IMPORTANT SAFETY INSTRUCTIONS
WARNING FORYOUR PROTECTION PLEASE READ THE FOLLOWING:
KEEP THESE INSTRUCTIONS HEED ALL WARNINGS FOLLOW ALL INSTRUCTIONS
The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is necessary for the user to refer to the owners manual. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit yourself. Refer all servicing to qualified personnel. Opening the chassis for any reason will void the manufacturers warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately and take it to a dealer for service. Disconnect the unit during storms to prevent damage.
The apparatus shall not be exposed to dripping or splashing liquid and no object filled with liquid, such as vases, shall be placed on the apparatus CLEAN ONLY WITH A DRY CLOTH. DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE WITH THE MANUFACTURERS INSTRUCTIONS. DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS, STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT. ONLY USE ATTACHMENTS/ACCESSORIES MANUFACTURER. SPECIFIED BY THE
UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR LONG PERIODS OF TIME. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or third prong are provided for your safety. If the provided plug does not fit your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Use only with the cart stand, tripod bracket, or table specified by the manufacture, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. POWER ON/OFF SWITCH: For products provided with a power switch, the power switch DOES NOT break the connection from the mains. MAINS DISCONNECT: The plug shall remain readily operable. For rack-mount or installation where plug is not accessible, an all-pole mains switch with a contact separation of at least 3 mm in each pole shall be incorporated into the electrical installation of the rack or building. FOR UNITS EQUIPPED WITH EXTERNALLY ACCESSIBLE FUSE RECEPTACLE: Replace fuse with same type and rating only. MULTIPLE-INPUT VOLTAGE: This equipment may require the use of a different line cord, attachment plug, or both, depending on the available power source at installation. Connect this equipment only

Safety Instructions

Notice For Customers If Your Unit Is Equipped With A Power Cord. WARNING:THISAPPLIANCESHALL BE CONNECTED TO A MAINS SOCKET OUTLET WITH A PROTECTIVE EARTHING CONNECTION. The cores in the mains lead are colored in accordance with the following code: GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live
As colours of the cores in the mains lead of this appliance may not correspond with the colored markings identifying the terminals in your plug, proceed as follows: he core which is colored green and yellow must be connected to T the terminal in the plug marked with the letter E, or with the earth symbol, or colored green, or green and yellow. he core which is colored blue must be connected to the terminal T marked N or colored black. he core which is colored brown must be connected to the terminal T marked L or colored red. This equipment may require the use of a different line cord, attachment plug, or both, depending on the available power source at installation. If the attachment plug needs to be changed, refer servicing to qualified service personnel who should refer to the table below. The green/yellow wire shall be connected directly to the units chassis.

CONDUCTOR L N E LIVE NEUTRAL EARTH GND WIRE COLOR

Normal Alt

BROWN BLUE GREEN/YEL

BLACK WHITE GREEN

WARNING: If the ground is defeated, certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between chassis and earth ground. Severe injury or death can then result if the chassis and earth ground are touched simultaneously.
to the power source indicated on the equipment rear panel. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel or equivalent.
ELECTROMAGNETIC COMPATIBILITY
This unit conforms to the Product Specifications noted on the Declaration of Conformity. Operation is subject to the following two conditions: t his device may not cause harmful interference, and t his device must accept any interference received, including interference that may cause undesired operation.
DECLARATION OF CONFORMITY
Manufacturers Name: Manufacturers Address: Declares that the product: Product name: Vocalist Live Pro
Note: Product name may be suffixed by the letters-EU.
DigiTech 8760 S. Sandy Parkway Sandy, Utah 84070, USA

Product option:

Conforms to the following Product Specifications: Safety: IEC 60065 (7th ed. 2001) EMC: EN 55013 (2001+A1) EN 55020 (1998) Supplementary Information: The product herewith complies with the requirements of the Low Voltage Directive 73/23/EEC and the EMC Directive 89/336/EEC as amended by Directive 93/68/EEC. Vice-President of Engineering-MI 8760 S. Sandy Parkway Sandy, Utah 84070, USA Date: February 15, 2008
Operation of this unit within significant electromagnetic fields should be avoided. use only shielded interconnecting cables.

U.K. MAINSPLUGWARNING

A molded mains plug that has been cut off from the cord is unsafe. Discard the mains plug at a suitable disposal facility. NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET. Do not use the mains plug without the fuse cover in place. Replacement fuse covers can be obtained from your local retailer. Replacement fuses are 13 amps and MUST be ASTA approved to BS1362.
European Contact: Your local DigiTech Sales and Service Office or Harman Music Group 8760 South Sandy Parkway Sandy, Utah 84070 USA Ph: (801) 566-8800 Fax: (801) 566-7005

Warranty

We at DigiTech are very proud of our products and back-up each one we sell with the following warranty: 1. The warranty registration card must be mailed within ten days after purchase date to validate this warranty. 2. DigiTech warrants this product, when used solely within the U.S., to be free from defects in materials and workmanship under normal use and service. 3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return Authorization number may be obtained from DigiTech by telephone. The company shall not be liable for any consequential damage as a result of the products use in any circuit or assembly. 4. Proof-of-purchase is considered to be the burden of the consumer. 5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without incurring any obligation to install the same on products previously manufactured. 6. The consumer forfeits the benefits of this warranty if the products main assembly is opened and tampered with by anyone other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested by the manufacturer. 7. The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes nor authorizes any person to assume any obligation or liability in connection with the sale of this product. In no event shall DigiTech or its dealers be liable for special or consequential damages or from any delay in the performance of this warranty due to causes beyond their control. NOTE: The information contained in this manual is subject to change at any time without notification. Some information contained in this manual may also be inaccurate due to undocumented changes in the product or operating system since this version of the manual was completed. The information contained in this version of the owners manual supersedes all previous versions.

Overview

The Vocalist Live Pro is a revolutionary voice processor that creates musically correct harmonies for your singing voice that automatically change to fit with the current guitar, keyboard or MIDI note or chord and key of the music you are playing. It is an easy-to-use vocal processor that includes a wide variety of Lead Voice and Harmony Voice effects, Vocal Harmony styles and professional vocal effects including Lexicon Reverbs and Delays. In addition to generating natural sounding harmonies, the Vocalist Live Pro can also provide real-time pitch correction for the incoming vocal signal. The Vocalist Live Pro offers 99 Factory presets to get you started and another 99 User presets where you can save your own custom settings. It is packaged as a 1U rack device and can be controlled using the front-panel interface, external foot controls or via MIDI.

About musIQ Technology

musIQ is a revolutionary technology that eliminates the need to enter key and scale information into the product as it listens to the notes and chords played on a guitar or MIDI keyboard and makes sure that the Harmony Voices fit with the music. Real-time processing discerns the individual notes, chords and key signatures that are played in order to automatically generate appropriate Vocal Harmonies that compliment the Lead Vocal. With musIQ, you can focus on your live singing and playing performance, and discard song programming once and for all.

VL Pro Owners Manual

Features
Vocalist Live Pro Features
musIQ Harmony Technology 24-bit, 44.1KHz audio quality Pre-Effects Low-Cut Tube Pre-Amp De-Esser Noise Gate Compressor/Limiter EQ Lead Voice Effects Pitch Correct Persona Parametric Filter Distortion Band Limiting Modulation Up to four Harmony Voices with a wide range of fully customizable voicing haracteristics and processing functionality including musIQ Guitar and MIDI Keyboard, Scalic, c hordal, Shift, MIDI Notes and 4-Channel Notes. The four Harmony Voices can run C oncurrently along with a Pitch-Corrected Lead Voice and Persona among other features. c Lexicon Licensed Effects Reverb (Vocal Hall, Vocal Plate, Room, Ambience) Delay and Echo (Studio, Ping Pong, Tape) Guitar Tuner Soundcraft Studio Grade Microphone Preamp 48V Phantom Power Mic Pass-Thru Stereo Balanced XLR Main and 1/4 Auxiliary Outputs S/PDIF Digital Output USB I/O for MIDI Control and Preset Backup and Restore MIDI IN and THRU Ports for Keyboard and MIDI Control 198 Presets: 99 Factory Presets and 99 User Presets Expression Pedal Input provides real-time control of most performance parameters Footswitch Input provides remote control of presets, delay tempo, and effects Up to 16 Expression Links per Preset for real-time parameter control via Expression Pedal input or MIDI CC messages Guitar Thru and Main Output, Aux Output and Mic Pass Thru Ground Lift Functionality Internal Power Supply

When in Manual Preset Load mode, if you stop on a preset after cycling through the Preset Banks and 5 seconds pass without any Edit/Select knob activity, the Vocalist Live Pro will revert back to last preset that was loaded.

Version

This non-selectable option shows the current Vocalist Live Pro firmware version number. This information is helpful if customer service should ever be required.
Footswitch and Expression Pedal Inputs Control
When connecting the Footswitch Input to the optional DigiTech FS3X or GNXFC 3-button footswitch, you must define what each of the 3 footswitches control. In the Global I/O Setup of the Main Menu, there are the available function definitions for Footswitch 1, Footswitch 2 and Footswitch 3. Note that these 3 parameter definitions are globally applied to all presets. When using the Expression Pedal, you must first define the expression pedal type that you have connected to the Expression Pedal Input in the MIDI/Expr Pdl Setup menu. Second, you must assign the Expression Pedal to one of the 16 Controllers in the MIDI/Expr Pdl Setup menu. Unlike the Footswitch, the Expression Pedal control definitions are defined as part of the stored preset definition. This means that now you have the ability to alter what the Expression Pedal controls with each preset. This is done by assigning Preset Expression Links to the Expression Pedal Controller. Since this is a preset parameter, you must remember to store the altered preset once the controller assignment is complete.
Configuring the Expression Pedal
1. Press the Edit/Select knob to enter the Main Menu. 2. Turn the Edit/Select knob and navigate to MIDI/Expr Pdl Setup and press the knob to enter the menu. 3. Scroll down several pages to Exp Pedal Type and press the Edit/Select knob to enter the menu. 4. Choose the Expression Pedal Type that you have connected to the Expression Pedal Input. The Expression Pedal Type options are the TRS <Linear> with a stereo TRS (Tip Ring Sleeve) 1/4 connector or Volume Pedal <Log Taper> with a mono TS (Tip Sleeve) 1/4 connector. 5. Press the Back button to revert back to the Main Menu. 6. Enter the MIDI/Expr Pdl Setup menu. 7. Enter the CC/Expr-Pdl/Controller Map sub-menu. 8. Select one of the 16 Controllers that is unused and press the Edit/Select knob to edit it. 9. Select the Exp Pdl option near the beginning of the options list. 10. Press the Back button three times to return to the Preset Screen. 11. Select a preset whose parameters you wish to adjust using the Expression Pedal. 12. Press the Edit/Select knob to enter the Main Menu. 13. Enter the Edit Preset menu. 14. Enter the Edit Expression Links sub-menu. 15. Select the Controller that you have assigned the Expression Pedal to. 16. Scroll through the controller assignment list and select a parameter that this preset is using and that you wish to control with the Expression Pedal. Refer to the Edit Expression Links section on page 50 for more information and a list of the Expression Links Controller Definitions. 17. Press the System Store button to store the altered preset parameters. See the Copy or Store a Preset section on page 27 for more information on storing presets.

All Notes Off

Editing, Copying, or Storing Presets
The Vocalist Live Pro comes with 99 User Presets and 99 Factory Presets. Initially, the User Presets are exact copies of the Factory Presets.You can only store changes to a User Preset. Presets in the Factory Preset Bank cannot be overwritten. Select the desired preset that you would like to refine or modify the characteristics of by editing its individual preset parameters. Note that when storing the customized preset, it does not have to be in the same preset location of the User Preset Bank, leaving the original preset unmodified. Enter the Vocalist Live Pro Main Menu by pressing the Edit/Select button. Enter the Edit Preset Menu. The Preset Menu contains the following Sub-Menus:
Edit Edit Edit Edit Edit Edit
Pre-Effects Lead Effects Harmony Lexicon Reverb Lexicon Delay Expression Links
Navigate the desired Preset Menu sub-menus and parameters and turn or push the Edit/Select dial to alter or select parameters. In the Edit Preset Menus, when a preset parameter is altered from its stored value, two results occur. A small x appears to the left of the altered parameter or option and the red System Store button LED becomes lit. Note that the Back button does not cancel changes youve made to a preset or menu, but it can cancel the Store procedure once it has begun. After you edit a preset, you must save it with the Store procedure before either changing to another preset or turning off the power to the Vocalist Live Pro, or the unsaved changes you have made to the stored preset will be lost.

Copy or Store Preset

The Copy and Store functions of the Vocalist Live Pro are essentially the same. When copying a preset, select the desired preset in the Preset Screen and press the Store button. This will allow you to copy the current preset to an alternate location in the User Preset Bank as well as change the preset name. When storing a preset whose characteristics you have altered from the currently saved configuration, the process is the same and includes the ability to store the preset in the same location in the Preset Bank. Note that you can cancel the Store process at any time by pressing the Back button. 1. Press the System Store button. The Store button now flashes red indicating the Store Procedure is in process. On the Store screen, the first character of the presets current name flashes. Beneath

The Edit Preset Menu

the preset name are the function definitions for the Edit/Select knob. Upon Store screen entry, they are defined as <Edit>-Character and <Select>-Toggle allowing you to change the character that is currently selected. 2. Turn the Edit/Select knob to change the selected character. The available characters include blank, numbers from 0-9, capital letter and lower case letters. 3. Press the Edit/Select knob to accept the current character value and change the Edit function to <Edit>-Position allowing you to select a different character to edit. 4. Press the Edit/Select knob to toggle between the 2 edit functions and repeat the procedure until the desired preset name is achieved. 5. When the desired preset name is achieved, Press the flashing Store button again. 6. The display will now present you with the Location to Store screen in the User Preset Bank. As you scroll User Preset Bank locations with the Edit/Select knob, the stored preset names are displayed in the highlighted area of the Store Screen, while the associated preset number flashes in the Numeric Display. Note that storing to this User Preset location will overwrite the preset that is currently stored there with the preset you are now storing. 7. Press the flashing Store button to finalize the Store procedure when the desired User Preset Bank location is listed.

For a depiction of the signal flow of the effects chain, see the Effects Flow diagram in the Block Diagrams section on page 52.

1. Edit Pre-Effects

The following Preset Pre-Effects are applied in combination with both the Lead Effects and the Harmony Voices.

Low Cut

Low Cut Frequency Tube Preamp Gain De-Esser
Low Cut is turned Off or On. All frequencies below specified Hertz are attenuated. Range: 60Hz to 120Hz Tube Preamp, which provides mild distortion to give your vocals more warmth, is turned Off or On. Adjusts the preamps gain. Range: 0 to 99 De-Esser is turned Off or On. Sets the threshold above which to apply more gain reduction to sibilant sounds. Range: -40dB to +0dB

Tube Preamp

De-Esser

Threshold

Edit Pre-Effects Table (Continued)

Noise Gate

Noise Gate Threshold Compressor
Noise Gate is turned Off or On. The Noise Gate is useful for muting the signal when it falls below a specified threshold. The Noise Gate engages when the Lead Voice input falls below the specified threshold. Range: 80dB to 20dB Compressor is turned Off or On

Hard Knee

Abruptly reduces gain when the input level rises above the threshold. Gently reduces gain when the input level rises above the threshold. Very gently reduces gain when the input level rises above the threshold.

Soft Knee Softer Knee

Compressor Ratio
The ratio of the change in input level to the change in output level measured in decibels (dB). For example, a 2:1 ratio means that for every 2 dB the input level changes, the output level changes 1 dB. Warning: Using a high compression ratio increases susceptibility to feedback due to the higher gain used. Range: 1.0:1 to 5.0:1 Defines the input level of the compressor knee. Range: -40dB to 0dB Controls how quickly the compressor begins its effect on the signal. Range: 1ms to 99ms Controls how quickly the compressor ends its effect on the signal. Range: 10ms to 990ms

Threshold Attack Release

EQ Bass Mid Gain Mid Freq Treble
Equalizer is turned Off or On. Reduces or increases the volume of bass frequencies. Range: 12dB to +12dB Reduces or increases the volume of midrange frequencies. Select this frequency with Mid Frequency. Range: 12dB to +12dB Selects the center frequency that is reduced or increased with Mid Gain. Range: 80Hz to 7650Hz Reduces or increases the volume of treble frequencies. Range: 12 to +12dB

2. Edit Lead Effects

Pitch Correction
Pitch feature is turned Off or On. Chromatic Major Minor Natural Minor Harmonic Minor Melododic Blues Pentatonic Major Pentatonic Minor Diminished Bebop Major Bebop Domin Whole Tone Dorian 12 Note Chromatic Scale [1 AA4 AAA7 7] Major Scale [7] Natural Minor Scale [A5 A6 A7] Harmonic Minor Scale [A5 A6 7] Ascending Melodic Minor Scale [A7] Blues Scale [1 AAA7] Major Pentatonic Scale [6] Minor Pentatonic Scale [1 A5 A7] Diminished Scale [AA5 A7] Major Bebop Scale [5 A7] Dominant Bebop Scale [A7 7] Whole Tone Scale [3 A5 A6 A7] Dorian Mode [AA7] Phrygian Mode [1 A2 A5 A6 A7] Lydian Mode [3 A6 7] Mixolydian Mode [A7] Aeolian Mode [A5 A6 A7] Locrian Mode [1 A2 AA5 A6 A7] Japanese In Sen Scale [1 A5 A7] Arabic Scale [1 AA6 7] Neapolitan Scale [1 A2 A7] Neapolitan Minor Scale [1 A2 A5 A6 7] Hungarian Minor Scale [A3 AA6 7] Enigmatic Scale [1 AA5 A6 A7 7] Major Triad Scale [5] Minor Triad Scale [1 A3 5] Single Note [1]

Key Scale

Phrygian Lydian
Mixolydian Aeolian Locrian In-Sen Arabic Neapolitan Neapolitan Minor Hungarian Minor Enigma Major Triad Minor Triad Note Key Root
Selects the root note or key of the scale. For example, if the Scale is set to Major and Root is set to C, then the notes that will be corrected to are C, D, E, F, G, A, and B. Note: This parameter is ignored when the scale type is set to Chromatic. Controls the window or extent around each note that pitch correction will be applied. If the window is small, then your pitch will only be altered if your input pitch is already close to the note. If the window is large, then pitch correction will be applied even if your input pitch is far from the note. Range: 0 to 600 Cents

Window

Edit Lead Effects Table (Continued)
Controls how aggressively your pitch is corrected. If the rate is low, then all of your rapid pitch variations (vibrato, scoops, etc.) will be left untouched, and only long sustained notes will be corrected. If the rate is high, then all of your pitch variations will be removed resulting in a very flat robotic sounding voice. Range: 1 to 99 Scales the amount of pitch correction applied to the input voice. The range is 0 to 99. When set to 99, the full pitch correction amount is applied, but as the amount control is turned down, the amount of pitch correction is reduced in proportion to how close you are to the target note. So, larger deviations are corrected more than smaller deviations, and small intentional pitch deviations are preserved.

Amount

With Amount set to 99, a 10 cent flat input will be corrected by 10 cents and a 50 cent flat input will be corrected by 50 cents. With the amount set to 80, a 10 cent flat input will be corrected by approximately 5 cents and a 50 cent flat input will be corrected by approximately 40 cents. With the amount set to 0, a 10 cent flat input will not be corrected and a 50 cent flat input will be corrected by approximately 10 cents.

Shift Shift Harmony Mode changes the Harmony Voices pitch by a fixed number of semitones in the Chromatic 12 Semitone Scale from the Lead Vocal. Once the Shift Harmony Mode is selected, the Shift Voicings must be defined in the Advanced Edit Mode menu. This Shift Harmony Mode Chromatic Harmonizing is considered non-intelligent since the Harmony Voicing is not using Scale or Key information and is simply creating parallel
harmonies to the Lead Vocal. The most common Shift Harmony Voices are the 7 semitones (5th) and 12 semitones (octave), ranging from two octaves below the Lead Vocal pitch to two octaves above it. The following shows the Shift Harmony Mode being applied to the C Major Scale with a +4 Shift Voicing (3rd above).
Lead (Black) and Harmony (Grey)
Scalic Scalic Harmony Mode changes the Harmony Voices pitch to the nearest note in the defined Diatonic Scale and Scale Key (Scale Root) relative to the Lead Vocal pitch. Once the Scalic Harmony Mode is selected, the Root (or key) and a Diatonic Scale must be selected in the Scalic Harmony menu and the Scalic Voicings must be defined in the Advanced Edit Mode menu. Note that the Scalic Voicings are relative to the current Scalic Harmony Note chosen by the Scalic Harmony Mode. An Advanced Scalic Voicings setting of 1 <Unison> will provide that Harmony Voice at the current Scalic Harmony Note chosen by the Scalic Harmony Mode. Scalic Harmony Mode uses the defined Root and Scale information to create musical diatonic harmonies. Scalic Harmonies are more dynamic than the Chordal Harmonies since for each Lead Vocal note there are unique Harmony Voice notes. Some simple popular music uses only a single scale, so in this case, you only have to update the information at the beginning of your song. The following example shows the Harmony Notes for a C Major Scale input, with the Scalic Harmony settings of C Major and a Scalic Voicing of 3 (Up a 3rd). These Scalic Harmonies closely follow the notes of the Lead Vocal resulting in a tighter musical harmony.
In some cases where a song is centered around the 3rd or root of the scale, it may seem as through there is little difference between the three Major Scales or three Minor Scales. This is because the Lead Vocal for the song doesnt reach any of the altered notes for the given scale. A vocal line centered around the 5th of a scale, such as G in the key of C, highlights the differences between the Scalic Harmony Scales. The table below shows the 3rd and 5th above for the range of Vocal Input notes to indicate the differences between the three Scalic Harmony Major Scales and three Minor Scales.

Note Attack Note Release

Controls how quickly the Harmony Voices begin. This parameter is only applicable when the Note Latch is disabled. Range: 0ms to 4000ms (4 seconds) Controls how quickly the Harmony Voices end. This parameter is only applicable when the Note Latch is disabled. Range: 0ms to 4000ms (4 seconds)
3.5 VOICE EDIT MODE Normal Voice Edit Mode These settings allow you to select the number and type of Harmony Voices that are generated by the Vocalist Live Pro. You can add up to 4 voices of harmony or duplicates (unison) to your Lead Vocal. Note that with musIQ Harmony Modes active, the Voicing settings, such as 3 or 5, produce harmonies that are only nominally third up and fifth up. They vary depending on the guitar chord and input vocal pitch. The Harmony Voicing Patch is a convenient way to select a general harmony sound and get good results very easily. When you select a Voicing Patch, many parameters are set automatically for you to get great sounding Vocal Harmonies including the Voicings for each of the Harmony Modes and various other parameters (Detunes, Correction Rates, etc.) for each Harmony Voice. Note that in Normal Voice Edit Mode, you do not see the parameters that have been automatically set when a Voicing Patch is selected, but by switching to Advanced Voice Edit Mode, these parameters are displayed.
No harmonies Octave down Fifth down Third down Unison Unison w/ pitch correction Third up Fifth up Octave up Octave down, octave up Fifth down, third down Fifth down, third up Fifth down, fifth up Third down, third down Third down, unison
Octave down, fifth down, third down Octave down, unison, octave up Fifth down, third down, unison Fifth down, third down, third up Fifth down, unison, fifth up Third down, unison, unison Third down, unison, third up Third down, third up, fifth up Unison, unison, third up Unison, third up, fifth up Third up, fifth up, octave up Fifth down, fifth down, fifth up, fifth up Fifth down, third down, unison, unison Fifth down, third down, third up, fifth up Third down, third down, third up, third up

U 5 UU U 3

Voicing Patch

U U 3 U 3 5

Normal Voice Edit Mode Table (Continued)
Third down, third up Third down, fifth up Two voices of unison Unison, third up Third up, third up Third up, fifth up
Third down, third down, unison, unison Third down, unison, unison, third up Four voices of unison Unison, unison, third up, third up Unison, unison, third up, fifth up

Voicing Patch (Cont.)

UU U 3

UUUU U U U U 3 5

Portamento
The time for the specified Harmony Voice to reach a target note when a Harmony Voice changes pitch. This parameter is primarily used with Notes or 4-Channel Notes Harmony Modes, but can be used in the other Harmony Modes as well. Range: 0ms to 200ms Controls the balance between the generated Harmony Voices. If there is only one voicing, then this control has no effect. But if there is more than one voicing enabled, then this parameter controls the balance between these voices. A value of 50 gives approximately the same output level for all the voices. Values less than 50 increase the level of the lower Voicings compared to the higher Voicings, while values over 50 increase the level of the higher Voicings compared the lower Voicings. Range: 0-99 Pan Width is a scaling factor for Pan applied to the individual Harmony Voices in the Advanced Voice Edit menu. At 0 Pan Width, the Harmony Voices panning is reduced to 0 of their Pan values. At 99 Pan Width, the Harmony Voices receive the full value of their Pan definitions. Range: 0 to 99 Off Time Time Pitch Onset Turns the Voice Style off. Time Decoupling. Harmony Voices begin and end with varying delays relative to the lead vocal. Pitch and time decoupling. Harmony Voices vary slightly in pitch as well as timing. Pitch and time decoupling with onset scoops. Pitch and time decoupling with onset scoops and vibrato. When there is more than one Harmony Voice on, this style sends a mix of the first four styles to the individual harmony voices. Gender modified to make Harmonies sound more feminine. Gender modified to make Harmonies sound more masculine. Adds the Vibrato effect to the Harmony Voices. Adds a combination of the Time Decoupling and Vibrato. Extreme pitch and time decoupling.

Edit Lexicon Reverb Table (Continued)

Mid RT

Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten reverb times and should be used when a smaller apparent space or a more subtle effect is desired. This parameter is not available when the Ambience Type is selected. Vocal Hall Range: 670ms to 3.387 s Vocal Plate Range: 469ms to 4.621 s Room Range: 73ms to 2.090 s Size sets the build-up rate of diffusion after the initial period (which is controlled by Diffusion). The Size control changes reverb sound from very large to very small. Generally, set this control to the approximate size of the acoustic space being created before adjusting anything else. The Size in meters is roughly equal to the longest dimension of the space. Note that audio is temporarily muted when Size is changed. This parameter is not available when the Room Type is selected. Vocal Hall Range: 8m to 20m Vocal Plate Range: 8m to 20m Ambience Range: 4m to 16m In the Vocal Hall reverb, Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. With Shape all the way down, reverberation builds explosively, and decays quickly. As Shape is advanced, reverberation builds up more slowly and sustains for the time set by Spread. With Shape in the middle, the build-up and sustain of the reverberation envelope emulates a large concert hall (assuming that Spread is at least halfway up, and that Size is 30 meters or larger). Range: 1 to 64 In Vocal Hall reverb, Spread and Shape work together to control the overall ambience of the reverberation. As Shape is advanced, reverberation builds up more slowly and sustains for the time set by Spread. Low Spread settings result in a rapid onset of reverberation at the beginning of the envelope, with little or no sustain. Higher settings spread out both the buildup and sustain. Range: 1 to 99 RT High Cut sets the frequency above which a 6dB/octave low-pass filter attenuates the reverberated signal. It does not attenuate the reflections. High frequencies are often rolled off with this parameter, resulting in more natural-sounding reverberation. Setting a low frequency for this parameter can actually shorten the reverb time, as it damps the audio as it recirculates. Range: 1.0 KHz to 20.0 KHz High Cut is a second 6dB/octave low-pass filter that attenuates the entire reverberated signal, including the reverb reflections. The typical application of this parameter sets its frequency at approximately twice the frequency of the RT High Cut (ex. RT High Cut 6.3KHz and High Cut 12.5KHz). Range: 1.0 KHz to 20.0 KHz Sets the frequency at which the transition from Mid Rt to Low Rt takes place. This control should be set at least two octaves higher than the low frequency you want to boost. For example, to boost a signal at 100Hz, set Bass Boost Frequency to 400Hz. (This setting works well for classical music.) Crossover works best around 400Hz for boosting low frequencies, and around 1.5 kHz for cutting low frequencies. This parameter is not available when the Room or Ambience type is selected. Range: 100Hz to 2.0 KHz Bass Boost boosts or cuts frequencies below Crossover. The amount of boost or cut required is highly dependent on the material being processed. This parameter is not available when the Room or Ambience type is selected. Range: 0.2X to 4.0X

Spread

RT High Cut

High Cut

Bass Boost Freq

Bass Boost

Diffusion
Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat walls cause low diffusion. Range: 0 to 99 Adjusts the amount of time before reverb early reflections occur. This parameter is only available when the Vocal Hall or Room Type is selected. Vocal Hall Range: 1ms to 150ms Room Range: 1ms to 100ms Adjusts the level of early reflections within the reverb. This parameter is only available when the Vocal Hall or Room Type is selected. Range: 0 to 99 Adjusts the Feedback Delay which changes the resonant frequencies of the Vocal Plate Reverb. This parameter is only available when the Vocal Plate Type is selected. Range: 1ms to 150ms Adjusts the Vocal Plate reverbs presence and prominence. This parameter is only available when the Vocal Plate Type is selected. Range: -99 to +99 Adjusts the overall reverb level. Range: 0 to 99

ER Time

ER Level Feedback Time Feedback Level Reverb Level

5. Edit Lexicon Delay

DELAYS AND ECHOES Delays repeat a sound a short time after it first occurs. Delay becomes Echo when the output is fed back into the input (see Feedback parameter). This turns a single repeat into a series of repeats, each a little softer than the last.
Delay feature is turned Off or On. Studio Delay Ping Pong Delay The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the delay output whenever signal is present at the input. This can be used to keep the original signal from being muddied up by delay repeats. This delay effect pans the delay repeats from left to right, while the input signal remains at its original centered stereo position. Ping Pong Delay offers up to 5 seconds of mono delay time. In the days before digital, delays were created using a special tape recorder in which the magnetic recording tape was looped, with closely-spaced recording and playback heads. The delay effect was created by the tape moving in the space between the record and playback heads, while delay time was adjusted by changing the speed of the tape loop. Although very musical-sounding, wow and flutter combined with a significant loss of high frequencies, and to some extent also low frequencies which are all elements commonly associated with tape recordings. Tape Delay offers up to 5 seconds of mono delay.

Tape Delay

Input Level Output Level
Adjusts the level of the original input signal relative to the Output Level setting for the Delay and Echo signals. Range: 0 to 99 Adjusts the level of the Delay and Echo signals relative to the original signal Input Level setting. Range: 0 to 99 This is the time from when the input signal is heard to when the subsequent delay signal is heard. This setting also appears on Preset Screen summary in units of BPM. Studio Range: 0ms to 2.500 s Ping Pong Range: 0ms to 5.000 s Tape Range: 0ms to 5.000 s Delay Time controls the length of the delay time relative to Tempo. At the middle of its range (1.0X), delay repeats, or echoes, are synchronous with the Delay Tempo. Lower values create faster repeats and higher values increase the time between repeats. Range: 0.25X to 2.00X Controls the number of delay repeats (echoes) by feeding the delay output signal back into the delay input. This creates a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more repeats; lower settings reduce the number of repeats. When this Edit/Select knob is turned fully clockwise it engages Repeat Hold where the delay repeats play back in an infinite loop, but no further input signal is introduced into the delay effect. Range: 0 to 99 and HOLD

Block Diagrams

Effects Flow
Normal Output Mode Signal Flow
Note that in Aux=Main Output Mode the front panel Levels knobs adjust the Main Out, S/PDIF Out and Aux Out mixes.
Separate Output Mode Signal Flow
Note that in Main, Aux Separate Output Mode the front panel Levels knobs adjust only the Main Out and S/PDIF Out mixes and relative Lead and Harmony Levels for the Aux Out mix can be set in the Global I/O Setup menu.
V1+V2 V3+V4 Output Mode Signal Flow

Factory Preset List

Listed below are the Factory Presets with their genre, factory preset number, name, harmony mode and music style, and pitch correction. Note that when the Factory Reset: User Presets utility is used, these presets will also be loaded into the User Presets.

Preset No.

3rd Above 3rd Below 8VE Below 5th Above 8VE Above Unison 2Unisons 4Unisons 3rd 5th UP 3rd 5th DN 3d3u5u U 3u5u U U 3u5u 8VB U 8VA 3d3d 3u3u 5d5d 5u5u UnUn 3u3u 3d3d UnUn 5d3d3u5u 3rd One Up My Trio My Quartet Big Trio In My Room Take 5 Journey Kansas LightWorld Soul Man

Harmony Mode

musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (General) musIQ (Male Persona) musIQ (Rock) musIQ (General) musIQ (Rock) musIQ (Rock) musIQ (Pop) musIQ (R&B)
No No No No No No No No No No No No No No No No No No No No No No Yes Yes No Yes Yes Yes No

Basic Harmony musIQ

Stylized musIQ
Factory Preset Table (Continued)
SoulSistaz Barbershop Gospel 1 Gospel 2 Bass Altos Can We Stl Be Friends Alt Harmny Gold Chanl GoldChanPC DannySong PurpleRain Jimi 7 Bridges TakeRiver Gals Guys Blind Boys Take Pro Choir Rich Quint 3uUnisons CSN Eaglets ShapeHeart More Words Soul Todd GutsyOctve GutsyUnisn HeavenDoor Male BGV1 Male BGV2 DublyRight African5pt African 1 African 2 African 3
musIQ (R&B) musIQ (Barbershop) musIQ (Gospel/R&B) musIQ (Gospel/R&B) musIQ (Pop) musIQ (Pop) musIQ (Pop) musIQ (Pop) musIQ (Pop) musIQ (Pop) musIQ (Pop/Country) musIQ (Rock) musIQ (Rock) musIQ (Pop/Country) musIQ (Pop/Country) musIQ (Pop) musIQ (Gospel/R&B) musIQ (Pop) musIQ (General) musIQ (General) musIQ (General) musIQ (Rock) musIQ (Rock) musIQ (Pop) musIQ (Pop) musIQ (Rock) musIQ (Rock /Efx) musIQ(Blues/Rock) musIQ (Country) musIQ (General) musIQ (General) musIQ (General) musIQ (World) musIQ (World) musIQ (World) musIQ (World)
No Yes No Yes No No No No No Yes No No No Yes No No No No No Yes Yes Yes Yes Yes Yes Yes No No Yes Yes Yes Yes Yes No Yes Yes

Check that when you play the keys, the MIDI activity is reflected on the MIDI LED on the front panel. Confirm that the current preset is either using the musIQ Harmony Mode and the Harmony Mode musIQ MIDI button is selected, or that the Harmony Mode - Other (Menu) button is selected and the current preset is using Chordal, Notes or 4-Channel Notes Harmony Mode. Ensure that in the MIDI/Expression Pedal Setup menu, the Harmony Instrument CH is set All or to the MIDI channel your MIDI keyboard will be sending note and pitch bend data on. Unless your are intentionally using the MIDI Split Zone functionality, ensure that in the MIDI/ Expression Pedal Setup menu the Split Zone is set to Disabled. If your MIDI keyboard and playing style provide low MIDI velocities, ensure that in the MIDI/ Expression Pedal Setup menu the Min MIDI Velocity is set accordingly.
I hear hum on my guitar or vocal signals. Try a combination of the ground lift solutions implemented on the Vocalist Live Pro. The Guitar Ground Lift button lifts the Guitar Input and Guitar Thru Output from the Vocalist Live Pro ground reference to resolve ground loop issues. The Outputs Ground Lift switch lifts the Main Out, Aux Out and Mic Pass Thru from the Vocalist Live Pro ground reference to resolve ground loop issues. Using balanced XLR cables for the Main Out and balanced 1/4 cables for the Aux Out provides better noise immunity. The Pitch Correction is causing voice doubling. This may be misleading. When using Pitch Correction on your lead vocal, you may hear your own voice chorusing with the pitch corrected voice. However, the Vocalist Live Pro only outputs the pitch corrected lead vocal.
Electrical/ udio Specifications A
Electrical / Audio Specifications
Line In to Line Out Dynamic Range: THD+N: Frequency Response: Analog Inputs Guitar Connectors: Max Input Level: Input Impedance Ground Connected: Ground Lifted: Mic Preamp Connectors: Input Sensitivity for 0dBFS: Input Sensitivity for Analog Clip: Equivalent Input Noise (EIN): Input Impedance: Mic Thru: Line Connectors: Input Sensitivity for 0dBFS: Input Impedance: Analog/Digital Converter: Dynamic Range: Crosstalk: Analog Outputs Main Connectors: Output Level for Digital Full Scale (+4dBu Nominal): Output Impedance: Dynamic Range, SNR: THD+N: Crosstalk: Aux Line Output Level for Digital Full Scale (+4dBu Nominal): Output Impedance: Dynamic Range, SNR: THD+N Crosstalk: XLR Female Balanced (MAIN) +17.4 dBu 2.2K Ohms Balanced 111dB, A-Weighted 0.002% -110dB @ 1KHz 107dB A-weighted 0.002% (1KHz, Gain Max, 0dBu Input) -3dB at 25Hz and 22KHz

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with Struggling yourvocal The harmonies? DigiTech Live solo Vocalist 3 offers guitaristssimple a and solution to fool-proof powerful and creating natural-sou harmony nding vocals.live!.

Words: TimSlater

From the Beatles Mamas & to the Papasand ELO, great harmony vocalsare the secretingredient behindm a n y a s u c c e s s f u la n d , b especially those that ply their trade on the live circuit.Any band that knows their stuff understands the impoftanceof good harmonieswhen It comesto adding a real polishand you don't necessarily need to be an especially outstandingvocalist eit her. an d s h o s e i n d i v i d u al B w membersmight be competent outstanding but not particularly singers can still generatean impres s ivw a l l o f s o u n dw h e n e they take the time to work on their harmony vocals.Believeus. It can reallymake a huge difference, Solo performersare obviously somewhat limited in their ability to generateharmony vocalslive, or at leastthey were until Digitech came along with its groundbreaking VocalistLive seriesof automatic vocal harmony generatingstomp boxes.Just in caseyou've never co m e a cr o ss n e o f th e sein geni ous o devicesbefore,the VocalistLive 3 is a sophisticated digital signal processor a stompbox format that in createlayers lets singer/guitarists vocal harmoniesin a live of realistic the chordsplayed setting. lt analyzes by the guitarist,simultaneously vo i a d d in gm u ltip le ca lh a r m oni esn the correctkey and scalewhen the g u ita r ist g s.it'like m a g icand sin s pretty bloody impressive is, too. it It seemsthat the hive of restless creativitystirringin Digitech'sSalt L a keCity HQ isn ' tq u ite d o ne w i th just yet. developingthe Vocalistseries The new VocalistLive 3 is Digitech's most compacttake on its live vocal processing technologyso far but it d e fin ite ly o e sn ' tfe e l likea'l i te' d ve r sto n. The VocalistLive 3 generatesup to and can even three-partharmonies harmonies changethe accompanying pi tchto soundIi kemal eor femal e backingsingers.Not only that but the VocalistLive3 even has built-in automaticpitch correction,so now there's excuse dodgy tuni ng. no for A l l thi s i n the conveni ence a of stomp box? You've got to be kidding. extra modulationeffectsare included to add a bit of ambiencebut if you want backwards delay and robot voicesyou're definitelybarking up the wrong tree. Not that the VL3 feels basicbut the onus i s defi ni tel y mak i ng on vocal harmonies sound as natural as possible. that end the VL3 To i ncl udes umani ze'fun c ti onthat a'H helpsthe harmonies convey a to more realistic human quality by emul ati ng the subtl evariati onsn i pitch and timing that occur when real singersharmonizetogether,although you alsocan't fault the lovely tight trackingthat you get when you reducethe humanizereffect. Regarding the Humanizer's effect on the vocal it's easyto appreciate how a strong and confidentsinger might benefitfrom the subtle pinch of 'wow and flutter' courtesyof the H umani zer i n the handsof a but lesser vocalistthe humanizerhas a iendencyto exaggerate any slight vari ati onsn pi tch,hi ghl ighti ng i any vocal shortcomings ratherstarklyby making everythingsound a bit messy

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Going Live
l f you pl ay gui tarand si ng,ei ther solo or as part of a band then any devicethat can give your vocalsa bit of a leg-up is welcome.Cuitarists are alwaysfirst in the queue when it comesto using effectspedalsbut let's look at the differentways that the VocalistLive 3 (do you mind if we refer to it as the VL3 from now on?) claimsthat it can benefit singer/ guitarists: you've got a very Firstly, convenientstompbox designthat takes up roughly the samefootprint as a pair of compacteffectspedals, making it very comfortablefor the userto incorporate alongside their existingeffectssetup.The control panel reflects the fact that the VL3 is designedas a serious tool, the vocals can be processed with digital delay and reverbeffectsbeforethey reach the harmoni zer and l i kew i se chorus and reverbcan also be added to the guitar signalbut there is a notable absence weird stuff. The Digitech's of
The automatlcPitch Correcr function can help to compensate for any pi tchi ngi ssues you al s oneed but to exercise some taste here because )

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phantompower. The mic input includes
) you can definitelyhear it working. Again this is a matter of exoerience and oractice.Confident vocalists shouldn't reallyneed too much pitch correctionat all whilst singerswith slightlyless accuratepitch would still do well to use the pitch correctionfunction carefully. Overcookingthings resultsin some slight oscillation the processor as automatically adjuststhe pitch chromatically. One thing we couldn't get the pitch correction to do was to make those incredible steppedjumps that you hear on tracksthat feature deliberately pitch correction.But bearingin mind exaggerated those specialised vocal effectsare usuallythe sole domain of studio pitch correction,one can't find fault with the VocalistLive 3's generalpitch correctionfunction. Justgo easywith it at first. As a live tool the VL3 is also capableof being fairly forgiving and some usefulfeaturesare inc luded o h e l pt h o s ew h o a r e le ssa cco m p lish e d t in the tonsorialdepartment.Backingoff the Hum aniz e c o n t r o lt i g h t e n su p th e h a r m o n ie s r considerably, instantlybringingthe lead voice and attendant harmoniesimmediatelyunder better control.What's even more impressive that the is VL3 manages do all this without necessarily to making the vocalsoverly syntheticor processedsounding.As an extra precautionagainst v android-li k e i g i t i z e d o c a l s h e VL 3 a lsoin clu d e s d t a 'warmth' control that simulates the fat analogue tonesof a tu b e - d r i v e n i c p r ea m p. m Discussing thesefeaturesleadsme to recallthe first time I heard a DigitechVocalistpedalduring a Digitechproduct demo somewherein Eastern yearsago. Stunningas this early Europeseveral DigitechVocal harmonizerpedal was, the harmonies soundeda bit too artificialand processed be truly believable, contrastthe to By V L3 not on l y s o u n d s e r y a u t h e n tic u t it is a lso v b very intuitiveto use,two usefulindicators that with its illustratehow far Digitechhas progressed phenome n ah a r m o n i z i n ge c h n o lo g y. l t

limitless. iNow, although I have been known to warble the occasional ditty and contribute plenty of backingvocalsI am not a confident lead singer but the VocalistLive 3 had me attempting vocal feats that would be hitherto impossible my on own. After a couple of practicerun-throughs of Sweet Home Alabama I even felt confident enough had a stab at the introductionto the Beatles' Paperback Writer and the VL3 helped me to pull off a pretty good take-off of the co m p le xh a r m oni es adorni ng the Fab Fours1966 Nu m b e rOn e. The harmoni es be mani oul ated can to simulatemale and female vocals,regardless of the gender of the actualsinger,which gives the VL3 a terrific range of vocal treatments and the VL3 even storesfavourite harmony settingsin five patchesthat can be selected via one of the pedal'sheavy-dutyfootswitches. You can have some realfun with the gender se le ct n ctio n s, ternati velmani pul ati ng fu al y the harmonres emulatethe cavernous to chestcavity oI aBarry White style black male soul singeror e lsese le ct lig htermorefemi ni nebacki ng i thout a w compromising the integrity of the originalvocal. Thosewho are skeptical the Digitech's of abilityto replacereal human harmonies with digital simulations have nothing to fear; if you can alreadysing and want to enhance th e so u n do f your band or sol oact then the VocalistLive 3 is a usefultool, nothing more, nothing less.lt can't be calledcheatingbecause ultimatelyit's your voice that is at the heart o f th e so u n d ,the processor j ust addi ng is some extra sweeteningon the top. PM

lQ Test

own Mus lQ The VL3 employsDigitech's the lead voice and the technologythat analyzes guit arc hor d si n r e a lt i m e , a d d in gh a r m o n ie s automatically without the tedious business of programmingin the parent scaleand key in order for the harmonizer do its stuff. to Once your ears begin to adjustto the slightly yo e dis c onc er t i nfg e l i n go f h e a r i ng u r o wn vo ice harmonizingback at you through the speakers ' the VL3' s' p l u g - i n - a n d - g os i mp licity a ke sth is m pedalvery appealingand a heck of a lot of fun to use. Freedfrom having to use fixed harmonic intervals, the vocalistcan reallylet rip and enjoy themselves, they need do is to make sure that all they are playingchordsthat are harmonically relevantto their vocal and the potentialis virtuallv