VW Plus Manual v1-1

IMPORTANT SAFETY INSTRUCTIONS
1 Read these instructions. This apparatus must be earthed.

Use a three wire grounding type line cord like the one
2 Keep these instructions. supplied with the product.
3 Heed all warnings. Be advised that different operating voltages require the use
of different types of line cord and attachment plugs.
4 Follow all instructions. Check the voltage in your area and use the correct type. See
table below:
5 Do not use this apparatus near water. Voltage Line plug according to standard
110-125V UL817 and CSA C22.2 no 42.
6 Clean only with dry cloth. 220-230V CEE 7 page VII, SR section
107-2-D1/IEC 83 page C4.
7 Do not block any ventilation openings. Install in 240V BS 1363 of 1984.
Specification for 13A fused
accordance with the manufacturer's instructions. plugs and switched and
switched socket outlets.
8 Do not install near any heat sources such as radiators, heat
registers, stoves, or other apparatus (including amplifiers)
that produce heat. To completely disconnect this equipment from the AC
mains, disconnect the power supply cord plug from the AC
9 Do not defeat the safety purpose of the polarized or receptacle.
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two The mains plug of the power supply cord shall remain readily
blades and a third grounding prong. The wide blade or the operable
third prong are provided for your safety. If the provided plug The exclamation point within an equilateral
does not fit into your outlet, consult an electrician for triangle is intended to alert the user to the
replacement of the obsolete outlet. presence of important operating and
maintenance (servicing) instructions in the
10 Protect the power cord from being walked on or pinched literature accompanying the product.
particularly at plugs, convenience receptacles, and the point
where they exit from the apparatus. The lightning flash with an arrowhead symbol
within an equilateral triangle, is intended to alert
11 Only use attachments/accessories specified by the the user to the presence of uninsulated
manufacturer. "dangerous voltage" within the product's
enclosure that may be of sufficient magnitude to
12 Use only with the cart, stand, tripod, bracket, or table constitute a risk of electric shock to persons.
specified by the manufacturer, or sold with the apparatus.
When a cart is used, use caution when moving the This equipment should be installed near the socket outlet
cart/apparatus combination to avoid injury from tip-over. and disconnection of the device should be easily accessible.
13 Unplug this apparatus during lightning storms or when Do not install in a confined space.
unused for long periods of time.
Do not open the unit - risk of electric shock inside.
14 Refer all servicing to qualified service personnel. Caution:
Servicing is required when the apparatus has been damaged
in anyway, such as cord or plug is damaged, liquid has been You are cautioned that any change or modifications not
spilled or objects have fallen into the apparatus, the expressly approved in this manual could void your authority
apparatus has been exposed to rain or moisture, does not to operate this equipment.
operate normally, or has been dropped.
Service
Warning! There are no user-serviceable parts inside.
To reduce the risk of fire or electric shock, do not expose All service must be performed by qualified personnel.
this apparatus to dripping or splashing and ensure that no
objects filled with liquids, such as vases, are placed on the
equipment.
IMPORTANT SAFETY INSTRUCTIONS
EMC / EMI. Certificate Of Conformity

This equipment has been tested and found to comply with TC Electronic A/S, Sindalsvej 34, 8240 Risskov, Denmark,
the limits for a Class B Digital device, pursuant to part 15 of hereby declares on its own responsibility that the
the FCC rules. following product:
VoiceWorksPlus
Harmony | Modeling | Effects Processor
These limits are designed to provide reasonable protection
against harmful interference in residential installations. This - is covered by this certificate and marked with CE-label
equipment generates, uses and can radiate radio frequency conforms with following standards:
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio EN 60065 Safety requirements for mains
communications. However, there is no guarantee that
interference will not occur in a particular installation. If this (IEC 60065) operated electronic and related
equipment does cause harmful interference to radio or apparatus for household and similar general use
television reception, which can be determined by turning the
equipment off and on. The user is encouraged to try to EN 55103-1 Product family standard for
correct the interference by one or more of the following audio,video, audio-visual and entertainment lighting
measures: control apparatus for professional use. Part 1: Emission.
• Reorient or relocate the receiving antenna. EN 55103-2 Product family standard for audio,
video, audio-visual and entertainment lighting control
apparatus for professional use. Part 2: Immunity.
• Increase the separation between the
equipment and receiver. With reference to regulations in following directives:
73/23/EEC, 89/336/EEC
• Connect the equipment into an outlet on a circuit different
from that to which the receiver is connected. Issued in Risskov, 03 - 2004
Mads Peter Lübeck
Chief Executive Officer
• Consult the dealer or an experienced radio/TV technician
for help.
For the customers in Canada:

This Class B digital apparatus complies with Canadian ICES-
003.
Cet appareil numérique de la classe B est conforme à la

norme NMB-003 du Canada.
INTRODUCTION
Thank you for purchasing VoiceWorksPlus, a vocal
processing powerhouse designed to enable the singing
musician to produce captivating vocals in recording and
live performance. Everything from exciting harmony
parts to evocative character impersonations to simply
better vocal sound is possible with VoiceWorksPlus.
Features:
Generates up to 4 additional harmony “voices” with a

variety of musical input methods
Exclusive TC-Helicon pitch, timing and energy
humanization that effectively mimics singing groups
Vocal modeling effects such as breathiness, growl, and
resonance help create alternate voice “personalities”
Vocal pitch correction block
TC Electronic Reverb, chorus, tap delay effects & more
Distortion, megaphone and telephone effects
3 band EQ, compressor and gate
Handy top level edit knobs
100 Factory / 100 User presets and MIDI control
Microphone preamp, stereo analog and digital
input/output
Optional footswitch control
We update our manuals and various support materials

on a regular basis. For the most up to date information
we encourage you to visit our website at:
www.tc-helicon.com
We hope you and your fans enjoy VoiceWorksPlus,
The TC-Helicon Team

TABLE OF CONTENTS
Product Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . .5
Back Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . .8
Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Harmony Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Harmony Background and Tips . . . . . . . . . . . . . . . . . . . .21
Lead Voice Model Editing . . . . . . . . . . . . . . . . . . . . . . . . .27
Pitch Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Reverb, μMod and Delay Editing . . . . . . . . . . . . . . . . . . .33
The Transducer Block . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
The Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Technical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . .43
Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
VoiceWorksPlus Manual version 1.1 Prod No.: E60506411

English Version Software version 1.01
3
PRODUCT OVERVIEW
VoiceWorksPlus can be thought of as a rack full of
vocal processing in one single rackspace unit with a
couple of specialty effects thrown in for good measure.
The specialty effects, vocal harmony and modeling,
offer you the advantages of:
- Producing rich harmony vocals and doubling from

one voice during live performance
- Saving time when recording vocal harmonies
- Changing the characteristics of your singing voice

with modeling to create interesting vocal hooks
and effects
The remaining processing blocks, including the

multieffects, dynamics and EQ add to your list of
advantages allowing you to :
- Make your live performances sound more like a

fully-produced CD
- Make your recordings sound more professional
- Save time preparing for mixes or performances by

using factory presets and settings
See the diagram at right for a rough algorithmic path

overview.
4
4
FRONT PANEL DESCRIPTIONS
1 2 3 4
1. Power Switch send to VoiceWorksPlus from your mixer. They use

PPM (Peak Program Meter) weighting which is a way to
Press to turn the unit on or off.As the unit shuts down,
view signal level when using digital processors. The
it saves any setup data you may have changed.
range shows logarithmic steps down from 0 dB which
is the maximum allowable level. It's important to adjust
2. Alphanumeric LED display the send level from your mixer within the proper range
shown by these meters. Sending too little audio signal
This 15 segment LED display shows the current preset level contributes to noise buildup and unsatisfactory
number whenever the EDIT and SETUP buttons are performance of the voice algorithms. Too much input
not lit. There are dots on the bottom line indicating signal level causes distortion. If your mixer is sending
whether the current preset is in the Factory or User its maximum level and these meters show insufficient
bank. The legend below the display indicates which dot level, or vice versa, you can adjust the Input Sensitivity
represents which bank. When you press the EDIT or setting by pressing the SETUP button and entering the
SETUP buttons, this display shows a letter and a Setup menu.
number making up the address of the current edit
screen. MIDI IN indicator LED
This will light to confirm the MIDI data is received by
VoiceWorksPlus on the correct MIDI channel. To
3. Metering LED displays ensure that it will respond correctly to the incoming
There are several conditions indicated by these LEDs data, check to see that both your sending device and
and they are described in the following paragraphs. VoiceWorksPlus are set to the same MIDI channel.
Output Clip
This LED will light showing the output of the product 4. Main LCD display
has clipped due to internal level overload, possibly During normal operation (none of the EDIT, SETUP or
causing audible distortion. This LED can light even STORE buttons are pressed), this display shows the
though the Input Clip LED has not. This is because name of the current preset on the top line and the
VoiceWorksPlus has effect blocks such as Harmony for main harmony or modeling parameter values on the
example, that can potentially add significant level to the lower line. A slight turn of any of the soft knobs will
input signal. change the display to show master mix levels. While
Input Clip the mix levels are shown, the four soft knobs allow
Steady flickering of this LED with audio input shows editing of the mix. After a few seconds the display will
that the level of the signal received at the input to revert to preset name. After the EDIT, SETUP or
VoiceWorksPlus is too high given the input sensitivity STORE buttons have been pressed, this display shows
setting. To correct this, reduce the send level to up to four editing parameters on the top line and their
VoiceWorksPlus from the upstream mixer or enter the associated values on the bottom. After a parameter
Setup menu to reduce the LineSens (Line input value has been changed, an asterisk (*) will be shown
sensitivity). to the left of the name when you return to normal
operation. This is to warn that you will lose any
Input LED Stack changes should you recall another preset unless it is
These LEDs allow you to gauge how much level to saved first.
5
6 7 8 9
5. Soft knobs overview 6. Block On/Off button group

During normal operation these controls act as a mixer, These 3 buttons allow selective muting of blocks in
allowing you to quickly modify the global mix levels each preset to simplify editing.
without entering an edit menu. Moving any of the HARMONY / MODEL button
knobs will momentarily switch the LCD display so that
it shows the levels before reverting to the preset name When this LED is lit, the current preset is configured
and the information line.When either the EDIT, SETUP to produce harmony or a modeling effect. You can
or STORE buttons have been pressed, the soft knobs press this button to disable the current effect and see
control up to four editing functions from left to right what other effects are enabled in the preset.
in the editing menus. CORRECTION button
Global LEAD LEVEL control This button allows you to quickly disable pitch
This adjusts the level of the "Lead" voice. This path is correction when needed.If this button is off in a preset,
called Lead because it has no Harmony or Modeling turning it on will enable pitch correction with default
processing applied. Note that this path may have Pitch settings which may or may not be optimum for your
Correction enabled if the Correction switch from the purpose. In this case you can edit the settings in the
upper switch group is lit. Edit menu at location C0.
Global HARMONY / MODEL LEVEL control FX button
Adjusts the overall level of any harmony voices that are If the FX (effects) button is lit, pressing it will mute all
turned on or the level of the modeled voice depending signal from the μMod, Delay and Reverb blocks . The
on which configuration is chosen in the current preset. Transducer effect will not be muted. If this button is
Make sure the Harmony / Model switch above this not lit in a preset, pressing it will patch in a default
knob is lit or this control will have no effect. effects setting.
Global FX LEVEL control
Adjusts the master level of the μMod , Delay, Reverb 7. Mode Button Group
and Transducer effects blocks for all presets. The EDIT button
individual effects blocks have their own level
Press this button to enter and exit the preset Edit
adjustment controls which may be turned down
menu. All settings relating to the current preset only
preventing you hearing them when you turn the FX
are accessed here. The last edit screen you accessed
Level control. Make sure the FX switch above this knob
with the Data Wheel is remembered to reduce time
is lit or the FX Level control will have no effect.
required to locate specific edit menus.
Global OUTPUT LEVEL control
SETUP button
This control raises, lowers or mutes the master output
Press this button to access all of the global audio
of VoiceWorksPlus.
settings, MIDI functions, the EQ and Dynamics
processors and preset backup and restore. Press again
to return to recalling presets.
6
BYPASS button microphones requiring phantom power. When using
Pressing BYPASS mutes all processing blocks of non-phantom powered mics, leaving this off is best.
VoiceWorksPlus. Any audio signal that is received at -20 dB switch
the line or mic input is passed directly to the left and This switch reduces the sensitivity of the mic input
right audio outputs. when you use mics that have a high output level. You
STORE button would press this switch when you notice that even
Pressing STORE initiates the storing sequence and though the MIC GAIN knob is set to minimum (fully
presents the preset name and target user preset left), the Input Clip LED shows clipping during singing.
number in the main display. In Store mode, you can edit In this case, press the -20 dB switch and you will have
the name of the new preset by turning the EDIT 1 more range adjustment with the Mic Gain control.
knob to highlight the letter positions and then using
EDIT 2 to change the letter.You can press either EDIT
or SETUP to cancel a Store operation or press STORE
or the Data Wheel to complete.
8.The Data Wheel

The Data Wheel has two actions: you can turn it and
you can press it. When the display shows a preset
name, turning the Data Wheel allows you to browse
through the available presets. You can then press the
Data Wheel to load the preset of your choice.
If you’ve pressed the EDIT or SETUP buttons, this
wheel cycles up and down through the menus available
in these modes. Pressing it has distinct functions in
some menus.
When the STORE button is lit, turning the Data Wheel
allows you to choose a user bank preset number in
which to store your edited preset and pressing it
completes the Store operation
9. Mic Input control group

MIC GAIN knob
The MIC GAIN knob allows you to tailor
VoiceWorksPlus’s input gain to match your
combination of microphone sensitivity and singing
level.
MIC IN button
The Mic In switch controls which of VoiceWorksPlus's
inputs: Mic In or Line In, will drive the unit.This switch
must be lit before any adjustment of the MIC GAIN
and phantom power will have any effect.
48V button
You must press and hold this button for approximately
1 second to send DC voltage to condenser
7
BACK PANEL DESCRIPTIONS
1 2 3 4 5 6
1. Mic Input must be set to Digital for the digital input (DI) to
receive audio. Also, the ClockSrc must be set to
When the MIC IN switch on the front panel is lit, this
Ext(ernal) for proper audio synchronization when
becomes the main analog input. It accepts a balanced
using the digital input.
mic level XLR cable carrying a monophonic vocal
source.
5. MIDI
2. Line Input This is the standard MIDI In, Out and Thru interface
used to allow editing, preset selection, preset dump
When the MIC IN switch is not lit, this 1/4” jack
and restore functions.
becomes the main analog input.You can connect either
a balanced (3 conductor TRS) or unbalanced (2
conductor TS) -equipped cable here. The input 6. Pedal
sensitivity for the line input is located in the Setup
menu. This input accepts a single function footswitch or a
triple function footswitch. Any normally-open passive
This jack can alternately be used as an auxilliary input footswitch will work for the single function footswitch.
to the μMod, Delay and Reverb effects blocks in A triple function footswitch is available from TC-
VoiceWorksPlus. This allows VoiceWorksPlus to do Helicon called Switch 3. The switch type or volume
double duty as both a harmony processor for your pedal is detected automatically on power up. If you plug
voice and also a multieffect for other instruments or your footswitch in after power up, you may get
vocals in your mix.To use this input, the MIC IN must unexpected operation.
be set as the main vocal input.The effects level settings
are located in the Edit menu. Footswitch (Pedal) features:
1 button footswitch: Bypass only
3 button footswitch: individually selectable in
3. Balanced Outputs Setup menu
These are the balanced analog, line level stereo output
of VoiceDoubler.You can connect either a balanced (3
conductor TRS) or unbalanced (2 conductor TS) -
equipped cable here. You can sum the left and right
outputs to mono by changing the Output parameter in
the Setup menu.
4. Digital I/O
Sends and receives digital audio. Using digital I/O
instead of the analog I/O bypasses VoiceWorksPlus’
converter circuitry for enhanced audio clarity when
used with compatible systems.The digital output (DO)
is configured to always produce the same audio as the
main outputs. The Input parameter in the Setup menu
8
QUICK START
Getting set up Note: When connecting the unit to a computer, you’ll

need to know how to route your dry vocal track to a
There are several ways to connect and use separate, auxilliary output.
VoiceWorksPlus, including using a microphone, analog
line input and output or digital input and output, but in
order to speed things up during this quick start, we’ll
assume you’re using analog connections between
either a mic and PA system or a computer setup with
a couple of monitors.
Unpack
1. Remove the product from the packaging. Store the
box and documents that came with it.
2. Place the product on a non-skid surface or in a rack.
It’s best to have easy access to the rear panel
connectors for the first few days while you sort out
which I/O scheme you prefer.
Demo setup #1: Mic input and analog mixer
Prepare
3. Before connecting power or turning the unit on, set
up your mixer or computer interface to receive audio
from VoiceWorksPlus.
4. Set your PA or monitoring levels to zero before powering
up the unit! This is just good practice when setting up
new gear or even the same gear in a new situation.
Demo setup #2: Analog to computer interface
Back panel connections

5. Connect the power cord to VoiceWorksPlus and Front panel setup
plug the other end into an AC outlet.You can turn the 9. Press the BYPASS button so it lights.We’ll check that
unit on now because you’ve safely set your monitoring audio is flowing properly in Bypass first and then move
levels to off right? on to checking out the effects.
6. Connect the audio cable from your source to 10. If you’re using a mic for input, press the MIC IN
VoiceWorksPlus.This can either be an XLR cable from button so it lights.You’ll need to adjust the MIC GAIN
your mic or the line level 1/4” connector from your knob so that no red shows on the LED stack when you
computer’s audio interface. sing.Apply 48V phantom power if needed and press the
7. Connect the VoiceWorksPlus outputs to your mixer -20 dB button if the lowest setting of the MIC GAIN
or computer inputs. Stereo is best, as this delivers the knob still causes peaks while you sing.
sounds as they were programmed. If you can only 11. If you’re using the Line Input, make sure the MIC IN
connect in mono, you’ll have to enter the Setup menu led is not lit. Start playback on your computer.There is
and adjust this parameter. no front panel input level knob so adjust the send from
8. You can optionally connect a MIDI keyboard which your mixer or computer so the LED stack shows no
allows you to check out the harmony methods using red on peaks.
MIDI input for selecting harmony intervals.
9
QUICK START
12. Hopefully, you’ve waited until now to raise your
monitoring/PA levels and if you have, you should be
Making front panel tweaks
greeted by a voice that sounds nice and dry at a Before you get to exploring the presets, here are some
reasonable level. tips that will help you.
13.Turn off BYPASS by pressing the button so the LED

is off.Turn the DATA WHEEL to preset number 1 and Browsing presets
press the wheel to load this preset. You’re now ready
When you first turn on VoiceWorksPlus, the last preset
to explore the factory presets in VoiceWorksPlus.
loaded will be loaded for you.Turn the Data Wheel to
browse through the preset list.As you do so, the name
and information fields of the next preset will be
previewed in the main LCD and the effect buttons will
flash indicating which effects will turn on. An “H:” on
the lower line indicates a harmony preset. An “M:”
indicates a modeling preset.
To load presets, push the Data Wheel.
Adjusting the mix

You can vary the global mix (all presets will be affected
in the same way) by adjusting the soft knobs. As you
turn one of them, the LCD display will temporarily
change to show the value of all four levels before
returning to the main display. Note that a value of “0”
denotes full level, not Off.You can use the soft knob on
the far right as a master volume instead of your mixer
if that is more convenient. Any adjustment of these
settings will remain through subsequent power up
sessions.
Enabling and disabling the effects

blocks
The three block on/off buttons above the soft knobs
allow you to temporarily enable or disable:
1. the Harmony or Modeling block in the preset. (In a
harmony preset this is the harmony mute button).
2. pitch correction in the preset
3. the reverb, delay or μMod effect in the preset
Reloading the preset or loading another will return the
block on/off status to what was stored.
10
QUICK START
Exploring the presets Harmony presets you set with Key

The presets are grouped by the different abilities of the and Scale
product which makes it much simpler for browsing. Presets 21 to 30: Scale harmony mode
The different harmony modes require different inputs
These presets require that you input the key and scale
from you and the preset groupings make it easier to
of your song. No further input is generally required
compare presets of a harmony single control method
because the musical intelligence built into
with others of that same method.
VoiceWorksPlus shifts the intervals automatically while
you sing.The factory default key setting for all of these
presets is A major so, if you sing a song in this key you
Harmony presets that utilize MIDI
won’t have to keep changing key and scale each time
input you load a new preset.
Presets 1 to 10: Chord harmony mode To change key and scale, press EDIT and turn the Data
Presets 11 to 20: Notes harmony mode Wheel to locate edit screen H0. Use the soft knobs to
Presets 57 to 60: Combi harmony mode select the combination of key and scale for your song
that sounds good over your chord changes. Note that
If you have connected a MIDI keyboard or the output VoiceWorksPlus is configured so that all presets share
of a MIDI sequencer track to VoiceWorksPlus, you can the key and scale settings saved with the last preset.
use these presets to produce harmony for any
combination of melody and musical accompaniment. If you wish to change this so each preset has a different
MIDI Channel channel 1 is recognized by default so set key (perhaps for different songs in live performance),
the output of your keyboard or sequencer track to the Setup menu has a parameter called Chord/Key
send on channel 1. which is set to “Global”.You can set this to “Preset” if
you prefer.
The text on the lower line of the lcd display will show
an H: indicating that it is a harmony preset and either The Scale harmony technique works best when the
“Chord”,“Notes” or “Combi” which are the names of accompaniment uses the simple chord changes found
the MIDI-controlled harmony modes. in pop and blues. A preset with a single 3rd harmony
interval will usually produce pleasing harmony with
In the Chord harmony presets, the chords you play on more songs than presets that have a 5th or additional
your keyboard are interpreted by VoiceWorksPlus to interval.
produce related harmony intervals that move while
you sing. Holding a chord and singing a melody or
arpeggio will result in a moving harmony arrangement. Presets that change voice character
In Notes presets, you play melodies or chords that Presets 31 to 40
define the exact harmony intervals while you sing.
These presets use modeling and the hybrid shifter to
Holding a chord or a note while you sing a melody or
modify the timbre and pitch of your voice. In most of
arpeggio will “freeze” the harmony arrangement on the
these presets, your dry voice is replaced with the
notes held on the keyboard. VoiceWorksPlus will
modeled version so you can use them to mimic other
recognize up to 4 MIDI notes at a time although some
singers’ growl, rasp or timbre and create cartoon
presets may be set to mono (1 voice) or duophonic (2
characters. In a few of the presets, a duet is created
voices) operation.
with the modeled voice and your dry voice hard
Combi mode presets use the same key and scale input panned left and right.
as Scale presets do with the extended ability to
There is an “M:” on the lower line of the display
temporarily insert MIDI chords from a keyboard to
indicating that the preset uses modeling.The remainder
adjust inappropriate Scale voicings. To work best, the
of the text on the lower line shows the amount of
sung melody note should be in the chord played.
pitch shifting in cents (hundredths of a semitone), if any
is enabled in the preset.
Load any preset from this group and talk or sing into
your mic.
11
QUICK START
Presets that create automatic Presets that feature the Transducer

doubling Presets 71 to 80
Presets 41-50 The presets in these group send your voice through
You can use these to recreate the lush thickness of the Transducer to provide interesting distortion,
voices singing in unison along with your dry voice. megaphone and telephone effects. Care must be taken
Some presets feature multiple harmony voices, others when using this effect because it can cause feedback
use the model to create a unique character to sing simply because of the nature of distortion which tends
along with you and at least one uses the μMod effect to raise the average level of the signal. You can take
to create the doubling illusion. steps such as pointing your mic away from the speaker
and turning down the volume until you get used to
Though some presets display a key and scale, no key how this effect reacts with your PA setup.
and scale adjustment or MIDI input is required to enjoy
them.
Classic vocal effects
Presets that offer Pitch Correction Presets 81 to 90
Presets 51 to 56 There is a group of presets in VoiceWorksPlus
configured to produce classic effects such as reverb,
You can explore pitch correction with this group of delay, chorus, and flange etc.These are best auditioned
presets.You should be aware that, when set optimally, in stereo although they are useful in mono as well.
the effect of pitch correction is subtle compared to the
other effects in VoiceWorksPlus especially when you
are singing through the product (as opposed to playing ...And the rest
back a recorded track).
The presets described above will give you a good
To be effective, pitch correction needs key and scale to overview of the capabilities of VoiceWorksPlus There
be set so that it matches your song. Like the Scale are, of course more presets scattered throughout the
harmony presets, the default setting for these is A 100 preset slots that are variations on these themes.
major.To change the key and scale of pitch correction,
press the EDIT button and scroll to menu C0 with the
Data Wheel.
Several presets are devoted to pairing pitch correction
with the Chord, Notes and Scale harmony modes.
Note that the harmony information shown on the
preset main screen e.g. “H:Scale A Major2”, does not
reflect the pitch correction key and scale settings. To
view the key and scale of the pitch correction in one of
these presets, briefly bypass the Harmony/Model
effects by pressing the Harmony/Model button. Once
you’ve learned the correction information, you can re-
activate the Harmony/Model effects.
There is one preset that uses a chromatic scale in
which all notes are valid and no key or scale is
required.
12
EDITING OVERVIEW
Editing overview How to find the EDIT Menu you

When you want to make a change to the sound you’re want
hearing from VoiceWorksPlus, you’ll need to press the Each edit screen has an alphanumeric address to make
EDIT button to navigate the various menus, find the finding it easier. For example, the Delay edit screens
setting you want to change with the Data Wheel and show D0 to D4 in the LED display. The following
then press STORE to name and save the result to the graphic shows the addresses in the order found in the
User preset bank. EDIT Menu:
The first editing menus are different for Harmony and
Modeling presets as you can see in the graphic at the PC
Preset configuration screen
right. Both types, however share the same editing
menus from the Pitch Correction menu, C0 to the end.
ª
There is extensive editing ability within this product
Preset Type is set to Preset Type is set to
and we’ve made every effort to balance easy
Harmony/Doubling Lead Voice Model
HC L0-L9
customization with access to useful parameters.
Understanding the control layers Harmony control Modeling settings

concept
The following paragraphs discuss the concept of the
three control “layers” that help you find the sound you
V0-V5
Harmony voicing
S0-S2
Shifting settings
need.
Presets H0-H5
Harmony editing
MV
Main vocal mix
DV
The factory presets have been designed to cover as
many musical styles and effect combinations as possible
so that you don’t need to do much editing if you’d
prefer not to. While at the preset level, the four soft
knobs and the block on/off buttons on the front panel
Dry voice level
ª
C0-c2
allow you to make changes to the effects without
requiring a trip into the EDIT menu.
Styles
Correction
X0-x2
To make quick edits, you can press the EDIT button
and navigate to the “styles” edit screens e.g. R0: Reverb
Style. The styles are like presets-within-a-preset
allowing you to make large changes to the reverb FX (Effects) mixer
sound, for example, without requiring time consuming
individual parameter changes. Style values can be
edited and stored with a preset but the edited style
M0-M8
μMod settings
D0-D4
cannot be used in other presets.
Parameters
Adjusting individual harmony voice levels, for example, Delay settings
cannot be done easily with styles, so parameters such
as these are available individually. Even if you are an
experienced effects programmer, it’s a good idea to
R0-r3
Reverb settings
T0-T4
browse through the parameter descriptions in the
following pages to familiarize yourself with the unique
features available in VoiceWorksPlus.
Transducer settings
13
EDITING OVERVIEW
Quick editing guides If you turn up the level for an effect but you don’t hear
it, this could be because:
The following quick guides cover standard edits you
may require. 1. The main FX button on the front panel is off. If so,
press the button to turn it on.
2.The main FX level soft knob is turned down. Exit Edit
How to store modified presets mode and turn the FX mix knob (#3) clockwise.
We’ll discuss this first so you can get on with modifying 3.The Send to the effect is off. Re-enter Edit mode and
and saving right away. scroll to menu X1. The leftmost soft knob selects
1. Make a parameter change to a preset which effect processor you want to adjust and the
remaining soft knobs allow you to set the send
2 Press the STORE button.The main LED and the
amounts from the Lea (dry or corrected lead voice),
STORE button’s LED will flash indicating store
H/M (harmony or modeling), and Aux (auxilliary input)
mode.
to “0”.
3. Select a user location for the new preset with the
4. The effect you want has no Style loaded. Use the
Data Wheel.This only scrolls through the 100
Data Wheel to scroll to screens M0, D0 and R0.These
user locations so don’t worry about overwriting a
are the style selection screens for μMod (micromod),
factory preset.
Delay and Reverb. Select any styles you prefer.
3. Name the new preset. You can use the left two
If you want to make further edits to the effects, consult
soft knobs as a cursor and letter selector
the discussion of edit parameters in the following
respectively.Your name can have up to 15
chapter.
characters.
4. You can press STORE or the Data Wheel to
commit the preset to memory. If you decide to How to add pitch correction to a
cancel the store operation, press either the EDIT preset
or the SETUP button.
Pitch correction is generally added to your lead voice
in a mix of harmony voices but the following is the full
How to change the effect (FX) list of the possibilities.You can add pitch correction to:
settings in a preset o your dry voice when it’s mixed into a harmony,
doubling or effects-only preset,
The following should help when you’ve found a
harmony or modeling preset you like but, for example, o your modeled voice created in a modeling preset,
the reverb effect is too long or too quiet or maybe o your dry voice fed through transducer presets.
there is a delay effect you want to use instead.
1. Load a preset that meets the above criteria
To disable effects in the preset
2. Press EDIT and scroll to menu C0 with the Data
In the main preset operating mode where both the Wheel. Enter the key and scale of your song using the
Edit and Setup LEDs are off, press the FX button above soft knobs.This could be the first or last chord in your
the soft knobs so the LED turns off.You can now store song.
the modified preset.
3. Scroll to screen C1 and set the Wndow (Window Size),
To adjust effect levels and styles in a preset Attk (Attack Time),and Amnt (Correction Amount) settings
Press the EDIT button and scroll the Data Wheel until to 100, 20 and 100 as a good starting point. If you stay on
you see X2 in the main LED display.This is the address this screen while you sing, you can adjust the settings to
for the effects mix screen.The soft knob at the far left your liking. Note that you should sing with an instrument
sets the Out parameter to either Wdth (stereo width) tuned to A=440 for correction to work correctly.
or Lev (effect level). The remaining soft knobs allow 4. Store the modified preset to the user bank. If you
you to individually adjust the levels of each effect don’t want to edit your preset before singing songs in
processor in VoiceWorksPlus. Note that “0” means full different keys, you may want to store your preset in
volume, not “off”. several locations with different correction settings.
14
EDITING OVERVIEW
How to change the levels and pan 4. Scroll to screens H2 and H3 to change vibrato styles
and adjust the amount on each voice.
position of the harmony voices
In the case where one or more of the voices in a 5. In menu H4 you can adjust the overall amount of
harmony preset stand out or are too quiet, or you detuning to all voices with a single Det (Detune)
would like to change pan position of each voice, you amount parameter and trim the three effects set by the
can do the following and then store your edited preset current Humanization style. These include Pit (Pitch
to the user bank.This procedure also allows you to add modulation, Tim (Timing variation) and Lev (Level
or remove harmony voices to the preset. modulation).
1. In a harmony preset, press EDIT and scroll to menu Note that these values are not reset when you change
V0 with the Data Wheel. Here you’ll see how many Humanization styles and if you reduce any value to
voices are enabled and their relative levels. zero and then change styles you will not get the full
effect until you turn it up again.
2.Adjust the voice levels with the soft knobs while you
sing. To lower the overall harmony volume for your In a modeling preset:
preset, adjust each voice by the same amount. 1. Press the EDIT button and scroll to menu L0. Here
3.To edit pan positions, scroll to the next menu,V1, and you can choose the Humanization style you prefer and
adjust the positions with the soft knobs. If any voices adjust the amount in the same screen. These are the
are Off in the previous menu screen, adjusting their same styles as those available for the harmony voices.
pans will have no effect. 2. In menu L1, you can adjust the individual amounts of
4. If you raised the level of any voice that was set to Pitch,Time and Level randomization (Rand) set by the
Off, you’ll need to set the new voice’s interval in menu current Humanization style. The leftmost soft knob
V2. allows selection of the Pitch,Time or Level parameter
for adjustment by the next two soft knobs.
3. Editing the amount (ScpAmt), duration (Dur) and
How to adjust Humanization and randomization over time (Rand) of the pitch event that
vibrato settings in a preset occurs at the start of each sung note is set in menu L2.
These values are changed each time you load a new
Humanization in VoiceWorksPlus is controlled by
Humanization style. A ScpAmt value of 0.0st (zero
several settings that impose time, pitch and level
semitones) disables the effect.
variances upon the harmony voices or to the modeled
voice to mimic human singing. You can choose to add
more of these effects or reduce them with these How to change the pitch shift in a
menus.
modeling preset
In a harmony or doubling preset:
Modeling presets allow chromatic or scale-based pitch
1. Press the EDIT button and scroll to menu V4 to shifting. If you have no dry voice mixed-in in menu DV,
speed up (lower number) or slow down (higher the modeled voice, with it’s shifted pitch replaces your
number), or disable (value=0) the Portamento, or glide voice. If your dry voice is mixed in, the modeled voice
time between notes. can be used as a harmony or duet voice.
2. Scroll to menu V5 to adjust the amount of 1. Load a modeling preset, press EDIT and scroll to
Smoothing, which, at lower numbers acts as pitch menu S0.
correction for the harmony voices.A value of 0% is full
correction and 100% yields smooth transitions 2.With the left soft knob, select which type of shifting
between note changes. you prefer: Chroma (chromatic) or one of the scale
shifts from Maj1 (major 1) to Cust (custom intervals).
3. Scroll to menu H0 to choose a different
Humanization style for each voice or disable it by 3.You can either adjust the chromatic shift amount in
setting the value to Off/No Style. Menu H1 allows you cents (hundredths of a semitone) or set a new key,
to adjust the amount of each Style. scale and voicing interval as you would with a Scale
harmony preset only with a single modeled voice.
15
16
HARMONY EDITING
Chapter Overview V1:Voice Pans

Presets are configured as Harmony or Modeling. The Each voice may have a unique pan position. There are
following pages detail only the editing interface for 100 possible steps in each of the left and right pan
presets configured to produce harmony. The edit positions.
interface for modeling presets is discussed in the V2:Voicing: Harmony Intervals
chapter entitled Lead Voice Modeling Editing. Here you set the pitch shifting intervals depending on
the harmony mode chosen in the Harmony Control
menu.The representations of the pitch shifts also vary
Preset Type - menu PC according the current harmony mode.
This configures the current preset’s edit menus for
In Shift mode, you may pitch shift the voice in
either Harmony/Doubling processing or Lead
chromatic (fixed), one semitone intervals up to two
Modeling processing.
octaves in either direction.
In Scale mode, the pitch shift follows diatonic (moving
Harmony Control - menu HC third) rules.The choices are musically useful and cover
The parameters in this screen determine the type of the +/- two octave range.
harmony processing for the current preset and it’s In Chord mode, the interval range covers the range of
associated musical requirements. harmony motion defined by Chord mode.
Mode allows you to choose between the multivoice In Notes mode voicing is determined by the notes you
shift modes. The menu interface will change adding or hold down on your MIDI keyboard and so adjustment
removing additional parameters depending on the is not applicable in this screen.
mode chosen. In Combi mode the intervals are the same as for Scale
o Shift - no additional parameters in this screen mode because these two modes are similar.
o Scale - Key and Scale V3:Voicing Gender
o Chord - Chord Root and Type Each voice has its own timbre adjustment in the form
o Notes - no additional parameters of Gender control. Values below 0 lend each voice a
more masculine and deeper effect and values above 0
o Combi - Key and Scale lend a more feminine or thinner effect.
When the current value is Scale or Combi, this screen V4: Portamento Times
is where you set Key and Scale your song.
Each voice has its own Portamento time. Portamento
If the current value configures the preset for Chord is a delayed response to the pitch movement of your
mode, you can store the preset with default values for singing voice. It is also referred to as “Glide” in
the Root and Chord Type. synthesizers.The range of values equals approximately
how long the upwards or downwards slide will take to
reach each new note. Setting each voice to different
Voicing Screens - menus V0 to V6 values greatly assists the illusion of other singers
These edit screens apply to the pitch shifting aspects of singing with you.
your four harmony voices.
V5: Smoothing Amount
V0:Voice Level
Like Portamento, setting each voice with a unique value of
The four EDIT knobs control the volumes of each of the Smoothing parameter helps the harmonies sound
the voices. Note that the range of values goes from Off more natural. At low values, Smoothing acts like pitch
to +6 dB. Typically, you would avoid the 0dB to +6dB correction of the harmony voices according to the shifting
values unless only a single voice is active and you need rules applied by the current harmony mode. With the
extra level for it. The presets were created at the voices corrected like this, some Portamento is usually
factory at optimum levels designed to minimize output required to help soften note to note transitions. Higher
distortion that may arise when adding the levels of the values offer progressively less correction.
voices together at high levels.
17
HARMONY EDITING
Humanization - menus H0-H7 All humanization styles but the last four have scoop, or
onset events pre-programmed into them in varying
The term “humanization” simply means the application
degrees.The last four, called PitTimLvl 1 through 4, have
of processes designed to increase realism.All harmony
none to allow you more programming variation.
modes usually benefit from careful application of
humanization styles that make each harmony voice H1: Humanize Amount
respond slightly differently to your singing voice. You can vary the amount of humanization
Humanization is especially useful to make Notes and independently for each voice. All the styles except the
Chords harmonies sound more natural.The rigid pitch last four were designed at middle values to allow you
definitions imposed by MIDI don’t automatically lend to add or remove effects as you see fit. The last four
themselves to matching the small pitch wobbles, timing were designed at low values so you can create wild
inconsistencies and varying volume envelopes of a special effects as you experiment with high values.
human singing group. H2:Vibrato Style
Humanization styles are made up of: Vibrato assists in providing separation between your
o Onset pitch events - This is also known as dry singing voice and the harmonies. Even the smallest
“scooping” which adds a generated pitch amount of vibrato applied to your harmony voices can
trajectory for each new note that is different than achieve this. There are 28 styles available in
the sung note. progressively more intensity as you browse down the
list.Again, they are grouped in fours for when you have
o Pitch modulation - a random wave generator
four voices enabled that you want vibrato on but you
wobbles the pitch in non-periodic ways to
want them slightly out of sync to sound more natural.
simulate even the finest singers’ pitch variation.
Of course, mixing styles is useful and recommended.
o Timing delay and modulation - Singers are unable Note that changed style or parameter values will be
to start notes at the same time with the heard at the next sung note.
exactness of a machine so this algorithm applies
H3:Vibrato Amount
slight delays to the onset of notes and then adds
modulated time variation to sustained portions of You can vary the amount of vibrato intensity of the
notes. current vibrato style independently for each voice. All
the styles were designed at middle values to allow you
o Level (volume) modulation - This effect is like a
to add or remove vibrato as you like.
subtle tremolo with a non-periodic or semi-
random waveform that simulates the way different H4: Detune, Pitch,Time and Level Trims
singers change note volumes as they sing. Detune applies a slightly different amount of pre-set
H0: Humanize Style and opposite pitch shift to each voice as you raise the
value. At maximum, +/- 50 cents of detune is applied.
You may choose from 24 pre-programmed
humanization styles that were created at the factory to Pit (Pitch Trim),Tim (Timing Trim) and Lev (Level Trim)
speed editing. Each voice can have a unique style. The allow you to adjust the amounts of these components
styles are loosely ordered from subtle to overt with a within the current humanization style. For example, if
general style quality indicated by the name. As you you like the sound of the Pitch and Timing variation in
change the values with the EDIT knobs, the screen the style but would rather that the levels didn’t
briefly shows the name of the style you have selected fluctuate, you could lessen or remove this part of the
before reverting to the menu name. effect. Note that a 100% value in this menu is only as
much effect as what is applied in the Humanize Amount
The styles were designed in groups of four so that if
menu (H1). The Detune parameter operates on its
you apply all four numbered “Natural” styles (one for
own.
each voice) for example, each voice would respond
slightly differently but still would remain within the H5:Tuning and Hold Release
“flavour” of the style name. Applying similarly-named The Tuning parameter allows you to affect tiny pitch
humanization styles to multiple voices is not required adjustments to your harmony intervals to achieve
however, allowing you can mix and match to your Equal, Just or Barbershop tuning.
liking.
18
HARMONY EDITING
Equal tuning is the compromised tuning standard that Latch works in the Notes and Chord modes only. It
instruments such as guitar and keyboards are designed acts like an automatic sustain pedal. With Latch set to
to. This tuning mode allows you to play in any key Off, you can sing a sustained vowel and press the notes
without completely retuning your instrument for every on your MIDI keyboard on and off to bring the
chord.This value is the default from the factory. harmony voices in and out. With Latch set to On,
Just tuning is what is known as “perfect” intonation removing your hands from the keyboard will cause no
change to the chord or notes you played.
between harmony intervals. It is best to use this when
performing with other instruments tuned to Equal, or When turning Latch On in Notes mode, you must
standard tuning.The pitches of major and minor thirds trigger the same number of notes for the subsequent
and the fifth intervals are brought into exact chord as there are voices turned on in the preset. For
mathematical symmetry which overcomes the example, if four voices are enabled in the preset (Levels
“beating” of harmonics that occurs with Equal tuning are more than zero) and you play a four note chord on
mode. the keyboard while you sing, you will hear four
harmony voices. If you remove your hands from the
Barbershop functions exactly like Just tuning in all
keyboard and play two different notes, the harmony
harmony modes except for Chord mode. In this case,
will not change. Only when you hold four notes at
Barbershop tuning uses your singing voice as the pitch
once will the harmonies change.
reference where Just intonation uses the root of the
current chord played via MIDI.
HoldRel (Hold Release) varies the amount of time it Dry Voice Mix Screen - DV
takes for any notes held with the Hold feature to You can vary the level of your singing voice in the
decay.This makes for a more natural release. Note that harmony mix with the Dry Level and Pan controls. In
no new harmony notes will sound until the time you harmony presets in VoiceWorksPlus, the “Dry” voice is
set with this parameter has elapsed. your singing voice with or without pitch correction.
H6: Notes Envelope, Attack, Decay and Release
These settings affect only Notes mode harmony. They
are designed to introduce level modifications to the
harmony voices’ onset, duration and release for more
natural effect. All values are in milliseconds.
The Attack parameter provides a gentle volume fade-in
when you strike a MIDI note during a sustained sung
note.
The Decay parameter adds a brief, pre-set level boost
to the sustained portion of a MIDI note to separate
Notes harmony from the dry voice better. Adjusting it
determines the time to ramp in and out of the higher
level.
The Release parameter adds a smooth fade-out if you
release your MIDI note as you continue to sing.
H7: Notes Extension and Latch
The Notes Extension feature is a new feature for TC-
Helicon harmony processors. It allows a harmony voice
that has been triggered in Notes mode to continue
sounding while the singer sings after the MIDI note has
ceased. This feature makes it possible for singers to
improvise by holding their sung notes longer without
having to reprogram the sequencer controlling their
harmony performance.
19
20
HARMONY BACKGROUND AND TIPS
Chapter overview The factory presets are organized on the basis of the
five harmony modes:
By now you’ve likely browsed through the harmony
presets in VoiceWorksPlus and are relatively familiar Chords
with the harmony modes and features. This chapter Notes
gives some background and tips to help you produce
Scale
the best harmony performances possible using
VoiceWorksPlus. Editing your settings is discussed in Shift
the following chapter. Combi
Why are there different harmony The “intelligent” harmony modes, Scale and Chords,
modes? calculate an input note to output note harmony “map”
with the following inputs from you:
For every note you sing, there are many notes that
could qualify as good sounding harmony notes. In order 1.The note you’re singing at any given moment;
to have VoiceWorksPlus “sing the right notes” you 2.The key and scale you’ve set at the beginning of
need to feed it some information and this is done your song for Scale mode;
through creating several harmony “modes”. Each 3. or the chord root and type interpreted by
harmony mode requires different input from you and is VoiceWorksPlus from your incoming MIDI in
capable of producing unique harmonies from the same Chords mode.
vocal performance. We will use a little allegory to
explain. This map has an output note associated with every
input note.This creates a harmony melody that moves
When you and a fellow musician get together to play with your lead melody while generally sounding
and sing, typically some musical information is passed harmonically correct with your accompaniment.
from one to the other before commencing the song.
You do this in order to make sure the music sounds The non-intelligent modes, Notes and Shift, each
pleasant and not discordant.The information can be as have unique requirements so we will deal with them
simple as the name of a song you both know, a musical individually:
key or even pointing out the chords on your The Notes harmony mode requires a MIDI keyboard
instrument. In this respect, VoiceWorksPlus is similar. or other MIDI source to dictate to VoiceWorksPlus
You will need to share some musical information in what harmony notes you’d like to hear during your
order for it to do its job properly.The different ways in lead melody. Once a harmony note or notes are held
which you can communicate this information to down on your MIDI keyboard or MIDI track, this is
VoiceWorksPlus are through the “harmony modes”. where they will stay regardless of your changing vocal
Like your friend in our analogy, VoiceWorksPlus has melody.
intelligence that can contribute to making good music. Shift mode follows the pitch of the lead melody a fixed
You can choose to use this intelligence or not interval away. This is most useful for unison doubling,
depending on the chord structure of your song and the octaves, special effects or Gothic-sounding 5ths. As
harmony lines you have in mind.You make this choice such, it’s not as useful for creating what we call
when choosing presets to produce harmony in your harmony which is usually made up of diatonic intervals
song. or those that vary their distance away from the sung
note depending on which note you are singing in a
scale.
See the following page for a comparison chart of the
harmony modes.
21 21
A Comparison of the Harmony

Modes
The following table gives an overview of the plusses
and minuses of each harmony mode.
Harmony Mode Input Benefits Challenges
Scale Set Key and Scale of song Most natural sounding with mini- Diatonic harmony doesn't work
mal input. Can be the fastest way with all chord accompaniments.
to produce harmony. Requires that you know how to
choose Key and Scale correctly
Chord Play chords on a MIDI keyboard Works for nearly every chord Limited harmonic movement not
change accompaniment. always most realistic sounding
Combi Set Key and Scale then use MIDI Optimal blend of natural sounding Requires that you know how to
chords where needed to correct Scale harmonies and Chord choose Key and Scale correctly
harmony/chord change errors mode arrangement flexibility
Shift Set shift amount with the Voicing Easiest to use Fixed interval less useful for
parameter or choose Shift-based musical harmony
preset
Notes Perform harmony melodies on Complex harmonies can be creat- Requires keyboard skills. Wide-
MIDI keyboard or use MIDI track ed that move independently of panned voices may swap sides
playback sung voice melody. due to voice allocation.
Notes 4 Channel Perform harmony melodies on Any harmony melody can be cre- More time required to input
four MIDI channels/tracks using a ated for each voice. Unique pitch melodies. Sequencing knowledge
MIDI keyboard and/or sequencer bends on each channel add real- required.
ism. Pan and Gender assign-
ments locked to voice
arrangements more naturally, allowing runs, bass riffs,

Which is the best harmony mode for and chord partials while you sing and create harmony
you? simultaneously.
From the chart above you can see which harmony “Are Scale presets the best for me?”
mode is likely to become your favorite. Shift is not If you are a guitar player in a live act, Scale mode will
described as it’s not a true harmony mode. work best because there is no requirement for
“Are Chords presets the best for me?” ongoing musical information during the song as there is
If you play keyboards, presets based on Chords are with the MIDI modes. All you do is set the Key and
likely to work best for you.You just select a preset with Scale or load a preset you’ve saved with the song’s
the arrangement of intervals above or below your information before you start your song.This only takes
voice and get down to playing your instrument.All you a moment and then you can get on with playing. During
do when you require harmony is to un-mute the the song when you need harmony, you can use the
harmonies with the Harmony Mute function on your Harmony Mute button on your footswitch to turn
footswitch and then play the chords in your song. harmonies on and off. Some songs where the
combination of vocal melody and your music may
A new TC-Helicon feature has been added to produce odd harmony notes may occur, but the songs
VoiceWorksPlus that greatly improves Chord mode where you can create harmonies handsfree will
flexibility and it’s called “Improvise” mode.This is found completely impress your audience.
in the Setup menu (press the SETUP button) at menu
U2 and once set, it will affect all Chord harmony “Are Combi presets for me?”
presets. Improvise mode configures Chord mode For someone who uses a sequencer to help with
presets so that only 3 note chords will trigger a chord backup music live or to at home to record their own
change, instead of each note as is the case with music, Combi mode can give you the excellent
“Classic” mode.This allows you to play your keyboard combination of natural-sounding note to note
22 22
transitions that Scale mode gives you with the benefit
of a MIDI chord override that solves the Scale mode
dilemma. Because inputting a chord is only required
during problem sections, you have to be aware of
where these sections are and while you’re performing,
your mind is usually focussing on your performance.
Also, an intricate keyboard part is usually not required
so limited keyboard skills are all that’s needed.
“What about Notes and Notes 4 Channel?”
These two modes, or rather the one with its sub-
mode, are highly useful for home recording enthusiasts
that can play a keyboard melody. Notes mode presets
give you ultimate flexibility in allowing you to create
harmony melodies that ascend or descend even while
the pitch of your singing voice drones on a single note
or goes in a completely different direction. Notes is a
little unwieldy when you’re simultaneously playing a live
piano or organ part but it really shines when you need
to create something new in your song harmonies.
Notes 4 Channel, with its ability to accept multiple
pitch bend performances and the fact that the voices
never swap sides when hard panned left and right make
it a useful tool for recording or the creation of live
backup tracks.
“How do I use Harmony Hold?”
Harmony Hold is a feature that can be triggered by the
setting one of the Switch3 footswitch parameters to
Hold or by sending a MIDI CC messsage. When the
hold feature is triggered during a held vocal note, the
vowel sound creates a sustained harmony part for as
long as you hold down the pedal.At this point, you can
improvise over the sustained vowel sounds.
The feature can make for very interesting live affects
that seem to defy what one singer alone can produce.
23 23
Scale types and voicings

table
Lead Voice C C# D Eb E F F# G G# A Bb B
MAJ1 3rd Above E nc F nc G A nc B nc C D D
5th Above G nc A nc B C nc D nc E F F
MAJ2 3rd above E nc F nc G A nc C nc C D D
5th above G nc A nc C C nc E nc E F F
MAJ3 3rd above E nc F nc G A nc Bb nc C D D
5th above G nc A nc Bb C nc D nc E F F
MIN1 3rd above Eb nc F G nc Ab nc Bb C nc D nc
5th above G nc Bb Bb nc C nc D Eb nc F nc
MIN2 3rd above Eb nc F G nc A nc Bb C nc D nc
5th above G nc A Bb nc C nc D Eb nc F nc
MIN3 3rd above Eb nc F G nc Ab nc B C nc D nc
5th above G nc A Bb nc C nc D Eb nc F nc
The table above illustrates the how the six scale types Voicing intervals in Scale mode
differ. It shows the third and fifth intervals for input
notes in the key of C.
presets
+2 Octaves (+2ve)
The bold line of notes at the top represent the sung or ++7
input note. ++6
++5
++4
The symbol “nc” means no change, in that the harmony ++3
voice will simply stay on the previous note until the ++2
lead voice changes to a non “nc” note. +1 Octave (+1ve)
+7
The table at right shows the range of harmony voicings +6
available in Scale mode. +5
+4
+3
+2
Unison
-2
-3
-4
-5
-6
-7
-1 Octaves (-1ve)
- -2
- -3
- -4
- -5
- -6
- -7
24 24
Chord types and voicings Voicing intervals in Chord mode

presets
table
+2 Octaves
The following gives additional detail on Chords mode.
It shows the range of chords recognized by Harmony4 +1 Octave
based on a chord root of C in the left column. To the Up 6
right in the table is the combination of notes that are Up 5
required to be played in order for Harmony4 to
recognize each chord type. Up 4
Up 3
Up 2
Recognized Chord Types with Root
of C Up 1
Type Required Notes Unison

Maj C E G
Maj6 C E G A
Maj7 C E G B Down 1
Maj7sus4 C F G B Down 2
Min C Eb G Down 3
Min6 C Eb G A
Min7 C Eb G Bb Down 4
Min7b5 C Eb Gb Bb Down 5
Dim C Eb Gb -1 Octave
Dim7 C Eb Gb Bbb (equiv. to A)
Dom7 C E G Bb
-2 Octaves
Dom7b5 C E Gb Bb Bass 2
Aug C E G# Bass 1
Aug7 C E G# Bb
Root 2
Sus C F G
Sus2 C D G Root 1
Sus7 C F G Bb
25 25
26
LEAD VOICE MODEL EDITING
Chapter Overview The following pages describe the effect menus that
allow editing of modeling settings.A brief discussion of
When you load a preset that has modeling enabled you each effect is followed by the location name and edit
will see an M: at the lower left of the display.The “M:” parameters.
indicates that the primary effect is modeling.
Information beside the M: shows the method of pitch
shifting and the amount. Preset Type - menu PC
Voice Modeling is a collection of the following This configures the edit menus and effects blocks for
algorithms that modify your voice: either Harmony/Doubling processing using all four
o Resonance (edited with the FreqncyStyle harmony voices or Lead Modeling processing which is
parameter) a single voice processed through VoiceWorksPlus’s
o Inflection (edited with the HumanStyle modeling blocks.
parameter)
o Vibrato (edited with the VibratoStyle parameter) Lead Voice Inflection (HumanStyle) -
o Growl/Breath (edited with the GlottalStyle menus L0 to L2
parameter)
Inflection is the automatic pitch, timing and level
Voice Modeling can be applied to your voice to achieve modification block in VoiceWorksPlus.The effects from
a diverse range of performance objectives: this block can be used to:
o enhance a thin-sounding vocal performance o create a pitch event on the beginning of sung or
without EQ spoken notes to create an alternate character
o produce character voices to emulate popular voice
singers or for novelty effects o introduce subtle timing and pitch modulation
o create duet tracks from one voice effects
In addition, the modeled voice can be chromatically or o allow creation of bizarre, inhuman special effects
diatonically pitch-shifted to produce duets, doubling or The Humanization styles found in this menu are the
modeled harmony parts. same as those in harmony presets with additional
Each Voice Modeling block can be used independently controls for the “scoop” component of the effect.
or combined with the others into a preset.The factory L0: Humanization Style and Amount
presets have been created containing various groups of
EDIT 1 controls selection of the style and EDIT 2
these blocks as a starting point. Understanding what
varies the amount.The styles are numbered 1 through
each block does will help you to use, edit, and create
4 to be used primarily with the four harmony voices.
presets effectively.
There are subtle differences between them that are
The editing menu for each block contains a style and useful for modeled voices as well.
amount. The styles were created at a value of 50 to
L1: Pitch,Time and Level Randomization
allow you room to increase or decrease the amount to
Amount and Rate
your preference.
Rand (Randomization) allows you to chose Pitch,Time
A note about styles in VoiceWorksPlus: “Styles” are
or Level randomization for further adjustment.
presets-within-presets that allow you to get the sound
you want faster. A large number of user and behind- Amt (Amount) adjusts the modulation amount in cents
the-scene parameters are required to construct a (c), milliseconds (ms), or decibels (dB).
particular effect, so styles are created that combine the Rate allows you to adjust the modulation rate for the
settings. You can edit the styles, and the changes you effect.
make will be stored with the preset.
27 27
L2: Scoop Amount, Duration and L4:Vibrato Amount, Envelope and Time
Randomization VibAm (Vibrato Amount) sets the pitch swing of the
ScpAmt (Scoop Amount) sets the amount of pitch current style in cents.An amount of 100c would swing
swing (0 to 8 semitones) that a scoop can cover during a total of 100 cents although not necessarily equal
its onset. Note that each style has a slightly different amounts above and below your input pitch.
scoop trajectory curve. Env (Envelope) allows you to choose Atk (attack time),
Dur (Duration) sets how long it takes for that scoop Sus (sustain) and Rel (release time) for adjustment by
to reach its target note. the Time parameter.
Rand (Randomization) randomizes several values of Time sets the time in milliseconds for the Attack,
the current style so that each time a new note is sung Sustain and Release of the vibrato effect. If the Attack
or spoken, a slightly different effect will be heard. is set too long you may never hear vibrato unless you
sing very long notes.
L5: Frequency, Onset Delay and Randomization
Vibrato (VibratoStyle) - Menus L3 to
VbFrq (Vibrato Frequency) controls the period, or rate
L6
of the vibrato waveforms.
Vibrato as a singing technique needs no introduction,
OnDly (Onset Delay) determines how long a note has
yet its implementation in VoiceWorksPlus should be
to hold before the vibrato enters the
clarified. The Vibrato block can be used to create an
Attack/Sustain/Release phase. High values of OnDly
alternate singing persona for singers. If used during
may cause you to never hear the effect!
recording, a unique vocal backup group can be made by
the same singer overdubbing multiple tracks while Rand (Randomization) actively varies the style settings
singing through different styles from the Vibrato block. to be slightly different with each new sung note.
This is faster and more effective than the singer L6:Tremolo and Phase
attempting to sing in an unnatural way for an extended
period of time. VbTrem (Vibrato Tremolo) controls the volume change
in a vibrato sound.At 0dB there is no volume envelope,
Strikingly real Voice Modeling modification is possible at 6dB, the effect is highly pronounced.
using the various Vibrato styles because they have been
created by detailed examination of many singers' Phase allows you to determine where the peaks and
voices. values of the volume changes occur in relation to the
peaks and valleys of the pitch modulation. A value of 0
To take full advantage of a different vibrato than your aligns the two exactly. Values above and below 0 align
own, it’s best to reduce or remove the vibrato from the volume envelope peaks and valleys at different
your singing voice. Also, note that when changing parts of the pitch envelope.
Vibrato Styles, the effect won't change until a new sung
note triggers the new style.
L3:Vibrato Style and Amount Resonance (FreqncyStyle) - menu L7
VibratoStyle allows you to choose with vibrato style fo The Resonance block simulates changes in the
impose upon your voice.You have the same choice of physiology of the vocal tract. In musical applications,
vibrato styles as you have for harmony presets. They this can be used for example to make a singer's voice
are numbered 1 to 4 to be more effective when used sound deeper without shifting the pitch, or to make a
on four harmony voices but the subtle differences singer sound younger. Resonance can also disguise a
between styles that share the same first name can still singer's voice as a special effect in the breakdown or
be used effectively on a single voice. hook section of a song. Singers who sing a number of
simultaneous advertising spots in a single market could
Amount increases or decreases the amount of pitch use resonance to disguise their voice and avoid
variation set by the vibrato style you have chosen. overexposure.
“Nom” is the value at which the style was created.
28 28
FreqncyStyle (Frequency Style) allows selection of pre- Trct (Tract) is a further modification of the Frequency
configured modeling tones for your voice. The range effect. It is used to personalize the effect to the
covers thick-sounding effects to thin. individual singer. For a given style to sound its best, a
Amt (Frequency Amount) allows you to add more or deep-voiced singer would be set to values less than
lessen the Frequency effect.The amount set when the 100 and a thin-voiced singer would be set above 100.
style is loaded is what was created at the factory. Of course this can be used to attain interesting effects
as well!
Note that further Frequency modification can be
performed with the Trct (Tract) parameter in menu L9 A value of 100 sets no Tract effect. If No Style is loaded,
and the Frmt (Formant) and Hybr (Hybrid) parameters or the value of the current Frequency style is 0, no
in menu S1.These are explained below. Tract effect is possible.
Growl/Breath (GlottalStyle) - menus Pitch Shift - menus S0 to S3

L8 to L9 Pitch shifting adds tremendously to character voices
you can create. From instant male/female duets to
The Growl/Breath block can be used to create the deep Bass singers to soaring Sopranos, this block
intimate sound of a breathy singer, whispers, or an stimulates interest in your listening audience.
effect that evokes the gravelly voices of singers like
Louis Armstrong and Bob Seger. While a preset using Two types of pitch shift may be applied to the modeled
these effects can be imposed on a recorded voice, a the voice: Chromatic and Scale. You can use Chromatic
most effective technique is to sing while hearing the shift to achieve octave transformations or any
effect. It is possible to use either a Breath effect or unvarying interval from your input pitch. Scale shifting
Growl effect but not both at once. Breath effects are allows the modeled voice to be used to sing harmony
summed, or mixed with your voice whereas Growl in a particular key and scale much like the Scale
effects are 100% wet at all times. harmony capability of the harmony presets only with a
character-rich modeled voice.
L8: Glottal Style and Amount
S0: Shift Type, Amount and Key*
The Glottal Style allows you to choose Brth (Breath)
or Grwl (Growl) styles. Shift determines whether the pitch shift is chromatic
(Chroma) or diatonic (Maj1-3, Min1-3, Cust).
Amount allows you to add more breath or growl effect
to the maximum set by the style. *Key - As you change from Chroma to the scales, this
additional parameter appears in the display allowing
L9:Voice, Glottal Mix and Tract Control you to set the key to match your song. Key is only
The Voice and Glotl (Glottal Level) controls work for shown when the Shift type is non-chromatic.
Breath styles only. Amount sets the chromatic (fixed) or diatonic (moving
The Voice setting allows you to reduce the level of your thirds) interval. When the Shift is set to Chroma, the
voice if desired to make the breath effect more Amount is in cents. 0c is no shift.
prominent. Note that you can remove your voice When Shift is set to the scales, this parameter works
completely with this parameter allowing you to hear in the same way as the Voicing: Scale parameter does
the Breath effect alone. for a harmony preset based on Scale mode. Uni is the
The Glotl (Glottal) setting allows you to add or unison (no shift) value.
remove level to of the Breath effect beyond the style S1: Formant, Hybrid Amount
value.
Frmnt (Formant) affects the male or female timbre of
the modeled voice independent of the direction of
pitch shift. This parameter sets the offset from -50,
which is deeper and more male to +50 which is thinner
or more feminine and at high levels, alien. At a setting
of 0 there is no formant change.
29 29
Hybr (Hybrid Amount).This works only when the pitch Mixing - menus MV and DV
of the modeled voice is shifted.Typically, there are two
It is possible to vary the blend between the modeled
types of pitch shift techniques:
voice and your dry voice with the parameters in these
o Formant corrected and; two menus.
o “Instrumental” shifting. MV: Model Level
Applying a pitch shift using Formant correction better Model Level is the volume of the modeled voice. A
preserves natural humanlike sound when the pitch is value of 0dB is full volume.
shifted. Instrumental shifting does no such thing which
Pan allows you to place your modeled voice where you
results in the famous Chipmunk/Darth Vader effects
would like in the left, right or in the middle of your
common to special effects and old generation pitch
stereo spectrum.
shifting products. The Hybrid Amount parameter
allows you to define midpoints between these two DV: Dry Voice Level
techniques for finer control of timbre. Dry Level (Dry Voice Level) controls the volume of
The Auto setting is full formant correction.The values your completely unaffected voice. In VoiceWorksPlus-
from 0 (full Instrumental shifting) to 100 (closest to modeling presets, the “Dry” voice is your singing voice
Auto) give you fine control. with no other effects processing. You would raise the
level of your dry voice to create a harmony or duet
S2: Portamento Time and Smoothing
perfomance in tandem with your modeled voice.
Porta (Portamento Time) slows pitch response as you
Pan places your dry voice left or right in the stereo
sing up and down through a melody. It is useful for
field.
making a modeled harmony voice sound more like you
are singing with another person. This is because your
dry melody and the harmony are slightly out of pitch
synchronization at lower values and wildly out of sync
at high values.The number value is roughly the time it
takes to glide between two pitches.
Smooth (Smoothing).At low or zero values, Smoothing
acts like a pitch corrector on the shifted voice. As you
sing up and down through your melody, note-to-note
transitions become stepped and the pitches are
corrected even as your dry voice dips above and below
pitch. With low smoothing values it’s often useful to
add Portamento to soften the note attacks while the
Smoothing keeps them in tune.
As you progress through higher Smoothing values,
generally above 60 or 70, the hard note transitions
become softer.
Smoothing and Portamento apply to all shift modes
including MIDI note-derived pitch shifting
S3: Unvoiced Attenuation
The UVAtn (Unvoiced Attenuation) reduces “Ess” type
sounds to improve pitch shifting artifacts that occur
when pitch shifting over larger intervals.
30 30
PITCH CORRECTION
Chapter Overview Pitch Correction Menus CO to C2

A brief intoduction to Pitch correction is discussed in All correction parameters except the front panel
the Quick Start chapter.This Pitch Correction chapter Correction On/Off button are located in these three
provides more detail on usage and the editing menus menus.
for this feature. C0: Correction Key and Scale
Set the key and scale here to match your song. The
Setting expectations scale options include:
Will I sound like (insert talented singer here) by just o Major
using pitch correction? This question is best answered o Minor-Har (harmonic minor)
by saying that it can make good singing sound better. o Minor-Nat (natural minor)
Using pitch correction in real time (as opposed to o Minor-Asc (ascending melodic minor)
offline studio editing) can help your pitch performance
best while sounding transparent when: o Chro (chromatic)
o the key and scale are set correctly o Custom
o you are singing well The active scale notes of these scales is shown in menu
C2 for the current key you have set.The Custom scale
o the parameter values are set to reasonable values allows you to determine exactly which notes you want
You should be aware that the pitch correction effect corrected.
may be very subtle even when it’s working perfectly. If your song changes key or modulates you have a
couple of options:
Where can Correction be applied? o use the Chromatic scale
Pitch correction works differently in harmony presets o create two user presets with the only difference
versus modeling presets. being the correction key/scale.
In harmony presets, your dry voice can have pitch C1: Correction parameters
correction applied which in turn feeds the corrected When you first turn to this menu, the upper line briefly
pitch to the harmonies.You can think of this as having shows the names of the three parameters before
a separate pitch correction device inserted between switching automatically to the correction meter. This
your mic and one of our harmony processors. display will revert to the parameter names anytime a
In modeling presets, it is only the modeled voice that value is adjusted.
can have pitch correction applied. While there is the The meter shows the amount of correction generated
possibility of mixing in your dry voice alongside the by VoiceWorksPlus. Extension to the right shows your
corrected modeling voice, your dry voice will not be input is flat according to the key and scale you’ve set
corrected. This was done for pitch differentation and the correction algorithm is nudging you sharp to
between your modeled and dry voice paths to allow compensate. If any of the three values are 0, no meter
you to create interesting doubling and duet effects. swing or pitch correction will occur.
Wndow (Correction Window) is the setting in cents
Can I add pitch correction to an that allows you to determine how close to a valid scale
note you have to be before the algorithm acts to pull
existing preset? you in. For example, a value of 100 cents can be read
If you like the sound of a particular harmony or as plus or minus 50 cents or half a semitone from the
modeling preset and you want to add this feature, scale note.The maximum value is 200 cents which, in a
follow the directions discussed in the Editing Overview Major scale having no more than 100 cents on either
chapter under the heading “How to add pitch side of any scale tone, would result in fulltime
correction to a preset”. correction activity.
31
PITCH CORRECTION
Attk (Correction Attack Time) determines how fast
the algorithm pulls you toward scale tones. A value of
0 is essentially off and a value of 100 is instant resulting
in something like the infamous “Cher” effect where the
pitch correction effect is stair-stepped and obvious
when using non-chromatic scales. Usually, values
around 20 yield acceptable results.
Amnt (Correction Amount) allows you to soften the
correction effect. A value of 50% for example will only
pull you halfway toward a correction scale target at the
speed set by the Attk parameter.
C2: Scale display and customization screen
In this screen you can see the current scale and its
active scale tones and make changes to both. The
leftmost soft knob allows you to change the scale. As
you change the scale you can see the active scale tones
for the key you’ve selected in menu C0. The second
soft knob acts like a cursor to select scale tones and
the third changes the flashing scale note to active
(shown by an “o”) or disabled (shown by a “-”).
32
REVERB, μMOD AND DELAY EDITING
Chapter Overview In order for an effect to be audible, both the send and
return levels need to be set. Default send levels have
This chapter discusses editing of the “classic” effects been set for each expected effect configuration.
blocks that produce Reverb, μMod and Delay. Because
the application of these types of effects is largely Send: Turning the soft knob associated with this
understood, we’ll discuss only the editing parameters parameter determines which effect you wish to adjust
and not their usage. the sends for. As you turn the knob, the send settings
for each effect are shown in the display.
The Transducer effect functions slightly differently and is
discussed separately in the next chapter Lead:This is where you can send your dry voice to the
effects.
The method for adjusting effects is typically thus:
H/M: (Harmony and Lead Modeling sends) This is
o Decide which effect you would like to hear. where you send the effects from either of the
o Decide which of the input paths: Dry, Harmony block or the Modeling block depending on
Harmony/Lead Modeling or Aux input paths you the configuration of the current preset.
would like to the effect upon. Aux: (Auxilliary input send) You can apply effects to any
o Check or raise the send level for that input path. audio signal received at the Line Input when you have
o Raise the level of the return from the effect a mic plugged into the Mic Input.
you’ve selected. Also, make sure the FX led on X2: Effect returns
the front panel is lit. These parameters allow you to adjust the relative level
o Go to the style selection screen for the effect balance and stereo width of the three effects blocks. If
you’ve chosen and choose a style that sounds the send level is 0 for any of the parameters in the send
close to what you want to hear. screen, turning up the returns in these screens will
o Edit the effect style if you prefer. have no effect.
Note that if Global FX is activated any editing you do Out: Turning the soft knob associated with this
will appear to be applied to the current preset but will parameter selects the output level for each effect block
actually be applied to the preset designated in the or the stereo width of each effect. Note that, for some
Global FX menu in Setup. effects like mono delays, adjusting the Width will have
no effect. Unless you specifically prefer mono effects,
this is best left Stereo. If you are using VoiceWorksPlus
Effects mixing menus X0-X2 with a mono sound system, you can set the global
Mono/Stereo parameter to Mono in the Setup menu.
These screens allow you to adjust the send and return
levels of the effects blocks. As always, 0dB means “full μMod, Dly(Delay), and Rev(erb): These allow you to
level”. bring the output of these effect blocks into the main
mix and to balance their levels.
X0: Crossover feeds to Delay and Reverb
μMod2Del: (Micromod send to Delay) This allows you
to route the output of the μMod block to the input of μMod block editing menus M0-M8
the Delay block. These menus allow to select styles and perform
Del2Rev: (Delay send to Reverb) You can route the customization on this block.
output of the Delay block to the Reverb block input. μMod is short for micro-modulation ("μ" is the
X1: Sends to the effect blocks scientific symbol for micro).The μMod effect is capable
The outputs of each of the Dry voice, Lead of creating many different sounds that range from
modeling/Harmony, and Auxilliary input paths can be subtle but lush thickening to creatively destructive. It
routed to the effects here.This is where you can adjust uses a combination of stereo pitch shifting (Detune),
the balance of reverb applied to your dry voice versus small amounts of stereo delay (Delay), and then a
the harmony voices for example. complex path of filtering, feedback, and modulation.
μMod does a faithful job of emulating classic detune,
chorus, flange and thickening sounds.
33
M0: uMod Style: (μMod style selection) the effect to a narrow bandwidth.
Use the soft knob assigned to this parameter to M7: Feedack high band filtering
choose a μMod style you like. HiCutL, HiCutR: (High cut for left and right) These
M1: Detune amounts steep lowpass filters allow you to limit the amount of
LDetune, RDetune: (Left and right detune amounts). low frequencies sent to the μMod block to constrain
You can apply a small amount of pitch shift to the left the effect to a narrow bandwidth.
or right sides independently. This setting is shown in M8: Phase adjustment
cents and the maximum is +/- 25 cents. OutPhase Inverse: (Output phase inversion) This
M2: Modulation rate and depth setting puts the output of the left and right sides out of
Speed: (Modulation rate).This setting sets how fast the phase, creating more 3D sound space around the
delay time modulation occurs. In order for this to be effect. Note that this may potentially limit the effect’s
audible, the depth amount parameter has to be non- ability to collapse to mono.
zero.
L-Depth-R: (Left and right modulation depth) Sets the Delay block editing menus D0-D4
percentage of modulation of the delay time for the left
The delay effect is a configurable echo.You can control
and right delays.
how far apart the echoes occur (Delay Time), and
M3: Left and right delay times whether the echoes fade out quickly, or build on
DelayL, DelayR: (Left and right delay time) Sets the left themselves. In addition, there are filtering and stereo
and right delay times. Up to 80 ms of stereo delay is controls that allow you to create many popular delay
available here to create effects from flange to slapback. sounds. Delays can be typically be categorized into the
two listed categories below:
M4: Feedback amounts
Short Delays:
FBL, FBR, (Feedback left and right) Re-introduces a
portion of the audio output signal of the μMod block - Initial reflections
back to the input to create flanges, tube and chorus - Slaps
effects.Values above 90 can add a high amount of gain
Long Delays (the maximum stereo delay is 1800ms)
and potentially cause feedback.
- Mono taps
XFL, XFR (Cross feedback left and right) XFL and XFR
indicate cross feedback for the left and right delay lines. - Stereo taps
Cross feedback returns the delayed audio to the - Syncopated taps
opposite side’s delay line for ping pong type effects and
- Ping-pongs (delays travelling from left to right)
more.
D0: Delay Style (Delay style selection)
M5: Modulation phase and waveform
Use the soft knob assigned to this parameter to
Phase (Modulation phase) This parameter defines the
choose a delay style you like.
phase relationship between the left and right
modulation LFOs (oscillators). In a flange style, setting D1: Delay time input source and time/tempo
this to 0 degrees puts all of the effect in the center Src: (Source from which to derive delay time)
while setting it to 180 degrees pulls the effect far into Determines which one of the three methods you want
the stereo field. to use to set delay times. These include setting the
Wave (Modulation waveform) You can choose the exact delay time for the left and right delay lines
modulation waveform from Square,Triangle or Sine to manually(Time), tapping the Data wheel in time with
vary the periodic nature of the modulation effect. your music to have the times calculated
automatically(Tap), or the unit can be set to derive it’s
M6: Low band filtering
delay times from incoming MIDI clock signal(MIDI).
LowCutL, LowCutR (Low cut left and right) These
L-DelTime-R: (Left and right manual delay times) These
steep highpass filters allow you to limit the amount of
settings are shown when the Src is set to Time.You may
low frequencies sent to the μMod block to constrain
34
set up to 1800ms (1.8 seconds) of delay for the left and R0: Reverb Style (Reverb style selection)
right delay lines here. Use the soft knob assigned to this parameter to
Tempo: This setting is shown when Tap or MIDI is choose a reverb style you like.
selected for the Src parameter.There is one setting for R1: Decay time and predelay settings
tempo in beats per minute (bpm) that is used to derive
delay times for both the left and right delay lines that DecayTime: (Decay Time) Sets the length of the reverb
is then subdivided by the division set in the next tail.
screen. PreDly: (Predelay) Introduces a short delay between
L - Beat Div - R: (Left and right beat division) When the the dry audio signal and the onset of reverb to simulate
Src is set to Tap or MIDI, turning the Data wheel will larger spaces and to improve the audio separation
reveal this screen allowing you to divide the delay between the dry signal and the reverb effect.
tempo into even or synchopated beats. R2: Reverb tail filtering
D2: Delay feedback and cross feedback amounts LowColor, HiColor:These are preset filters that tailor
FBL, FBR: (Feedback left and right) Re-introduces a the low and high frequency response of the reverb
portion of the audio output signal of the Delay block tails.
back to the input to add repeats. R3: Room and tail level balance
XFL, XFR: (Cross feedback left and right) Cross RoomLev: (Room level) Each reverb style has a pre-
feedback returns the delayed audio to the opposite configured short initial reflection sound that can be
side’s delay line for ping pong type effects. boosted or attenuated with this control.
D3: Low band filtering TailLev: (Tail level) The “tail” is the long, decaying
LowCutL, LowCutR: (Low cut left and right) Removes component of reverb.You can adjust the mix between
low frequencies from the audio delays to constrain the tail and the room with this control.
them to a specific band.
D4: High band filtering
HiCutL, HiCutR: (High cut left and right) Removes high
frequencies from the audio delays to constrain them to
a specific band.
Reverb block editing menus R0-R3

Reverb is the arguably the most common vocal effect .
It can add a spaciousness that softens the abrupt
beginnings and endings of lyric phrases. Many reverb
types are meant to imitate the natural sound of spaces
like churches, clubs and halls but not all. Some reverb
effects are recreations of electro-mechanical effects
meant to imitate real spaces like plates and springs. All
reverbs are made up of early reflections (rooms), and
the longer reverberant sounds (tails). Common
controls are the level of the room (Room Level), and
the level and decay of the tail (Tail Level, Reverb
Decay). Additionally, a small delay can be added
between the dry voice and the reverb signal (Predelay)
that adds clarity. By far the most important control for
reverb is the level. One reverb patch can have a very
different result for the audience whether it is mixed
subtly, or up front in the mix.
35
36
THE TRANSDUCER BLOCK
Chapter Overview like a guitar amplifier, the overall level of the effect goes
up and down. Use this control to adjust the output
The edit screens and usage tips for the Transducer level of the Transducer block to properly balance the
block are discussed in this chapter.The Transducer is a current preset with the others.
block that helps create so many of the megaphone and
telephone effects in popular music, as well as T3: Distortion type and amount
replicating the vintage audio quality of older audio Distort Type:These are pre-configured distortion styles
effects and recordings.Within the Transducer there is a that range from Overdrive through Saturation and
configurable distortion block with internal filtering and Distortion and finally Fuzz. Each has a unique character.
curves, as well as a bandwidth block, which emulates Though these styles have no direct controls like Delay
the frequency response of various audio devices like or Reverb for example, you can add or reduce the
phones and radios. distortion component (T2) and apply filtering (T4) to
The Transducer is a “serial” effect which means that customize them.
any signal going through it is typically meant to lose its Amt: Adjusts the amount of distortion for the current
dry component. distortion style. This is not the same as the Pre and
The FX button on the front panel will engage and Post Gain controls which work on level adjustjment.
disengage the Transducer effect along with the Reverb, The Distortion Amount control adjusts the algorithmic
Delay and μMod effects. distortion curve that you can further trim with the Pre
and Post Gain controls.
It is essential to have your input levels set correctly in
order for the distortion component of the Transducer Low-BandLimit-Hi: (Low and high band filters) These
block to work. Setting the input level too low will are attenuation-only filters that allow you to roll off
result in less or no distortion than is intended. high and/or low frequencies to simulate radios,
telephones and the like. When the Transducer is set
with no distortion style, these can act as a filters for
Transducer editing menus T0-T4 any of the audio paths selected in the TransducerInsert
parameter.
T0:Transducer insertion point
In order to hear the effect, you must choose to apply
the Transducer effect to either the dry voice path, the
Harmony or Modeling path or on the master output.
Applying the Transducer to the master output will
effect all Harmony/Modeling processing and the
Reverb, Delay and μMod effects. Any stereo signals
entering the Transducer will be summed to mono.
T1:Transducer Style
Here you can choose from on of the twenty-one pre-
configured styles that bring together all of the
distortion and filtering effects possible with the
Transducer. You can also choose No Style and edit the
parameters in the following screens to your liking.
T2: PreGain PostGain
These controls apply only when a distortion type is
selected in the following screen. These act similarly to
a guitar distortion pedal or an amplifier with input gain
and master level controls.
PreGain: Boosts or attenuates the amount of
distortion for the distortion type selected in menu T3.
PostGain:When you adjust the PreGain parameter, just
37
38
THE SETUP MENU
IO to I4 - Inputs/Output the dry Aux Input audio from the signal path. This
allows VoiceWorksPlus to produce only 100% wet
I0: Input sensitivity
effects when receiving an effects send from a mixing
MicSens (Microphone sensitivity) This allows further board into the Aux Input. (Only available in analog
adjustment of microphone input sensitivity. Normal is input mode if Mic Input is selected)
best for the majority of microphones. However, the
Low and High settings can be useful for extra high
output or extra low level microphones. Q0 to Q4 - EQ/Compressor
LineSens (Line input sensitivity) Sets the Line input The EQ and compressor in VoiceWorksPlus are global
sensitivity, or maximum input level from 0dBu to 24dBu meaning that all presets will be affected once either of
to match with your mixer. The factory default setting the compressor or EQ has been activated. Be careful
of 15dBu is an average output level from most mixers. when adjusting these parameters because feedback is
Adjust this up or down when you see the input meters more likely.
consistently low or in the red. Q0: EQ and compressor assignment
I1: Digital input gain DynAssign: (Dynmics assignment) This allows you to
Digital In Gain: Here the digital in signal can be assign dynamic processing (compressor and gate) to
attenuated to reduce clipping. 0dB is unity and is the the lead voice, harmony/model voices, both lead and
ideal setting. harmony/model voices or neither. Hint: assigning only
I2: Input source and clock settings to the lead voice with a medium compressor setting
(threshold: -15dB, ratio:2:1) keeps the lead voice a
Input: Here you select the Analog or Digital input. consistent volume but keeps harmony levels following
Selecting Analog input will use the input selected via the singers level. This gives control of harmony levels
the front panel (Mic or Line). Digital input will use the with mic technique.
rear S/PDIF connectors. The digital output is always
available regardless of this setting. EQAssign: (EQ assignment) This allows assignment of
the three band EQ to the lead voice, harmony/model
ClockSrc: (Clock source) This sets the audio clock voices, both lead and harmony/model voices or
frequency and source. If using the analog inputs, this neither.
parameter is best set to Int(ernal) 44.1. If you are using
the digital input you should set this to sync to Q1: Compressor controls
Ext(ernal) clock. If no valid clock signal is recieved via The compressor in VoiceWorksPlus has automatic
the digital inputs, an error message will be shown. makeup gain to a maximum of +20dB.This means that
I3: Output and bypass mode the volume level of the signal will be increased for most
volume levels of input with the compressor enabled.
Output: Collapses all stereo output to mono if desired.
Threshold: Sets threshold at which the compressor
BypMode: (Bypass mode) This sets how becomes active level from 0 to -60 dB. A moderate
VoiceWorksPlus operates in Bypass. The Stage setting setting of -6 to -15 works well.
preserves any EQ and Dynamics settings you have set
and matches the level of the Dry voice. Ratio: Sets your compression ratio range from 1.12:1
to 64:1. This sets how much level reduction occurs
The Studio setting removes all effect processing once the input signal reaches the threshold you have
including the EQ and Dynamics and outputs the lead set.
signal at full level to the output.
Q2: EQ settings
I4: Input on/off controls
VoiceWorksPlus has a flexible 3 band EQ with
Dry VoiceIn: Setting this to Off removes the dry lead frequency-adjustable high and low shelving bands and a
audio from the signal path in any presets that mix in fully parametric band with Q, frequency and gain
your dry voice. This is useful when using controls.
VoiceWorksPlus on an auxilliary mixer send and want
100% wet output. LoShelf: Sets the knee frequency for the low frequency
shelving boost or cut. Frequency Range: 80Hz to
AuxIn: (Auxilliary input) Setting this to Off removes 16kHz
39 39
THE SETUP MENU
Cut/Boost Range: Sets how much boost or cut to U2: Chord mode configuration
apply to the low band. Range: -12dB to +12dB. Chord Mode: The Classic setting sets the standard
HiShelf: Sets the cutoff frequency above which the high Chord mode operation where any MIDI notes played
shelf EQ may be boosted or cut. Range: 80Hz - 16kHz will be interpreted by the chord detection algorithm. In
Cut/Boost Range: Sets how much boost or cut to apply Improvise chord mode, only 3 note chords trigger the
to the high band. Range: -12dB to +12dB. chord detection algorithm allowing more freedom in
playing keyboard parts and controlling harmony at the
Q3: Parametric mid controls same time.
MidParaEQ: (Mid band parametric EQ) Sets the center U3: Notes Mode configuration
Frequency in Hz. Cut/Boost Range: -12dB to +12dB.
Selects between 1 Channel and 4 Channel notes mode
Q: This value is equal to the center frequency of the for all Notes presets in the product.
filter divided by the difference between the upper and
lower -3dB frequencies. The higher the Q value the U4: Footswitch assignments
narrower the filter. Range is .1 (shown as Wide) to 10 Footswitch 1-2-3: Allows custom assignment of
(shown as Thin). parameters to the Switch3 three button footswitch.
Q4: LowCut and gate controls None: no assignment
LowCut: (Low cut) This feature reduces rumble and Pre- : preset down
excess low frequency which can cause muddy sound. Pre+ : preset up
The “knee” is 12dB per octave. Cutoff frequency
options include 60, 80 and 120Hz. Byp: bypass
NoiseGate: Sets the threshold at which the noise gate EffL: effect on/off latching
opens to allow sound through. If this is set above the EffM: effect on/off momentary
input level indicated on the led ladder, no sound will be HarL: harmony on/off latching
heard.
HarM: harmony on/off momentary
CorL: correction on/off latching
U0 to U5 - User Settings CorM: correction/ff momemtary
U0: Global settings
Hold: enables the Harmony Hold feature
GlblFX: (Global effects on/off) The Global Effects (momentary in harmony mode only)
parameter allows you to re-assign all presets to the
U5: Effects priority
effect settings in a single preset of your choice. This is
to keep one effects setting across multiple presets. Lead FX Priority:When using Lead Model presets at 48
kHz sampling rates, VoiceWorksPlus does not allow
Chord/Key: (Global chord and key) The Global Chord
uMod and Transducer to be enabled simultaneously.
and Key setting works much like the Global Effects
The parameter sets which effect gets priority upon
setting only for musical input. When you change and
preset or effect load.
save a key and scale in any Scale-based preset, all
presets will now be based on this setting. For Chord
mode presets, the last chord received at the MIDI M0 to M3 - MIDI Settings
inputs is the first chord all Chord mode presets will
produce harmony from. M0: MIDI settings
U1: Dry delay and tuning reference MidiCh: (MIDI channel assignment) Sets the input MIDI
channel for harmony and CC messages. When set the
DryDelay:Turning this On delays the lead vocal slightly same as incoming MIDI such as that from a keyboard,
so the harmony voices will sound at the same time as the front panel MIDI led will flash. When the channels
your lead voice. Turning this Off results in the least do not match the led will not respond.
amount of lead voice processing delay.
Filter: Allows MIDI Program Change or System
Tuning: This sets the overall tuning reference with Exclusive messages to be ignored for convenience.
respect to A-440.
40 40
THE SETUP MENU
M1: Controller enable and disable F1: File functions
CC-Ctrl: (CC control) Enables or disables CC message Function: Pushing the data wheel triggers the listed
control. function.
VibCtrl: (Vibrato control) Specifies how the Mod Restore Setup: reverts all setup parameters back
Wheel message affects vibrato. The Boost setting will to factory settings.This includes the front panel
add more vibrato once the part of the wheel mix settings.
movement reaches the corresponding amount of Erase User Bank: erases all user presets
vibrato and then return to the original amount once
the wheel resets to its rest position.The Manual setting CAUTION - do not leave this screen set to “Erase
allows the full range of control of vibrato once the User Bank” or you stand the chance of accidentally
wheel is moved.To restore the factory vibrato amount, erasing all of your presets in a return visit to the Edit
recall the preset. menu.
M2:Various
PB+-: (Pitchbend range) Sets in semitones the range
that MIDI pitch bend information will alter pitch shifts
in both Harmony and Modeling modes.
Trans: (Notes mode transposition) This transposes the
harmony voices in Notes mode to allow it to be
controlled by upper or lower sections of a MIDI
keyboard if required.The value corresponds to octaves.
SyxID (MIDI System Exclusive ID number) When
addressing multiple VoiceWorksPlus units on the same
MIDI In/Thru chain with a Sysex editor, each one
should have its own ID or they all will be edited in the
same way.
M3: Keyboard zone settings
KBSplitZone: (Split zone) Sets whether MIDI notes
above or below the split point are allowed for Notes
mode and Chord mode presets.
Note: Sets the MIDI note above or below which the
keyboard split will be active.
F0 to F1- Preset Management

F0: MIDI Dump initiation
Select which VoiceWorksPlus information you want to
back-up via MIDI:
All (User+Setup): dumps all user settings and user
presets in one file
User Bank: dumps only user presets
Setup: dumps only setup data
User 1 to 99: dumps the individual user preset
selected.
Press the Data Wheel to start the dump.
41 41
42 42
TECHNICAL SPECIFICATIONS
Digital Inputs and Outputs EMC

Connectors RCA Phono (S/PDIF) Complies with IEN 55103-1 and EN 55103-2 FCC
Formats S/PDIF (24 bit), EIAJ CP-340, IEC 958 part 15, Class B, CISPR 22, Class B
Sample Rates 44.1 kHz, 48 kHz
Freq. Response DIO DC to 22/23.9 kHz ±
0.01 dB @ 44.1/48 kHz
Safety
Certified to IEC 65, EN 60065, UL6500 and CSA
E60065 CSA FILE #LR108093
Analog Inputs
Connectors, balanced Mic.: XLR,
Line: 1/4" phone jack
Environment
Impedance Bal./Unbal. Mic.: 3.6/1.8 kOhm, Operating Temperature
Line: 21/13 kOhm 32° F to 122° F (0° C to 50° C)
Line Input Level @ 0 dBFS Storage Temperature
+24 dBu to +0 dBu -22° F to 167° F (-30° C to 70° C)
Line Sensitivity @ 12 dB headroom Humidity Max. 90 % non-condensing
-12 dBu to +12 dBu
Mic. Input Level @ 0 dBFS Pad Off/On Control Interface
-14 dBu/+6 dBu to -51 dBu/-31 dBu MIDI In/Out/Thru: 5 Pin DIN
Mic. Sensitivity @ 12 dB headroom Pad Off/On Pedal 1/4" phone jack
-26 dBu/-6 dBu to -63 dBu/-43 dBu
Line, Mic. @ Min gain, Dynamic Range
> +92 dB, 20 Hz to 20 kHz Supplementary
NF/Vi @ Max. micamp. gain, Rg = 200 Ohm Display 2x16 backlit LCD
< +2 dB / -127.4 dBu Dimensions 19" x 1.75" x 8.2" (483 x 44 x 195 mm)
THD < -100 dB (0,001 %) @ 1 kHz Weight 4.1 lb. (1.85 kg)
Line Frequency Response Mains Voltage
+0/-0.1 dB, 20 Hz to 20 kHz 100 to 240 VAC, 50 to 60 Hz (auto-select)
Mic. Frequency Response, max gain Power Consumption <15 W
-1.5 dB @ 40 Hz, +0/-0.1 dB (200 Hz to 20 kHz) Warranty Parts and labor 1 year
Crosstalk < -85 dB, 20 Hz to 20 kHz
A to D Conversion Note: Due to continuous development and
24 bit, 128 x oversampling bitstream standardization all specifications are subject to change
A to D Delay 0.65/0.70 ms @ 48/44.1 kHz without notice
Analog Outputs
D to A Conversion
24 bit, 128 x oversampling bitstream
D to A Delay 0.63/0.68 ms @ 48/44.1 kHz
Connectors, balanced 1/4" phone jack
Output Impedance 40 Ohm
Max. Output Level
Bal./Unbal.: +20 dBu/+14 dBu, R-load >= 1200 Ohm
Output Range variable up to +20 dBu
Dynamic Range > +104 dB, 20 Hz to 20 kHz
THD <-98 dB (0.0013 %) @ 1 kHz
Frequency Response 20 Hz to 20 kHz, +0/-0.3 dB
Crosstalk <-100 dB, 20 Hz to 20 kHz
43 43
44
VoiceWorksPlus Signal Flow
SIGNAL FLOW DIAGRAM
44
MIDI IMPLEMENTATION
VoiceWorksPlus MIDI
Implementation Details
Note: individual parameter editing is done via system
exclusive using the free Vysor editor for
VoiceWorksPlus.
Other MIDI messages:

Program Change: Received/Transmitted.
Pitch Bend: Received.
Note On/Off: Received.
45 45

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IMPORTANT SAFETY INSTRUCTIONS

1 Read these instructions. This apparatus must be earthed.

EMC / EMI. Certificate Of Conformity

For the customers in Canada:

Cet appareil numérique de la classe B est conforme à la

Generates up to 4 additional harmony “voices” with a

We update our manuals and various support materials

We hope you and your fans enjoy VoiceWorksPlus,

The TC-Helicon Team

Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . .5

Back Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . .8

Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Harmony Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Harmony Background and Tips . . . . . . . . . . . . . . . . . . . .21

Lead Voice Model Editing . . . . . . . . . . . . . . . . . . . . . . . . .27

Pitch Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Reverb, μMod and Delay Editing . . . . . . . . . . . . . . . . . . .33

The Transducer Block . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

The Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Technical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . .43

Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

VoiceWorksPlus Manual version 1.1 Prod No.: E60506411

- Producing rich harmony vocals and doubling from

- Saving time when recording vocal harmonies

- Changing the characteristics of your singing voice

The remaining processing blocks, including the

- Make your live performances sound more like a

- Make your recordings sound more professional

- Save time preparing for mixes or performances by

See the diagram at right for a rough algorithmic path

1. Power Switch send to VoiceWorksPlus from your mixer. They use

5. Soft knobs overview 6. Block On/Off button group

8.The Data Wheel

9. Mic Input control group

Getting set up Note: When connecting the unit to a computer, you’ll

Back panel connections

13.Turn off BYPASS by pressing the button so the LED

Adjusting the mix

Enabling and disabling the effects

Exploring the presets Harmony presets you set with Key

Presets that create automatic Presets that feature the Transducer

Editing overview How to find the EDIT Menu you

Understanding the control layers Harmony control Modeling settings

Chapter Overview V1:Voice Pans

A Comparison of the Harmony

arrangements more naturally, allowing runs, bass riffs,

Scale types and voicings

Chord types and voicings Voicing intervals in Chord mode

Type Required Notes Unison

Growl/Breath (GlottalStyle) - menus Pitch Shift - menus S0 to S3

Chapter Overview Pitch Correction Menus CO to C2

Reverb block editing menus R0-R3

F0 to F1- Preset Management

Digital Inputs and Outputs EMC

Other MIDI messages:

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