaaaaa| EQ: Low EQ Frequency...
  • Page 111 ❍Algorithm 16 Dual Compressor/Limiter +———————————————————————————————————————————————————————————————————————————+ | 05 00 00 0E | 0aaaaaaa| Comp/Limit A SW | 05 00 00 0F#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 10 | 0aaaaaaa| Noise Suppressor A SW | 05 00 00 11#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 12 | 0aaaaaaa| Comp/Limit B SW | 05 00 00 13#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————|...
  • Page 112 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 24 | 0aaaaaaa| Enhancer: Sens | 05 00 00 25#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 26 | 0aaaaaaa| Enhancer: Frequency | 05 00 00 27#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 28 | 0aaaaaaa| Enhancer: MIX Level | 05 00 00 29#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 2A | 0aaaaaaa| Enhancer: Level...
  • Page 113 ❍Algorithm 24 10 Band Graphic EQ +———————————————————————————————————————————————————————————————————————————+ | 05 00 00 0E | 0aaaaaaa| Graphic EQ Link SW | 05 00 00 0F#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 10 | 0aaaaaaa| Graphic EQ Ach SW | 05 00 00 11#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 12 | 0aaaaaaa| Graphic EQ Bch SW | 05 00 00 13#| 0bbbbbbb|...
  • Page 114 MIDI Implementation |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 4C | 0aaaaaaa| Chorus: Pre Delay | 05 00 00 4D#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 4E | 0aaaaaaa| Chorus: Mix Balance | 05 00 00 4F#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 50 | | (Reserved) | 05 00 7F 7F | +———————————————————————————————————————————————————————————————————————————+...
  • Page 115 ❍Algorithm 35 Mastering Tool Kit (FX1,FX3,FX5,FX7) +———————————————————————————————————————————————————————————————————————————+ | 05 00 00 0E | 0aaaaaaa| EQ SW | 05 00 00 0F#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 10 | 0aaaaaaa| Bass Cut SW | 05 00 00 11#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————| | 05 00 00 12 | 0aaaaaaa| Enhancer SW | 05 00 00 13#| 0bbbbbbb| |—————————————+—————————+———————————————————————————————————————————————————|...

  • Page 116: Midi Machine Control

    1. The VS-2480/2480CD is in the playback condition. Start Recording the tracks that status are the record standby mode. 2. The VS-2480/2480CD is in the stop condition. Start Playing back and Start Recording the track that status are the record standby mode.

  • Page 117: Bulk Dump

    If the device ID on the message was as same as that of the receiving device or 7FH, the VS-2480/2480CD locates the specified time location received from the command. If the efficient locate number or marker number is selected, the VS-2480/2480CD transmits as the device ID 7FH.
  • Page 118 ●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 119: Midi Implementation Chart

    Digital Studio Workstation Model VS-2480/2480CD Function... Basic Default 1-16 Channel changed 1-16 *1 Default Mode 3 Mode Messages Altered ************** Note o *1 True Voice Number 12-127 Note On 1-127 *1 Velocity Note Off x 9n, v=0 After Key's o *5...

  • Page 120: Track Sheet

    Track Sheet fig.16-03 V-Tracks...
  • Page 121 Track Sheet fig.10-04 V-Tracks...
  • Page 122 Track Sheet fig.10-05 V-Tracks...

  • Page 123: Specifications

    SPECIFICATIONS VS-2480/2480CD 24Tr, 24bit, 96kHz Sampling Digital Studio Workstation Tracks Tracks: 384 (16 V-Tracks per each Track) V-Tracks: Sample Rate 96.0 / 88.2 / 64.0 / 48.0 / 44.1 / 32.0 kHz * Adjustable range with vari-pitch function 22.00kHz-98.00kHz (at 96kHz) 22.00kHz-50.00kHz (at 48kHz)

  • Page 124: Power Supply

    Headphones Jack (Stereo 1/4inch phone type) Power Supply AC117 V, AC230 V or AC240 V Power Consumption 80 W (including internal hard disk for VS-2480) Dimensions 620 (W) x 520 (D) x 138 (H) mm 24-3/8 (W) x 20-1/2 (D) x 5-7/16 (H) inches Weight 12.2 kg (Excluding internal hard disk)
  • Page 125 Demo CD PS/2 MOUSE Short Cut Seal AC Cord Options Internal Hard Disk Drive Unit: HDP35 Series for VS-2480 24-bit Effect Expansion Board: VS8F-2 CD-RW Drive: Roland CD Recorder Channel Edit Controller: VE-7000 Level Meter Bridge: MB-24 Level Meter Bridge Adaptor: VS24-MBA...

  • Page 126: Index

    Index Numerics 10-Band Graphic Equalizer ... 79 2ch RSS ... 58 3band Isolator ... 75 4-Band Parametric Equalizer ... 78 Aborted Command! ... 9 Active Terminator ... 12 active terminator ... 4 algorithm ... 7 Already Selected ... 9 Analog Flanger ... 56 Analog Phaser ...
  • Page 127 Gated Reverb ... 7 General Purpose Interface ... 13 Global Parameter ... 22 GPI ... 13 Graphic Equalizer ... 31, 79 Guitar ... 30 GUITAR (Hi-Z) ... 13 Guitar Amp Modeling ... 30, 64 Guitar Multi 1 ... 62 Guitar Multi 2 ... 62 Guitar Multi 3 ...
  • Page 128 Index Parametric Equalizer ... 31 Phaser ... 29 Pitch Shifter ... 29 Reverb ... 28 Reverb2 ... 28 Same as Algorithm ... 27 Special Effects ... 31 Stereo Multi ... 31 Tape Echo 201 ... 29 Vocal ... 30 Project Optimize ...
  • Page 129 Index ...MEMO...
  • Page 130 Index ...MEMO...
  • Page 131 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. PHILIPPINES AFRICA G.A. Yupangco & Co. Inc. 339 Gil J. Puyat Avenue EGYPT Makati, Metro Manila 1200, Al Fanny Trading Office...

  • Page 132: About The License Agreement

    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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