1
Using VS-20 Editor
1. Introduction
VS-20 Editor is an application that lets you control the V-STUDIO 20’s parameters from your computer.
Unless otherwise specied, this document refers to this application as “VS-20 Editor,” and the controller included with the V-STUDIO 20 as “the VS-20.”
2. Connections and settings
If you’re using the V-STUDIO 20 for the rst time, you’ll need to install the VS-20 driver before connecting the VS-20 to your computer.
Install the driver as described in the owner’s manual included with the V-STUDIO 20.
Start up VS-20 Editor after you’ve connected the VS-20 to your computer. If you start up VS-20 Editor before connecting the VS-20, it will not operate
correctly.
VS-20 Editor settings
You must make MIDI device settings when using the system for the rst time.
1. Choose the “Settings” menu item “MIDI Device Settings.”
The MIDI device settings dialog box will appear.
2. In the Input and Output elds, choose “VS-20 Eect Control.”
3. Click [OK].
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Selecting and editing patches
Selecting a patch
A collection of settings determining how e ects are combined and including settings for the parameters is called a “patch.” By switching patches you
can instantly change the sound by recalling a di erent set of settings.
There are two types of patches: “preset patches,” which are read-only, and “user patches,” which can be freely rewritten.
1 2
You can use either of the following ways to select a patch.
• Step consecutively through the patches one by one
• Select a patch from a list
Caution!
If you exit VS-20 Editor or switch patches before writing a patch you’ve modi ed, the changes you’ve made will be lost.
1
Stepping through the patches one by one
1. Click [USER] or [PRESET] to specify the type of patch you want to select.
Note
Choose [USER] if you want to select a patch that you previously saved.
2. Click the patch select buttons to step through the patches.
2
Selecting a patch from a list
1. Click [USER] or [PRESET] to specify the type of patch that you want to select.
Note
Choose [USER] if you want to select a patch that you previously saved.
2. Click [LIST].
The patch list dialog box will appear.
3. Click the patch that you want to edit.
4. Click [OK].
That patch will be selected.
5. Click [CANCEL].
The patch list dialog box will close.
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Editing a patch
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Turning eff ects on/off
You can turn an e ect on/o by clicking the indicator located in the upper left of the e ect, or by clicking a foot switch.
Switching eff ects
1. Click the box that shows the e ect name.
2
A drop-down list of the available e ects will appear.
2. Choose the e ect that you want to use.
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Editing an eff ect (Detail)
In this mode you can edit the parameters in detail, as well as turn each e ect on/o .
Company names and product names appearing here are the trademarks or registered trademarks of their respective owners, and are not
a liated with Roland Corporation or Cakewalk.
These names are used in this document in order to appropriately describe sounds being simulated by COSM technology.
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1. Click [DETAIL].
Each time you click [DETAIL], the screen will change as follows. The Detail screen allow you to edit the e ect parameters in detail.
Normal screen Detail screen
Note
• You can edit a parameter’s value by dragging the knob up or down.
• You can switch the e ect type by clicking the name of the e ect type or the indicator at its left.
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PREAMP/VOCAL
You can use [PREAMP] or [VOCAL] to change the e ect.
Caution!
“PREAMP” and VOCAL “HARMONY” and “PITCH CORRECT” cannot be used simultaneously. The on/o setting is shared by these three e ects. To turn
the e ect on/o , click the indicator located in the upper left.
PREAMP
This models the response of a preamp.
TYPE
Here you can select the type of preamp.
JC-120 The sound of the Roland JC-120.
FULL RANGE Flat response. This is ideal for acoustic guitar.
CLEAN TWIN Models the Fender Twin Reverb.
TWEED Models the Fender Bassman 4 x 10” Combo.
CRUNCH Crunch sound that allows the nuances of your picking to be reproduced faithfully.
VO DRIVE Models the drive sound of the VOX AC-30TB.
BG LEAD Models the lead sound of the MESA/Boogie combo amp.
MS VINTAGE Models the sound of a 70’s Marshall amp.
MS MODERN Models the more high-gain sound of a recent Marshal amp.
R-FIER Models the MESA/Boogie DUAL Recti er.
ULTRA Metal
An original metal amp designed speci cally for metal, delivering thick lows and extreme
distortion while preserving the crisp contours of the sound.
BASS AMP This sound is suitable for bass guitar.
TYPE
Here you can select the type of preamp.
JC-120
The sound of the Roland JC-120.
FULL RANGE
Flat response. This is ideal for acoustic guitar.
CLEAN TWIN
Models the Fender Twin Reverb.
TWEED
Models the Fender Bassman 4 x 10” Combo.
CRUNCH
Crunch sound that allows the nuances of your picking to be reproduced faithfully.
VO DRIVE
Models the drive sound of the VOX AC-30TB.
BG LEAD
Models the lead sound of the MESA/Boogie combo amp.
MS VINTAGE
Models the sound of a 70’s Marshall amp.
MS MODERN
Models the more high-gain sound of a recent Marshal amp.
R-FIER
Models the MESA/Boogie DUAL Recti er.
ULTRA Metal
An original metal amp designed speci cally for metal, delivering thick lows and extreme
distortion while preserving the crisp contours of the sound.
BASS AMP
This sound is suitable for bass guitar.
Knob functions
GAIN
Adjusts the amount of
preamp distortion.
Frequency
Adjusts the loudness
of each band.
BASS
MIDDLE
PRESENCE
TREBLE
LEVEL
Adjusts the overall
volume of the preamp.
Turns the e ect on/o . PREAMP switch
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VOCAL
VOCAL provides two e ects: “HARMONY,” which lets you easily add harmony to one person’s singing, and “PITCH CORRECT,” which constrains pitch
change in a stair-step manner. Use the MODE switches to choose the desired e ect.
HARMONY
Knob functions
HARMONY DIRECT
PAN
Speci es the
panning of the
sound.
LEVEL
Speci es the
volume of the
harmony.
PAN
Speci es the
panning of the
input sound.
LEVEL
Speci es the
volume of the
input sound.
Parameters
KEY
Speci es the
key of the song
you’re singing.
INTERVAL
Adds pitches (harmony) at
the speci ed higher or lower
interval.
Choose UNISON to produce
the impression that another
person is singing the same
melody.
GENDER
Transforms the
voice so it has
male (or female)
characteristics.
Turns the e ect on/o . VOCAL switch
MODE switch
PITCH CORRECT
Parameters
TYPE
SOFT: Corrects the pitch
smoothly.
HARD: Corrects the pitch
instantly.
ELECTRIC: Constrains the pitch to
stair-step change.
ROBOT: Constrains the pitch to
the note name you specify as the
parameter.
SCALE
CHROMATIC: Corrects the pitch to semitone
intervals.
Maj/Min: Corrects the pitch to the key you
specify in KEY.
(Available if TYPE is set to SOFT, HARD, or
ELECTRIC.)
NOTE
Fixes the pitch.
(Available if TYPE is set to ROBOT.)
KEY
Speci es the key of the song.
(Available if SCALE is set to Maj/Min.)
GENDER
Speci es the
amount by
which the pitch
will be changed.
OCTAVE
Speci es the
volume of the
input sound.
Knob functions
LEVEL
Speci es the
volume of the input
sound.
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COMP/FX (Compressor/Eff ect)
Here you can choose e ects that keep the volume consistent or produce sustain without distortion, as well as various other distinctive e ects.
TYPE Knob functions
COMPRESSOR
SUSTAIN
Adjusts the sustain of the sound.
ATTACK
Adjusts the attack.
LEVEL
Speci es the e ect volume.
LIMITER
THRESHOLD
Input signals that exceed the level you specify
here will be compressed.
RELEASE
Adjusts the release time.
LEVEL
Speci es the e ect volume.
PEDAL WAH
WAH TYPE
(*1)
Speci es the type of PEDAL WAH.
—
POSITION
Speci es the angle of the pedal.
T.WAH
SENS
Speci es the sensitivity at which the e ect will
respond to the input signal.
FREQUENCY
Adjusts the tone (brightness) of the wah.
PEAK
Speci es the distinctiveness of the
tone.
PRE EQ
LOW
Adjusts the loudness of the low-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
LEVEL
Speci es the e ect volume.
SLOW GEAR
SENS
Speci es the sensitivity at which the e ect will
respond to the input signal.
RISE TIME
Speci es the time over which the volume reaches
its maximum.
LEVEL
Speci es the e ect volume.
Single > Hum
LOW
Adjusts the loudness of the low-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
LEVEL
Speci es the e ect volume.
Hum > Single
LOW
Adjusts the loudness of the low-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
LEVEL
Speci es the e ect volume.
AC SIM
LOW
Adjusts the loudness of the low-frequency range.
HIGH
Adjusts the loudness of the high-frequency range.
LEVEL
Speci es the e ect volume.
RADIO VOICE
— —
LEVEL
Speci es the e ect volume.
COMPRESSOR Produces sustain without distorting the sound.
LIMITER Limits high input levels to prevent distortion from occurring.
PEDAL WAH (*1)
Controls a lter according to your pedal operations,
producing a wah e ect.
T.WAH Produces a wah e ect according to your picking dynamics.
PRE EQ Adjusts the tonal character in two ranges, LOW and HIGH.
SLOW GEAR Produces a “violin type” volume swell.
Single > Hum
Transforms the sound of a single-coil pickup to the sound of
a humbucking pickup.
Hum > Single
Transforms the sound of a humbucking pickup to the sound
of a single-coil pickup.
AC SIM
Transforms the sound of an electric guitar to the sound of an
acoustic guitar.
RADIO VOICE A special e ect for vocals.
Turns the e ect on/o .
WAH TYPE (*1) Explanation
CRY WAH Models a 70’s CRYBABY.
VO WAH Models the VOX V846.
FAT WAH An audacious-sounding wah.
LIGHT A genteel and re ned-sounding wah.
7STR WAH A broad-ranged wah that covers the range of a seven-string guitar or baritone guitar.
RESO Produces a distinctive e ect that is an o shoot of an analog synth’s lter.
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OD/DS (Overdrive/Distortion)
This e ect distorts the sound to create sustain or a distinctive tone.
BOOSTER
In addition to operating as a booster, this e ect can be
used on its own to produce a punchy, clean tone.
NATURAL An overdrive sound that produces a natural distortion.
OD-1
The sound of the Boss OD-1, producing a sweet and mild
distortion.
BLUES
A distinctive overdrive that lets the nuances of your
picking come through.
DISTORTION Sharp distortion with rich sustain.
METAL Distortion with a mid-range boost.
CORE Distortion with a mid-range cut.
FUZZ Distinctive distortion with a raw and extreme character.
BASS DRIVE Distortion speci cally designed for bass.
VOCAL Distortion e ect speci cally designed for vocals.
Turns the e ect on/o .
Distortion speci cally designed for bass.
VOCAL
Distortion e ect speci cally designed for vocals.
Turns the e ect on/o .
Knob functions
DRIVE
Adjusts the strength of distortion.
TONE
Adjusts the brightness of the sound.
LEVEL
Adjusts the volume of the e ect.
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MODULATION
This e ect adds spaciousness or movement to the sound.
CHORUS
A stereo e ect that adds a slightly modulated sound to
the input, giving it beautiful spaciousness and depth.
FLANGER
An e ect that adds modulation reminiscent of a jet
airplane taking o and landing.
PHASER
An e ect that modulates the sound by adding a phase-
shifted sound.
TREMOLO
A retro-sounding e ect that cyclically modulates the
volume.
PAN
An e ect that creates the impression of the sound
traveling between the left and right speakers when played
in stereo.
ROTARY A stereo e ect that simulates a rotating speaker.
UNI-V
Models the Uni-vibe e ect unit that was indispensable to
the rock sound of the 60’s.
3-BAND EQ Adjusts the tone in three bands; LOW, MIDDLE, and HIGH.
Turns the e ect on/o .
UNI-V
the rock sound of the 60’s.
3-BAND EQ
Adjusts the tone in three bands; LOW, MIDDLE, and HIGH.
Turns the e ect on/o .
TYPE Knob functions
CHORUS
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
E.LEVEL
Adjusts the e ect volume.
FLANGER
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
RESONANCE
Adjusts the distinctiveness of the tone.
PHASER
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
RESONANCE
Adjusts the distinctiveness of the tone.
TREMOLO
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
WAVE SHAPE
Adjusts the curve of the volume change.
PAN
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
WAVE SHAPE
Adjusts the curve of the volume change.
ROTARY
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
E.LEVEL
Adjusts the e ect volume.
UNI-V
RATE
Adjusts the speed of modulation.
DEPTH
Adjusts the amount of modulation.
E.LEVEL
Adjusts the e ect volume.
3-BAND EQ
LOW
Adjusts the low-frequency
loudness.
MIDDLE
Adjusts the mid-frequency
loudness.
HIGH
Adjusts the high-frequency
loudness.
EQ.LEVEL
Adjusts the EQ volume.
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DELAY
This e ect delays the sound to produce echoes. You can use it to make the sound thicker, or to create special e ects.
SINGLE This is a 1–2000 ms (millisecond) delay.
PAN
This delay is only for stereo output. The delayed sound is
output from the L-channel at half the delay time of the
R-channel.
STEREO
The direct sound is output from the L-channel, and the
delayed sound is output from the R-channel.
MODULATE This is a delay with a pleasant modulation added.
ANALOG This produces the mild sound of an analog delay.
TEMPO
This produces a delay e ect that is synchronized to the
song’s tempo.
Turns the e ect on/o .
Turns the e ect on/o .
TYPE Knob functions
SINGLE
PAN
STEREO
MODULATE
ANALOG
TIME
Speci es the delay time.
You can input the delay time directly, or use the increment/decrement buttons
to specify it.
You can specify the delay time by clicking this at the desired interval.
FEEDBACK
Specify the number of times
that the delay will repeat.
E.LEVEL
Specify the volume of the
delay.
TEMPO
TEMPO
Speci es the timing of the delay in terms of a note value.
You can input the tempo directly, or use the increment/decrement buttons to
specify it.
You can specify the tempo by clicking this at the desired interval.
FEEDBACK
Specify the number of times
that the delay will repeat.
E.LEVEL
Specify the volume of the
delay.
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REVERB
This adds reverberation to the sound.
TYPE
ROOM Simulates the reverberation of a room. (Range: 0–50)
HALL Simulates the reverberation of a hall. (Range: 0–50)
MASTER/NOISE SUPPRESSOR
Here you can make settings for the master level and the noise suppressor.
1. Click [MASTER].
Turns the noise suppressor
on/o .
Knob functions
THRESHOLD
Set according to the amount of noise.
Note
If this is set higher than necessary, notes might be
cut o when the guitar is playing softly.
RELEASE
Speci es the time from when the noise suppressor
begins operating until the noise volume is
completely attenuated.
Knob functions
LEVEL
Adjusts the overall e ect volume.
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Saving a patch
Naming a patch
1. Click the patch name.
A text box will appear.
2. Enter the desired patch name.
Caution!
The following characters cannot be used in the patch name.
¥ (backslash), / (slash), : (colon), * (asterisk), ? (question mark), “ (double quote), < (left angle bracket), > (right angle bracket), | (vertical bar or pipe),
. (period)
Tip
Adding a number or genre at the beginning of the patch name will make it easier to nd the patch you want.
(Examples)
• Funk 001, Funk 002, ...
• Rock 001, Rock 002, ...
• 001 original ABC, 002 ri XYZ, ... etc.
3. When you’ve nished entering the name, press [ENTER] on your computer keyboard.
Saving a patch
Here’s how to save a patch you’ve edited.
1. Click [WRITE].
The message “xxx” will appear.
2. Click [OK] to save the patch.
Note
If an identically named patch already exists, the message “xxx” will appear. If it’s ok to overwrite the previously saved patch, click [OK]. When you do
so, the contents of the overwritten patch will be lost.
If you don’t want to overwrite the previously saved patch, click [ Cancel], and save your patch under a di erent name.
Caution!
• If you close VS-20 Editor or switch patches before saving an edited patch, your changes will be lost.
• When saving a patch, no distinction is made between uppercase and lowercase characters in the patch name. Regardless of uppercase/lowercase
di erences, saving with an identical patch name will overwrite the previously saved patch.
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Convenient functions
Using the tuner
1. Click the [TUNER] button.
2. If necessary, specify the reference pitch.
With the factory settings, the reference pitch is set to 440 Hz. You can change this in the range of 435–445 Hz. To change it, click the desired value in the
tuner screen.
Note
• The reference pitch is remembered; you won’t need to set it each time you tune.
• Operations other than tuning are not possible while the tuner screen is displayed. To perform other operations, click the [POWER] button or the
[
] button to close the tuner screen.
Outputting the input sound without change (Bypass)
1. Click [BYPASS].
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System settings for the V-STUDIO 20
Input/output settings
1. Click [SETTING].
The System Setting screen will appear.
Function Explanation
INPUT SENS *1 Adjusts the input sensitivity. Adjust this until you get it as high as you can without causing the PEAK indicator on the VS-20 to light.
REC LEVEL Adjusts the volume of the sound that is output from the VS-20 to your computer.
USB MIX LEVEL *1 Adjusts the amount of digital audio signal from your computer that will be mixed in.
INPUT SELECT *1
Speci es the type of signal that is connected.
LINE, GUITAR, MIC1 (built-in mic), MIC2 (external mic), SIMUL
PHANTOM POWER *2 Turns phantom power on/o for a condenser mic.
*1 This is available if ROUTING is set to NORMAL or DRY REC.
*2 This is available if INPUT SELECT is set to MIC2. If the USB cable is disconnected, phantom power will be o the next time it is connected.
Outputting sound to your computer while applying eff ects (NORMAL mode)
1. Click [NORMAL] in the ROUTING area of the System Setting screen.
Note
The factory setting is “NORMAL.”
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Recording without eff ects, and applying eff ects later (DRY REC or Re-AMP mode)
If you want to record the sound unprocessed by e ects, and then try out various e ect settings later, you can combine DRY REC mode and Re-AMP
mode.
Recording the unprocessed sound to your computer (DRY REC mode)
1. Click [DRY REC] in the ROUTING area of the System Setting screen.
2. Use your DAW to record the performance.
For details on recording, refer to your DAW’s owner’s manual.
What’s a DAW?
DAW stands for Digital Audio Workstation.
This is a general term for computer recording software.
Guitar Tracks is included in the V-STUDIO 20 package.
Note
If the DIRECT MONITOR parameter is turned ON in the System Setting screen, the sound processed by the e ect will be heard from the OUTPUT
jacks and the PHONES jack, but the unprocessed sound will be sent to your DAW.
Applying an eff ect to the recorded sound (Re-AMP mode)
1. Click [Re-AMP] in the ROUTING area of the System Setting screen.
2. Close System Setting screen.
3. Play back the sound from your DAW.
4. Change patches and e ect settings, and listen to the resulting sound.
Note
In Re-AMP mode, the audio input from your computer is used; sound from the device connected to the input jack will not be output.
Check the ROUTING setting in the System Setting screen.
What is Re-AMP?
This is a function that lets you apply e ects to previously recorded sound.
The advantage of re-amping is that you can separate the processes of performing and adjusting your sound. This is particularly useful in cases
such as the following.
• Your performance was good, but you’re not happy with the sound.
• The sound is lost in the mix when heard with other instrumental tracks.
If you’ve recorded the unprocessed sound in such cases, you can readjust the e ects afterward until you’re satis ed.
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Recording MIC2 and GUITAR simultaneously (SIMUL mode)
This mode is convenient for an instrumentalist/vocalist who wants to record their guitar and vocal simultaneously.
The GUITAR/BASS input is output to the L-channel, and the MIC 2 input is output to the R-channel. At this time, the e ect is applied only to GUITAR/
BASS.
1. In the ROUTING area of the System Setting screen, click either [NORMAL] or [DRY REC].
2. Set INPUT SELECT to “SIMUL.”
Note
REC LEVEL knobs L and R are displayed. L is the GUITAR/BASS recording level, and R is the MIC 2 recording level.
Using a foot switch (FOOT SW)
Here’s how to assign a function to a separately sold foot switch (BOSS FS-5U, FS-6).
1. In the System Setting screen, click the FOOT SW selection box.
2. Choose the function that you want to assign.
Note
You can also use the increment/decrement buttons of the box to make your selection.
Assignable functions Explanation
PLAY/STOP Controls play/stop.
REC Controls start/stop of recording.
PATCH INC Switches the patch to the next patch number.
PATCH DEC Switches the patch to the previous patch number.
COMP/FX ON/OFF
OD/DS ON/OFF
MODULATION ON/OFF
DELAY ON/OFF
REVERB ON/OFF
Turns the respective e ect on/o .
PREAMP/VOCAL ON/OFF Turns PREAMP, HARMONY, or PITCH CORRECT on/o .
BYPASS Selects bypass mode; the input sound will be output without change.
TUNER Starts the tuner.
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Using an expression pedal (EXP PEDAL)
If a separately sold expression pedal is connected, you can use it to do the following things.
Assignable functions Explanation
PEDAL WAH If the COMP/FX e ect type is set to PEDAL WAH and the e ect is turned on, the pedal will operate as a wah pedal.
FOOT VOLUME
In states other than the above, the pedal will operate as a volume pedal.
Note
If you select FOOT VOLUME and use the pedal to modify the volume, and then switch to PEDAL WAH mode, the foot volume
value will be set to the default value (100).
Listening to your own performance while you record (DIRECT MONITOR)
Here’s how to specify whether the sound of the VS-20 itself will be output from the PHONES jack and OUTPUT jacks.
1. In the System Setting screen, press DIRECT MONITOR [OFF] to switch it [ON].
Direct Monitor will be turned on.
DIRECT MONITOR Explanation
ON The sound of the VS-20 itself will be directly output.
OFF
Only the sound from the computer will be output.
Turn this o if the audio data is being passed “through” within the computer.
In this case, you won’t hear the sound unless the computer is set to pass the sound through.
Note
• This setting is not stored in memory. It will be ON when you power up the system.
• The DIRECT MONITOR on/o status can be controlled from an ASIO 2.0 compliant application.
• If DIRECT MONITOR is on, the VS-20’s DIRECT MONITOR knob can control the volume.
Receive Monitor Command
RECEIVE MONITOR
COMMAND
Explanation
ENABLE
Direct monitor command will be enabled, allowing an external device or an ASIO 2.0 compliant application to switch the direct
monitor status.
DISABLE Direct monitor command will be disabled; the state of the DIRECT MONITOR parameter will be maintained.
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Initializing the patch (INIT PATCH)
Here’s how to set all patch parameters to their default state.
1. In the System Setting screen, click [PATCH INIT].
The message “xxx” will appear.
2. If you’re sure you want to initialize the patch parameters, click [OK]. If you decide to cancel without initializing, click [Cancel].
Caution!
If you perform this operation before saving an edited patch, any changes you’ve made will be lost.
Restoring the V-STUDIO 20 to the factory-set state (FACTORY RESET)
1. In the System Setting screen, click [FACTORY RESET].
The message “xxx” will appear.
2. If you’re sure that you want to restore the settings to their factory-set state, click [OK]. If you decide to cancel, click [Cancel].
Caution!
If you perform this operation before saving an edited patch, any changes you’ve made will be lost.
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Troubleshooting
Problems with the sound
Symptom Points to check Action
No sound/Insucient volume
Could “INPUT SENS” be too low? Make sure that the VS-20’s [SENS] knob and the System Setting screen’s INPUT
SENS setting are not too low.
Is “INPUT SELECT” set correctly?
Set INPUT SELECT as appropriate for the input jack that’s connected.
➝ ”Input/output settings” (p. 14)
Note
If you’re using a mic that has a 1/4” phone plug, input it to “GUITAR/BASS.”
Could “MASTER LEVEL” be too low? Adjust the volume appropriately as described in “MASTER/NOISE SUPPRES-
SOR” (p. 11).
Are the eects set correctly? Check the LEVEL settings of each eect.
Could the expression pedal be lowered? If an expression pedal is connected to the [EXP PEDAL] jack, it will function as
a volume pedal. Step on the toe of the pedal to raise the volume.
Could DIRECT MONITOR be turned OFF? In the System Setting screen, turn the [DIRECT MONITOR] parameter ON. Also
make sure that the VS-20’s DIRECT MONITOR knob is raised.
No sound/insucient volume from
your DAW
Is the driver used by your DAW installed correctly? Check the USB driver settings as described in the V-STUDIO 20 owner’s
manual.
Could the “USB MIX LEVEL” be too low? In the System Setting screen, make sure that the USB MIX LEVEL setting is not
too low.
Could Re-AMP mode be selected? In Re-AMP mode, the audio input from the computer is used; the sound of
the device connected to the input jacks will not be heard. Check the ROUTING
setting in the System Setting screen.
Could the signal be muted in your DAW? Check the mute and volume settings in your DAW software.
For details, refer to the owner’s manual of the DAW you’re using.
Sound is heard from headphones
or OUTPUT, but not recorded in
your DAW
Could the “REC LEVEL” be too low? In the System Setting screen, make sure that the REC LEVEL is not too low.
Oscillation occurs
In the eect settings, could the gain value or volume-
related parameters be set too high?
Lower the value.
Editing an eect parameter does
not change the sound
Could the eect be turned o? Make sure that the eect is turned on.
Are the MIDI device settings correct? Check the settings as described in “2. Connections and settings” (p. 1).
Other problems
Symptom Points to check Action
Can’t control volume with pedal
Could the COMP/FX eect type be set to “PEDAL WAH”? The expression pedal will function as a wah pedal if COMP/FX is ON and the
eect type is set to PEDAL WAH. Either set COMP/FX to OFF, or change the
eect type to something other than PEDAL WAH.
Can’t control the DAW from the
VS-20
Is the CONTROL SURFACE MODE set correctly? Check the settings as described in “Specifying the type of control surface
(CONTROL SURFACE MODE)” (p. 18).
Screen display is distorted
Depending on the system you’re using, the screen display might be distorted or contain noise when the indication changes. If this
occurs, please contact Roland customer support.
Error messages
Message Points to check Action
Invalid patch name.
The patch name contains characters that cannot be
used.
The following characters cannot be used in a patch name.
¥ / : * ? ” < > | .
Failed to read patch.
Failed to write patch.
Failed to delete le.
Either the patch data was not found, or the patch data
is damaged.
In some cases, reinstalling the editor may allow you to successfully read and
write the patch data.
If reinstalling the editor does not solve the problem, please contact Roland
customer support.
Failed to read/write data. Make sure that the VS-20 is correctly connected.
No user patches. User patch data does not exist. Save a user patch before you click [USER].
VS-20_editor_e01.indb 19 10/01/14 19:07
20
Patch List
No. Patch Name Explanation PICKUP
001 ROCK LEAD Well sustained distortion sound, good for solos. S/H
002 CLEAN CHORUS Clean sound for arpeggio. S/H
003 BLUES LEAD Drive sound for blues. S/H
004 METAL RIFF Metal sound good for ris. H
005 WARM CLEAN Simple clean sound. S/H
006 VO CRUNCH Crunch sound, good for chord strokes. S/H
007 DS DRIVE Rough distortion sound, good for backing. S/H
008 60s FUZZ Fuzz sound of the 60s with UNI-V. S
009 70s HARD ROCK Drive sound for 70s hard rock. S/H
010 80s HARD ROCK Drive sound for 80s hard rock. S/H
011 80s METAL Distortion sound for 80s metal. H
012 90s ALTERNATIVE 90s alternative-rock sound. S/H
013 R-FIER LEAD Lead distortion sound for 90s metal. H
014 WARM LEAD Mild distortion sound, good for solos. S/H
015 METAL LEAD Massive distortion sound, good for solos. H
016 LATIN LEAD Sweet drive sound for latin rock. H
017 PHASE LEAD Hard rock sound with PHASER. H
018 MID-BOOST LEAD Mid-boosted sound, good for solos. H
019 FUSION LEAD Mild lead sound for jazz-fusion. S/H
020 CLEAN LEAD Fat clean sound, good for solos. S/H
021 CLEAN RHYTHM Tight, clean sound, good for rhythm. S/H
022 LIVERPOOL CLEAN Clean tone for 60s Liverpool sound. S
023 T-WAH FUNK Clean sound with T.WAH for funk. S
024 PHASE CLEAN Phaser sound, good for rhythm. S/H
025 ACOUSTIC SIM Acoustic guitar sound suitable for neck pickup. S
026 JAZZ for NECK PU Jazz sound, suitable for neck pickup. H
027 CONTEMPORARY JAZZ Spacious clean tone for contemporary jazz, suitable for neck pickup. S/H
028 COMP CRUNCH Crunch sound with COMPRESSOR for solos. S
029 WEST COAST CRUNCH Crunch rhythm sound suitable for the west coast music of the 70s. S/H
030 BLUES CRUNCH Crunch sound suitable for blues. S/H
031 COUNTRY ECHO Slap-back echo sound for country. S
032 SURF TREMOLO Tremolo sound, good for 60s surf rock. S
033 TEMPO DELAY CRUNCH This is a crunch sound that uses a dotted eighth note delay. S
034 ROTARY CRUNCH Rotary sound of the 70s. S/H
035 BG DRIVE Drive sound of a combo-type amp, good for backing. S/H
036 PUNK DRIVE Drive sound, good for punk rock. S/H
037 CHORUS DRIVE Drive sound with CHORUS. S/H
038 METAL for SINGLE Metal sound, good for single-coil pickups. S
039 JAZZ OVERDRIVE Overdrive sound for contemporary jazz. S/H
040 FLANGE DISTORTION Wild distortion with FLANGER. H
041 FUZZ ECHO Delay sound suited to 70s progressive rock. S
042 PEDAL WAH Wah sound for use with EXP PEDAL. S/H
043 SYNTHY LEAD Synth-like sound using SLOW GEAR. S
044 GUITAR to BASS Changes the sound of guitar to bass-like sound. Play in single-note phrases. S/H
045 for STEREO MIC Clean sound, suitable for recording with on-board stereo microphone. -
046 BASS CLEAN Clean sound for bass. -
047 BASS DRIVE Drive sound for bass. -
048 VOCAL PITCH CORRECT This is a sound with pitch correction for vocals. -
049 VOCAL HARMONY in C Harmony sound for vocals in C major. -
050 VOCAL DISTORTION Distortion sound for vocals. -
S = Patch that is optimal for a single-coil pickup
H = Patch that is optimal for a humbucking pickup
VS-20_editor_e01.indb 20 10/01/14 19:07
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