Antares Tascam Ta 1Vp Users Manual Owner's

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D01141720A

TA-1VP
Vocal Producer

OWNER'S MANUAL

IMPORTANT SAFETY PRECAUTIONS
ªª For European Customers
CE Marking Information
a)	 Applicable electromagnetic environment: E4
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK). NO USERSERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol,
within equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient
magnitude to constitute a risk of electric
shock to persons.
The exclamation point within an equilateral
triangle is intended to alert the user to
the presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the appliance.

WARNING: TO PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.

b)	 Peak inrush current: 5 A

Disposal of electrical and electronic equipment
(a)	 All electrical and electronic equipment should be
disposed of separately from the municipal waste
stream via collection facilities designated by the
government or local authorities.
(b)	By disposing of electrical and electronic equipment
correctly, you will help save valuable resources and
prevent any potential negative effects on human
health and the environment.
(c)	 Improper disposal of waste electrical and electronic
equipment can have serious effects on the
environment and human health because of the
presence of hazardous substances in the equipment.
(d)	The Waste Electrical and Electronic Equipment (WEEE)
symbol, which shows a wheeled bin that has been
crossed out, indicates that electrical and electronic
equipment must be collected and disposed of
separately from household waste.

ªª For U.S.A.
TO THE USER
This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to Part
15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in
a residential installation. This equipment generates,
uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instruction
manual, may cause harmful interference to radio
communications. However, there is no guarantee that
interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio
or television reception, which can be determined by
turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the
following measures.
a)	 Reorient or relocate the receiving antenna.
b)	 Increase the separation between the equipment and
receiver.
c)	 Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
d)	 Consult the dealer or an experienced radio/TV
technician for help.
CAUTION
Changes or modifications to this equipment not expressly
approved by TEAC CORPORATION for compliance could
void the user's authority to operate this equipment.

2 TASCAM TA-1VP

(e)	 Return and collection systems are available to end
users. For more detailed information about the
disposal of old electrical and electronic equipment,
please contact your city office, waste disposal service
or the shop where you purchased the equipment.

This appliance has a serial number located on the
bottom panel. Please record the model number and
serial number and retain them for your records.
Model number	 ______________________________
Serial number 	 ______________________________

IMPORTANT SAFETY INSTRUCTIONS
	 1	 Read these instructions.

•• Do not expose this apparatus to drips or splashes.

	 2	 Keep these instructions.

•• Do not place any objects filled with liquids, such as
vases, on the apparatus.

	 3	 Heed all warnings.
	 4	 Follow all instructions.
	 5	 Do not use this apparatus near water.
	 6	 Clean only with dry cloth.

•• Do not install this apparatus in a confined space such
as a book case or similar unit.
•• The apparatus draws nominal non-operating power
from the AC outlet with its POWER or STANDBY/ON
switch not in the ON position.

	 7	 Do not block any ventilation openings. Install in
accordance with the manufacturer's instructions.

•• The apparatus should be located close enough to the
AC outlet so that you can easily grasp the power cord
plug at any time.

	 8	 Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.

•• The mains plug is used as the disconnect device, the
disconnect device shall remain readily operable.

	 9	 Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding
type plug has two blades and a third grounding
prong. The wide blade or the third prong are
provided for your safety. If the provided plug does
not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

•• Caution should be taken when using earphones or
headphones with the product because excessive
sound pressure (volume) from earphones or headphones can cause hearing loss.

	10	 Protect the power cord from being walked on
or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the
apparatus.
	11	 Only use attachments/accessories specified by the
manufacturer.
	12	 Use only with the cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when
moving the cart/apparatus combination to avoid
injury from tip-over.

	13	 Unplug this apparatus during lightning storms or
when unused for long periods of time.
	14	 Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or
plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has
been exposed to rain or moisture, does not operate
normally, or has been dropped.

TASCAM TA-1VP 3

Safety Information
ªª RACK-MOUNTING THE UNIT
Use the supplied rack-mounting kit to mount the unit in a
standard 19-inch rack, as shown below.
Remove the feet of the unit before mounting.

NOTE

•• Leave 1U of space above the unit for ventilation.
•• Allow at least 10 cm (4 in) at the rear of the unit for
ventilation.

ªª For China

4 TASCAM TA-1VP

Contents
IMPORTANT SAFETY PRECAUTIONS...............2
IMPORTANT SAFETY INSTRUCTIONS.............3
Safety Information..........................................4
1 – Introduction...............................................6
Included items...................................................................... 6
About this manual............................................................... 6
Trademarks............................................................................. 6
Precautions for placement and use............................... 6
Beware of condensation.................................................... 6
Cleaning the unit.................................................................. 6

2 – Introducing the TASCAM TA-1VP Vocal
Producer.....................................................7
How to use this manual..................................................... 7
The contents of this manual............................................ 7
TASCAM Vocal Producer Overview................................ 7
Auto-Tune Pitch Correction.............................................. 8
A little bit about pitch................................................. 8
Some pitch terminology............................................. 8
How Auto-Tune detects pitch................................... 8
How Auto-Tune corrects pitch................................. 9
Scales................................................................................. 9
Speed................................................................................. 9
An example..................................................................... 9
Antares Microphone Modeling....................................... 9
About the technology...............................................10
So what exactly does it do?.....................................10
Understanding Compression........................................10
Threshold and Ratio...................................................10
Limiting........................................................................... 11
Dynamic Expansion and Gating............................ 11
Compression and Expansion Combined............ 11
Hard Knee/Soft Knee.................................................12
Attack and Release Times........................................12
What is a De-Esser?............................................................13
Equalization.........................................................................13
Low Pass - High Pass Filters.....................................13
Shelving Filters.............................................................14
Peaking Filter................................................................14
Band Pass and Notch Filters....................................14

Patching the TA-1VP into your system........................19
As an insert effect using your mixer’s channel
insert jack(s)...................................................................19
As an insert effect using two mixer channels...19
With an instrument....................................................20
Live, Direct Microphone connection...................20
AN IMPORTANT NOTE ABOUT MONITORING....20
Controls and Display Screens........................................20
MASTER MODULE.......................................................20
MICROPHONE MODELER MODULE .....................26
AUTO-TUNE MODULE . .............................................28
Why set Scale notes to “Blank”?....................................28
COMPRESSOR/GATE MODULE . .............................29
DE-ESSER MODULE.....................................................30
EQUALIZER/OUTPUT MODULE . ............................31

6 – Get Creative..............................................34
Using the Auto-Tune Module........................................34
Using Auto-Tune in Double Track Mode....................34
Using the Microphone Modeler Module...................34

7 – Appendix..................................................35
TA-1VP Factory Presets.....................................................35
The Presets...........................................................................35
Realistic Mic Modeling Expectations..........................36

8 – Specifications...........................................38
Dimensional drawing.......................................................40
Block diagram.....................................................................40
Level diagram......................................................................41

3 – Setting Up the TASCAM Vocal Producer.15
4 – Names and Functions of Parts................16
Front panel...........................................................................16
Rear panel.............................................................................18

5 – Operation.................................................19
Live or mixdown?...............................................................19
TASCAM TA-1VP 5

1 – Introduction
Thank you very much for purchasing the TASCAM TA-1VP
Vocal Producer.
Before connecting and using the unit, please take time to
read this manual thoroughly to ensure you understand
how to properly set up and connect the unit, as well as
the operation of its many useful and convenient functions.
After you have finished reading this manual, please keep
it in a safe place for future reference.
You can also download the Owner's Manual from the
TASCAM web site (http://tascam.com/).

Included items
The included items are listed below.
Take care when opening the package not to damage the
items. Keep the package materials for transportation in
the future.
Please contact the store where you purchased this unit
if any of these items are missing or have been damaged
during transportation.
•• Main unit (TA-1VP)....................................................................... 1
•• AC adaptor (TASCAM PS-1225L)............................................. 1
•• A rack-mounting screw kit....................................................... 1
•• A warranty card............................................................................ 1
•• Owner’s manual (this manual)................................................ 1

About this manual
In this manual, we use the following conventions:
•• The names of keys and controls are given in the
following typeface: SAVE.
•• Messages on the unit’s display are shown like this: ON
•• Additional information is introduced in the styles
below when needed:
NOTE

Explanation of actions in special situation and
supplement.

Trademarks
•• TASCAM is a trademark of TEAC Corporation, registered
in the U.S. and other countries.
•• Auto-Tune® and Antares® are registered trademarks of
Antares Audio Technologies in the United States.
•• Other company names, product names and logos
in this document are the trademarks or registered
trademarks of their respective owners.
•• All names of microphone manufacturers and
microphone model designations appearing in this
manual are used solely to identify the microphones
analyzed in the development of the respective
digital models and do not in any way imply any

6 TASCAM TA-1VP

association with or endorsement by any of the named
manufacturers.

Precautions for placement and
use
•• The operating temperature should be between 5°C and
35°C (41°F and 95°F).
•• Do not install in the following types of places. Doing
so could degrade the sound quality and/or cause
malfunctions.
•• Places with significant vibrations or that are
otherwise unstable
•• Near windows or other places exposed to direct
sunlight
•• Near heaters or other extremely hot places
•• Extremely cold places
•• Places with bad ventilation or high humidity
•• Very dusty locations
•• Locations exposed directly to rain or other water
•• Do not place any object on the unit.
•• Avoid installing this unit on top of any heat-generating
electrical device such as a power amplifier.

Beware of condensation
If the unit is moved from a cold to a warm place, or
used immediately after a cold room has been heated or
otherwise exposed to a sudden temperature change,
condensation could occur. Should this happen, leave the
unit for one or two hours before turning the unit on.

Cleaning the unit
To clean the unit, wipe it gently with a soft dry cloth. Do
not wipe with chemical cleaning cloths, benzene, paint
thinner, ethyl alcohol or other chemical agents to clean
the unit as they could damage the surface.

2 – Introducing the TASCAM TA-1VP Vocal Producer
How to use this manual
The TASCAM TA-1VP Vocal Producer (henceforth referred
to as the TA-1VP) has a very friendly user-interface and
is extraordinarily easy to use. However, to get the full
benefit of its capabilities, we recommend that you give
this manual at least a quick once over.
If the TA-1VP is your first experience with vocal signal
processing, you’ll find a brief introduction to the theory
and application of the various processing modules in this
chapter. (More in-depth information can be found in a
variety of books on recording technique and periodically
in recording-oriented magazines like Electronic Musician,
EQ, Mix, Recording,and Home Recording, among others.)
If you’re already familiar with the functions and uses of
basic studio signal processors (compressor, gate, de-esser,
EQ, etc.), you can go straight to Chapter 5 to see how they
are implemented in the TA-1VP. On the other hand, unless
you have experience with Antares Auto-Tune and Microphone Modeler, it’s probably wise to at least read the
background information on those features in this chapter.

The contents of this manual
Chapter 2: Introducing the TASCAM Vocal Producer
The chapter you are reading. It provides an overview of
the TA-1VP as well as background information on Antares
Auto-Tune pitch correction and Microphone Modeling.
It also includes an introduction to basic concepts
in compression, expansion, gating, de-essing, and
parametric equalization.
Chapter 3: Setting Up the TASCAM Vocal Producer
How to get the TA-1VP up and running.
Chapter 4: Names and Functions of Parts
This chapter provides a reference for all of the controls,
displays and connectors on the TA-1VP's front and back
panels.
Chapter 5: Operation
This is a guide to all of the features and functions of the
TA-1VP. If you’re only going to read one chapter, this is the
one.
Chapter 6: Creative Applications for the TA-1VP
Some cool, but not-so-obvious stuff you can do with the
TA-1VP.

TASCAM Vocal Producer
Overview
The heart of any great song is a great vocal sound. With
the TA-1VP Vocal Producer, we’ve combined Antares
world-renowned Auto-Tune Evo Pitch Correction and TECAward-winning Microphone Modeler technologies with
state-of-the-art vocal processing modules to give you

everything you need to create stunning vocal tracks in
any musical style.
Live or in the studio, the TA-1VP lets you instantly select
from a library of sounds. From gorgeously mellow to
seriously twisted, we’ve included factory presets for a
wide variety of vocal styles as well as an interface that
makes it easy to create your own signature sounds. (And
given the power and flexibility of the TA-1VP’s processing
modules, we’ve even included a selection of presets for
instrumental and percussion tracks.)
The TASCAM Vocal Producer features:
•• Antares Auto-Tune Real-time Pitch
Correction  Antares’s world-renowned Auto-Tune
Evo technology lets you correct the pitch of vocals (or
solo instruments), in real time, without distortion or
artifacts, while preserving all of the expressive nuance
of the original performance.
•• Antares Microphone Modeling  Antares' TEC
Awarding-winning Microphone Modeler technology
lets you give your vocal tracks the characteristics of a
variety of high-end studio mics as well as adjust the
proximity effect associated with mic distance.
•• Analog Tube Modeling  Gives your vocals the warmth
of a classic tube preamp.
•• Variable Knee Compressor   A state-of-the-art
dynamics processor with threshold, ratio, attack and
decay controls as well as a continuously variable knee
characteristic.
•• Downward Expanding Gate  The TA-1VP's gate, with
threshold and ratio controls, works independently of
the compressor to eliminate noise and breath sounds.
•• Variable Frequency De-Esser  The TA-1VP's de-esser
tames vocal sibilance with threshold, ratio, attack and
decay controls as well as a variable highpass frequency
to match any vocal performance.
•• Flexible Parametric EQ  You can fine-tune your vocal
sound with two independent bands of equalization
that let you select from 6 dB or 12 dB high or low cut,
high or low shelving with variable slope, bandpass,
notch and fully parametric peaking.
•• Automatic Mono or Stereo Double Tracking  You
can automatically mix a doubled track into the TA-1VP's
main output or route it to a separate output for postprocessing and mixing.
•• Fully Programmable  Once you’ve created the perfect
vocal sound for a particular track, every parameter can
be saved as a preset for instant recall.
•• Factory Presets for a Wide Variety of Vocal
Styles  The TA-1VP comes out-of-the-box with an
extensive collection of factory presets for a variety of
vocal styles. (We’ve even included a selection of presets
for instrumental and percussion tracks.)
•• MIDI Automation  Every variable module parameter
can be controlled via MIDI continuous controllers for
realtime automation.

TASCAM TA-1VP 7

2 – Introducing the TASCAM TA-1VP Vocal Producer
•• Really Easy To Use  No scrolling though endless
menus to find the parameter you want. Virtually every
major function is only a single button press away.

Auto-Tune Pitch Correction
In 1997, Antares first introduced the ground-breaking
Auto-Tune Pitch Correcting Plug-In for ProTools™
(eventually followed by most other plug-in formats). Here
was a tool that actually corrected the pitch of vocals and
other solo instruments, in real time, without distortion
or artifacts, while preserving all of the expressive nuance
of the original performance. Recording Magazine called
Auto-Tune a “Holy Grail of recording.” And went on to say,
“Bottom line, Auto-Tune is amazing… Everyone with a
Mac should have this program.”
The TA-1VP's Auto-Tune module is a licensed hardware
implementation of Antare's Auto-Tune Evo pitch
correcting software. Like Auto-Tune, the TA-1VP employs
state-of- the-art digital signal processing algorithms
(many, interestingly enough, drawn from the geophysical
industry) to continuously detect the pitch of a periodic
input signal (typically a solo voice or instrument) and
instantly and seamlessly change it to a desired pitch
(defined by any of a number of user-programmable
scales).

A little bit about pitch
Pitch is typically associated with our perception of
the “highness” or “lowness” of a particular sound. Our
perception of pitch ranges from the very general (the
high pitch of hissing steam, the low pitch of the rumble
of an earthquake) to the very specific (the exact pitch of
a solo singer or violinist). There is, of course, a wide range
of variation in the middle. A symphony orchestra playing
a scale in unison, for example, results in an extremely
complex waveform, yet you are still able to easily sense
the pitch.
The vocalists and the solo instruments that the TA-1VP is
designed to process have a very clearly defined quality
of pitch. The sound-generating mechanism of these
sources is a vibrating element (vocal chords, a string, an
air column, etc.). The sound that is thus generated can
be graphically represented as a waveform (a graph of the
sound’s pressure over time) that is periodic. This means
that each cycle of waveform repeats itself fairly exactly, as
in the periodic waveform shown in the diagram below:

Because of its periodic nature, this sound’s pitch can be
easily identified and processed by the TA-1VP.

8 TASCAM TA-1VP

Other sounds are more complex. This waveform:

is of a violin section playing a single tone. Our ears
still sense a specific pitch, but the waveform does not
repeat itself. This waveform is a summation of a number
of individually periodic violins. The summation is nonperiodic because the individual violins are slightly out of
tune with respect to one another. Because of this lack of
periodicity, Auto-Tune would not be able to process this
sound.

Some pitch terminology
The pitch of a periodic waveform is defined as the number
of times the periodic element repeats in one second.
This is measured in Hertz (abbreviated Hz.). For example,
the pitch of A3 (the A above middle C on a piano) is
traditionally 440Hz (although that standard varies by a
few Hz. in various parts of the world).
Pitches are often described relative to one another as
intervals, or ratios of frequency. For example, two pitches
are said to be one octave apart if their frequencies differ
by a factor of two. Pitch ratios are measured in units called
cents. There are 1200 cents per octave. For example, two
tones that are 2400 cents apart are two octaves apart. The
traditional twelve- tone Equal Tempered Scale that is used
(or rather approximated) in 99.9% of all Western tonal
music consists of tones that are, by definition, 100 cents
apart. This interval of 100 cents is called a semitone.

How Auto-Tune detects pitch
In order for Auto-Tune to automatically correct pitch, it
must first detect the pitch of the input sound. Calculating
the pitch of a periodic waveform is a straighforward
process. Simply measure the time between repetitions of
the waveform. Divide this time into one, and you have the
frequency in Hertz. The TA-1VP does exactly this: It looks
for a periodically repeating waveform and calculates the
time interval between repetitions.
The pitch detection algorithm in the TA-1VP is virtually
instantaneous. It can recognize the repetition in a periodic
sound within a few cycles. This usually occurs before
the sound has sufficient amplitude to be heard. Used in
combination with a slight processing delay (no greater
than 4 milliseconds), the output pitch can be detected
and corrected without artifacts in a seamless and
continuous fashion.
The TA-1VP was designed to detect and correct pitches
up to the pitch C6. If the input pitch is higher than C6,
the TA‑1VP will often interpret the pitch an octave lower.
This is because it interprets a two cycle repetition as a one
cycle repetition. On the low end, the TA-1VP will detect
pitches as low as 42 Hz. This range of pitches allows

2 – Introducing the TASCAM TA-1VP Vocal Producer
intonation correction to be performed on all vocals and
almost all instruments.
Of course, the TA-1VP will not detect pitch when the input
waveform is not periodic. As demonstrated above, the
TA‑1VP will fail to tune up even a unison violin section.
But this can also occasionally be a problem with solo
voice and solo instruments as well. Consider, for example,
an exceptionally breathy voice, or a voice recorded in an
unavoidably noisy environment. The added signal is nonperiodic, and the TA-1VP will have difficulty determining
the pitch of the composite (voice + noise) sound. Luckily,
there is a control (the Sensitivity control, discussed in
Chapter 5) that will let the TA-1VP be a bit more casual
about what it considers “periodic.” Experimenting with
this setting will often allow the TA-1VP to track even noisy
signals.

An example
As an example, consider this before-and-after graphic
representation of the pitch of a vocal phrase that contains
both vibrato and expressive gestures.
CORRECTED
BY TA-1VP
D3

C

#3
ORIGINAL
PERFORMANCE

B2

How Auto-Tune corrects pitch
Auto-Tune works by continuously tracking the pitch
of an input sound and comparing it to a user-defined
scale. The scale tone closest to the input is continuously
identified. If the input pitch exactly matches the scale
tone, no correction is applied. If the input pitch varies
from the desired scale pitch, an output pitch is generated
which is closer to the scale tone than the input pitch. (The
exact amount of correction is controlled by the Speed
parameter, described below and in Chapter 5.)

Scales
The heart of Auto-Tune pitch correction is the Scale. The
TA-1VP comes with 25 preprogrammed scales. For each
Scale you can define which notes will sound and which
won’t. And for each note that will sound, you can decide
whether the TA-1VP will apply pitch correction to input
pitches near that note or leave those pitches uncorrected.
You can also edit any of the preprogrammed scales and
save your custom scale as part of a Preset.

Speed
You also have control over how rapidly, in time, the pitch
adjustment is made toward the scale tone. This is set with
the Speed control (see Chapter 5 for more details).
•• Fast Speed settings are more appropriate for short
duration notes and for mechanical instruments, like an
oboe or clarinet, whose pitch typically changes almost
instantly. A fast enough setting will also minimize or
completely remove a vibrato. At the fastest setting, you
will produce the now-infamous “Cher effect.”
•• Slow Speed settings, on the other hand, are
appropriate for longer notes where you want
expressive pitch gestures (like vibrato) to come through
at the output and for vocal and instrumental styles that
are typified by gradual slides (portamento) between
pitches. An appropriately selected slow setting can
leave a vibrato unmodified while the average pitch is
accurately adjusted to be in tune.

10.0

10.5

11.0

In the original performance, we can see that although
the final note should be centered around D, the vocalist
allowed the tail of the note to fall nearly three semitones
flat. The “after” plot is the result of passing this phrase
through the TA-1VP set to a D Major Scale (with C# and
B set to ”Blank”) and a Speed setting of 10. That Speed
causes the pitch center to be moved to D, while still
retaining the vibrato and expressive gestures. (Setting
C# and B to ”Blank” is necessary to keep the TA-1VP from
trying to correct the seriously flat tail of the last note to
those pitches. See Chapter 5 for more details.)

Antares Microphone Modeling
If you’ve spent any time flipping through the pages of pro
audio magazines, you have almost certainly noticed the
intense focus on microphones. From the proliferation of
exotic new mics to the almost cult-like following of certain
historical classics, never has the choice been greater. But
amassing a substantial collection of high-end mics is
financially prohibitive for all but the most well-off studios.
Now, using Antare's patented Spectral Shaping Tool™
technology, we’ve created digital models of a variety
of microphones. Simply tell the TA-1VP what type of
microphone you are actually using and what type of
microphone you’d like it to sound like. It’s as simple as
that.
With the TA-1VP, you can record each track through a
model of the type of mic that will best produce that ideal
sound you’re looking for. Or use it in live performance
to get the sound of mics you’d never consider using on
stage. You can even use it during mixdown to effectively
change the mic on an already recorded track. And for that
final touch of perfection, you can even add some tasty
tube saturation.

TASCAM TA-1VP 9

2 – Introducing the TASCAM TA-1VP Vocal Producer
About the technology
The models employed by the TA-1VP are not derived
from theoretical considerations. They are generated by
a proprietary analysis process that is applied to each
physical mic modeled. Not only the sonic characteristics,
but the behavior of other parameters such as low-cut
filters or proximity effects accurately reflect the specific
performance of each microphone modeled.
Another advantage of this model-based approach is that
there is essentially no processing delay apart from the
natural phase effects of the microphones being modeled.
Finally, the quality and signal-to-noise characteristics
of the processing are pristine. Because of Antare's
commitment to model-based processing, there are none
of the limitations or distortions characteristic of FFT-based
algorithms. The quality of the output is limited only by the
quality of the input.

So what exactly does it do?
While there is a lot of fairly complicated stuff going on
under the hood, the essential functionality of the TA-1VP's
Mic Modeling module is really quite simple. Basically,
audio originally recorded by a microphone is input to
the TA-1VP where it is first processed by a “Source Model”
which serves to neutralize the known characteristics of
the input mic. The audio is then processed by a second
“Modeled Mic” model which imposes the characteristics
of the modeled mic onto the previously neutralized signal.
Finally, the audio is passed through a model of a highquality tube preamp offering the option of classic tube
saturation distortion.

Understanding Compression
Compression is probably the most widely used (and
potentially confusing) signal process used in today’s
studios. Simply put, compression reduces the dynamic
range of a signal. That is, it reduces the difference in
loudness between the loudest and quietest parts of a
piece of music. Another way to think about this is that the
compressor is acting as an automatic fader which fades
down when the signal gets loud and fades back up when
the signal gets soft.
Why reduce the dynamic range? Consider the problem
of mixing the vocal in a contemporary rock or pop song.
Typically, pop music has a relatively consistent level of
loudness. If an uncompressed vocal track is added to a
typical pop mix, loudly sung words or syllables would
jump out of the mix, while quieter phrases would be
buried beneath the instrumental texture. This is because
the difference between the loudest and softest sounds
in the vocal - its dynamic range - is very large. This same
problem occurs for any instrument which has a dynamic
range larger than the music bed into which it is being
mixed. (For that reason, most instruments, not just vocals,
undergo some compression in the typical mix.)

10 TASCAM TA-1VP

By using a compressor to decrease the dynamic range of
the vocal, the softer sounds are increased in loudness and
the loudest sounds are reduced in loudness, tending to
even out the overall level of the track. The overall level of
the compressed track can then be increased (using what
is referred to as “make-up gain”), making the vocal track
louder and more consistent in level, and therefore easier
to hear in the mix.

Threshold and Ratio
How is compression measured? What is a little
compression and what is a lot of compression?
The effect a compressor has on a track is determined by
the settings of its threshold and ratio. The threshold is the
level above which the signal is attenuated. The ratio is the
measure of how much the dynamic range is compressed.
The graph shown below shows the relationship between
the input level of a signal and the output level of the
signal after compression. Notice that signals that are
louder than the threshold are compressed (reduced
in level) while those softer than the threshold are
unchanged.
As the input signal exceeds the threshold, gain reduction
(reduction in loudness) is applied. The amount of gain
reduction that is applied depends on the compression
ratio. The higher the compression ratio, the more gain
reduction is applied to the signal.
The graph shows the relationship between compression
ratio and gain reduction. Examine the 2 to 1 ratio curve.
For signals above the threshold, this setting transforms a
range of loudness 2 units large into a range of loudness
one unit large (i.e., if the input signal gets “x” units louder,
the compressed signal increases by only “x/2” units).
1 TO 1 RATIO

LOUDER
2 TO 1 RATIO
4 TO 1 RATIO

THRESHOLD

8 TO 1 RATIO
99 TO 1 RATIO

I/O CURVE

OUTPUT
LEVEL

LOUDER
INPUT LEVEL

2 – Introducing the TASCAM TA-1VP Vocal Producer
Limiting

1 TO 1 RATIO

Examine the 99:1 curve in the above graph. This setting
reduces all sounds above the threshold to the same
loudness. This is called limiting. Limiting is usually
employed to allow a dynamic signal to be recorded at a
maximum level with no risk that transient peaks will result
in overload. In this application, the threshold setting
(usually set relatively high) determines the extent to
which the peaks will be limited.

LOUDER

THRESHOLD

OUTPUT
LEVEL

Dynamic Expansion and Gating
Sometimes, it is desirable to increase the difference
between the quietest signal and the noise in a recording
by using a downward expander. A typical application
would be eliminating room noises and breath sounds that
can be heard between the phrases of a recorded vocal
part.
The graph below shows the curveÉ For MIDI Dump
All Presets + Setup

This selection saves all of the TA-1VP’s presets along with
the Setup Menu data. When this file is loaded back into
your TA-1VP, it will replace all of the TA-1VP’s presets and
Setup data with the contents of the file.
 For MIDI Dump
All Presets Only

This selection saves all of the TA-1VP’s presets. When this
file is loaded back into your TA-1VP, it will replace all of
the TA-1VP’s presets with the contents of the file, but will
leave the current Setup data unchanged.
 For MIDI Dump
Setup Data Only

This selection saves only the TA-1VP’s Setup data. When
this file is loaded back into your TA-1VP, it will replace the
current Setup data with the contents of the file, and will
leave all presets unchanged.
 For MIDI Dump

When NO (default setting) is selected, the TA-1VP will
ignore all MIDI SysEx messages. When Yes is selected, the
TA-1VP will respond to any valid TA-1VP SysEx files created
with the MIDI Preset Dump function described above.
To restore a previously saved file, select Yes on the above
page and ensure that the MIDI Out on your sequencer or
computer is connected to the TA-1VP’s MIDI In.
On your MIDI sequencer, select the file that contains the
Presets and/or Setup data you wish to load. Play that file
into the TA-1VP.
IMPORTANT NOTE: Reloading one or more presets
will permanently overwrite whatever presets are
currently in the corresponding numerical locations. If
you want to save those presets, either copy them to
a location which will not be overwritten or save them
as a MIDI SysEx file using the MIDI Preset Dump page
described above.
While the TA-1VP is receiving and storing valid SysEx data,
the following screen will be displayed:
Receiving and
storing MIDI Data

When the load is completed, you will see the following
screen for about 2 seconds:

## Preset Name
MIDI Load

This selection saves the single selected TA-1VP preset.
When this file is loaded back into your TA-1VP, it will
replace the preset currently at that numerical location
with the contents of the file, but will leave all other presets
and the current Setup data unchanged.
In any case, after pressing SAVE, the TA-1VP will begin
transmitting the selected SysEx data and display the
following screen:

24 TASCAM TA-1VP

Complete

If the TA-1VP detects a problem with the received SysEx
data, the following screen will be displayed:
Bad SysEx Data
Received

5 – Operation
If this happens to you, check to be sure that you have sent
the TA-1VP the correct file from your sequencer.

ªª LCD Contrast Page

ªª Factory Preset Restore Page

LCD contrast
3

 to restore
## Preset Name

If you have edited or replaced any of the factory presets
and wish to restore one or more of them, use the Data
Knob to select the desired factory preset. If you scroll
to the end of the factory preset list you will see the
additional choice:
 to restore

The LCD Contrast parameter lets you set the maximum
display contrast for your viewing angle. Use the Data
Knob to select the value that provides the greatest
contrast between the display text and the background.
(The default setting is 4.)

ªª Save Preset Page
When you have created a new preset or made changes to
an existing preset and want to save the changes, press the
SAVE button to access this screen:

Restore all Presets

Once you have made your selection, press Save to see:
Are you sure?
 to confirm

IMPORTANT NOTE: Restoring one or more factory
presets will permanently overwrite whatever presets
are currently in the corresponding preset locations. If
you want to save those presets, either copy them to
a location which will not be overwritten or save them
as a MIDI SysEx file using the MIDI Preset Dump page
described above.
If you have selected Restore all Presets, the
process will take about 9 seconds and you will see this
screen during the save process:
Factory Presets
restore in progress.

If you have selected a single preset, the process is virtually
instantaneous.
In either case, once the restore is completed, you will see
the following screen for a few seconds:
Factory Presets
restore completed.

and then you will be returned to the initial Factory Preset
Restore page.

Edit name & 
Name:Preset Name

If you have been editing an existing preset, the Name field
will contain the name of that preset. If you don’t wish to
change the name (e.g., if you are editing a preset and plan
to overwrite it with the edited version), simply press SAVE
again to be taken to the next screen.
If you do wish to change the name, use the Cursor buttons
to move from character to character and the Data Knob
to select the desired letter, number or punctuation mark
for each character. When you are finished, press SAVE to
access this screen:
 to overwrite:
## Preset Name

The Preset number and Preset name will initially be the
number and name of the original preset you were editing
(i.e., the Preset Name will be the original name of the
preset). If you want to overwrite that preset with your
newly edited version, press SAVE. Otherwise, use the
Data Knob to select another preset location and then
press SAVE. In either case you will see a brief message
confirming that your preset was saved and will then be
returned to whichever screen you were on immediately
before initiating the Save process.
NOTE

To copy an existing preset to another location, first select
the preset and press SAVE. Edit the name (if you wish)
and press SAVE again. Select the location to copy to and
press SAVE again. You may now edit your copy without
any risk of accidentally overwriting the original version.

TASCAM TA-1VP 25

5 – Operation
MICROPHONE MODELER MODULE

ªª Model Mic Page
Pressing the MODEL button brings up this page:

ªª Source Mic Page
Pressing the SRC button brings up this page:

Model Mic:
Lg Dia condenser #1

Source Mic:
Shure SM57

Use the Data Knob to select the desired type of mic
model. Models include:

Use the Data Knob to select a source mic.
The Source Mic list includes both specific mics and
generic mic categories. If you are using one of the specific
mics, select that mic. Specific mics include:
Shure SM58

Rode NT1

Shure SM57

Rode NT2

Shure Beta 58a

Rode NT3

Shure KSM 32

CAD M177

Audio Technica 3035

CAD E200

Audio Technica ATM31

CAD E350 (default setting)

Audio Technica ATM41a
Audio Technica 4050
If your mic is not listed, select the generic mic category
that best describes your mic. Generic mic categories
include:
Hand-held Dynamic
Studio Dynamic
Wireless
Small Diaphragm Condenser
Large Diaphragm Condenser
Additionally, the list offers a selection called “Bypass.”
When Bypass is selected, the source signal is passed
unmodified to the Modeled Mic section. You should
select Bypass when your source was not recorded with a
microphone (e.g., guitar via direct box, direct synth input,
etc.).
NOTE

Even if your audio was recorded with a microphone, you
can still choose Bypass as the Source Mic and any mic
as the Modeled Mic. In that case, the resulting effect is
equivalent to having recorded the audio with your actual
physical mic (which you, of course, did) and then having
played back that track through a good set of speakers
and rerecorded it with the Modeled Mic. What you end up
with is a hybrid of your actual and modeled mic.

26 TASCAM TA-1VP

Hand-held Dynamic
Studio Dynamic
Small Diaphragm Condenser #1
Small Diaphragm Condenser #2
Large Diaphragm Condenser #1
Large Diaphragm Condenser #2
(default setting)
Large Diaphragm Condenser #3
Drum Mic - Kick
Drum Mic - Snare
Drum Mic - Cymbal
Telephone
Additionally, the list offers a selection called “Bypass.”
When Bypass is selected, no mic model is applied. The
net sonic effect of selecting Bypass here depends on the
setting of the Source Mic:
•• If the correct source mic is selected in the Source Mic
list and Bypass is selected in the Modeled Mic list, the
final output of the Mic Modeler module will be stripped
of the characteristics of the source mic, resulting
in the signal that would have been recorded by an
instrumentation microphone with no proximity effect.
•• If Bypass is selected in the Source Mic list and Bypass is
selected in the Modeled Mic list, the final output of the
Mic Modeler module will be identical to the original
input signal (with the exception of any added tube
warmth).

ªª Low Cut/Proximity Page
Pressing the LOW CUT button brings up this page:
Src LC

ON Prox

4.5

Mdl LC

ON Prox

6.3

(There’s a lot going on with the parameters on this page
and some of it is rather counter-intuitive, so if things
don’t seem to be acting the way you’d expect, refer to the
explanations below.)
This page contains the Low Cut Filter and Proximity
settings for both the Source mic and the Model mic. Use
the cursor buttons to navigate to the desired fields and
the Data Knob to set the values.

5 – Operation
Source Mic Low Cut
If you select a specific source mic and that mic is equipped
with a low-cut filter, you can use the Data Knob to turn
the filter ON or OFF (default setting). (If the specific mic
does not have a low-cut filter, the display will default to
“---.”) All generic mic categories include a low cut filter.
If the source mic does include a low-cut filter, select the
low-cut setting (ON or OFF) that was (or will be) used
when capturing your audio.
NOTE

It is important to keep in mind that the purpose of this
setting is to “undo” the effect of any low-cut filter that
was used to capture your audio. If you play around with
this setting, you may initially think that it is working
“backwards.” That is, changing the menu selection from
OFF to ON will actually cause a bass boost in the monitored
audio.
However, once you think about it, you will realize that
this is the way it’s supposed to work. The purpose of the
controls in the Source Mic section is to neutralize the
effects of the source mic. So, when you select a low-cut
filter, you’re telling the Microphone Modeler that the
source mic recorded the audio with bass attenuation and,
therefore, the model must now boost the bass an equal
amount to remove the source mic’s sonic coloration.
Source Mic Proximity
Use the Data Knob to set the average distance that
separated the mic and the signal source during the
recording of the audio. Or select OFF (default setting) to
preserve the source recording’s actual proximity effect (if
any).
The purpose of this control is to remove any Proximity
Effect that may have been introduced by the source mic.
NOTE

•• Proximity Effect is a boost in bass frequencies resulting
from placing a directional mic in close proximity to
a signal source. The amount of the effect is inversely
proportional to the distance from the mic to the source
(i.e., the smaller the distance, the greater the bass
boost).
•• Like the Low-Cut control described above, the Source
Mic Proximity control may initially seem to be working
backwards (i.e., setting a shorter distance will result in
an audible bass attenuation). Refer to the explanation
up in the Source Low-Cut section to understand why
this is actually how it is supposed to work.
Model Mic Low Cut
If the mic type you select as the Model Mic is typically
equipped with a low-cut filter, you can use the Data Knob
to turn the filter ON or OFF (default setting).
(If the selected mic type does not have a low-cut filter (and
actually, only the Telephone is lacking one), the display
will default to “---.”)

If the modeled mic does include a low-cut filter, turning
the low-cut ON will reproduce the same effect that the
filter would have on the actual modeled mic.
NOTE

Although it’s always best to let your ears be your guide,
if your audio was recorded with the source mic’s low-cut
filter turned on, in most cases it will be best to turn on the
modeled mic’s low-cut filter as well. (After all, there was
presumably some reason that someone chose to use that
filter in the first place.)
Model Mic Proximity
Use the Data Knob to select a mic distance for a desired
amount of proximity effect.
Using the Data Knob to set a particular distance will result
in the amount of proximity effect that would be produced
by the actual modeled mic when placed at that distance
from the signal source. (The default setting is off.)
NOTE

A secondary effect of mic-to-source distance is the
extent to which environmental ambience is picked up
by a mic. For example, as a mic is moved away from the
source, the proximity effect decreases, but the amount
of “room tone” increases (assuming that you are not in
an anechoic chamber). The TA-1VP does not model this
effect. However, judicious use of the Proximity control
in combination with some appropriately programmed
reverb will allow you to create the same effect, with the
additional bonus of being able to control the exact nature
of the room tone.

ªª Tube Warmth Page
Pressing the TUBE button brings up this page:
Tube Warmth Amount:
10.0.

The Tube section is designed to model the distortion that
is typical of a high-quality tube pre-amp.
When tube pre-amps are operated in their linear range,
there is virtually no signal distortion and their audio
qualities are essentially identical to solid state pre-amps.
However, it commonly occurs that transients exceed the
linear voltage range, resulting in distortion. The distortion
characteristics of a vacuum tube pre-amp is vastly
different than that of solid state amplifiers and is often
described as adding a certain “warmth” to a sound (in
contrast to what is often described as the “brittleness” of
the solid state sound).
The amount of tube saturation effect applied to your
audio is controlled by the Tube Warmth Amount control
in combination with the Input Level control.
The Warmth Amount control determines the amplification
factor of the modeled tube pre-amp with the numeric
display indicating the amplification in dB. At .0 (default
setting), no distortion occurs, even for full amplitude
TASCAM TA-1VP 27

5 – Operation
(+1 or –1) signal levels. These levels represent the “rails”
of the amplifier. As the Warmth Amount is increased,
the amplification is increased. Any regions of the signal
that increases beyond the rails generate distortion.
(But instead of the usual ugly digital clipping, they are
distorted the same way the tube pre-amp would distort
the sound.)
Because the maximum drive is limited to +12 dB, using
the Tube Saturation model requires the original signal to
be at a level greater than –12 dB. If this is not the case, you
should adjust the Input analog Trim control (in the Setup
Menu) to increase the level of the sound. (Be careful that
Input Level is not increased so much as to cause digital
distortion.) It may be necessary to go back and forth
between Warmth Amount and Input Trim a few times to
get exactly the effect you want.
NOTE

If your audio was recorded at an exceptionally low level,
it may be that even maximum Input Trim and maximum
Warmth Amount will still not result in a level high enough
to generate distortion. In that case, either re-record your
audio at a higher level (if possible) or use an available
digital waveform editor to digitally increase the level
(keeping in mind that this may negatively affect the signal
quality).
If you want to add tube warmth without otherwise
affecting your sound, set both the Source Mic and
Modeled Mic to Bypass.

ªª MIC MODELER ON Button
When this button is lit, the MIC MODELER module is
active. When it is not lit, the module is bypassed. Pressing
the button toggles its state. The Mic Modeler On/Off
function can also be controlled by MIDI and/or by a
footswitch.

AUTO-TUNE MODULE
ªª Scale Page
Pressing the SCALE button brings up this page.
You tell Auto-Tune exactly which notes you want to
correct on the Scale Page:
Ch:CC#DD#EFF#GG#AA#B
:

In addition, you can customize any of the provided scales
and save it as part of your preset. To modify a scale, press
the Á cursor button to move the cursor to the bottom
row of this screen, then use the cursor buttons to move to
the desired scale note and turn the Data Knob to set it to
one of the following three states:
Tune (i.e., the note name appears in the display, but
the field under the note is blank): When the input is
near a note set to Tune, Auto-Tune will retune the
input to that note.
Bypass (i.e., the note name appears in the display and
an “*” appears in the field under the note): When the
input pitch is close to a note set to Bypass, the output
remains uncorrected.
Blank (i.e., the note name disappears from the
display): A note set to Blank will be omitted from the
scale. For example, setting C#, D#, F#, G#, A# to Blank
causes a C Major scale to remain. In that case AutoTune would always retune the input to the closest
note of the C Major scale.
As an example, the following settings result in a D Major
scale with no pitch corrections applied to F# and C#:
D : C#D E F#G A B
Ma:

*

Why set Scale notes to “Blank”?
To understand why it is sometimes necessary to set
even correct scale notes to ”Blank,“ let’s look again at the
example from Chapter 2.
CORRECTED
BY TA-1VP
D3

C

#3
ORIGINAL
PERFORMANCE

B2
10.0

This page allows you to specify the scale notes to which
Auto-Tune tunes the input sound.
The TA-1VP comes with 25 preset scales: Chromatic, 12
diatonic major and 12 diatonic minor. To select a preset
scale, use the cursor buttons to move to the scale name
field in the top left of the screen and turn the Data Knob
to select the desired scale. Note that "Ch" is short for
"Chromatic", the scale with all 12 notes.

28 TASCAM TA-1VP

*

10.5

11.0

This phrase is in D Major and, if all the pitch errors were
no greater than about 49 cents, would work fine with a
standard D Major scale (D, E, F# , G, A, B, C# ). However, the
pitch error of three semitones at the end of the last note
is so large that with B and C# present in the Scale, as the
pitch fell, Auto-Tune would see first C# and then B as the
target pitch and therefore allow the error to remain. With
C# and B removed from the Scale, Auto-Tune continues
to see D as the target pitch for the entire duration of the

5 – Operation
note and therefore pulls the phrase up to the correct
pitch.
A NOTE ABOUT SCALE EDITS: While you remain in
a preset, you can make edits to multiple scales and
the TA-1VP will remember the edits and allow you to
switch between the edited scales (e.g., to evaluate
the effect of various scale settings on the correction
of a particular performance). However, if you select
another preset without first saving the first preset, all
of your scale edits will be lost. Furthermore, since a
TA‑1VP preset includes only the scale selected at the
time it was saved, be sure your desired scale is selected
before saving the preset, as any edits to other scales
will also be lost.

ªª Speed Page
Pressing the SPEED button brings up this page:
Correction Speed
(0 is fast):

7

The Speed control determines how rapidly pitch
correction is applied to the incoming sound. Values range
from 0 to 25. (The default setting is 7). A value of zero will
cause instantaneous changes from one note to another
and will completely suppress a vibrato and any purposeful
expressive pitch variations (note that any related volume
changes will remain). This will result in what has become
known as the “Cher effect.”
Values from 6 to 10 are typical for vocals. Higher values
allow more vibrato and other interpretative pitch gestures,
but will slow down the rate at which pitch corrections are
made.
Although the above suggestions can be used as starting
points, finding the correct Speed setting for a particular
performance is largely a matter of trial-and-error and
depends on such attributes as song tempo, note duration
and vocal style, among others.

ªª Correction Meter
This meter indicates, in real time, the amount of pitch
correction being applied to change the input pitch to the
target pitch. The green LEDs indicate that the input is flat
and that positive correction is being applied. Conversely,
the yellow LEDs indicate that the input is sharp and that
negative correction is required.

ªª Auto-Tune ON Button
When this button is lit, the AUTO-TUNE module is active.
When it is not lit, the module is bypassed. Pressing the
button toggles its state. The Auto-Tune On/Off function
can also be controlled by MIDI and/or by a footswitch.

COMPRESSOR/GATE MODULE
ªª Compressor Page
Pressing the COMP button brings up this page:

This page allows you to set the main compressor
parameters. Use the cursor buttons to move from field to
field and the Data Knob to set each parameter. For ease
in setting the threshold, this page includes a display of
the incoming signal level and a graphic indication of the
currently selected threshold. The threshold must be set
below the signal peaks for any compression to occur.
Pressing the COMP button again while the Compressor
Page is displayed will display the Gain Reduction Meter
Page (see below). Continually pressing the COMP button
will alternate between the two pages.
The ranges of the parameters are as follows:
Threshold: –36 dB - 0 dB (Default: –10 dB)
Ratio: 1.0:1 - 99:1
Makeup Gain: 0 dB - 36 dB (Default: 10 dB)

ªª Compressor Attack Page
Pressing the ATK button brings up this page:
Compressor Attack
40ms

The Attack Time control adjusts the speed with which
the compressor responds to peaks in the input signal.
The range of the control is from 1 milliseconds to 200
milliseconds. (The default setting is 7.)
NOTE

While using the compressor and the de-esser
simultaneously, be sure that the attack time of the
compressor is long enough not to interact with the deesser.

ªª Compressor Release Page
Pressing the REL button brings up this page:
Compressor Release
200 ms

The Release Time control sets the time it takes for the
compressor’s gain to return to normal after the input
level drops below the threshold. The range of the control
is from 1 milliseconds to 200 milliseconds. (The default
setting is 120 milliseconds.)

TASCAM TA-1VP 29

5 – Operation
ªª Compressor Knee Page
Pressing the KNEE button brings up this page:
Compressor Knee:

40

(0 is hard)

The Knee control adjusts the sharpness of the transitions
between uncompressed and compressed signals. As
a signal increases in level through the threshold, the
compressor will begin to apply gain reduction. With a
soft knee (100), that change in gain will be gradual and
therefore less noticeable.
The range of the control is from 0 (hard knee) to 100 (soft
knee). (The default setting is 48.)

activity. For precise gain reduction indication, refer to the
Gain Reduction Meter Page described above. The range of
the meter is 15 dB.

ªª COMPRESSOR/GATE ON Button
When this button is lit, the COMPRESSOR/GATE module
is active. When it is not lit, the module is bypassed.
Pressing the button toggles its state. The Comp/ Gate On/
Off function can also be controlled by MIDI and/or by a
footswitch.

DE-ESSER MODULE
ªª De-esser Page
Pressing the DE-ESS button brings up this page:

ªª Gate Page
Pressing the GATE button brings up this page:
Th:-36dB_____|
Gate Ratio: 1:20

This page allows you to set the main Gate parameters.
Use the cursor buttons to move from field to field and the
Data Knob to set each parameter. For ease in setting the
threshold, this page includes a display of the incoming
signal level and a graphic indication of the currently
selected threshold. The threshold should be set just above
the level of the signal that you wish to gate.
Pressing the GATE button again while the Gate Page is
displayed will display the Gain Reduction Meter Page
(see below). Continually pressing the GATE button will
alternate between the two pages.
The ranges of the parameters are as follows:
Threshold: –90 dB (default setting) - 0 dB
Ratio: 1:1.0 (default setting) - 1:99

ªª Gain Reduction Meter Page
C/G:-20 -12 -6 -3

0

This page allows you to set the main de-esser parameters.
Use the cursor buttons to move from field to field and the
Data Knob to set each parameter. For ease in setting the
threshold, this page includes a display of the incoming
high-pass signal level and a graphic indication of the
currently selected threshold. The threshold must be set
below the signal peaks for any de-essing to occur.
Pressing the DE-ESS button again while the De-esser
Page is displayed will display the De-esser Gain Reduction
Meter Page (see below). Continually pressing the DE-ESS
button will alternate between the two pages.
The ranges of the parameters are as follows:
Threshold: –60 dB - 0 dB (default setting)
Ratio: 1.0:1 - 99:1
NOTE

If you are using the Double Track function (see below), the
de-esser works on both the main and the double track.

ªª De-esser Attack Page
Pressing the ATK button brings up this page:

¡¡¡¡¡¡¡¡¡¡¡
De-esser Attack

Pressing either the COMP or GATE buttons while their
respective pages are displayed will display this high
resolution gain reduction meter. The meter displays the
amount of gain reduction applied to the signal. When the
input signal is above the compression threshold or below
the gate threshold, the gain reduction meter will display
the amount of compression or gating being applied.
Pressing the COMP or GATE button again will return to
the appropriate page.

The Attack Time control adjusts the speed with which the
de-esser’s compressor element responds to peaks in the
signal coming from the highpass filter. The range of the
control is from 0 milliseconds to 200 milliseconds. (The
default setting is 15 milliseconds.)

ªª Gain Reduction Meter

Pressing the REL button brings up this page:

The front panel GAIN REDUCTION meter is intended
to provide a quick indication of compressor and gate

30 TASCAM TA-1VP

15 ms

ªª De-esser Release Page

5 – Operation
De-esser Release

ªª EQ #1 Page

200 ms

The Release Time control adjusts the time it takes the
compressor element’s gain to increase 6 dB after the
signal coming from the highpass filter drops below the
threshold. The range of the control is from 20 milliseconds
to 2550 milliseconds. (The default setting is 120
milliseconds.)

ªª High Pass Frequency Page
Pressing the HI-PASS button brings up this page:
De-esser Highpass
Frequency:

EQUALIZER/OUTPUT MODULE

5402 Hz

The de-esser can be viewed as a compressor which
is keyed by the output of a high pass filter. When the
filter passes a signal whose level is higher than the
compressor’s threshold, the compressor clamps down on
the signal. Since sibilants are primarily broad band noise
above 5 kHz, the filter is designed to pass these signals
and attenuate low frequency signals as much as possible.
The filter used in TA-1VP’s de-esser is a two pole, 12 dB/
octave high pass design which effectively distinguishes
between sibilants and other vocal sounds. The range of
the control is from 2971 Hz to 20 kHz. (The default setting
is 5497 Hz.)

Pressing the EQ BAND 1 button brings up this page:
EQ1 Peaking
f: 7725 Q:2.4 Gn:+12

This page allows you to select the type and set the
parameters of the first of the TA-1VP’s two bands of
parametric equalization. Use the Data Knob to select
the type of equalization (default setting is High Shelf )
and then use the cursor buttons to move to the various
parameters available for that type.
The equalization types and their associated parameters
are as follows:

ªª EQ Off
EQ1 (off)

No equalization applied.

ªª Low Shelf Filter
EQ1 Low Shelf
f: 1000 S:1.0 Gn: +6

ªª De-esser Gain Reduction Meter Page
DeS:-20 -12 -6 -3

0

¡¡¡¡¡¡¡¡¡

Pressing the DE-ESS button while the De-esser page is
displayed will display this high resolution gain reduction
meter. The meter displays the amount of de-essing of
the signal. If the frequency and threshold controls are set
properly, the meter will display little gain reduction during
vowel sounds and soft consonants, and substantial gain
reduction during sibilants. Pressing the DE-ESS button
again will return to the De-esser page.

ªª Gain Reduction Meter
The front panel de-esser GAIN REDUCTION meter is
intended to provide a quick indication of de-esser activity.
For precise gain reduction indication, refer to the De-esser
Gain Reduction Meter Page described above. The range of
the meter is 15 dB.

ªª De-esser ON Button

The Low Shelf filter can be thought of as the world’s
most flexible version of the venerable “Bass” tone control
familiar to users of radios, home stereos and boom boxes.
The Low Shelf filter boosts or cuts all frequencies below
cutoff frequency “f” by the Gain (“Gn”) amount (in dB).
Additionally, you can vary the slope (“S”) of the shelf from
2 dB/octave (S=0.3) to 12 dB/octave (S=2.0).

ªª High Shelf Filter
EQ1 High Shelf
f:11039 S:1.5 Gn: +4

The High Shelf filter can be thought of as the world’s most
flexible version of the venerable “Treble” tone control
familiar to users of radios, home stereos and boom boxes.
The High Shelf filter boosts or cuts all frequencies above
cutoff frequency “f” by the Gain (“Gn”) amount (in dB).
Additionally, you can vary the slope (“S”) of the shelf from
2 dB/octave (S=0.3) to 12 dB/octave (S=2.0).

When this button is lit, the De-esser module is active.
When it is not lit, the module is bypassed. Pressing the
button toggles its state. The De-esser On/Off function can
also be controlled by MIDI and/or by a footswitch.
TASCAM TA-1VP 31

5 – Operation
ªª Peaking Filter
EQ1 Peaking
f: 884 Q:2.4 Gn:-10

This is the traditional fully parametric EQ. The filter boosts
or cuts the signal at frequency “f” by the Gain (“Gn”)
amount (in dB). Additionally, you can vary the bandwidth
of the peak or dip with the “Q” control (higher Q =
narrower bandwidth).
The default settings are:
f: 6977
Q: .71
Gn: +3

ªª Notch Filter
EQ1 Notch
f: 3775

Q:5.8

The Notch Filter passes all frequencies except for a band
centered around frequency “f,” which is sharply attenuated.
The setting of the “Q” control determines the width of the
notch (higher Q = narrower notch). (The default frequency
setting is 6977 and the default Q setting is .71.)

ªª Band Pass Filter
EQ1 Band Pass
f: 1277

Q:8.4

The Band Pass filter sharply attenuates all frequencies
except for a band centered around frequency “f.” The
setting of the “Q” control determines the width of the
pass band (higher Q = narrower pass band). (The default
frequeny setting is 6977 and the default Q setting is .71.)

ªª Low Pass Filters
EQ1 Low Pass 6dB
f: 6087

ªª High Pass Filters
EQ1 High Pass 6dB
f: 3775

EQ1 High Pass 12dB
f: 3775

Q:2.8

These filters pass signal above the cutoff frequency “f” and
roll off signal below “f” at either 6 dB or 12 dB per octave.
The 12 dB filter’s “Q” control allows you to add a variable
height peak at the filter’s cut-off frequency. (The default
frequeny setting for 6 dB and 12 dB is 6977 and the
default Qsetting for 12 dB is .71.)
As you would expect, the 12 dB/octave filter provides
greater attenuation of signals below “f” and is useful for
reducing sub-sonic noise, rumble, mic stand noise or
other low frequency environmental noise encountered in
the recording process.

ªª EQ #2 Page
Pressing the EQ BAND 2 button brings up this page:
EQ2 Peaking
f: 7725 Q:2.4 Gn:+12

This page allows you to select the type and set the
parameters of the second equalizer band. The available
options are identical to EQ Band #1 described above. (The
default EQ2 setting is OFF.)

ªª EQ ON Button
When this button is lit, the EQ module is active. When
it is not lit, the module is bypassed. Pressing the button
toggles its state. The EQ On/Off function can also be
controlled by MIDI and/or by a footswitch.

ªª Double Track Page

EQ1 Low Pass 12dB
f: 6087

As you would expect, the 12 dB/octave filter provides
greater attenuation of signals above “f” and is useful for
reducing hiss or other high frequency environmental
noise encountered in the recording process.

Q:2.8

These filters pass signal below the cutoff frequency “f” and
roll off signal above “f” at either 6 dB or 12 dB per octave.
The 12 dB filter’s “Q” control allows you to add a variable
height peak at the filter’s cut-off frequency. (The default
frequeny setting for 6 dB and 12 dB is 6977 and the
default Q setting for 12 dB is .71.)

32 TASCAM TA-1VP

Pressing the DBL TRACK button brings up this page:
The TA-1VP’s Double Track function let’s you create the
effect of two not-quite-identical versions of the same
performance being played in unison. These tracks can
appear together at the main output or can be routed to
independent outputs for subsequent processing and
mixing.
Double Track
Mono mix amount: 27%

5 – Operation
If you want both the main and double track to appear at
the Main Output, use the Data Knob to select the amount
of the double track you want in the mix. The range is
from 1% (double track barely audible), to 50% (main and
double track appear at the same volume).
If you want to send the main and double track to separate
outputs, turn the Data Knob counterclockwise until the
following screen appears (Stereo is the default setting):

Main Bypass Page to be displayed and, as above, no other
controls will respond until bypass is disengaged.
The Output Gain control is used to fine-tune the TA-1VP’s
output level. Its range is –30 dB to +24 dB. (The default
setting is 0 dB.)

ªª Output Meter
The Output Meter displays the level of the signal output
by the TA-1VP.

Double Track
Stereo

With this setting, the main track appears at the Main
Output and the double track appears at the Double Track
Output.

ªª How Double Track works
The Double Track functions works a bit differently
depending upon whether or not you are using the
TA‑1VP’s Auto-Tune module for your main track. Here’s
how:
•• If the Auto-tune module is active on your main track
(i.e., its ON button is lit), the double track will be the
non-pitch corrected version of your track.
•• If the Auto-tune module is not active on your main
track (i.e., its ON button is not lit), the double track
will be generated by passing the main track through
the Auto-Tune function using the parameters set in
the Auto-tune module. Consequently, in this case it is
important to select an appropriate scale, speed, and
detune value for the Auto-Tune module to produce the
desired double track effect. (On the other hand, some
unlikely scale note choices or Speed settings might
produce some very interesting — if untraditional —
effects.)

ªª Double Track ON Button
When this button is lit, the Double Track function is active.
When it is not lit, the module is bypassed. Pressing the
button toggles its state. The Double Track On/Off function
can also be controlled by MIDI and/or by a footswitch.

ªª Output/Main Bypass Page
Pressing the OUT GAIN button brings up this page:
Main Bypass:
OFF
Output Gain: +12 dB

Setting Main Bypass to ON causes the input signal to be
passed through the TA-1VP with no processing by any
of the modules. While Main Bypass is engaged, no other
controls will respond until bypass is disengaged.
NOTE

Main Bypass can also be engaged by the footswitch.
Engaging bypass by the footswitch will cause the Output/
TASCAM TA-1VP 33

6 – Get Creative
Up to this point, the instructions in this manual have
focused on how to use the TA-1VP for its primary purpose:
creating traditionally gorgeous vocal tracks. But don’t let
that limit you. We’ve purposely given the controls wide
ranges to allow you to move beyond what might be
considered useful for traditional processing. Try some of
the following:

Using the Auto-Tune Module
•• Auto-Tune can be used to simulate other singing
styles. Many ethnic styles feature exceptional (almost
unbelievable) intonation during fast, melismatic
passages. Setting the Speed parameter faster than
normal (less than 5), and setting the SCALE to an
appropriately exotic mode (for example, G A A# C#
D D# F#) can produce exactly this result (if the singer
improvises with sufficient global panache.)
•• You can also create ‘impossible’ effects (like very fast
octave leaps) by creating a Scale of only one note and
setting the Speed medium fast (~5). Using a foot pedal,
enter bypass mode before beginning the performance,
then engage Auto-Tune while singing an interval of
a fifth or more from the Scale note, and then re-enter
Bypass Mode to continue with the normal performance.
This effect can sound quite like the abruptly beautiful
vocal ornaments of the Pygmies.
•• Don’t be afraid to use just as little Auto-Tune as you
need. It’s quite possible that a performer has really
quite good intonation, but fails consistently on one or
two notes. In this case, use Auto-Tune’s note Bypass
function to bypass all the notes except the one(s)
which need the retuning. This way, the Auto-Tune is
working in a completely transparent mode, and only
when needed.
•• Speed = 0 = “Cher effect.”

Using Auto-Tune in Double Track
Mode
•• Use Auto-Tune to create the double track, but instead
of using a scale that will produce the traditional unison
double track, create a more constrained scale that
includes some, but not all, of the notes in the main
track’s melody. Improvising in this mode can produce
heterophonic effects (the effect of two players and
instruments playing the ‘same’ melody, which actually
varies with some different pitch material). The more
constrained your Auto-Tune scale is, the more variation
there will be between the two performances.
•• To set up a drone or ambient aura behind a melodic
performance, use Double Track Mode in stereo with an
extremely constrained scale (for example, in the key of
C: C, F, G, A#). Process the Auto-Tune created double
track through a lush, long reverb. The effect produced

34 TASCAM TA-1VP

will be a steady backdrop of chanting tones behind the
main melodic material.

Using the Microphone Modeler
Module
•• Select a Source Mic that doesn’t match your physical
mic. In fact, try one whose characteristics are as
different as possible from your physical mic.
•• Select Bypass for the Source Mic to combine the sound
of your physical mic with the sound of the modeled
mic.
•• Extreme Proximity settings can give strange, but
interesting effects. Try wildly differing settings in the
Source and Model sections.
•• Dynamically change Proximity settings during a
performance.
•• Overdrive the Tube Warmth section for some serious
gruzz.

7 – Appendix
TA-1VP Factory Presets

4 BalladVocal

Large condenser mic model and
tube warmth adds breadth and
intimacy. Double track provides a
stereo effect — adjust Auto-Tune
Detune (in the Setup menu) to
taste.

5 Breathless

Suppresses breath sounds
between phrases. Adjust Gate/
Comp thresholds to suit the track.

6 VocalSquash

Heavily compressed pop vocal
patch. Compression and deesser thresholds may need to
be tweaked. You should see that
compression is usually present and
de-essing is occasionally engaged.

7 TrackingVox

Designed to give the reference
vocal a chance of cutting through
against a live band.

8 CountryFat

Try modifying the tube warmth
in the Mic Modeler module to
increase the degree of fat and the
compression threshold to decrease
dynamic range.

9 PunkVox

Adjust Tube Warmth, EQ 1
frequency, and EQ 2 gain to taste.

10 TrackingVox2

Double track was engaged
because the singer complained
that he sounded too “dry” in the
mix. The double track provided the
“space” he was looking for without
introducing any delay or messy
reverb. Pan outputs left/right.

11 MaleR&B

Adjust compressor threshold, EQ
1&2 gain to taste.

12 FemaleR&B

Adjust compressor threshold, EQ
1&2 gain to taste.

13 Crooner

Adjust compressor threshold, EQ 1
frequency, EQ 2 gain to taste.

The Presets

14 BackingVocals

Mic model softens and double
track splits voices into stereo. Pop
in the EQ to bring out inner voices.

ªª Vocal Presets

15 MixedBacking

Adjust compressor threshold to
track style.

16 ThickBacking

Adjust Double Track mix for degree
of thickness.

17 FemaleBackup

Adjust model mic proximity and
compressor threshold to voice.

The TA-1VP comes pre-programmed with 35 factory
presets. These presets were designed by studio
professionals to provided quick setups for common track
enhancements or problems, and are based around music
genres and/or the type of sound source used in their
creation.
Keep in mind that these presets are designed as general
starting points. Parameters such as compression
threshold, de-esser threshold and high pass frequency,
and EQ settings will typically need to be tweaked for
the specifics of any particular track. (And, as always with
compression, beware that over-compression can tend to
make a sound smaller instead of bigger.)
Auto-Tune has not been enabled in any of the factory
presets. To add Auto-Tune to a preset, select and/or
modify a scale, set the appropriate Speed setting for the
performance, turn the Auto-Tune module on and resave
the preset.
Presets which use Double Tracking default to Stereo
Double Track mode and refer to Auto-Tune’s Scale and
Speed settings. In most cases you will have to adjust these
settings as appropriate for your performance.
In presets that use Mic Modeler, the Source Mic setting
defaults to Bypass. You should set the source mic to the
mic (or mic type) that the track was recorded with and
then resave the preset.
As you scroll through the presets, the various modules’
“ON” buttons will light to indicate which modules are
active in each preset. Use the “ON” buttons to quickly
evaluate each module’s effect, especially EQ, which may
need to be customized for your particular mix.
Also, keep in mind that while each preset was created
with a particular use in mind, using a preset for another
purpose is fine. Go ahead and experiment. In the end,
creating your own unique sounds is the name of the
game. Have fun!

1 MaleVoice

Basic male voice treatment. Adjust
compressor threshold to singing
style.

2 FemaleVoice

Basic female voice treatment.
Adjust compressor and de-esser
thresholds to voice and singing
style.

3 PopVox

A preset built around a pop rock
vocal track, increases clarity,
controls ess’s and evens out
dynamics.

TASCAM TA-1VP 35

7 – Appendix
ªª Drum Presets

ªª Utility Presets

18 DrumAlert

Adds weight and snap to drum
kit, adjust model mic proximity to
work kick sound, and Low Pass EQ
to control high end.

32 LiveVoxFix

Preset built around a live vocal
track recorded at Caesar’s Palace in
Vegas in the ‘60s. Mostly designed
as damage control.

19 TiteSnare

Adjust compressor threshold, EQ
1&2 gain to taste.

33 GateThatKick

20 KickEnhance

Will give even a well-recorded kick
drum some spectral enhancement.
Use input level to increase or
decrease the overall effect.

Pumps and isolates the kick drum
from the rest of the kit (and live)
sound. Adjust the gate threshold
to your track.

34 SnareGate

Adjust the gate threshold and
Notch EQ frequency to your track.

35 TomGate

Adjust the gate and compressor
thresholds to dynamics.

21 LoFoDrLoop

A patch designed to properly
trash a mono beat (or one side of a
drum loop).

ªª Bass Presets
22 FatBass

Adjust EQ 1 frequency for your
specific mix.

23 FunkBassBeef

Adds power bass and slap sizzle
to funky bass parts — adjust
model mic proximity for low end
response.

24 PopBass

Adjust compressor threshold, EQ 1
frequency, and EQ 2 gain.

ªª Instrument Presets
25 ElecGtrWarm

Adjust Tube Warmth, EQ 1&2 gain.

26 TheSaxCuts

Adds grit, tone and presence to
saxes. Adjust model mic proximity
for low end thump.

27 MonosynthDbl

Enhance and spread out that
mono synth track. You can also use
this one on guitars. Pan outputs R/
L.

28 PianoCuts

Allows piano to peak through a
mix. Adjust modeled mic proximity
for bass response.

29 BrightAcGtr

Adjust compressor threshold, EQ 1
frequency, and EQ 2 gain.

ªª Special Effect Presets
30 Destructo

Adjust compressor threshold for
desired effect.

31 Telephone

For that special phone moment
— less is more! Depending on
your source level you may need to
boost Output gain.

36 TASCAM TA-1VP

Realistic Mic Modeling
Expectations
Although the TA-1VP’s Microphone Modeling seems in
many ways to be almost magic, it is, in fact, simply very
clever science. And as such, it has some limitations that
you must be aware of.
To get the maximum satisfaction out of Mic Modeling, it
is important to have realistic expectations of exactly what
it can and can’t do. (Most of what it can’t do relates to
the physical impossibility of recovering information that
wasn’t in the original signal to begin with.) Here are the
main issues to be aware of:
•• Choice of Input Microphone Luckily for all of us, the
general quality of “affordable” microphones has reached
a remarkably high level. Consequently, if you stick
with well-known manufacturers, most any reasonable
quality mic will provide sufficient performance to allow
the TA-1VP to do its processing with good results.
On the other hand, you can’t expect to pick up a cheap
mic and expect the TA-1VP to make it sound like a
classic Neumann U87. If a source mic has massive rolloff in a particular frequency range, there is no way the
TA-1VP can produce the signal that would have been
captured had the source mic had better response.
•• Microphone Technique In getting the best possible
recorded sound, mic technique and placement are at
least as important (if not more so) that mic choice. A
good engineer can record a great track with an SM57
while a poor one can make a U47 sound like a toy. If
your audio is not well-recorded in the first place, the
TA‑1VP can to do very little to improve it. If you start
with a poorly recorded track, all the TA-1VP will do is
make it sound like a track that was poorly recorded
with a great mic.
•• Excessive Frequency Boost Although the TA-1VP’s
processing does not itself add noise to your signal,
any noise in your original audio or noise added by
intervening processes (e.g., A/D conversion, pre-TA‑1VP
dynamics processing, etc.) will be accentuated by any
large amount of frequency boost. This should only

7 – Appendix
be a problem when your source mic has a substantial
bass or treble roll-off and the modeled mic has a
corresponding boost or, more likely, when your audio
was recorded with a low-cut filter on the source mic
and you do not use a low-cut on the modeled mic. In
both of these cases, the models will apply substantial
gain to the affected frequency ranges, raising the
level of added noise along with the desired signal. If
the resulting noise level is unacceptable, you should
choose a different combination of mics and/or turn on
the modeled mic’s low-cut filter.
•• Transient Response One of the key characteristics
of various types of microphones is their transient
response (i.e., the way that their diaphragms respond
to extremely rapid amplitude fluctuations, typically
during a sound’s attack phase).
Intuition would suggest that modeling changes in
transient response between mics would be next to
impossible — particularly changing a source mic
with a slow response to a modeled mic with a fast
response. Amazingly, that turns out not to be the case.
The TA‑1VP’s models do model variations in transient
response in both directions.

TASCAM TA-1VP 37

8 – Specifications
Input Analog Trim:

0 dB - +30 dB

AUTO-TUNE
Chromatic and 24 diatonic scales, all user customizable
Retune speed
Pitch detection sensitivity
MIC MODELER
Source Mics:
Specific mics:
Shure SM58
Shure SM57
Shure Beta 58a
Shure KSM 32
Audio Technica 3035
Audio Technica ATM31
Audio Technica ATM41a	
Audio Technica 4050
Rode NT1
Rode NT2
Rode NT3
CAD M177
CAD E200
CAD E350
Generic mics:
Hand-held Dynamic
Studio Dynamic
Wireless
Small Diaphragm Condenser
Large Diaphragm Condenser
Model Mics:
Hand-held dynamic
Studio dynamic
Small diaphragm condenser 1
Small diaphragm condenser 2
Large diaphragm condenser 1
Large diaphragm condenser 2
Large diaphragm condenser 3
Drum mic - kick
Drum mic - snare
Drum mic - cymbal
Telephone
Tube saturation drive:

0 dB - 12 dB

COMPRESSOR
Threshold:
Ratio:
Attack:
Release:
Knee:

38 TASCAM TA-1VP

–36 dB - 0 dB
1.0:1 - 99:1
1 ms - 200 ms
1 ms - 200 ms
Continuously variable

GATE
Threshold:
Ratio:

–96 dB - 0 dB
1:1.0 - 1:99

DE-ESSER
Threshold:
Ratio:
Attack:
Release:
Highpass frequency:

–60 dB - 0 dB
1.0:1 - 99:1
1 ms - 200 ms
20 ms - 2550 ms
2971 Hz - 20 kHz

PARAMETRIC EQ (2 independent bands)
6 dB Lowpass
6 dB Highpass
12 dB Lowpass
12 dB Highpass
Bandpass
Notch
Low shelf (variable slope)
High shelf (variable slope)
Peaking
Double Tracking
Stereo or variable mono mix
Other specifications
Displays: 2x20 character LCD; INPUT Level Indicator (LED
x5); Output Level Indicator (LED x5); Tuning CORRECTION
Indicator (LED x4); Compression GAIN REDUCTION
Indicator (LED x5); De-esser GAIN REDUCTION Indicator
(LED x5)
Factory settings:
Input Analog Trim:
Input:
Phantom:
Audio Type :
Auto-Tune detune :
Sensitivity:
MIDI Channel:
MIDI Prog change :
MIDI Control change:
Footswitch assign:
MIDI Sysex reception
LCD Contrast :
Preset :

0 dB
LINE
OFF
Soprano Voice
0 cents
7
OMNI
OFF
All off
All off
NO
4
MaleVoice

Mic input (Balanced)
Connector:

XLR-3-31 (1: GND 2: HOT 3:
COLD)
Input impedance
2.2 kOhm
Nominal input level (PAD): –56.5 dBu (0.001 Vrms) - –26.5
dBu (0.037 Vrms)
Nominal input level:
–20.5 dBu (0.073 Vrms) - +9.5
dBu (2.314 Vrms)
Maximum input level:
+9.5 dBu (2.314 Vrms)

8 – Specifications
Line input (Balanced)
Connector:
Input impedance:
Nominal input level:
Maximum input level:

General:
1/4” (6.3 mm) TRS phone jack
(Tip: HOT, Ring: COLD, Sleeve:
GND)
10 kOhm
8 dBu (1.947 Vrms) - 24 dBu
(12.283 Vrms)
24 dBu (12.283 Vrms)

Line output, Main (Balanced)
Connector:
Output impedance:
Nominal output level:
Maximum output level:

Power:
Power consumption:
External dimensions
(WxHxD):
Weight:
Operating temperature
range:

TASCAM PS-1225L AC adaptor
(included)
4W
482.6 x 44 x 128.1 mm/
19 x 1.732 x 5.043 in.
2.0 kg/4.409 lb
5-35°C/41-95°F

1/4” (6/3 mm) TRS phone jack
(Tip: HOT, Ring: COLD, Sleeve:
GND)
100Ω
+4 dBu (1.228 Vrms)
+20 dBu (7.75 Vrms)

Line output, Double Track (Balanced)
Connector:
Output impedance:
Nominal output level:
Maximum output level:

1/4” (6/3 mm) TRS phone jack
(Tip: HOT, Ring: COLD, Sleeve:
GND)
100Ω
+4 dBu (1.228 Vrms)
+20 dBu (7.75 Vrms)

Digital output (Coaxial)
Connector:
Format:
Output impedance:
Level:

RCA pin jack
IEC 60958-3 (S/PDIF)
75Ω
0.5 Vpp/75Ω

MIDI input
Connector:
Format:

DIN 5 pin
MIDI standard

MIDI output:
Connector:
Format:
Footswitch:	

DIN 5 pin
MIDI standard
1/4” (6.3 mm) TS phone jack

Audio performance
Frequency responce
(Mic input):
Frequency responce
(Line input):
S/N ratio (Mic input):
S/N ratio (Line input):
Total harmonic distortion
(Mic input):
Total harmonic distortion
(Line input):
Dynamic range:

20 Hz - 20 kHz ±0.5 dB (line
output)
20 Hz - 20 kHz ±0.5 dB (line
output)
98 dB or more (Line output)
98 dB or more (Line output)
0.008% or less (Line output)
0.008% or less (Line output)
120 dB or more (Line output)

TASCAM TA-1VP 39

8 – Specifications

40.4 mm

482.6 mm

20.7 mm

128.1 mm

436.8 mm

6.5 mm

Dimensional drawing

44 mm

31.8 mm

465 mm

•• Illustrations in this manual may differ in part from the actual product.
•• Specifications and the external appearance may be changed without notification to improve the product.

Block diagram

40 TASCAM TA-1VP

1 mm

8 – Specifications
Level diagram

TASCAM TA-1VP 41

Notes

42 TASCAM TA-1VP

Notes

TASCAM TA-1VP 43

TA-1VP

TEAC CORPORATION

Phone: +81-42-356-9143
1-47 Ochiai, Tama-shi, Tokyo 206-8530, Japan

http://tascam.jp/

TEAC AMERICA, INC.

http://tascam.com/

TEAC CANADA LTD.

http://tascam.com/

Phone: +1-323-726-0303
7733 Telegraph Road, Montebello, California 90640 USA
Phone: +1905-890-8008 Facsimile: +1905-890-9888
5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada

TEAC MEXICO, S.A. de C.V.

http://www.teacmexico.net/

Phone: +52-55-5010-6000
Río Churubusco 364, Colonia Del Carmen, Delegación Coyoacán, CP 04100, México DF, México

TEAC UK LIMITED

http://www.tascam.co.uk

Phone: +44-8451-302511
Suites 19 & 20, Building 6, Croxley Green Business Park, Hatters Lane, Watford, Hertfordshire, WD18 8TE, UK

TEAC EUROPE GmbH

http://www.tascam.de/

Phone: +49-611-71580
Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany
Printed in China



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Source Exif Data:

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Format                          : application/pdf
Title                           : TA-1VP Owner's Manual
Creator                         : TASCAM
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Page Count                      : 44
Page Layout                     : OneColumn
Author                          : TASCAM

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