When they are set to -50, it means that they are set to receive a nominal level of -50 dBm (dynamic microphone). Conversely, when they are set to +4, they should receive an input level of approx. + 4 dBm. The nominal operating level of the VS-880 is -10 dBV.

A Mixer Analogy

To best understand the concepts of signal flow, lets think about the plumbing in your own home and use it to illustrate the signal flow in the VS-880 mixer.

Kitchen Sink

Your House

Bathtub INPUT

Toilet

INPUTS

OUTPUT

OUTPUT to street

OUTPUT INPUT
INPUT to house from water line

OUTPUT INPUTS

Water Heater Cold Water (Bus)

Bath Sink

Drain Hot Water (Bus)
Think of your home as the VS-880 mixer. The cold water coming into your home from the main supply in the street is just like the audio signal from your guitar entering an input of the VS-880. As shown in the plumbing diagram, the cold water branches into two directions, the kitchen sink and your water heater. The same thing can happen in the VS-880. The guitar signal can be sent to a reverb device (water heater) and a recording track (kitchen sink) simultaneously. The water (guitar) that has passed through the water heater (reverb) is now very hot (has lots of reverb). The original cold water (dry guitar) travels to the kitchen sink (recording track) by one path and the hot water (reverb guitar) travels to the kitchen sink (recording track) by a different path or pipe. We have faucets (faders) at the kitchen sink that can control the mix of cold and hot water entering the sink. Just like a fader or volume control in the VS-880 controls how much dry guitar and how much reverb guitar are mixed together and sent on to the drain (output). Once the cold and hot water are mixed in the kitchen sink, they become warm water which flows out the drain to the street (output). Whenever you want to visualize the signal flow in your VS-880, think about the water flow in your own home. If you can always think about where is the signal coming from and where is the signal going next, you should not have any difficulty navigating the mixer in your VS-880.
Sometimes it is also helpful to think about the audio signal as an actual wire (patch cord) that you are holding in your hand. For example, plug a cable into your guitar. Hold the other end in your hand. You are now holding an OUTPUT (the output of the guitar). Every OUTPUT is always looking for the next INPUT. So I plug the guitar cord into the INPUT of the VS-880. Now you visualize the guitar signal flowing through the input amplifier, etc.

Mixer Summary

The Input signal is recorded directly to disk bypassing the mixer. Recording in this mode is quick and easy. You have two choices for using effects in this mode. With the Channel Edit function EQ/EffPreIns set to OFF, you can listen to effects while youre recording from the VS8F-1 but they wont be recorded to disk. This is useful for recording vocals or guitar when you want to provide the musicians some ambiance for expressive recording, but retain the option of changing the effects later during mixdown. Setting the Channel Edit function EQ/EffPreIns to ON records EQ and Insert effects that are applied to the inputs. This is useful for effects such as compressors and limiters. For basic recording of any kind, INPUT>TRACK is the quickest and easiest method.

Track 8

Both modes are active at once!
INPUT MIX is used to mix live music from external sources with the tracks your have already recorded on your VS-880. You will use INPUT MIX to mix the incoming sources and TRACK MIX to mix the prerecorded tracks switching back and forth with the [SELECT] button. TRACK MIX is useful for Track bouncing (recording two or more Tracks onto one Track or a stereo pair), recording effects Pre and Post Fader, and recording multiple Inputs and/or Tracks to a stereo Track (1-2, 34, etc.). You can also use Track Mix to record a dry signal to one Track and the effect for that instrument to a different Track. In other words, if you are recording a vocal with a reverb effect, you can record the dry vocal to Track 1 and the reverb to Track 2. This will allow you to control the balance of dry vocal and reverb during mixdown. In addition, Track Mix allows you to mix Tracks 1 - 6 and Inputs 1 - 6 with EQ, panning and effects to Tracks 7 - 8. This allows you to bounce tracks digitally within the VS-880, or to master a song recorded and mixed on the VS-880 back to the VS-880. If you dont have a DAT recorder, this method allows you to make a digital mixdown of your song inside the VS-880.

Now Time

Now Time indicates the exact location in your song where the VS-880 is stopped or playing. It is indicated by the vertical black line in the center of the LCD display. You might think of this now line as the playback head of a traditional tape recorder. The audio passes under it as it plays. For a look at how Now Time is used in editing, see the graphic for Finding Your Edit Points on Application Guide page 28.

Finding Your Edit Points

The VS-880 provides a number of tools to assist you in finding the exact location in your song to make a edit. The confident use of these tools will make editing and assembling your song quick and simple. You may wish to review. PREVIEW TO, PREVIEW FROM, PREVIEW THROUGH (TO + FROM), and SCRUB. (see the Owners Manual, page 76)
EXAMPLE: Find the beginning of the word Cat. During playback, press [STOP] as close to the beginning of the word as possible. Press PREVIEW [FROM] and PREVIEW [TO] alternately. If you do not hear the beginning of cat during PREVIEW [FROM], you are too far ahead. If you do not hear the beginning of cat during PREVIEW [TO], you are too far behind. Adjust the now time by using the TIME/VALUE dial until you just hear the beginning of the C from cat using PREVIEW [TO], then backup slightly. PREVIEW [FROM] should then begin playing exactly at the beginning of cat. Your Now Time is set exactly on the beginning of the word cat. An alternate way to edit the above example is the use of SCRUB. Refer to Owners Manual page 76-77.
28 VS-880 Application Guide
A quick way to assign the Now Time to an edit point is to hold the [TRACK] button (under EDIT CONDITION) and press one of the four Locator buttons. Locator 1 assigns the Now Time to Start, Locator 2 assigns it to From, Locator 3 assigns it to End, and Locator 4 assigns it to To. When you use a Track Edit function that uses these points, they will already be assigned.

Editing Resolution

The VS-880 has the ability to move the Now Line in different size steps. This is very important when you want to edit your song. For example, if you set the VS-880 step size to one measure, you could only set the Now Line on the beginning of each measure. That would not give you much resolution if you want to edit to the beat. If you are editing to SMPTE time code numbers, maybe a resolution of 10 frames per click of the TIME/VALUE dial would be fine for most applications. However, for tight dialogue editing you might need to edit to a resolution of 1/10 frame per click of the dial. During editing, you can use the Right Cursor button [CURSOR>] to select the next lowest editing resolution. 1. 2. Press the [PLAY (DISPLAY)] button. Press the < [CURSOR] arrow until the MEASURE value in the LCD display begins to blink. The TIME/VALUE dial will now step through the recording, 1 measure for each click of the dial. Press the > [CURSOR] arrow one time. The BEAT value will begin blinking and the TIME/ VALUE dial will step through your song one beat per click of the wheel. Press the > [CURSOR] arrow one more time. The MARKER value will begin blinking indicating that the TIME/VALUE dial will step between marker positions with each click of the dial. Press the > [CURSOR] arrow one more time. Now the TIME/VALUE dial will step through the song 1 SMPTE frame per click. Press the > [CURSOR] arrow one more time. Now the TIME/VALUE dial will step through the song approximately 1/10 of a SMPTE frame per click of the dial.

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.
4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
50 VS-880 Application Guide
Record A Guitar On Tr. 1, Record The Effects On Tr. 2
There are occasions when you might want to record your guitar dry on Tr. 1-1, but record guitar effects on another track. A typical reason for this is when you have one or two effects devices. If you want to use individual effects on individual tracks, you will only be able to add effects to two tracks during mixdown with two effects devices. By adding effects during recording, you can reuse the effects device during mixdown for a different track. When you are completely sure about the type of effect you want to use and the amount or volume of it, you can record it onto the same track with the instrument. However, when you are unsure about the amount or level of an effect, you might want to record the effect on a separate track so that during mixdown you can control the level of the instrument and the effect independently. You will plug your guitar into Input # 1, set the VS-880 to r ecord it on Tr. 1-1, determine what effect you will use, then set the effect to record on Tr. 2-1, and finally make the actual recording.

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.
Press and HOLD the [AUTOPUNCH] button (the one with the led above it next to [LOOP]), for the next two steps. Press the [LOC] 1 button where the punch in location is stored. Press the [LOC] 2 button where the punch out location is stored. You can then check the punch out point by pressing the right [PARAMETER>>] button (LOC APOt).
Find the LOOP start point by rewinding to a point before the punch in location (beginning of a Verse, Chorus etc.) and store this location in LOC 3 by pressing [LOC] 3 (the LED will illuminate).
56 VS-880 Application Guide
(Loop Recording, Continued) 8. Find the LOOP end point by using fast forward to locate a point after the punch out location (end of a Verse, Chorus etc.) and store this location in LOC 4 by pressing [LOC] 4 (the LED will illuminate). Press [LOCATOR] (under EDIT CONDITION-just under the LCD screen) repeatedly until LOC LpSt is displayed. Perform steps 10, 11, and 12 without releasing the [LOOP] button.

10. 11. 12.

Press and HOLD the [LOOP] button (the one with the LED above it next to AUTOPUNCH), during the next two steps. Press the [LOC] 3 button where the LOOP start location is stored. Press the [LOC] 4 button where the LOOP end location is stored. You can then check the LOOP end point by pressing the right [PARAMETER>>] button (LOC LpOt).
Alternate Method: 1. Alternately, you can enter the LOOP start and end 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).

The VS-880 will generate a MIDI Clock signal from this Tempo Map and transmit this MIDI clock to the MIDI out connector on the VS-880 rear panel. The MEASURE and BEAT display will also be based on this tempo map information as will the tempo of the internal click (metronome).
60 VS-880 Application Guide
Sync To An External Sequencer Using MMC
MIDI Machine Control (MMC) is a set of commands that can be sent from your sequencer to control the VS-880s Transport Control buttons (ZERO, REW, FF, STOP, PLAY, and REC) and select tracks to Record Ready mode. You must use MTC or MIDI Clock to provide location/timing information to synchronize the two units. For example, you would use MMC if you are working on your sequencer and would like to start and stop the VS-880 without ever having to press any transport buttons on the front panel of the VS-880, especially if your sequencer does not transmit MTC (MIDI Time Code). In this example, your sequencer is the MMC Master and the VS-880 is the MMC Slave. The VS-880 is also the Time Code Master (MTC) and your sequencer is the Time Code Slave (MTC).
ACTION: Sync To An External Sequencer Using MMC
1. 2. 3. 4. Connect a MIDI cable from the MIDI output of the VS-880 to the MIDI input of your external sequencer. Press the [SYSTEM] button repeatedly until SYS Sync/Tempo? is displayed in the LCD screen. Press [YES]. Using the [<<PARAMETER>>] buttons, scroll through the various pages and set each parameter to the following settings: Syn:Source= Syn:Gen= Syn:ErrLevel= Syn:MTC Type= Syn:Tmap Syn:Ofs Syn:Sync.Tr Rec? Syn:Sync.Tr Cnv? INT MTC * * * *
* 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 * * * * *

Using The Aux Buss As A Headphone Monitor
Sometimes a musician overdubbing a solo part wants to hear a blend of instruments in his or her monitor headphones that is different from the main stereo mix of the VS-880. For example, maybe they would like their individual instrument and the piano part to be very loud, but all the other instruments to be very soft, and they do not want to hear the acoustic guitar at all. The VS-880 allows you to use the internal AUX bus as a cue (headphone) bus in order to provide a separate mix for the musician. You will first need to configure the mixer correctly, set up the incoming microphone for recording, adjust the track levels for the headphone mix and the main mix, then overdub the new instrument.
ACTION: Using The Aux Buss As A Separate Headphone Monitor - Cue
You will need an external headphone amplifier.

Headphone Amp

Connect the output of your microphone to Input # 1 of the VS-880. Sing into the microphone 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.) Connect the AUX SEND jacks (VS-880 rear panel) to the input of the external headphone amp and connect a pair of headphones to the headphone amp output. Turn the AUX SEND knob, located above the EDIT SOLO button, clockwise to about the 2 oclock position. Select TRACK MIX mixer mode by pressing the [SELECT] button or [SHIFT] + [SELECT]. Hold [SHIFT] and press [AUX SEND] button (CH EDIT 6 button). Press the CH EDIT button on one of the playback channels. You will see AUX Sw = off. Using the TIME/VALUE dial, change the OFF setting to PRE-FADE. Press the [PARAMETER] right button once. You will see AUX Level = 100. Using the TIME/VALUE dial, adjust the volume of the channel that will be going to the headphones. (127 = Full level, 0 = Off) Repeat steps 6 thru 9 for the other playback tracks you want to hear in the headphone mix. Begin recording the microphone. When you press play, you will hear the mix you just made in the headphones. If you adjust the faders, the mix for the MASTER OUT will change but the headphone mix will not be affected.
76 VS-880 Application Guide
Combining Lead Vocal Tracks Into One Using [Mute]
This function is known in recording studios as vocal comps or comping vocals. Lets assume that you have two lead vocal parts recorded on Tr. 1-1 and Tr. 2-1. You decide that the best performance of the first verse, third verse, and ending are the recording on track one. However, the best performance of the second and fourth verses is on track two. A simple way to make one final vocal performance track from the two recorded tracks is to use the channel MUTE function to make a new recording on Tr. 3-1. As you will remember, the channel [STATUS] button is used to select Source, REC, Play or Mute status for each individual channel. Select Tr. 1-1 and Tr. 2-1 to record to Tr. 3-1 using the internal mixing bus. Select Tr. 3-1 to REC mode. Since the first verse of the vocal we wish to keep is on Tr. 1-1, we will use the [STATUS] button on channel 2 to select MUTE (turn OFF channel 2, the LED will be OFF). The first verse will play from Tr. 1-1 and be recorded onto Tr. 3-1. At the end of the first verse, while still recording, you will MUTE channel 1 and UNMUTE (turn on again) channel 2. The second verse will then record onto Tr. 3-1 from Tr. 2-1. You can follow this process to the end of the song.

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).

ACTION: Use {Copy} To Create A Drum Loop
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. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Set a Locate point with [LOC 1] at the start of the drum groove. Set a Locate point with [LOC 2] the end of the drum groove. Press [TRACK] until Track Copy? is displayed. Press [YES]. Press [NO] repeatedly until the display shows ?-?>?-? (to clear previous track selections). Press the [CH EDIT] button that corresponds to the Track you want to copy. Press [CURSOR>]. Press the [CH EDIT] button that corresponds to the Track you want to copy this drum groove to (this can be the same as the original source Track). Use the TIME/VALUE dial to select the Virtual Track that you want to copy the drum groove to. Press the right [PARAMETER>>] button, TRK St.= should be displayed. Press [LOC 1]. Press the right [PARAMETER>>] button, TRK Frm= should be displayed. Press [ LOC 1]. Press the right [PARAMETER>>] button, TRK End= should be displayed. Press [LOC 2]. Press the right [PARAMETER>>] button, TRK To= should be displayed. Press [LOC 2]. Press the right [PARAMETER>>] button, Copy Time = should be displayed. Use the TIME/VALUE dial to select the number of times you want the drum groove to be copied end to end. Press the right [PARAMETER>>] button, Track Copy OK? should be displayed.
88 VS-880 Application Guide
(Use {Copy} To Create A Drum LoopContinued) Copying twice to the same Track

A"

Copying twice to a different Track

B"

Copying using the Frm setting
Use {Copy} To Re-Use A Vocal In Multiple Verses
What if you have a song with 3 chorus sections but you have the perfect background vocals recorded on Tr. 6-1 for the first chorus only? It would be extremely helpful to be able to use the first chorus background vocals for the other 2 chorus sections. Again using the {COPY} command, you can select the first chorus recording on tracks Tr. 6-1 as the START and END of the section to be copied. You can then instruct the VS-880 to {COPY} this background vocal section to the second and then to the third chorus. You will first specify the beginning of the second chorus as your COPY TO location and then choose the third chorus as the COPY TO location. (For more - see the VS-880 V-Xpanded Owners Manual, Chapter 4).

Display Shows Scrub or Preview Type
When you are using SCRUB or PREVIEW, a blinking horizontal bar at the bottom of the LCD screen on either side of the center now line indicates Preview From or Preview To.
114 VS-880 Application Guide
Additional Equalizers in VS8F-1
The optional VS8F-1 effects board not only contains many useful effects, it also contains a stereo 4 band fully parametric equalizer (configurable as 8 bands in mono), and a stereo 10 band graphic equalizer.
Additional Recording Time
An additional hard disk drive can be added to your VS-880 to increase the storage capacity for additional recordings (see V-Xpanded Owners Manual pgs. 130-131 About SCSI.) Some removable media drives may work with your VS-880. See your Roland dealer for information. You cannot record continuously from the internal disk to the external disk. Your entire song must fit on one disk or the other.
Synchronizing Your VS-880
The VS-880 has extensive synchronizing capabilities which are explained in the V-Xpanded Owners Manual, Chapter 5. However, there are a few important items to remember.

Slave Mode - Master Mode

When the VS-880 is operated in Slave mode, some external device is controlling the VS-880. (The VS-880 is slaved to an external master). The VS-880 is capable of slaving to MTC (MIDI Time Code) or MMC (MIDI Machine Control). When the VS-880 is operated in Slave Mode, the sample clock will resolve to the sync signal. This is very important to keep the VS-880 from drifting in time. When the VS-880 is operated in Master mode, it becomes the controlling device for external slave devices. The VS-880 will output MTC (MIDI Time Code), MMC (MIDI Machine Control), SPP (Song Position Pointer) from the Tempo Map, or SPP (Song Position Pointer) from the alternate Sync Track.

Sync Track

The VS-880 provides a special Sync Track. A complete tempo map including MIDI clock and Song Position Pointer can be recorded from an external sequencer, into the VS-880 Sync Track. The Sync Track can then be used to synchronize the sequencer and the VS-880 (see page 109 of this manual).
Stereo Grouping / Channel Linking
When working with stereo signals, the Channel Link function allows you to link two channels together so that they respond as a stereo pair. (see V-Xpanded Owners Manual - page 112)

Automation

In addition to MIDI automation, there are three types of automation built into the VS-880: Realtime, Snapshot and Gradation. (see pages 106-107 of this guide.)

Computer with Serial Cable connection S-760 Digital Sampler MIDI Interface MIDI Analog Audio Digital Audio
Sync VS-880 to Analog Tape Recorder
The VS-880 can work together with your analog recorder.
SYNC: You can use SMPTE Time Code in conjunction with a SMPTE to MIDI Time Code converter (such as the Video Syncman by MIDIMAN) to synchronize an analog tape deck with the VS-880. You will need to record (stripe) SMPTE onto a track of your analog deck and connect the output of that track to the SMPTE input of the SMPTE to MTC converter. Connect the MIDI OUT connector of the converter to the MIDI IN connector of the VS-880 and set the VS-880 to external sync. Make sure that the SMPTE frame rate of the converter matches that of the VS-880 (which defaults to 30).
AUDIO: You can connect the audio outputs of the tape deck (with the exception of the track striped with SMPTE) to your mixer and then route the mixer outputs to the analog inputs of the VS-880. This will allow you to transfer tracks from your analog deck to the VS-880 (up to 4 at a time) for digital editing or mastering.

MIDIMAN Video Syncman

MIDI Sync Via MTC Analog Audio
118 VS-880 Application Guide

Sync VS-880 to ADAT

SYNC: You can synchronize the VS-880 with an ADAT system by using MIDI Time Code and/or MIDI Machine Control messages generated from the Alesis BRC (the Alesis AI 2 can be used in place of a BRC). You will need to connect the MIDI OUT connector of the BRC (or AI 2) to the MIDI IN connector on the VS-880 and, if you are using MMC, connect the MIDI OUT connector of the VS-880 to the MIDI IN connector of the BRC (or AI 2). Set the VS-880 to external sync and match the frame rate of the BRC (the VS-880 frame rate defaults to 30). If you are using MIDI Machine Control messages set the VS-880 as the MMC slave and turn Receive System Exclusive messages on.
AUDIO: To transfer tracks back and forth between the ADAT and the VS-880 you can use the analog connections (up to 4 tracks at a time) or the digital connections (up to 2 tracks at a time). When using the analog connections you can connect the outputs of the ADAT to the inputs of the VS-880 to record ADAT tracks onto the VS-880 (reverse the connections to record VS-880 tracks onto the ADAT). An analog mixer can be used to increase the signal routing options. When using the digital connections you will need to use the Alesis AI 1 to convert the Alesis digital signal to the coaxial S/P DIF signal used by the VS-880. Connect the digital out connector of the AI 1 to the digital in connector of the VS-880 and connect the digital out connector of the VS-880 to the digital in connector of the AI 1. You will need to make sure that the sampling rate of the AI 1 matches that of the current song in the VS-880.

130 VS-880 Application Guide
MTC (MIDI Time Code) MIDI Time Code is a synchronization signal that is digitally sent through MIDI for synchronization of absolute time between audio devices. Similar to SMPTE, MTC can have different frame rates for synchronization. See SMPTE for more details. Mute Reducing an audio signal to off (full attenuation). Noise Gate An electronic device that turns off or greatly attenuates an audio signal when the level falls below a user-adjustable threshold. Thus, program will pass through, but low-level hiss, noise or leakage will not be heard when the program is below threshold. When the program is above threshold, the noise gate has no effect on the signal. Omni-Directional Equal sensitivity in all directions. Usually refers to non-directional microphones. Out of Phase When two related signals (or a single signal which has been split) are offset in time acoustically or electronically, they may be said to be out of phase (larger offsets that enable two signals to be audibly differentiated from each other are considered to be time delays). Depending on the actual phase difference, the out of phase signals may cancel or reinforce one another when combined. Out of Polarity When two circuits are reversed in polarity with respect to one another, sometimes they are mistakenly considered to be 180 degrees out of phase. Even though there is no real offset in signal arrival time here, the result is similar to a true 180 degree phase difference - the singles will cancel one another if combined. An example would be reversing the speaker wires of one stereo speaker but not the other. The reversed speaker is said to be out of polarity. Out Take A recording or segment of a recording that originally was considered usable, but later was not used or was discarded in favor of another recording of the same program. Records are often made by recording a given musical selection two or more times and then selecting the best performance. The unused recordings (takes) are considered to be out takes.
Outboard Refers to electronic equipment or signal processors that are not incorporated in the mixing console. External equipment. Outboard equipment includes special equalizers, delay lines, reverbs, compressors, etc. Output Assign The routing of a signal from a given input position (channel) to a particular output Buss or Busses. Output Buss A 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. The end of the wire goes into a combining amplifier or summing amplifier which then feeds one of the console outputs via an output or line amplifier. Output Channel The final output of any multi-channel audio device. In a mixing console, individual inputs can be routed to different output channels via the output Busses In a multi-channel tape recorder, each track of the tape feeds its own tape recorder output channel. Overdubbing A recording procedure utilized in multi-track tape recording. A performer (or performers) listens to previously recorded musical tracks, typically with headphones, while recording one or more additional tracks on the same tape. Overload What occurs when a device is asked to supply more power than it is capable of delivering; usually caused by connection of too low an impedance to the devices output. May cause distortion and/or damage. Pad A passive resistor network which reduces the power level of a signal. In some cases a pad is utilized to match unequal input and output impedances for proper interface. Pan Pot The control that places a signal in stereo perspective to appear acoustically between the left and right speakers. PCM Pulse Code Modulation. A process of digital encoding of audio signals. PCM recordings are synonymous with digital audio recordings (not to be confused with PWM, pulse width modulation).

SCSI Cables

Dont be fooled by disk drive suppliers that tell you, our cables work just fine on a PC computer. An unstable SCSI buss may require the host computer (VS-880) to try over and over to communicate with the drive. This is fine for a PC since the user doesnt really notice that the PC has to make a number of attempts at communication before actually writing the computer data to disk. However, the large amount of data transfer for digital audio requires a very stable SCSI buss with solid communications at all times. Since the SCSI buss is actually a form of transmission line, impedance matching is very important. If the impedance is not properly matched, ghost reflections will occur within the cable which will alter or corrupt the data on the line. SCSI specifies a cable impedance of 100 10%. Unfortunately, the vast majority of SCSI cables sold today have an impedance closer to 50. This results in up to 50% of the signal being reflected back to the VS-880. Another problem in cable construction is the amount of shielding used and the quality of the cables themselves. Some users have assumed that molded connectors are automatically equal to high quality - this is not the case. The SCSI specification calls for the internal cable wiring to consist of 25 twisted pairs (each pair consists of one signal and one ground). However, many cables only contain a total of 26 wires - 25 signals plus one overall ground. Double shielding - where each twisted pair has its own shield in addition to the overall cables shield - is required by the SCSI specification to eliminate crosstalk and RFI. At low data speeds and for short cable runs (less than 1 foot), the above shortcomings may not be too much of a problem. With longer cable runs (3-6 feet) and higher data rates (such as those common in the VS-880), cable reflections do become a factor, resulting in random data errors which in turn cause problems ranging from noise in the audio to the VS-880 ceasing to operate. Because these errors are indeed random, the resulting symptoms are also random and may not be completely repeatable (adding to confusion and frustration when trying to debug them).

SCSI Termination

Since the VS-880 end of the SCSI chain is internally terminated, the other physical end of the external SCSI chain must be terminated as well. i.e. If you add one 1 Gigabyte external drive to the SCSI connector of the VS-880, it must also be terminated since it is the last device on the other end of the SCSI chain. For Reference Only: Most disk drives can be terminated internally or externally. Internal termination is usually provided by small in-line resistor packs called SIPs. They plug directly into sockets on the main controller circuit board of the physical drive unit. Internal termination is extremely rare. Most commercial disk drives available today provide for external termination. CAUTION: DO NOT INSTALL SIPs terminators backwards. Pin # 1 is designated with a dot. Socket # 1 of the circuit board will be designated with a 1, a dot, a square, or some other designation for Pin # 1. Match Pin # 1 to Socket # 1.

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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