Mixing 8 Tracks To Stereo Analog Outputs... 93 Mix 8 Tracks To Stereo DAT - Digitally.... 94 Mixing 8 Tracks With Internal Effects To Stereo Output... 95 Using Mute During Mixdown.... 96 Using Scenes To Help With Mixdown.... 97 Mixing 8 Tracks and External Source To 2 Track DAT... 98 Using External Effects During Mixdown.... 99 Use Virtual Tracks To Re-Use The Internal Effects.... 100 Listen To More Than One Virtual Track Simultaneously...101 Process Entire Mix With Internal EQ And Compressor...102 Backup Your Song to DAT.... 103 Recover Your Song from DAT.... 104 Automated Mixing Using a MIDI Sequencer.... 105 Automated Mixing Withing the VS-880 (3 methods)... 106 Creating A Tempo Map....108 Using the Sync Track (3 methods)...109
Chapter 7: Tips and Advanced Applications
Tips & Features..... 113 Using The Narration Effect (VS8F-1)... 113 Using the [SHIFT] Button to Speed Up Operations... 113 [SHIFT] + [PLAY (DISPLAY)] Displays Waveforms in Edit Modes.. 113 [SHIFT] + [SONG] Displays Song Information... 113 Use [SHIFT] + [PREVIEW] to Change The Preview Length... 113 Use [SHIFT] + [SCRUB] to Change The Scrub Length... 113 Use [SHIFT] + [SYSTEM] to Toggle Int / Ext Sync... 113 Use Archive Copy Mode to copy to multiple ZIP disks... 113 Vari-Speed Functions in Scrub Mode.... 114 Keep Original Tracks When Bouncing... 114 Use the Correct Scrub Direction.... 114 Use a Longer Scrub Preview Length... 114 Change Track Status Quickly.... 114 Use Locators For Editing Functions... 114 Use [NUMERICS] for Precise Time Code or Measure Location... 114 Record First Using the Metronome... 114 Display Shows Scrub or Preview Type... 114 Additional Equalizers in VS8F-1... 115 Additional Recording Time.... 115 Synchronizing Your VS-880.... 115 Stereo Grouping / Channel Linking... 115 Automation.... 115 SMPTE and the VS-880.... 115
Sync multiple VS-880s together.... 116 VS-880 with a Digital Sampler.... 117 Sync VS-880 to Analog Tape Recorder.... 118 Sync VS-880 to ADAT..... 119 Sync VS-880 to DA-88.... 120 Sync VS-880 with Computer Sequencer... 121 Sync VS-880 to Drum Machine or MIDI Sequencer... 122 Sync VS-880 to Video..... 123

Chapter 8: Appendix

Glossary of General Audio and Recording Terms... 125 More About SCSI.... 136 The SCSI Chain..... 136 SCSI ID Numbers.... 136 SCSI & IDE..... 136 SCSI Cables.... 137 SCSI Termination.... 137 ACTIVE Terminators.... 138 Terminator Power.... 138 Test For Internal Termination.... 138 Double Termination.... 138 SCSI Summary..... 139 Blank Track Sheet.... 140

Internal VS8F-1 Effect Expansion Board
The optional VS8F-1 Effect Expansion Board for the VS-880 provides two independent, stereo effects processors inside the VS-880. All other effects processors will be external and must be connected to the VS-880 through the rear panel connectors.
Important Concepts to Understand

Understanding The Mixer

In order to make best use of your VS-880, an understanding of the built-in digital mixer is required. This will save you valuable hours later when you are trying to figure out why you cant hear the reverb, why there is EQ on the bass drum, and why you cannot hear anything in your headphones. The term MIXER is normally applied to any electronic device that mixes one or more audio sources and routes them to one or more destinations.

Signal Flow

What is signal flow and why do you need to know anything about it? Signal flow describes how your music (the signal) flows through the VS-880. There are six important signal flow concepts to understand: DIRECTION In order to understand the signal flow of your VS-880 or any audio device, you should first understand that the audio signal (your music) is always traveling in one direction. It might travel from point A to point B to point C to point B to Point D to Point A, etc.; however, it is always travelling FROM one place TO a different place. It may even travel to one or more destinations at the same time, but it is always travelling FROM > TO. INPUT Where your music travels TO is called an INPUT. Every audio amplifying, processing, or mixing device has one or more inputs. You put a signal IN to an INPUT. Many terms are used to describe an audio signal going IN to an INPUT. e.g. You feed the guitar into the guitar amp. You send the signal to a reverb device. You buss the piano track to an equalizer. Whatever term you use, you will notice that your music is always traveling towards an INPUT. Even when the music is played through a speaker, it is traveling to your ear - an INPUT. Some devices have multiple inputs, some have analog and digital inputs, and some have different level inputs (discussed later). OUTPUT Where your music travels FROM is called an OUTPUT. You receive an audio signal from an OUTPUT. For example, the speaker terminals on the back of your Hi-Fi amplifier are the OUTPUTS of the amplifier, the phone jack on your guitar is the OUTPUT of your guitar, etc.
18 VS-880 Application Guide
SIGNAL PATH The signal path is the wire (conduit, pipe, conductor, etc.) that carries your audio signal (the music) from an OUTPUT to the next INPUT. For example, the wire between your Hi Fi amplifier and your speaker is a SIGNAL PATH. This wire carries the music from the amplifier to the speaker. Your guitar cord is a signal path. It carries the OUTPUT of the guitar to the INPUT of your guitar amp or VS-880. BUSS A BUSS is a special type of signal path to which a number of inputs may be connected for feed to one or more outputs. In a mixing console a BUSS is usually a long piece of wire to which any input channel may be connected by means of a switch or push button. The end of the wire (buss) goes into a combining amplifier or summing amplifier to combine all the INPUTS together. The combining amplifier then feeds one of the console outputs. LEVEL The last item to consider about signal flow is the level or volume of the signal. Audio signals can be very low level (the output of a dynamic microphone if you whisper into it) or extremely high level (the output of your 400 watt power amplifier). There are two basic audio levels of interest when using your VS-880 Microphone Level and Line Level. The term of measurement for level is the decibel (dB). This is not the place for a complete description of the decibel, however, a few numbers are handy to remember. Dynamic Microphone Level Condenser Microphone Level HI FI Line Level Professional Line Level -50 dBm -30 dBm -10 dBV + 4 dBm 0 dBm = 0.775 Vrms, 0 dBV = 1 Vrms These are nominal levels for reference only. In actual usage, microphones and other audio equipment exhibit a very wide dynamic (level) range. The important thing to remember is that all audio equipment operates at some internal nominal level. If, for example, you feed a very high level signal into an input designed for a low level signal, the input will distort (you overdrive the input). Conversely, if you feed an extremely low level signal into an input designed for a high level signal, you will add noise to the audio signal. The VS-880 uses variable level inputs. This allows you to send a wide range of signal levels into the VS880 without distortion or noise. The INPUT SENS (input sensitivity) knobs in the upper left corner of the front panel control the variable inputs.

ACTION: Recording A Guitar Wet With Internal Effects
USING INPUT>TRACK MODE: 1. 2. 3. Hold the [SHIFT] button and press the [SELECT] button under MIXER MODE - choose the INPUT>TRACK Mixer mode. Plug your Guitar into Input #2 on the rear of the VS-880 (1/4 phone jack). Play the guitar as loud as you will during the performance and turn the [INPUT SENS 2] knob clockwise until the PEAK light turns red, then turn it slightly counterclockwise until the red peak LED goes off. (The read peak LED should only come on occasionally during the loudest point of your performance.) Press the [CH EDIT 2] button to select channel 2. Hold the [SHIFT] button, then press [INPUT/BUSS] (CH EDIT 1 button). Rotate the TIME/VALUE dial to select CH 2 Input = INPUT - 2 (this is the normal default setting unless you have changed it). Press the [STATUS] button of channel 2 until it flashes red. This selects track (channel) two to record ready mode. Raise the [FADER] on channel 2 to monitor the guitar. Press the [CH EDIT 2] button to select Channel 2 for editing. Hold the [SHIFT] button and press [EFFECT - 2] button (CH EDIT 8). Dial effect routing to OFF. Hold the [SHIFT] button and press the [EFFECT 1] button (CH EDIT 7). Select CH2 EFFECT 1 = INSERT using the TIME/VALUE dial. Press the right [ PARAMETER>>] button until EQ/EffPreIns= is displayed. Use the TIME/VALUE dial to select ON. Press the [EFFECT] button under EDIT CONDITION repeatedly until you see EFFECT-1 PRM? Press the [YES] button. Use the TIME/VALUE dial to select the effect you want to hear, then press the [YES] button. After you choose the effect you want to listen to during the recording, press the [PLAY (DISPLAY)] button.
4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.
(Recording with Effects in Input>Track Mode, Continued) 18. 19. Press the [ZERO] button to return to the beginning of your song. Press the [REC] and [PLAY] buttons to begin recording.
USING INPUT MIX / TRACK MIX MODE: 1. 2. 3. Plug your Guitar into Input #2 on the rear of the VS-880 (1/4 phone jack). Hold the [SHIFT] button and press the [SELECT] button under MIXER MODE - choose the INPUT MIX mode. Play the guitar as loud as you will during the performance and turn the [INPUT SENS 2] knob clockwise until the PEAK light turns red, then turn it slightly counterclockwise until the red peak LED goes off. (The read peak LED should only come on occasionally during the loudest point of your performance.) Raise the [FADER] on channel 2 to about -4. (This level may vary depending on what type of sound you are using). The Fader WILL affect the recording level! Press the [CH EDIT 2] button to select Channel 2 for editing. Hold the [SHIFT] button and press the [EFFECT 1] button (CH EDIT 7). Select CH2 EFFECT 1 = INSERT using the TIME/VALUE dial. Press the [EFFECT] button under EDIT CONDITION repeatedly until you see EFFECT-1 PRM? Press the [YES] button. Use the TIME/VALUE dial to select the effect you want to hear, then press the [YES] button. Press the [CH EDIT 2] button. Hold [SHIFT] and press the [INPUT/BUSS] button (CH EDIT 1). This is where you will assign what output buss the input channel is routed to. Using the TIME/VALUE dial, select BUSS SELECT = 1-2. Turn the [PAN] knob, on channel 2, all the way to the left to send the signal to BUSS 1. Press the [SELECT] button (under the Mixer Mode section) to select TRACK MIX. Raise the [FADER] # 2 all the way up in order to cross the null point, then down to a comfortable listening volume. Press the [STATUS] button of track 1 until the LED flashes red. This sets track # 1 to record ready mode. Press [REC] and [PLAY] to begin recording.

(Record A Guitar On Tr. 1, Record The Effects On Tr. 2, Continued) 20. 21. 22. Press the [SELECT] button under MIXER MODE to select TRACK MIX. Raise the FADERS on Channels 1 and 2 all the way up, then all the way down in order to cross the null point. Raise the FADER on either Channel 1 or 2 to monitor what you play. Channel 1 will be the dry guitar and channel 2 will be the wet guitar. Faders 1 and 2 WILL affect the Recording level.

23. 24.

Press the [STATUS] button of channel 1 and channel 2 so both LEDs flash red (record ready mode). Press [REC] and [PLAY] and begin recording.
52 VS-880 Application Guide
Punching In And Out - Manual (with Undo & Redo)
Sometimes you just want to record over a section of your song or vocal because you know that you dont want to keep the original. You might want the VS-880 to simulate a traditional analog tape recorder and allow you to record over a part of a track that already exists. The VS-880 allows you to manually punch in and out on any track, in real time. You will set the punch-in track to record, play the track, then place the VS-880 into record at the appropriate place. Once you have finished recording over the section of interest, you can take the VS-880 out or record mode or press STOP.
Playback Recording Playback Time Start [PLAY] Punch-in [REC] Punch-out [REC] Stop [STOP]
Even though punch in and punch out looks like it is recording over the existing track, the VS-880 does not actually destroy the original recording. You can always return to the original recording by pressing [UNDO].
ACTION: Punching In And Out - Manual
1. 2. Connect the output of your synthesizer to the VS-880 - Input #1. Play the keyboard as loud as you will during the performance and turn the [INPUT SENS 1] knob clockwise until the PEAK light turns red, then turn it slightly counterclockwise until the red peak LED goes off. (The read peak LED should only come on occasionally during the loudest point of your performance.) If mixer mode INPUT>TRACK is not selected (LED is off), hold the [SHIFT] button and press the [SELECT] button under the MIXER MODE label until the INPUT>TRACK mode is selected (LED is on). Press the [CH EDIT] button 1 to select channel 1. Hold [SHIFT], then press the [INPUT/BUSS] (CH EDIT 1 button). Rotate the TIME/VALUE dial to select CH 1 INPUT = INPUT - 1 (this is the normal default setting unless you have changed it). Press the [STATUS] button of channel 1 until it flashes red. This selects track one to recordready mode. Press [PLAY] to begin playback of your track. When you reach the section you want to re-record, press the [REC] button to begin recording. When you reach the end of the section, press the [REC] button again to punch out (the original track will continue to play).

ALTERNATE METHOD: 1. Alternatively, you can enter the AUTOPUNCH in and out locations manually while viewing their respective screen displays by using the TIME/VALUE dial or NUMERICS buttons (for more information on Numerics, see Owners Manual page 44).

Loop Recording

Loop record is very similar to Auto Punch (see Use Auto-Punch for Punch In/Out) in that you are able to rehearse the part you are going to record many times before you actually record it. In addition, you are able to record over and over in the same area until you are satisfied with the recording. This is a very important feature if you are operating the VS-880 and playing the instrument you are recording. First you will choose which track to punch into, then you can select the exact location for the punch in and the punch out, the loop start and end, then you will rewind to a location before the loop start and begin playing the song. As long as you do not press the [REC] button, the VS-880 will not actually enter the record mode. The VS-880 will continue to play from the loop start to the loop end location, over and over until you press [STOP]. Once you have completed your rehearsal, you can press the [REC] button anytime before the designated punch in location and the VS-880 will automatically enter the record mode at the correct punch in location and will exit the record mode at the punch out point. During the next playback of the loop, you will automatically hear what you just recorded. If you wish to record it again, just press the [REC] button before the punch in time and the VS-880 will record the section again. The loop will continue to play over and over, allowing you to press [REC] when you wish to record. When you have completed a recording you are satisfied with, press [STOP].
Repeat Playback Recording Playback Time Loop start Punch-in Punch-out Loop end

ACTION: Loop Recording

1. Find the punch in location in your song and store it in the LOC 1 locator point by pressing [LOC] 1 (the LED will come on). If LOC 1 position already contained a previous location (LED was on), you can erase the old location by holding the [CLEAR] button and pressing the [LOC] 1 button. 2. 3. Find the punch out location and store it in LOC 2 by pressing [LOC 2]. Press [LOCATOR] (under EDIT CONDITION-just under the LCD screen) until LOC APin is displayed. Perform steps 4, 5, and 6 without releasing the [AUTOPUNCH] button.

* These settings apply to MIDI Clock (not MTC) and are not used here.
Set your sequencer to Slave to External Sync. Make sure that it is set to receive MTC and that the MTC Type is 30 frame (if using a different frame rate, make sure that it matches what was set in the VS-880). Also set your sequencer to transmit MMC. Connect a MIDI cable from the MIDI output of the sequencer to the MIDI input of the VS880.
VS-880 SETUP 7. 8. Press [SYSTEM] repeatedly until MIDI PRM? is displayed. Press [YES].
(Sync To An External Sequencer Using MMC, Continued) 9.Using the [<<PARAMETER>>] buttons, scroll through the various screen pages and set each parameter to the following: MID:DeviceID= MID:MIDIThr= MID:SysEx.Rx= MID:SysEx.Tx= MID:MMC= MID:CtrLocal= MID:CtrType= MID:P.C.Scne MID:P.C.Eff MID:C.C.Eff * OUT On Off Slave * * * * *
* These parameters do not apply to MMC Sync and are not used here.
THE EXTERNAL SEQUENCER SETUP 10. 11. 12. Set the sequencer to MMC Master mode. Set it to slave to MTC (MTC slave mode). Press PLAY on the external sequencer OR press [PLAY] on the VS-880. MIDI Clock can also be used as the sync source in this example. Follow the instructions detailed in Using MIDI Clock on page 60 of this guide, along with the instructions above.
62 VS-880 Application Guide
Recording From A Digital Source
Recording from a digital source into the VS-880 is very similar to recording an analog source. The only major difference is the need for the VS-880s sample clock to be locked to the incoming digital signal. Connect your digital source, probably a DAT machine, to the Digital input of the VS-880. You will then need to select the track you wish to record, select the digital input as the source for recording, and finally record the digital audio into the VS-880. The sample rate of the VS-880 must match the sample rate of the connected digital source. Remember, the proper sample rate must be set when a new VS-880 song is created if you want to use the digital input.
ACTION: Recording From A Digital Source
1. 2. Connect the digital S/PDIF output of your digital source to the digital input of the VS-880. Turn on the power of the digital source (the power can be on while the digital connection is made). It must be on in order for the VS-880 to see that there is a digital clock connected to its digital input. Press the [SYSTEM] button repeatedly until SYSTEM PRM appears. Press [YES]. Using the TIME/VALUE dial, set: MasterClk = Digitl. Select mixer INPUT>TRACK mode ([SHIFT] + [SELECT]). Hold [SHIFT] and press [INPUT BUSS] (CH EDIT 1). Press the [CH EDIT] button of the track you want to record to. Set the input to DIGITAL-L (if you are recording a stereo signal, select another track and set its input to DIGITAL-R). Press the [STATUS] button for the track(s) that you selected until the LEDs flash red (record mode). Press [REC] followed by [PLAY]. Start sending audio from your digital source.

66 VS-880 Application Guide
Using the Serial Insert Path
The serial insert FX path routing allow you to send the same mono channel thru both the left and right sides of a stereo effect. You can then use the parameters of both sides for more precise effecting of the original mono signal.
ACTION: Use the Serial Insert Path to Create an 8 Band Parametric EQ
1. 2. 3. 4. 5. 6. Hold SHIFT and press EFFECT-1 [CH EDIT button 7]. Press the CH EDIT button that corresponds to the track/input that you want to EQ. Use the TIME/VALUE dial to select InsertS. Press EFFECT (under EDIT CONDITION) until EFFECT-1 PRM? is displayed. Use the TIME/VALUE dial to select B93=ParametricEQ and press YES/ENTER. Use the PARAMETER buttons and the TIME/VALUE dial to adjust the EQ settings for Input A and B. The signal will be processed by the Input A settings before being routed to Input B. This, in essence, creates an 8-band parametric EQ. This procedure requires a mono signal. Make sure that Channel Link is set to Off for the designated channel.
Using the COSM Microphone Simulator
You can record a vocal using an inexpensive dynamic mic such as the Roland DR-20 and then, using the Microphone Simulator in the VS8F-1 effects section, emulate the warmth and tone of a much more expensive microphone. This can be done during the recording process or at any later time, even at mix down. This processing can also be applied to line level signals, such as the output from an acoustic guitar pickup. You do this by just inserting the microphone simulator into the path of the channel you want to affect.
ACTION: Use the COSM Microphone Simulator to emulate the sound of a vintage microphone
1. 2. 3. 4. 5. Press EFFECT (under EDIT CONDITION) until EFFECT-1 PRM? is displayed and press YES/ENTER. Use the TIME/VALUE dial to select B99=MicSimulator. Press YES/ENTER. Press PARAMETER>> until MCA:Input is displayed and use the TIME/VALUE dial to select the desired input/mic type. Press PARAMETER>> until MCA:OUT is displayed and use the TIME/VALUE dial to select the desired microphone algorithm. For example, if you want to make a dynamic mic sound like a vintage condenser mic, select Sml.Dy in step 4 and Vnt.Cn in step 5. From INPUT MIX mode, hold SHIFT and press EFFECT-1 [CH EDIT button 7]. Press the desired CH EDIT button (1-8) and use the TIME/VALUE dial to select Insert. Set the corresponding STATUS button to SOURCE (orange) to hear the microphone simulation.

ACTION: Combining Two Lead Vocal Tracks Into One Using [Mute]
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Hold [SHIFT] and press [SELECT] (under MIXER MODE), to choose TRACK MIX mode. Hold [SHIFT] and press [Input/BUSS] (CH EDIT button 1). Press [CH EDIT] 1 to select Track 1. Use the TIME/VALUE dial to select 3-4 as the BUSS SEL for Track 1. Press [CH EDIT] 2, use the TIME/VALUE dial to select 3-4 as the BUSS SEL for Track 2. Turn the PAN knob for channels 1 and 2 to the left (route to track 3). Raise the Faders for Channels 1, 2, and 3 to the desired level. Press [CH EDIT] 3 to select Track 3. Use the TIME/VALUE dial to select MIX as the BUSS SEL for Track 3. Press the [STATUS] button on channel 3 repeatedly until it blinks red (record ready mode). Press the [STATUS] button on channel 1 repeatedly until the led is green (play mode). Press the [STATUS] button on channel 2 repeatedly until the LED is off (track is muted). Press [REC] and [PLAY] to begin recording the first verses vocal part. When the first verse is over, press the [STATUS] button on channel 1 to mute it. The led will turn off. You dont need to stop the recording. Before the 2nd verse starts, turn channel 2 on (unmute) by pressing the [STATUS] button on channel 2. The led is green (play mode). Switch between the two channels by pressing the [STATUS] buttons on either channel to mute and unmute the tracks. When you are finished recording the vocal comp to track 3, press the [STATUS] button on channel 3 to select play mode (led is green). Be sure to MUTE tracks 1 & 2 or move fader # 1 or 2 to off.
Making A New Version of Your Song
Once you have recorded some material into the VS-880, moving, erasing or copying is not really affecting the original recordings, it is just changing the pointers to that original material. This makes it very fast and easy to try different versions of your songs. You can experiment with doubling a chorus, rearranging the order of your verses, shortening a bridge, or just about anything you want to try. And all of this can be done without losing the original order of your first recording. One approach is to copy your whole song to another location in the VS-880 time line. You would do this using the Copy function and using the Song Top as the Copy Start and Copy From points, the Song End as the Copy End and some marker that is after the song end as your Copy To location. After making a copy of the whole song, you can then easily Cut out a section of the song or even Insert some space and add more material or copy a chorus to double its length, etc. The following action steps explain a method of using the Copy function to completely re-arrange your song, section by section. You will need to do each step that follows for each section of the song that you want to copy to your new version location.

Use {Erase} To Eliminate Unwanted Material
Another common editing function for the VS-880 is the ERASE command. It is very similar to the CUT command, however, it does not move the section of your song following the part to be erased. You specify a section of audio to be ERASED from the music. For example, lets assume you have recorded a song that contains three guitar solos recorded at various places in the music on Tr. 2-1. You decide to erase the second solo from the song because you dont like it, but you wish for the other two solos to remain in exactly the same place they were recorded. Instruct the VS-880 which track you intend to ERASE, then specify the start and end of the section to be erased, and finally instruct the VS-880 to execute the erase command. You may think of the ERASE command exactly like your were erasing an analog tape or cassette. You could ERASE (i.e. record silence) the middle part of a cassette tape and the remainder of the material would remain in the exact same position as it was recorded. (For more - see the VS-880 V-Xpanded Owners Manual Chapter 4.)
ACTION: Use {Erase} To Eliminate Material
Clear Locate Points First: Hold the [CLEAR] button and press any [LOC] buttons with lit LED. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 10. 12. 13. Advance your song to the beginning of the section you want to erase and set a locate point. Press [LOC] 1 (the led will turn on). Advance your song to the end of the section you want to erase and set a locate point. Press [LOC] 2 (the LED will turn on). Press [TRACK] repeatedly until Track Erase ? appears in the display. Press [YES]. Press [NO] repeatedly until the display shows ?-? (to clear previous track selections). Press the [CH EDIT] button for the Track that contains the material you want to erase. Use the TIME/VALUE dial to select the Virtual Track that contains the material you want to erase. * Press [PARAMETER>>] until TRK St = is displayed. Press [LOC] 1. Press [PARAMETER>>] until TRK End = is displayed. Press [LOC] 2. Press [PARAMETER>>] and Track Erase OK? will be displayed. Press [YES] to complete the procedure. *If you turn the TIME/VALUE dial past V. Track 8 you will see the Virtual Track number replaced by an asterisk. This indicates that the specified material on all Virtual Tracks for that Primary Track will be erased. If you turn the dial further both numbers will be replaced by asterisks. This indicates that the specified material on all Tracks (Virtual and Primary) will be erased. The CUT and ERASE commands function for a single track or across multiple tracks. Be sure you specify if you intend to CUT or ERASE one specific track, or all tracks. If you already have multiple tracks of your song recorded, you will probably want to CUT all tracks at the same time to shorten each track by the same amount. (For more - see the VS-880 V-Xpanded Owners Manual Chapter 4).

Using Mute During Mixdown
The channel [STATUS] buttons are very useful during mixdown. MUTE The normal playback mode during mixdown is that all channels are set to PLAY mode (STATUS LED is green.) By pressing the status button of a channel during playback the LED goes off. This is the MUTE function of the channel. Basically, you have turned the channel OFF and the audio will stop playing from that channel. Lets assume that you have two tracks of recorded lead vocals, Tr. 1-1 and Tr. 2-1. Maybe you want to use the first verse from Tr. 1-1 and the second verse from Track 2-1. As you are recording your mixdown, you can use the [STATUS] buttons to MUTE track 1 when you want the vocal part from track 2, and alternatively MUTE track 2 and return track 1 to play mode when you want to hear track 1.
ACTION: Using Mute During Mixdown
1. 2. 3. Press [PLAY]. Press the [STATUS] button for the Track that you want to mute until the LED turns off (mute). Press the [STATUS] button until the LED lights green to un-mute that track (return to Play mode).
SOLO The opposite of the MUTE function is the SOLO function. Pressing the [SHIFT] + [SOLO] buttons enters the SOLO mode. The individual [STATUS] buttons become SOLO buttons. A SOLO button acts the way you would expect. By pressing a channels [STATUS] button when the master SOLO mode is on, that individual channel is the only one that will be heard. Essentially, all the other channels will MUTE. This feature is very useful during a mixdown if you want to MUTE all the channels except for one or two during a particular section of your music. For example, lets assume that your piano track is recorded on Tr. 6-1 in one of your songs. During the middle of the song, the piano plays a short passage that you want to be the only instrument playing. However, all the other tracks are still playing back, even though the musicians might have stopped playing during that passage. But maybe there is noise from the microphones, or buzz from a synthesizer on some of those tracks during the solo piano passage. By using the SOLO function on the piano track, you can MUTE (turn OFF) all the other tracks during the solo piano passage and then press the [STATUS] button on the piano track again at the end of the passage to return all the tracks to PLAY mode. ACTION: Using Solo During Mixdown 1. 2. 3. 4. Hold [SHIFT] and press [SOLO] (EDIT). Press the [STATUS] button of the track or tracks that you want to hear. Press the [STATUS] button of that track or tracks again to return all tracks to play mode. Hold [SHIFT] and press [SOLO] again to exit SOLO mode. The SOLO function can be used on more that one channel (track) at a time.

Comping The process of creating a single recording from multiple takes. i.e.: In many cases a single vocal recording on one track may not have the best version of a singers performance. Engineers cut and paste sections of multiple tracks together to get one complete useful recording. This process in known as comping and the final outcome is called a comp. Compressor A compressor is an amplifier that decreases its gain as the level of the input signal increases to reduce the dynamic range of the program (see compression). A compressor may operate over the range of input levels, or it may operate only on signals above or below a given level (the threshold level.) Condenser Microphone A microphone utilizing a capacitor (condenser) as a pickup element. Electronics are usually contained in the microphone body and a polarizing voltage is necessary, so external or battery power is required, and output levels are usually higher than other types of microphones. Condenser microphones are commonly used for high quality audio applications. COSM (Composite Object Sound Modeling) COSM was first introduced with Rolands VG-8 VGuitar System. COSM processing electronically reproduces all of the stages of a guitar signal chain, including the placement of the pickup, the type and body of the guitar, the amp processor, the speakers and cabinets, and the microphone and placement of the microphone at the speaker. These models are extremely accurate and allow great control over the sound of any guitar. The VS8F-1 Effect Expansion Board for the VS-880 includes some of the COSM preamplifier and speaker models, plus new Microphone Simulators. Cue Buss In a mixing console, the Buss or channel which is used to feed a program to performers headphones. Also known as the foldback Buss. See cue circuit, performer headphone cue. Cue Circuit (Foldback Circuit) Channel Cue A circuit which enables one to monitor an input position with the fader down (no program feed); for program identification or troubleshooting. Communications Cue An intercom system made up of amplifiers, headphones, microphones and signaling lights or tones; for coordination of sound, lighting, stage and other personnel. Not for the actual audio program.
Performer Headphones Cue In recording studio work, a mono or stereo mix which is fed to performers so they can hear other performers and themselves, or can monitor a previously recorded program (tracks) for overdubbing. D Connector A common term for the interface connector used for many computer signals, printers, monitors, etc. Named because it has a shape similar to a capital D. DAC Digital-to-Analog Converter. An electronic device used at the output of digital audio equipment to convert digital numbers representing level and frequency information back to a continuously varying analog electrical signal. DAT (Digital Audio Tape) A recording medium that records audio signals to tape digitally, via a hardware recording device called a DAT Recorder. dB The dB (decibel) is a unit of measurement for ratios of sound level, power, voltage, and other quantities. The dB is only meaningful when referenced to some actual value. See dBm, dBV, dB SPL. dBm dBm is an electrical measurement of power. 0 dBm is equal to 1 milliwatt, which is the same as 0.775 volts across a 600-ohm impedance. (+30 dBm is 1 watt, +50 dBm is 100 watts.) dBV dBV is an electrical measurement of voltage. 0 dBV is equal to 1 volt. (+10 dBV is 20 volts.) dB SPL SPL is Sound Pressure Level (i.e., an acoustical measurement). One dB SPL is the smallest audible difference in sound level. 0 dB SPL is 0.0002 dynes/ square centimeter or 20 micro-Pascals. It is also the threshold of human hearing at 1 kHz (the threshold of pain is between 120 and 130 dB SPL). Decoder The second part of a 2-part system which also has a complementary encoder. Generally, the decoder of a given system is not compatible with the encoder of another system.

132 VS-880 Application Guide
(Continued) If the source or track is routed POST-Fader, then the fader will control the level to the Mix Output Buss. Generally, tracks will be routed to the Mix Output Buss or the Aux Buss POST-Fader. You might route a track POST-Fader to the Mix Output and PRE-Fader to the Effects Buss if you are adding reverb to a sound and you want to fade out the dry original sound and leave the reverb sound playing. This technique could be used at the end of a song or possibly for a sound effect like somebody yelling as they fall off a cliff. Punch In A procedure in multi-track recording that is essentially an overdub, but instead of recording the new part on an adjacent track to already recorded material, the new part is recorded by erasing a previous part from a given track. The punch in is initiated, while tape is playing, by entering record mode at some precise instant, i.e., a punch in at bar XX, or a punch in after a given word. (Punch out refers to either stopping the recording or switching from record back to play mode for the track or tracks involved.) Random Access (See Pointer Based Editing.) As the VS-880s play structure is pointer based, it is possible to instantly jump from one location in the song to another. There is no tape or material to move through, there are only pointers to reposition (which happens very quickly). This is makes locating and moving or copying material in the VS-880 instant. Reverberation Multiple, blended sound images caused by reflections from walls, floor and ceiling. It also can be created artificially by electronic or mechanical devices. RSS (Roland Sound Space) Roland Sound Space is a 3-Dimensional processor that allows you to move sound towards and around the listener from playback on only two speakers. In a mono system, sound comes from one source. The only controls are volume and EQ. Stereo allows the sound to be moved from left to right. Adding reverb allows depth to be added to a mix by moving sounds away from the listener. RSS is the next level of processing. It allows sound to be moved towards the listener, to the side of the listener or even above, below and behind the listener. It is used for adding great dimension to a mix, for special effects (a percussion part or vocal hook) or for sound effects for film and video.
Sample Rate The rate at which samples are taken in the analog to digital conversion process, usually specified in Hertz (Hz). Sampling Refers to the first step in the process which converts an analog waveform to a digital format. Scrubbing The VS-880s Scrub mode will playback a very short loop of audio selected from a track on the hard drive. This is similar to the skip or cue mode on a DAT or CD player. With this short loop of audio, you can scrub across the audio using the Time/Value dial to find where the initial attack of a sound begins, allowing you to search for minute edit points on a track. The VS-880s scrubbing feature makes it very easy to find your edit points because you can always hear them at their original pitch. The editing resolution for finding edits on the VS-880 is 1/3000th of a second, allowing you to do very precise edits. SCSI (Small Computer System Interface) SCSI is a protocol for high-speed recording and data transfer between computer devices. Shielding There are two types of shielding, electrical and magnetic. Electrical shielding may be copper screen, a wire braid, or any conducting material which surrounds a circuit or cable conductors to exclude electrostatic or radio frequency noises. Magnetic shielding may be iron, steel, nickel, mu-metal or other magnetic material and is used to exclude unwanted electromagnetic fields from circuitry, transformers or conductors. Slapback An echo effect where the original signal re-appears as distinct echoes that decay in level each time they appear. A common technique for creating slapback is to feed the output signal from the play head back into the record head, at a slightly lover level. If the sound ta is originally fed to the recorder, the sound ta-ta-ta-ta-.ta will be heard, with each ta somewhat lower in level as the signal fades away. Slate A voice or talkback signal which is applied to the output Busses of a mixing console so the engineer can identify each take of a tape (by slating an announcement onto the tape) prior to actually recording the program. The term may have been derived from the motion picture industry practice of identifying scenes with a slate board and chalk just prior to the shooting.

External terminators are usually rectangular boxes which can be attached to a separate 50 Pin Amphenol connector on the rear of the drive. Other external terminators have a 50 pin connector on both sides so the terminator can be plugged onto the drive and the cable from the VS-880 can be plugged into the terminator. Do not change terminators on any SCSI device with the power turned on.

ACTIVE Terminators

Active terminators are your best and first choice. These have a voltage regulator inside to make sure the precise reference voltage is available to minimize cable reflections. Unless external terminators are marked as active, they will be passive devices. Some new drives have active termination built into the drive with a rear panel switch that can turn it on or off. Roland recommends that you purchase drives from a supplier who has exhaustively tested their drives specifically for hard disk recording or other digital audio and video applications.

Terminator Power

All external terminators (active or passive) require a power source to operate correctly. This is known as terminator power or term power. Since the VS-880 does not provide this power, your external hard disk drive must provide its own terminator power. Check with your drive supplier. If you have a volt meter, you can measure two pins on the 25 pin male end of the SCSI cable attached to the last device in your SCSI chain. If you measure + 5 VDC between pins 14 and 25, the device is providing the correct terminator power.
GND 25 Pin SCSI Cable End Connector (male) +5VDC
Test For Internal Termination
If you are not sure if your external drive is internally terminated, you can measure this. With the drive turned on and not connected to any other SCSI device, measure the voltage between one of the data lines (such as pin 26 on a 50-pin connector, or pin 6 on a 25-pin connector) and the ground (GND) pin listed above. If the drive is internally terminated, you should measure approximately 3 VDC. If the drive is not internally terminated, this pin will be floating and you may measure something close to 0 or 5 VDC (your meter may even fluctuate between these two extremes).

Double Termination

Be sure that the last drive in the SCSI chain is not double terminated. That means that it has internal terminator resistors installed as well as an external 50 Pin terminator. You must remove either the internal SIPs or the external terminator package. Remember, only the last drive in the chain is terminated.
138 VS-880 Application Guide

SCSI Summary

January 23, 1998

VS-880
digital studio workstation

Supplemental Notes

VS-880 Hot Tips
AS SEEN IN KEYBOARD MAGAZINE NOTE: This article was written in the Fall of 1996. Many features have been added to the VS-880 since that time. Some of the procedures described here can be accomplished in an easier fashion by utilizing these newer features. Most of these features were added in the V-Xpanded operating system upgrade and are described in detail in the first chapter of the V-Xpanded Owners Manual. The majority of this article remains relevant and should prove to be helpful to any VS-880 user. Over the past few months, Ive had the opportunity to present clinics and workshops for many owners of Rolands VS-880 hard disk recording system. There are tons of things you can do with it, and lots of ways to do them. The hints and tips on the following pages make use of many of the less obvious features of the VS-880 that owners have told us they really love. Many of these require the latest software which, as of early November 96, is version 1.073. Check the Internet Connections section on page 87 for details about VS-880 Web sites, so youll know where to search for info about the most current operating system. A new operating system is scheduled to roll out in early 97.
I. Using Shift for Hidden Features & Added Speed
Here are some shift functions not documented on the front panel. These will help speed up your work on the VS-880. HOLD SHIFT & System Tap Effect Parameter << and >> Song Scene Vari Pitch Undo Scrub Preview To and From TO change from internal sync to external open the Tempo Map editing page in Effect Edit mode, jump among Effect Selection, Effect Naming, and another parameter in Effect Edit mode, jump to first and last parameters in current effects algorithm block in Play mode, flash Song name, Song Number, Sampling Rate, and Size (in Mb) over a period of four seconds; great for use when copying or backing up a song send all mixer settings out via MIDI; great for storing a snapshot or to initialize an automation pass with your sequencer access the Variable Pitch parameter redo your last undo access the Scrub Length parameter; use longer scrub lengths for difficult edits open Preview Length parameter; note that you cant toggle between Scrub and Preview Lengths, but must first select another mode
The shift button can also be used to change the resolution of the Time/Value dial in almost any data-entry mode. For instance, if youre selecting an effect type, the dial alone will increment/decrement the effect number by steps of one, but by tens if used with the shift button. Heres how shift affects the dial resolution in various modes: Mode Bar Beat Marker MTC MTC FINE NAMING Without Shift 1 bar 1 beat 1 marker 1 frame 1/10 frame 1 character With Shift 10 bars 4 beats (approx.) 10 markers 10 frames 1/100 frame 10 character
1997 Miller Freeman, Inc.
VS-880 Hot Tips Keyboard Magazine Article

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VS-880 Supplemental Notes
Using Shift While Editing There are two additional shift functions that will be useful when you are doing a Copy, Move, or Cut. While youre editing the Track Select parameter in any of these modes, if you hold shift and press Play/Display you will see a display of all of your tracks and virtual tracks. The track(s) selected for editing will blink a convenient way to see which tracks are being addressed. If you go to any other parameters within these editing modes and hold shift and press Play/Display, you will see the Waveform window. Of course you will also see this window if you press the Scrub button while editing. Remember that the track that is being displayed in the Waveform area is selected by pressing a Channel Edit button. This is true for the Scrub function as well as the shift + Play/Display method. Other Button Features A few more button functions: PRESS AND HOLD. REC transport control Stop transport control Preview To Locator ALONG WITH. Track status button Track status button Preview From Locators 1-4 TO. record-enable the track play-enable button Preview Thru (this plays an area on both sides of your edit change Locator banks (there are now 32 Locators in four banks of eight)

II. Editing Tips

If you want to do some editing with the VS-880, it helps to develop a consistent method. Then you can really fly, whether you are copying, moving, or cutting material. Here are some tips on ways to make editing fast and easy. Dedicate Locator Buttons Although you can play, rewind, and scrub audio while you are in an editing mode, its often faster and easier to use Locators to define edit areas in advance, and then plug the values in when you are editing. One way that works very well is to use Locator #1 for the Start Time, #2 for the From location, #3 for the End, and #4 for the To. Reserve one bank of Locators for this function only. When you are in the editing mode, all you have to do is use the Parameter buttons to step through the edit parameters and press the appropriate Locator to enter the correct location. Adopting this system can really speed up and simplify your work. Using the Cancel Cursor The VS-880 remembers all of the tracks selected during your last edit. This can be useful if you are tweaking the same edit over and over, but you need to be sure to remove old track selections if you are working on new tracks. Get in the habit of pressing the No or Cancel cursor button when you are in the Track Selection parameter until you see ?-?=?-?. This will guarantee that you dont accidentally copy or move tracks left over from a previous edit. Copying a Whole Song One of the advantages of any hard disk recording system with non-destructive editing, including the VS-880, is that, when you are doing edits such as Copy or Erase, you are just editing pointers to the original material, not the material itself, which is safely stored on the hard drive. This makes your edits virtually instantaneous, and allows you to try lots of variations that would be either impossible or extremely time-consuming with a destructive editing system.

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Copying a Whole Song (continued)
One example is the ability to copy your whole song and then edit out a section, or maybe re-arrange a chorus or two. Here is the easiest way to copy the top virtual tracks of your whole song to a new location. Enter TRACK: COPY and clear all the old tracks from any previous edits using the NO cursor button. Put fingers of your left hand on Channel Edit buttons and one finger of your right on the YES (right) cursor button. Press Channel Edit #1, right-cursor, Channel Edit #1, right-cursor. Press Channel Edit #2, right-cursor, Channel Edit #2, right-cursor. Continue through all tracks. This left-hand, right-hand rhythm is an easy way to quickly select all of your tracks for copying. Once you have gotten all of your source and destination tracks entered, then press the Right Parameter button to display the START TIME. For START and FROM, press shift + SONG TOP to enter the very beginning of the song. For END, press shift + SONG END. For TO, press shift + SONG END, followed by five short taps on the FF button. This will move the Now Time five seconds away from the end of your last song, giving you some room. Place a Marker or Locator here at the beginning of the new copy before completing the edit. This may seem complicated, but its very quick to execute.
III. Mixing Tips & Tricks
Processing the Whole Mix through EQ & Compressor Wouldnt it be nice to run your whole mix through a compressor on your way out to your DAT for final mixdown? Of course, you need to do this as an Insert effect so that you dont hear the original signals, or there will be big audio trouble. But, you ask, how can you do this when you can only use one channel at a time in Insert mode? No problem. Its actually easy. Lets assume that you want to mix signals from external sources with recorded tracks. For this reason, lets do this compressor trick in Input Mix/Track Mix mode. Hold shift and press Channel Edit button #1. Assign the channels output to anything but the Mix, maybe bus 1-2. Press each Track and Sources Channel Edit button in turn and assign each track to the 1-2 bus, effectively taking them out of the Mix. Assign all of the Tracks and External sources Post-Fader to Effect-1, #67: COMP. Make sure that Effect-1 is returned to the mix by pressing the Edit/Solo button until you see EFF 1 RTN to=, and then dial in Mix. The signal from each track now goes through the effects processor on its way to the mix, simulating an insert path. Adjust the compressor, EQ, noise suppressor, and enhancer as needed. By the way, this is the same technique you would use if you wanted to engage the same Insert effect on two different tracks of guitar parts. Using Scenes to Store Effects & to Remix Scenes are fast and easy ways to store your edited effects. If you have tweaked an effect and dont want to bother saving it as a user patch, just press an unused Scene button. You can then change anything you want, and get back to the edited version instantly by pressing the Scene button. Scenes are also great ways to store the effects, levels, and virtual tracks you used while you were doing a bounce. After saving your settings as a Scene, go ahead and use different virtual tracks for more recordings. Later, if you decide you want to remix your bounce, all you have to do is push the appropriate Scene button and the original effects, levels, and virtual tracks from the old mix will come up automatically. Processing Vocals or a Voiceover Rolands VS8F-1 card has a very sophisticated voice processing algorithm that may have escaped your notice. When recording a voice, first try Insert Effect #35, NARRATION. It incorporates a Noise Suppressor to help handle any background or hum problems, a Limiter/De-esser, an Enhancer that works like a vocal exciter, threeband parametric EQ, a Pitch-Change processor, and Delay and Chorus effects especially tailored for vocals. Check it out the next time youre recording any vocal material. Of course, in order to record and print these effects during the recording process, you would engage Input Mix/Track Mix Mode.

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Linking Multiple Units If you need more tracks for recording or mixing, you can link two, three, four, or more VS-880s. Heres how to link two (see Figure 1): Lets call one unit the Master and the other the Slave. Route the digital output of the Slave unit into the digital input of the Master. Set the Master Clock Input in the Masters System menu to Digital Lock (DIGITL). This will keep the two units running at exactly the same speed. Run a MIDI cable from the MIDI out of the Master to the MIDI in of the Slave. Within the MIDI section of the Masters System menu, set SysEx.Tx to ON and MMC to MASTER. Within the MIDI section of the Slaves System menu, set SysEx.Rx to ON and MMC to SLAVE.
Fig. 1. The cable routing for linking two VS-880s for synchronized recording and playback. Thats all there is to it. Now the Slave unit will follow the Master unit for all locating and transport functions, and you can record more tracks at a time.
IV. Using Scenes with Keepfaders
One great thing about Scenes is that they can store your level settings. Sometimes, however, if youre just comparing EQ settings or effects treatments, you may not need to store the fader settings. Within the System menu youll find Scene Mode? Here you have the choice of ALL or KeepF, which stands for Keep Faders. In the latter mode, the VS-880 stores everything except the fader levels. This makes comparing effects, EQs, and routings a lot easier, and lets you avoid having to think about moving all the faders to their Null points.
V. Using a Song as a Template for Routing & System Settings
Lets say you usually record using only two inputs: a microphone and your guitar. You always like to record your voice listening to some reverb, but not printing it, and you like GtrMulti #89 as an Insert effect on your guitar parts. Finally, you like to record your guitar on tracks 1-4, and then lay in vocals on tracks 5-8. You also like to sync to your sequencer using 30-frame non-drop SMPTE code. Heres a tip to simplify your setup each time you start a new song: Create a new song. Arrange the routing so that input #1, your mic, goes to tracks 5-8 and input #2, your guitar, goes to tracks 1-4. Assign tracks 1-4 as an Insert to Effect-2 by removing them from the Mix and assigning thePost-Fader to the effect. Assign tracks 5-8 to Effect-1. Select the effects and MTC code of your choice. Name the song Custom Setup and save it. Now, each time you want to record a new song, first select Custom Setup, then use the Copy Song function and immediately re-name the copy to distinguish it from your template. As your settings become more complex, this could save you considerable time.

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VI. Setting Loop Points with Locators
The VS-880 has a loop function that can allow you to try out some effects or EQ, or just practice on a section without having to touch the transport controls. Theres a fast way to set the loop points using Locators: First, place one Locator at the loop start point, and another at the loop end point. Next, locate to the loop end. While holding the Loop button, first press the Locator for the Loop Start and then the Locator for the Loop End. Press the Locator to go to the Loop Start, press Play, and the VS-880 will repeat the loop for you.

VII. Syncing Issues

The VS-880 varispeeds to the clock edge of MIDI Time Code when it is in External Sync mode. This ability means that, unlike devices that are only triggered from one time-code location and then run on their own clock, the VS-880 wont drift over time. This qualifies the VS-880 for use in video post-production work. Because the VS-880 only accepts MTC, for SMPTE work you will need to add an external box that converts SMPTE to MTC. Its very important that this box also resolve to the SMPTE frame edge to keep the lock perfect. Whereas many SMPTE-to-MTC converters come up short in this important function, there is a box the Midiman Video SyncMan that does indeed resolve to the frame edge, and will even convert VITC to MTC as well as LTC. The Video SyncMan lists for $499.95 and allows your VS-880 to be used for post-production work. The newer versions of the VS-880 software will also output MTC and MIDI Clock while slaving, so the VS-880 can be a fully resolved interface between picture and your MIDI sequencer, be it built into a synth workstation or drum machine, or a computer-based sequencer.
VIII. Creating Tempo Maps from Wild Tracks
In a MIDI sequencing environment, the VS-880 provides Tempo Maps to assist in editing and sync functions. For the easiest syncing union, create a reference Tempo Map in the VS-880 before you do any audio recording. Then either monitor the click through the VS-880 audio outputs or use the MIDI metronome feature to follow the tempo when you are recording your audio tracks. If you prefer, create some reference or final MIDI tracks and then sync these to the VS-880 via MIDI clock. When you record in the VS-880 with this tempo reference, you can then edit your VS-880 tracks in a more musically related manner, using bars and beats. On the other hand, if youve recorded audio without a tempo reference, your editing experience could be more of a challenge. Heres one way you can create a Tempo Map from these wild tracks to use as an editing reference, as well as a sync reference for your sequencer. Find the very first beat of your song and put a Marker there. Go into the Tempo Map editing area and create a lead-in bar that is the right length so that the beginning-ofsong Marker is exactly on Bar 2, Beat 1. If the music starts after too long a period, you can Cut time out of all audio and virtual tracks from the Bar 2, Beat 1 location to the first beat of your song. This will position your music to start on Bar 2, Beat 1. Next, find the exact location of the first beat of every tenth bar throughout the song and place a Marker on each one. Return to the beginning of the song, estimate its tempo, and insert a new Tempo Map with this tempo. Locate to the first Marker, on the first beat of the tenth bar, and see if it aligns with your Tempo Map. If the location of this Marker is a lower number than the bar should be, then the tempo you entered is too slow. Go to the Tempo Map editing screen and enter a slightly faster tempo. Repeat this process until the Marker is exactly where it should be. Now check Markers further down the line, at bars 20, 30, and 40. If the tempo has drifted some, you may need to insert a new Tempo Map, say between bars 20 and 30, to adjust to human variations of the performances tempo. Of course, if the tempos change many times during the piece, this process could take quite a while and involve inserting many Tempo Map events to match the tempo variations. However, once youve performed the operation enough times, you should usually be able to use this method to generate a reasonably accurate series of Tempo Maps in a couple of minutes or so. The advantage of having Tempo Maps is that you can use them to control your sequencer tempo, and even quantize sequenced rhythm and keyboard parts to coordinate with the original wild tracks.

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IX. Exploring the Auxiliary Bus
The VS-880s Aux bus can be a versatile problem solver. Of course its most obvious function is to route two mono sends to external processors. Remember when using it this way to pan the Aux A sends all the way to the left and the Aux B sends to the right to keep the signals separate. You can also use the Aux bus to send your mix to an analog destination, such as control-room monitors, at a different level than your DAT or headphone output. Each internal effect, however, can only be returned to either the Aux or the Master outputs. Heres what you need to do to get the exact same material including effects in both the Aux and Master outputs. First, send all of your tracks and inputs to the Aux bus Post-Fader. Next, return all effects to the Aux bus. Finally, go to the Edit/Solo button and choose A+B for the inputs to the Master Mode. This routes Aux A and B material to the Master outputs. Now all effects and tracks go to the Aux and Master outputs. You can then use the Aux Send knob to control your control room monitors and the Master Fader to control the digital send level, the headphone output level, or some other destination. You can use a similar procedure to send vocals with reverb to the headphone out (via the Aux bus) while only monitoring and printing the vocal dry. To do this, send the vocal to Effect-1, send all tracks and the Mix bus to the Aux bus Post-Fader, and return Effect-1 to the Aux bus.

X. Editing Effects

The effects in the VS8F-1 card for the VS-880 can be edited and used just like most external effects processors. In fact, Eric Persing, renowned L.A. studio session musician and a long-time consultant for Roland, often uses a VS8F-1-fortified VS-880 as a stand-alone digital effects processor, especially for its guitar-amp simulations, delays, and compression. Eric says he used the VS-880 as an effects processor in the production of his latest audio sampling CD/CD-ROM, Spectrasonics Burning Grooves (see Keyboard Report, Jan. 97). Here are a couple of things to keep in mind when editing a VS-880 effect. Once in the editing parameter mode, hold shift and press the Effect button, then use the left Parameter button with shift to jump to the top of each algorithm block. Use the Dial to turn the block on or off. This is also a good way to see how each effect block is affecting the sound. NOTE: If an effect is Off, you wont be able to see any of its parameters. I suggest that you use the Effect Send Level in the Mixer section rather than the Wet/Dry Mix in the Effect itself to make mix adjustments. This makes it easier to make changes quickly during mixdown. Make sure you dont mix the original signal with an Insert effect. This will avoid phase problems with the effected and original signal. You can detect a phase problem if the audio sounds muted because harmonics in the doubled signal will tend to cancel each other out. As long as you assign an effect as an Insert instead of Pre- or Post Fader, you wont have a problem.

XI. Backup Safety Tips

#1: Just Do It! First and foremost, back up your songs often. Hard drive technology has gotten very robust, but Mr. Murphy is always lurking in the background. If your songs are important, back them up regularly. Use two different pieces of backup media and alternate them with each backup. If the cat eats one, then youre only one backup session away from getting back to work. Backing Up to DAT When you back up to audio DAT, always use the VERIFY function. Audio DATs arent checked for errors while theyre being recorded. To be safe, let the VS-880 check for you using VERIFY. It may take longer, but the extra assurance is worth it.

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Restoring from DAT When restoring material from DAT, you often need to clear off everything you have on the drive to make room for the restored material. For this reason, the VS-880 allows you to easily initialize your drive when reloading material from an audio DAT. Be careful and make sure that you want to do this, because it will erase everything on your drive. When you see INIT DRIVE IDE:0? or INIT DRIVE SC:0?, be aware that if you press Yes, you will lose everything on your drive. If you dont want to lose all of your material, just answer NO and the VS-880 will continue restoring your old song, while keeping the material already recorded on the drive. Of course, you will need enough room on the drive for the older song that you want to restore.
XII. Transferring Data Between VS-880s
If you have bandmates who own VS-880s, heres how you can transfer all eight tracks of data, mixer settings, Scenes, etc. from a song in one unit to another. Route a digital audio cable between the digital output of the source VS-880 and the digital input of the destination VS-880. Lock the system clock of the destination VS-880 to that of the source. Put the source VS-880 into DAT Backup Mode, and the destination unit into DAT Recover Mode. Press Execute for PLAY DAT on the destination VS, and then Execute for REC DAT on the source VS. Thats all there is to it.
XIII. Internet Connections
Quite a few Web sites on the Internet have information about the VS-880 that may be of interest to you. Here are a couple to check out. Join a User Group Newsletter There is an on-line newsletter dedicated to the VS-880. It includes lots of comments from VS-880 owners and questions from people thinking about entering the digital recording age with the VS-880. If youre interested in joining the fray, send e-mail to majordomo@lists.teleport.com with the message: subscribe VS880-users-l (thats a lower-case L at the end). You will then automatically receive messages at your e-mail address as they are posted to this newsgroup. You can also participate with your own advice on the best ways to use the VS. VS-880 Mixer Panel on Your Computer Want to see the control interface for the VS-880 on your computer? Access Emagics Web page at http://www.emagic.de for a complete MIDI template of the VS-880s mixer settings (see Figure 2 on the next page). NOTE: The e-mail addresses listed above have changed since the writing of this article. The new address for the VS-880 Users Group is http://www.mooncafe.com. To become a member, click on Mailing List. Then, click on Join the List and answer the onscreen questions. To download a mixer template for Emagics Logic, you can access the VS-880 Resource Page at http://colargol.idb.hist.no/~timh/download.html.

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Fig. 2. The MIDI template of the VS-880s settings for Logic Audio. By the way, if you are a Performer user, call Mark of the Unicorn for their latest upgrade, version 5.5. It includes a complete user interface for the controls of the VS-880. Other Information Sources The following are good sources of information about the VS-880. Rolands Web page address is http:// www.rolandus.com. Here are some items to look for there: VS-880 Basic Recording Guide Connecting Multiple VS-880s Synchronizing with Software Sequencers Youll also find the latest VS-880 software there.

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XIV. VS-Xpanded
The VS-880 is about to receive a major addition of new features. The software will be available on a Zip cartridge. Heres a sneak preview of whats coming. Ten New Effects Algorithms: These will require a VS8F-1 effects card, and include a microphone simulator (any standard dynamic microphone, such as a Shure SM-57 or 58, can be modeled to sound like a Neumann U-47 or 87, AKG C451EB, or Sennheiser MD421; the models include distance and proximity parameters); reverb 2 (gives the second stereo processor a reverb algorithm that was previously only available in the first processor); 19-band vocoder; hum canceller; voice transformer (allows MIDI keyboard transposing); lo-fi processor; Dimension-D space processor; 4-band parametric EQ; 10-band graphic EQ; and vocal canceller. Third-Party SCSI Access: VS-Xpanded supports direct access to playlist, wave data, and files for third-party integration into sequencers, computer effects algorithms, etc. Stay tuned for some major support announcements. Full On-Board Automation: Dynamic automation of all knobs and faders in the VS-880. Snapshot automation of all mixer and effects parameters. New Mixer Effects Routings: Effects and EQ can now be inserted pre- or post-fader for recording in Input>Track Mix mode. EQ and compression effects can be assigned as Insert effects for the Mix Output. Left and right stereo insert paths per effects processor. This allows up to four channels to use Insert effects during recording or mixdown, and serial routing of one effects processor directly into another. Other New Mixer Functions: Individual level controls for each virtual track. Independent stereo bus in Input>Track mode for linking multiple VS-880s. Auto-muting of track output level to prevent feedback during track bouncing. New peak/hold feature in level metering. Option to auto-snap to fader levels after Scene change. SCMS copy-protection selection. MIDI Features: Changing of Scenes and effects via MIDI program changes. Editing of effects parameters via MIDI controller messages. Disk Tools: Low-level formatting feature to flag bad disk sectors. File analysis with repair function. Tempo Map Functions: Auto-generation of Tempo Map from Markers. Auto-generation of Tempo Map from MIDI sync track. Generation of sync track from Tempo Map. Offset of sync track and Tempo Map. Editing Functions: Automatic assignment of times to Start, End, From, and To editing parameters from specially designated locators. Improved ten-key pad entry into the Time Code window.

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