Owner???s Manual
Thank you, and congratulations on your choice of the BOSS
Before using this unit, carefully read the sections entitled: ???USING THE UNIT SAFELY??? and ???IMPORTANT NOTES??? (Owner???s manual p.
The manuals should be saved and kept on hand as a convenient reference.
??? How to use this manual
The
???Basic Operation??? explains the sequence of turning on this unit, recording, playback, mixing down and making an original Audio CD. To use the
???Owner???s Manual??? covers the functions which are not mentioned in ???Basic Operation.??? Please read it for finer settings and more sophisticated use of the
??? Printing conventions in this manual
??? Text or numerals enclosed in square brackets [ ] indicate buttons.
??? Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright ?? 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.
Appendices
USING THE UNIT SAFELY
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
The ??? symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power- cord plug must be unplugged from the outlet.
001
???Before using this unit, make sure to read the instructions below, and the Owner???s Manual.
...........................................................................................................
002c
??? Do not open (or modify in any way) the unit or its AC adaptor.
...........................................................................................................
003
???Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? page.
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004
??? Never use or store the unit in places that are:
??? Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of
???Damp (e.g., baths, washrooms, on wet floors); or are
???Humid; or are
???Exposed to rain; or are
???Dusty; or are
???Subject to high levels of vibration.
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007
???Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.
...........................................................................................................
008c
???Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor???s body. Other AC adaptors may use a different polarity, or be designed for a
different voltage, so their use could result in damage, malfunction, or electric shock.
..........................................................................................................
008e
???Use only the attached
any other device.
..........................................................................................................
009
???Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010
???This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an
audiologist.
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011
???Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.
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2
012b
???Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? page when:
???The AC adaptor, the
???If smoke or unusual odor occurs
???Objects have fallen into, or liquid has been spilled onto the unit; or
???The unit has been exposed to rain (or otherwise has become wet); or
???The unit does not appear to operate normally or exhibits a marked change in performance.
..........................................................................................................
013
???In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014
???Protect the unit from strong impact. (Do not drop it!)
..........................................................................................................
015
???Do not force the unit???s
loads can cause the insulation on the cord to heat up and eventually melt through.
..........................................................................................................
016
???Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as
listed on the ???Information??? sheet.
..........................................................................................................
023
???DO NOT play a
may result.
..........................................................................................................
101b
???The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.
..........................................................................................................
102c
???Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................
103b
???At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any
accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.
..........................................................................................................
104
???Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.
..........................................................................................................
106
???Never climb on top of, nor place heavy objects on the unit.
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107c
??? Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................
108b
???Before moving the unit, disconnect the AC adaptor and all cords coming from external
devices.
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109b
???Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet.
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110b
??? Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.
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118
???Should you remove the ground terminal, make sure to put it in a safe place out of children's reach, so there is no chance of it being swallowed
accidentally.
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120
???Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don't require such power. Be sure to check the specifica- tions of any microphone you intend to use by referring to the manual that came with it.
(This instrument???s phantom power: +48 V DC, 7 mA Max)
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3
IMPORTANT NOTES
291a
In addition to the items listed under ???USING THE UNIT SAFELY??? on page
Power Supply
301
???Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the
electrical outlet.
302
???The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a
cause for concern.
307
???Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Placement
351
???Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or
move it farther away from the source of interference.
352a
???This device may interfere with radio and television reception. Do not use this device in the vicinity of such
receivers.
352b
???Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initi- ating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch
them off.
353
???Observe the following when using the unit???s floppy disk drive. For further details, refer to ???Before Using
???Do not place the unit near devices that produce a strong magnetic field (e.g., loudspeakers).
???Install the unit on a solid, level surface.
???Do not move the unit or subject it to vibration while
the drive is operating.
354a
???Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355b
???When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.
Maintenance
401a
???For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild,
the unit thoroughly with a soft, dry cloth.
402
???Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
Repairs and Data
452
???Please be aware that all data contained in the unit???s memory may be lost when the unit is sent for repairs. Important data should always be backed up on a storage device (e.g.,
Additional Precautions
551
???Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit???s memory on a storage device (e.g.,
external computer connected via USB).
552
???Unfortunately, it may be impossible to restore the contents of data that was stored hard disk once it has been lost. Roland Corporation assumes no liability concerning such
loss of data.
553
???Use a reasonable amount of care when using the unit???s buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
??? Never strike or apply strong pressure to the display.
556
???When connecting / disconnecting all cables, grasp the connector
internal elements.
558a
???To avoid disturbing your neighbors, try to keep the unit???s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559a
???When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
4
IMPORTANT NOTES
561
???Use only the specified expression pedal
damage to the unit.
562
???Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.
???Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For infor- mation on cable specifications, contact the manufac-
turer of the cable.
982
???No data for the music that is played will be output from
MIDI OUT.
Handling
801
???Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty
Copyright
851
???Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a
third party is prohibited by law.
852a
???When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own composi- tions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits
equipment as a
853
???Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsi- bility whatsoever with regard to any infringements of
About the License Agreement
???The
Disclaimer of liability
???BOSS/Roland will take no responsibility for any ???direct damages,??? ???consequential damages,??? or ???any other damages??? which may result from your use of the BR- 1600CD. These damages may include but are not limited to the following events which can occur when using the
???Any loss of profit that may occur to you
???Permanent loss of your music or data
???Inability to continue using the
204
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incor- porate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
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204
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
206e
* The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation.
206j
* Windows?? is known officially as: ???Microsoft?? Windows?? operating system.???
207
* Apple and Macintosh are registered trademark of Apple Inc.
209
* Mac OS is a trademark of Apple Inc.
220
*All product names mentioned in this document are trade- marks or registered trademarks of their respective owners.
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5
Precautions Regarding the Hard Disk
The
Important Performance and Image Data
Once a hard disk fails to function normally, all data that has been stored on it could be destroyed.
???All hard disks eventually wear out. Individual differences among hard disks and the conditions under which they are used have a considerable effect on a hard disk's lifespan. Some devices can be used continuously for many years, while in rare cases, others break down after a period of several months. We recommend that you consider the hard disk not as a permanent storage site, but as a place to store data temporarily. We also recommend that you back up important performance and image data onto the external media that is supported by your device.
For instructions on how to make such backups, refer to ???Storing of songs and other
Precautions Regarding Setup and Use
Certain hard disk setup procedures and usage conditions may result in the corruption of recorded data, malfunctioning, or
physical damage to the disk, so be sure to observe the following precautions.
???Do not subject the hard disk to vibration or shock, especially while the unit is in operation. Failure to observe this precaution can result in the hard disk being permanently damaged.
Conditions to be avoided:
???Lifting or moving the
???Transporting the
???Knocking the
???Positioning the
???Positioning the
???Do not set up the unit in any location where it may be affected by vibration from external sources, or on any surface that is not stable and level.
???If the device includes a cooling fan, ensure that the fan and the side panel air vents remain unobstructed.
???Do not block the ventilation holes provided in the case as this can result in the temperature inside the
???Do not use the unit in conditions of high temperature and humidity or in any location subject to rapid temperature changes.
???Do not unplug the power cord or switch off any circuit breakers in the circuit to which the unit is connected while the power is turned on.
???Do not move the unit while the power is turned on or immediately after turning off the power. When transporting the unit, first turn off the power and confirm that the display screen has gone off, disconnect the power plug, then wait at least two minutes before moving the device.
???When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
Emergency Procedures
* The following procedures are to be used as emergency measures only, and are not recommended for normal operation.
If the device fails to respond to operational commands or does not complete operations, turn off the power. If the power does not shut off following normal shutdown procedures (Basic Operation; p. 9), disconnect the power plug.
If the unit does not operate normally when the power is turned on again, it may mean that the hard disk has been damaged. In such instances, consult your dealer or the nearest Roland Service Center. Note, however, that it may not be possible to recover any data from the hard disk once it has been lost.
In addition, even if the hard disk appears to be operating correctly, carry out a Surface Scan (p. 270) to confirm that it has not been damaged.
6
Before Using
Two different types of recordable disc can be used with the
What is a
This type of disc should be used to create audio CDs that will be played on standard CD players. Playback of
What is a
While you can create audio CDs using
Handling the
???Before being shipped, a cardboard insert was placed in the disk drive to protect it from vibration during transport. When you turn on the unit, press the EJECT button to remove this material before you use the
???Install the unit on a solid, level surface in an area free from vibration. If the unit must be installed at an angle, be sure the installation does not exceed the permissible range.
???Avoid using the unit immediately after it has been moved to a location with a level of humidity that is greatly different than its former location. Rapid changes in the environment can cause condensation to form inside the drive, which will adversely affect the operation of the drive and/or damage
???Avoid using the
???Remove any disk from the drive before powering up or down.
???To avoid the risk of malfunction and/or damage, insert only
???Do not touch the lens.
???When the lens is dirty, clean the lens with a commercial lens blower.
???If a write error occurs, carry out cleaning using a commercially available
*Note that some commercially available cleaners are intended for
*Never use commercially available cleaner intended for standard CD players. This type of cleaner cannot be used to clean the
*Even if the recommended type of
Handling
*In addition to the following precautions, please also read the instructions provided with the
???DO NOT play a
???Upon handling the discs, please observe the following.
???Do not touch the recorded surface of the disc.
???Do not use in dusty areas.
???Do not leave the disc in direct sunlight or an enclosed vehicle.
???Keep the disc in the case.
7
Before Using
Compatibility of
???Ensure that the recommended type of
???Even when the recommended type of disc is used, there is still a possibility that write errors can occur. Please be aware that this type of problem can still result from variations in
???The usage of discs with printable labels is not recommended, even if these discs are of the recommended type. Certain storage conditions can cause discs with printable labels to warp, and write errors can occur as a result.
When you insert a
built in
When you insert a
Inserting a
1.Press the eject button and open a disc tray.
2.Pull out a disc tray.
3.Locate the position of center hole of
4.Press the
disc will be locked by 3 clips of the stopper.
fig.CD set
*As a certain amount of force must be applied for insertion, always confirm that the
5. Press disc tray until it is locked in the
Removing a
1. Hold the stopper downward and remove a
fig.CD eject
If a disc tray does not open
If the power is turned off with the disc still in the drive (such as due to a power failure), the disc tray cannot be opened by pressing the eject button. In this case, you can insert a piece of wire to force the tray open.
fig.Hole
Emergency Eject Hole
Make sure the
8
About the
A
The
These professionally recorded drum parts are saved as Loop Phrases that can easily be imported directly into the
Drum phrases are categorized and sorted under each folder in .WAV format files.
The
This
Since all the data included in this
However, in case you initialize your hard disk drive in the
To import Loop Phrases from this
data on a
For more information about the
ROM, please refer to ???User Loop Phrase List??? (separate sheet).
9
10
11
Contents
12
Contents
13
Contents
14
Contents
15
Contents
16
Contents
19
Contents
20
21
Introduction to the
Main Features
??? Ease of use
The
??? Digital processing of audio
In addition to a digital mixer and a digital
???
The
???
The
???
Equipped with 8 independent input channels, the BR- 1600CD can simultaneously record the input from each of these channels onto 8 independent audio
???
Each of the
??? A host of digital effects
The
??? Vocal Tool Box for
The
??? Mastering Tool Kit for professional- sounding CDs
The Mastering Tool Kit integrated into the
??? Powerful editing functions
With the
???Rectifying recording mistakes (Undo/Redo)??? (Basic Operation; p. 42)
22
Introduction to the
??? Saving of mixer settings
The term Scene is used to describe a batch of
???Registering and recalling mixer settings (Scene)??? (p. 51)
??? Rapid relocation of the current position
The
???Placing markers in your song (Marker)??? (p. 48)
??? PCM Drum/Bass
A PCM Drum/Bass (p. 146) capable of sequencing drum and bass patterns has been integrated into the BR- 1600CD, and you will find this extremely useful whenever you need to put together songs based on phrases or other ideas that can come to you at any time. Once you have chosen the drum and bass patterns that best suit your idea, you can easily set the tempo to the right speed. What???s more, you can also combine different drum and bass patterns to create a
??? Loop phrase functionality
The
??? Creation of audio and backup CDs
The
Before you use the
??? Chromatic tuner
Featuring a chromatic tuner covering the range from C1 to B6, the
??? Automatic level calibration
Using a function called Level Calibration, the BR- 1600CD Digital Recording Studio can detect and automatically balance the volumes of its various input (p. 258).
23
Panel Descriptions
Control Surface
2 1
1. INPUT SENS knobs
These knobs are used to adjust the sensitivity of the corresponding input jacks. Note that the INPUT SENS 1 knob also adjusts the sensitivity of the GUITAR/BASS jack.
4. INPUT SELECT buttons
Use these buttons to select the input source (input jack) that you wish to record. The indicater of the selected button will light. If a lit INPUT SELECT button is pressed, it will turn off and the corresponding input source(s) will be muted.
2. PEAK indicators
These indicators allow you to confirm whether or not the audio being input via the corresponding input jack is distorting, and they do this by lighting up when the volume reaches the distortion level of
3. LEVEL CALIBRATION button
When a number of instruments are connected to different input jacks, you can use [LEVEL CALIBRATION] to automatically adjust and balance the corresponding input volumes.
???Automatically adjusting the input volume balance (Level Calibration)??? (p. 258)
GUITAR/BASS:
This button is used to select either the GUITAR/BASS jack for recording guitar or bass or the INPUT 1/MIC 1 jack for recording from a
*When either [GUITAR/BASS] or [VOCAL] is alone selected, Adaptive Focus (AF) will be activated for recording.
What is AF method (Adaptive Focus method)?
Adaptive Focus is a unique Roland technology that allows the signal noise (S/N) ratios of AD and DA converters to be vastly improved.
VOCAL:
This button is used to select the INPUT 2/MIC 2 jack for recording from a
SIMUL:
SIMUL mode is activated by holding down [GUITAR/BASS] and pressing [VOCAL]. In this condition, either the GUITAR/BASS or the INPUT 1/MIC 1 jack will be selected together with the INPUT 2/MIC 2 jack. In other words, two inputs will be simultaneously selected. Note that the GUITAR/BASS jack will be selected automatically when an instrument is connected to it.
24
Panel Descriptions
All input sources are selected in
STEREO TRACKS:
All input sources are selected in STEREO TRACKS mode. In this case, the audio from the input sources will be mixed in stereo and then recorded on the track selected for recording.
If you wish to read more about the operation of the INPUT SELECT buttons, refer to ???Operation of the INPUT SELECT buttons??? (p. 280).
5. EFFECTS button
Use this button to select an insert effects??? patch (p. 74) and to call up the screen for editing effects settings and the like.
6. INPUT LEVEL knob
Adjusts the volume of all input sources, and the volumes determined using this knob are the actual volumes that will be recorded on tracks.
When either
7. TUNER ON/OFF button
Use this button to turn the tuner (p. 256) on and off.
8. REC MODE (recording mode) button
This is used to prepare the
INPUT:
Allows you to record the instruments and microphones connected to the input jacks. The units is normally used in this mode.
BOUNCE:
Allows you to mix the audio from several tracks and to record it on one or two different tracks.
MASTERING:
Allows you to master your finished songs using the BR- 1600CD???s Mastering Tool Kit.
If you wish to read more about the various recording modes, refer to ???REC MODE (Recording Mode) Operations??? (p. 285).
9. REC MODE (recording mode) indicators
Allow you to confirm which recording mode is currently selected. Whenever you change the recording mode using the REC MODE button, the INPUT, BOUNCE, or MASTERING indicator will light up accordingly.
10. MARKER
The MARKER section is used to make settings for the marker function.
MARK button:
Use this button to position a marker at any point within your song. Each time this button is pressed, the
Markers are numbered in sequence from the beginning of the song. In addition, you can also assign names to individual markers. If a marker has been placed at the current position, the corresponding number will appear in the display???s Marker box; if no marker has been placed here, the Marker box will show the number of the last marker before the current position. Appropriately placed markers allow you to quickly confirm which section of the song is being played.
???Placing markers in your song (Marker)??? (p. 48)
SEARCH button:
Use this button to jump back to the previous marker before the current position.
SEARCH button:
Use this button to jump forward to the next marker after the current position.
CLEAR button:
Use this button to delete markers. Specifically, the marker currently being shown in the display???s Marker box will be deleted when this button is pressed.
25
Panel Descriptions
16 17 18
The AUTO PUNCH IN/OUT section is used to make settings for the auto punch in/out function.
Press to jump to the very beginning of the song.
ON/OFF button:
This button is used to turn the auto punch function on and off. The button???s indicator will light up when auto punch is on.
IN button:
Sets the
OUT button:
Sets the
13. REW button
The song will rewind while you hold down this button.
14. FF button
The song will
15. REPEAT button
Selects a section of your song to listen to repeatedly (???Playing back repeatedly (Repeat Function)??? (Basic Operation; p. 17)). This function is useful when you want to record several times using
16. STOP button
This button stops song playback or recording.
DELETE button:
Deletes the current
17. PLAY button
Starts playback of your song. Alternatively, if [REC] has been pressed and its indicator is flashing, you can also start recording by pressing [PLAY]. During playback or recording, this button???s indicator will light up in green.
26
Panel Descriptions
18. REC (record) button
This is the
19. PAN button
This calls up a screen that allows settings to be made for the pan (i.e., the
20. COMP (compressor) button
This calls up a screen for setting of each track???s compressor parameters so that variations in volume may be suppressed (p. 109).
21. EQ (equalizer) button
This calls up a screen that allows setting of each track???s equalizer parameters so that the sound of the corresponding track can be adjusted (p. 110).
22. CHORUS/DELAY button
This calls up either a screen for setting of the send level from each track to the loop effects chorus/delay, or a screen that allows selection of chorus or delay effects and the setting of parameters for these effects (p. 114).
23. REVERB button
This calls up either a screen for setting of the send level from each track to the loop effect reverb, or a screen that allows reverb parameters to be set (p. 113).
24.AUDIO TRACK MIXER faders
These faders are used to control the volumes of the corresponding tracks during playback.
Since tracks 9/10 through 15/16 are fixed as stereo tracks, a single fader controls the volume of both tracks in the stereo pair simultaneously. In addition, the faders for tracks 11/12 through 15/16 are also used to control the volume of rhythm arrangement components such as loop phrases, bass, and drums.
In this manual, the term ???track faders??? is used to refer to the AUDIO TRACK MIXER faders.
25. Track buttons
Track buttons 1 through 8 and 9/10 through 15/16 are used to select tracks for recording or for the setting of parameters. Furthermore, they can also be used to select drum and/or bass- guitar sounds when you are creating a drum pattern or a bass pattern. Since tracks 9/10 through 15/16 are fixed as stereo tracks, a single button simultaneously selects both tracks in the stereo pair. When a track has been selected for recording, its track button will turn red and start to flash, and when recording is started, this will change to a steady red lighting pattern. Then, when recording has ended, the track button will flash in orange and green. The relationship between the type of illumination and the track status is as follows:
Off:
The track contains no audio data (i.e., it has not been recorded on).
Steady green:
The track contains (recorded) audio data.
Flashing green:
The track contains (recorded) audio data but is currently muted.
Flashing red:
The track has been selected for recording and the
Steady red:
The track is being recorded to.
Flashing orange and green:
The track contains recorded audio data and is currently selected for recording.
Flashing orange:
The track contains recorded audio data, is selected for recording, but is currently muted.
26. VOCAL TOOL BOX button
Use this button to turn the Vocal Tool Box on and off, and also to call up a screen for setting of its parameters.
???Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)??? (p. 116)
27. MASTERING TOOL KIT button
Use this button to turn the Mastering Tool Box on and off, and also to call up a screen for setting of its parameters.
27
Panel Descriptions
383745 46
???Recreating the characteristics of different monitor speakers (Speaker Modeling)??? (p. 123)
29.
The
???Controlling external video devices from the
30.
If you are using the
???Controlling external video devices from the
When [ARRANGEMENT/PATTERN] is lit up:
Press [EDIT] to call up a screen for creating rhythm arrangements and editing the relevant parameters.
When [ARRANGEMENT/PATTERN] is not lit:
Press [EDIT] to call up a screen for creating drum and/or bass patterns and editing the relevant parameters.
33. TAP button
By tapping this button along with your song, you can set the tempo for the Drum, Bass and Loop Phrases (p. 151).
34.
Calls up a screen for selecting
35. TRACK MUTE button
If you hold down [TRACK MUTE] and press a track button that is currently lit in green, the corresponding track will be muted (or silenced) during playback. You can then perform the same procedure once again to cancel muting. While a track is muted, its track button will flash in green (Basic Operation; p. 20).
31. ARRANGEMENT/PATTERN button
Use this button to switch between Arrangement mode and Pattern mode for rhythm arrangements. For more detailed information regarding these modes, refer to p. 148.
???If a track being recorded is muted, the
???Track Mute is not enabled for tracks other than those whose Track Type is set to AUDIO (p. 149). The Track Mute is also cancelled with the track type is changed.
28
Panel Descriptions
36. TRACK TYPE SELECT button
Calls up a screen for selecting track types. Tracks 11/12 through 15/16 can each be set to one of two track types??? namely, tracks used for recording audio or tracks used for rhythm arrangement components such as Loop Phrases, Bass, and Drums. Possible settings for these tracks are as follows:
Track 11/12 Audio track or Loop Phrase track
Track 13/14 Audio track or Bass track
Track 15/16 Audio, drum or metronome track
???Section 3 Using Rhythm??? (p. 145)
37. TRACK TYPE indicators
These indicators allow you to confirm the current track types for Tracks 11/12 through 15/16.
38. VALUE knobs
When the icons for these knobs are displayed
39. UTILITY button
Calls up a wide range of functions such as track editing, organization of songs, and the like.
40. UNDO/REDO button
Use this button to restore your song???s previous condition by canceling the last audio recording or editing operation. In addition, pressing [UNDO/REDO] a second time restores the canceled audio or edit (???Rectifying recording mistakes (Undo/Redo)??? (Basic Operation; p. 42)).
41. TIME/VALUE dial
This dial is normally used to move the current position within the song (i.e., to perform fast forward or rewind). However, it is also used to modify values of the various function settings.
42. CURSOR buttons
Press these buttons to move the cursor in the corresponding direction.
43. ENTER/YES button
Press this button to confirm a selection or a value being entered.
44. EXIT/NO button
Press this to return to the previous screen or to reject an operation.
45. MASTER fader
Controls the overall volume of your song.
46.
AUDIO CD WRITE/PLAY button
This button is used when you want to create or play an audio CD.
DATA SAVE/LOAD button
Use this button whenever you want to save recorded songs to a
LOOP PHRASE IMPORT button
Use this button to import
47. MIDI indicator
This indicator will light up whenever the
48. HD ACCESS indicator
This indicator will light up whenever the
You should never turn off the power while this indicator is lit. Failure to observe this precaution can result in any or all of the data on the hard disk being permanently damaged or lost completely.
29
Panel Descriptions
2
1
4 3
The
Before you use the
1. Disc tray
Place the
2. Access indicator
This indicator will light up whenever data is being read from or written to a
3. EJECT button
Press this button to eject a
If you need to eject the disc after the power has been turned off, turn the
4. Emergency eject hole
This hole is used when the disc tray must be opened in an emergency.
It must not, therefore, be used on a regular basis and should be treated as a last resort only when the disc cannot be ejected in any other way (p. 8).
30
Panel Descriptions
Display
Displays the menu screen, parameter setting screen, or other information, depending on the type of settings being made. If the screen content is difficult to see, refer to ???Adjusting the display???s contrast??? (Basic Operation; p. 10).
1. Song Name
This box displays the name of the currently selected song. If protection has been turned on for the song (Song Protect: p.
71), the letter ??? ??? will also be displayed.
2. Metronome icon
This icon is displayed when the metronome is being used.
3. Marker
This box displays the number of the marker at the current position. If no marker has been placed at this position, the number of the last marker before the current position is shown. If, however, the current position is in front of Marker No. 001 or if no markers have been registered, ???- -
6. Frames
This box displays the current position in terms of the number of frames. At the time of purchase, the number of frames per second will initially be set to 30
???Synchronizing external MIDI sequencers and rhythm machines??? (p. 225)
7. Information
The Information box displays various items of song data (such as effect patch, marker names, tempo, chord, and the remaining time available for recording).
4. Measure
This box displays the current position in the song in terms of measures and beats. The measures are shown on the left; the beats, on the right.
5. Time
This box displays the current position in terms of hours, minutes, and seconds.
8. Input/Track level meters
This area provides a graphic display of the volume levels, both of instruments connected to input jacks and of recorded tracks. At the time of purchase, these level meters will be set to show the volume levels after the corresponding audio has passed through the INPUT LEVEL knob or the track faders (i.e., the
If you would like the level meters to show the volumes before passing through the faders (i.e., the
9. Master level meter
This level meter provides a graphic display of the overall stereo volume after audio has passed through the MASTER fader.
31
Panel Descriptions
Rear Panel
1 5 4 6
10
1. POWER switch
Use this switch to turn the
2. DC IN (AC adaptor) jack
Connect the
In order to prevent accidents, avoid using any AC adaptor other than the AC adaptor supplied with this unit.
3. Cord hook
Loop the AC adaptor???s cord around this hook in order to prevent its plug from being pulled out accidentally. If the AC adaptor should be disconnected while you are using the BR- 1600CD, there is a danger of important audio data being permanently lost.
4. MIDI IN connector
The
???Section 5 Using MIDI??? (p. 221)
5. MIDI OUT connector
The
6. USB connector
Plug a USB cable into this connector when you want to exchange data between the
???Section 6 Using USB??? (p. 239)
7. DIGITAL IN connector
This
???DIGITAL IN connector??? (p. 35)
???Inputting audio with no loss of quality (Digital In Assign)??? (p. 261)
8. DIGITAL OUT connector
This
32
Panel Descriptions
9. FOOT SW jack
Use this jack to connect a separately sold foot switch (such as the Roland
12. INPUT/MIC jacks (1 through 8)
These input jacks and connectors are used with line sources and microphones. Each input can accept two different types of
10. EXP PEDAL jack
Use this jack to connect a separately sold expression pedal (such as the Roland
???Using an expression pedal??? (p. 84)
11. LINE OUT jacks
The LINE OUT jacks are used to output an analog audio signal. Connect these jacks to a device such as a
If necessary, you can make a setting that mixes the signals being input via INPUT 7/MIC 7 and INPUT 8/ MIC 8 with the signal being output via the LINE OUT jacks. (Audio Sub Mix: p. 266)
???If a connection is made to both the 1/4??? phone mono jack and the XLR connector, priority will be given to the 1/4??? phone mono jack.
???The INPUT 1/MIC 1 jack (or XLR connector) and the GUITAR/BASS jack share the same internal circuitry, and when a connection has been made to both of these input jacks, the GUITAR/BASS jack will be selected automatically.
13. Security Slot ( SECURITY LOCK)
http://www.kensington.com/
Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned
about this, connect the ground terminal (see figure 14 ) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation.
If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the ???Information??? sheet.
Unsuitable places for connection
???Water pipes (may result in shock or electrocution)
???Gas pipes (may result in fire or explosion)
???
33
Panel Descriptions
Front Panel
The INPUT 1/MIC 1 jack (or XLR connector) and the GUITAR/BASS jack share the same internal circuitry, and when a connection has been made to both of these input jacks, the GUITAR/BASS jack will be selected automatically.
5. PHONES 2 VOLUME knob
Adjusts the volume for headphones connected to the PHONES 2 jack.
2. PHONES 1 jack
Use this jack to connect separately sold headphones.
3. PHONES 1 VOLUME knob
Adjusts the volume for headphones connected to the PHONES 1 jack.
34
Extra information on jacks and connectors
Input jacks and connectors
These jacks and connectors are used to input audio to the BR- 1600CD.
GUITAR/BASS jack
This
You can use this jack whenever INPUT SELECT [GUITAR/ BASS],
When a guitar or bass is connected, noise may be generated if its pickup is moved close to the
INPUT 1/MIC 1 jack
These inputs (1/4??? phone plug and XLR connector types) are used with line sources and microphones. The 1/4??? phone
You can use this input whenever INPUT SELECT [GUITAR/ BASS],
Note that this input uses the same internal circuitry as the GUITAR/BASS jack, and when an instrument is connected to the GUITAR/BASS jack, that input source will be given priority and the INPUT 1/MIC 1 jack will be deactivated.
INPUT 2/MIC 2 jack
These inputs (1/4??? phone plug and XLR connector types) are used with line sources and microphones. The 1/4??? phone plug type jack is used to input unbalanced signals; the XLR type connector, to input balanced signals. In addition, the XLR connector can also supply phantom power.
You can use this input whenever INPUT SELECT [VOCAL],
INPUT 3/MIC 3 jack through INPUT 8/MIC 8 jack
These inputs (1/4??? phone plug and XLR connector types) are used with line sources and microphones. The 1/4??? phone plug type jack is used to input unbalanced signals; the XLR type connector, to input balanced signals. In addition, the XLR connector can also supply phantom power.
You can use this input whenever INPUT SELECT [MULTI- TRACK] or [STEREO TRACKS] is currently turned on. Note that the INPUT 7/MIC 7 and INPUT 8/MIC 8 jacks can also be used to input audio signals for an Audio Sub Mix. Whenever Audio Sub Mix is turned on, the audio signals being input via the INPUT 7/MIC 7 and INPUT 8/MIC 8 jacks will be output directly via the MASTER track L/R.
???Mixing
DIGITAL IN connector
This
Only digital audio data of the S/PDIF format can be input via this connector; furthermore, the data must have a sample rate of 44.1 kHz and a bit depth of 16 or 24 bits. The destination for audio entering via the DIGITAL IN connector is determined by system parameter settings. Note that the INPUT SENS knobs cannot be used to adjust the volume of the audio being input via this connector. To do this, either adjust the volume of the digital device providing the audio signal or use the
It is important to note that standard audio cables cannot be used with the DIGITAL IN connector and that a commercially available
35
Extra information on jacks and connectors
Output jacks and connectors
These jacks and connectors are used to output audio from the
LINE OUT jacks
The LINE OUT jacks (stereo RCA phono plug type) are used to output audio in stereo and at line level. The
Note that the audio output via the LINE OUT jack is also output via the PHONES 1 jack.
DIGITAL OUT connector
This
Since digital signals do not suffer from the same type of deterioration as occurs in analog lines, they can be recorded without degradation in the quality of your audio on external digital audio devices such as
It is important to note that standard audio cables cannot be used with the DIGITAL OUT connector and that a commercially available
PHONES 1 and PHONES 2 jack
Allow you to connect a pair of headphones (with a 1/4??? phone stereo plug).
MIDI connectors
The
MIDI IN connector
This
MIDI OUT connector
This
In order to ensure that the
36
Extra information on jacks and connectors
USB connector
This
The
???Section 6 Using USB??? (p. 239)
When a connection is made using USB, you will be able to access the data on the
The
Power supply
DC IN (AC adaptor) jack
Connect the
In order to prevent accidents, avoid using any AC adaptor other than the AC adaptor supplied with this unit. Failure to observe this precaution can result in the outbreak of fire or electrical shock. Note also that usage of any other type of AC adaptor can result in the permanent damage of the
If you disconnect the AC adaptor while the
37
Common operations and display items
Top screen
Displayed shortly after the power is turned on, this is the main
Regardless of the screen that you are currently in, you will always be able to return to this screen by pressing [EXIT/ NO] several times (although you may sometimes have to wait until the
Unless otherwise specified, all procedures described in this manual will require you to return first of all to the top screen.
Current position
Cursor
The current position within the song is indicated in terms of time at the top right of the display. In addition, this position is also indicated in terms of measures and beats to the left of this time value.
The displayed time is based on MIDI Time Code (MTC), and as such, it is presented in terms of hours, minutes, seconds, frames, and
If you want to synchronize the
FUNCTION buttons ([F1] through [F4])
Function buttons
[F1] through [F4] are called the FUNCTION buttons. At the bottom of the display, you will find the names of the functions that are assigned within the current screen to each of these buttons.
If an explanation from this manual were to refer to ???[F1] (WRITE)???, you would know that pressing [F1] would select the ???WRITE??? function as displayed immediately above the button.
38
Common operations and display items
PAGE SCROLL buttons
When ??? ??? and/or ??? ??? is displayed on the left and right of the screen, respectively, it will indicate that the
[ ] or [ ] from CURSOR, this can be done much quicker using the PAGE SCROLL buttons.
Scroll Bar
39
Common operations and display items
TIME/VALUE dial
VALUE 1/PAN, VALUE 2, VALUE 3, and VALUE 4 knobs
Turn clockwise to increase a value and counterclockwise to decrease it.
In addition, you can also use these knobs to make large changes in pattern and loop phrase numbers when a pattern selection screen for rhythm patterns, bass patterns, or loop phrases is displayed.
40
Section 1 Advanced Use
Section 1
Advanced
Use
41
You may occasionally make a mistake during a recording, or the performance may not turn out the way the musician intended. In such cases, you can use functions known as punch in and punch out to
???If you are still not happy with the track after re- recording with punch in and punch out, you can use Undo (Basic Operation; p. 42) to restore the track to its original condition.
???Even if a portion of a track has been
The
Manual punch in and punch out
Use [REC] or a foot switch to activate punch in and punch out. If you are both playing the instrument and operating the
Performing manual punch in and punch out using [REC]
The following section will describe using manual punch in and punch out to
1.Press the TRACK [1].
This track button will start to flash orange and green.
2.Move the fader for Track 1 to the position shown
below.
3.Confirm that [ON/OFF] from AUTO PUNCH is not lit up.
If this button is lit, it will need to be pressed to turn it off.
4.Start playback of your song and use the INPUT LEVEL knob to adjust the volume of the input to an appropriate level.
If you want to mute Track 1 during playback, hold down [TRACK MUTE] and press the track button for this track. You can then perform the same procedure once again to cancel muting.
Listen to both the recorded audio and the input to compare their volumes. If necessary, use the INPUT LEVEL knob to adjust the volume of the input so it is identical to that of the recording.
5.When the volume levels have been matched, confirm that Track 1 is not being muted before proceeding.
6.Move to a position before where you want to start re- record and press [PLAY] to start playback.
7.When playback reaches the beginning of this section, press [REC] to punch in and start recording.
To punch out after recording, press either [REC] or [PLAY].
[REC] can be used to punch in and punch out repeatedly, and if any other sections need to be re- recorded, you can use the same procedure described above without having to stop playback.
8.Press [STOP] when
9.Listen to the performance with the
Make sure that you move the current position to a point before the
42
Performing manual punch in and punch out using a foot switch
If you intend to use a foot switch (such as the optional Roland
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SYSTEM icon and press [ENTER/YES].
Alternatively, you can press [F1] (SYSTEM) if the SYSTEM icon is currently displayed.
The System screen will appear.
3. Move the cursor to ???Foot Switch??? and select PUNCH IN/OUT using the TIME/VALUE dial.
4.Press [EXIT/NO] several times to return to the top screen.
5.Start the recorder.
6.Operate the foot switch.
Each time the foot switch is depressed, the
Auto punch in and punch out
The
???Registering the punch in position
1.Move the current position to the point at which you want the
The current position will now be registered as the position for punch in, and [IN] will light up to indicate
that a punch in position has been registered.
*Once a punch in position has been registered, you can jump to this position at any time by pressing [IN].
*If you want to cancel this position and/or register a new point for punch in, hold down [DELETE] and press [IN]. The punch in position will be cleared and [IN] will turn off.
???Registering the punch out position
2.Move the current position to the point at which you want the
The current position will now be registered as the position for punch out, and [OUT] will light up to
indicate that a punch out position has been registered.
*Once a punch out position has been registered, you can jump to this position at any time by pressing [OUT].
43
*If you want to cancel this position and/or register a new point for punch out, hold down [DELETE] and press [OUT]. The punch out position will be cleared and [OUT] will turn off.
*Note that the punch in and punch out positions must be at least 0.5 seconds apart. Accordingly, the punch out position cannot be set up within 0.5 seconds of the punch in position.
If you want to activate punch in and punch out at marker positions, first of all move the current position to the marker for punch in and press [IN]. Then, move to the marker for punch out and press [OUT]. For a description of the procedure for moving to marker positions, refer to ???Moving to markers??? (p. 48).
Performing auto punch in and punch out
For this example, we will use auto punch in and punch out to
1.Press the TRACK [1].
This track button will start to flash orange and green.
2.Move the fader for Track 1 to the position shown
below.
3.Confirm that AUTO PUNCH IN/OUT [ON/OFF] is not lit up.
If this button is lit, it will need to be pressed to turn it off.
4.Start playback of your song and use the INPUT LEVEL knob to adjust the volume of the input to an appropriate level.
5.When the volume levels have been matched, confirm that Track 1 is not being muted before proceeding.
6.Move to a position before where you want to start re- record and press AUTO PUNCH IN/OUT [ON/OFF].
This button will light up to indicate that auto punch in/ out has been turned on.
7.Press [REC] to prepare the
Punch in will be activated automatically at the beginning of the section to be
8.Press [STOP] when
9.Listen to the performance with the
Make sure that you move the current position to a point before the
10.To clear the settings for the auto punch in/out section, hold down [DELETE], press [IN] or [OUT].
44
Repeating recording in a specific section (Loop Recording)
When the
For more detailed information regarding the repeat function, refer to ???Playing back repeatedly (Repeat Function)??? (Basic Operation; p. 17).
Specifying the section to be repeated
Before you start recording, you will first of all have to set up the start and end points of the section to be repeated.
At this time, it is important that you set up the section in such a way that it contains the section to be
Repeat
Time
Specifying the section to be recorded
Use ???Auto punch in and punch out??? (p. 43) to register the positions where the
Performing loop recording
As an example, the following section will describe usage of the repeat function together with auto punch in and punch out to
1.Press the TRACK [1].
This track button will start to flash orange and green.
2.Move the fader for Track 1 to the position shown
below.
3.Press AUTO PUNCH IN/OUT [ON/OFF].
This button will light up to indicate that auto punch in/ out has been turned on.
4.Start playback of your song using the repeat function and use the INPUT LEVEL knob to adjust the volume of the input to a suitable level.
5.With repeat playback in progress, press [REC] just before the
The
After repeating, confirm the results just recorded.
If you were unable to get the recording to sound the way you wanted, press [REC] and record the passage over again.
If you press [REC] within the segment between the
6.Press [STOP] when
Press [REPEAT]. This button will turn off, indicating that playback will not be repeated.
7.Press AUTO PUNCH IN/OUT [ON/OFF].
This button will turn off, indicating that the auto punch in/out has been deactivated.
1 Section
45
Using
Although the
Switching
1. Press
The
The currently selected track is shown on the top left of the display, together with the number of the
2. Move the cursor to the track containing the
In addition to the cursor, the track buttons can also be used to directly choose the track whose settings are to be changed.
3.Use the TIME/VALUE dial to change the
The ??? ??? is displayed when the
recorded audio data is selected.
4.When you have finished selecting
5.If you wish to store the currently selected
???If
???You cannot use the track buttons in the
46
Using
Assigning names to
Names can be assigned to any or all of the
1. Press
The
2. Use [CURSOR] and the TIME/VALUE dial to choose the
In addition to the cursor, the TRACK buttons can also be used to directly choose the track selected.
The name of the currently selected
3.Move the cursor to the letter in the name that you want to change, and then use the TIME/VALUE dial to select
a new letter.
4.When you have finished editing names, press [EXIT/ NO] to return to the top screen.
5.If you wish to store the edited names, save the current song (p. 72).
Changing the
When in Mastering mode, the symbol [ ] will be automatically placed on the right of the
1. Press
The
2.Move the cursor to the ???MASTER
mastering track.
3.If you wish to store the new setting for the final mastering track, save the current song (p. 72).
Only
final mastering track.
47
Placing markers in your song (Marker)
The
Time
Time
In addition, you can also assign names to individual markers.
For more detailed information, refer to ???Naming a marker???
Basic marker operations
Positioning a marker
Press [MARK] to place a marker at the current song position.
Note that markers must be at least 0.1 seconds apart. Accordingly, it will not be possible to position a new marker within 0.1 seconds of a
Clearing markers
The marker box of the display will indicate the marker located earlier than the current position.
Press [CLEAR] if you want to delete this marker.
Moving to markers
Use the SEARCH buttons to move forwards or backwards to the next nearest marker. Alternatively, if you press the
CURSOR [ ] while on the following screen (i.e., the top screen), you will be able to change the marker number shown in the display???s Marker box.
Marker number
Use the TIME/VALUE dial to select the number of the marker you want to move to.
48
Placing markers in your song (Marker)
Editing markers
Moving markers
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the MARKER icon and press [ENTER/YES].
If the MARKER icon is not currently being shown on the
display, use the [ ] and [ ] PAGE SCROLL buttons to move to the page containing this icon.
The Marker screen will appear.
3. Use the TIME/VALUE dial to select the number of the marker you want to edit.
4. Move the cursor to ???Location???, and then use the TIME/ VALUE dial to specify a position for that marker.
Measure Time
If you move the cursor to the measure display, you will be able to specify a marker position in terms of measures. Alternatively, you can move the cursor to the time display to move the marker based on the song time.
Naming a marker
A name (Marker Name) can be assigned to any marker from
the Marker screen.
1.On the Marker screen, move the cursor to ???No.??? and then use the TIME/VALUE dial to select the number of
the marker to be named.
Assigning an
When writing stereo tracks to an audio CD, you can use a special procedure to position markers within a track so that these markers can indicate the song division points on the finished CD. This method of creating audio CDs is referred to as Disc At Once By Marker.
For more detailed information regarding Disc At Once By Marker, refer to ???Dividing long tracks and writing as multiple songs (Disc At Once By Marker)??? (Basic Operation; p. 66).
When on the Marker screen, even normal markers that you have already positioned can be designated as song division markers.
1.On the Marker screen, move the cursor to ???No.??? and then use the TIME/VALUE dial to select the number of the marker to be designated as a song division.
2.Move the cursor to ???CD Track??? and select ???ON??? using
the TIME/VALUE dial.
The selected marker will be designated as a song division marker for the audio CD. At the same time, the name to be displayed for the corresponding song on the audio CD (i.e., CD01 to CD99) is automatically set as the marker name.
49
Placing markers in your song (Marker)
Note that if a marker that has already been named is designated as a song division marker, the original name will be deleted.
3.Save the current song (p. 72).
???Be sure to save your song before creating an audio CD. Settings will not be stored until your song is saved, and this can result in song divisions not being recognized correctly during the writing process.
???A maximum of 99 songs can be written to a single audio CD. If you try to set a song division marker that will result in this number being exceeded, the message ???Marker Memory Full!??? will be displayed and you won???t be able to set it.
???Audio CD standards require that a CD track be at least four second long. CD track markers that define a CD track lasting less than four seconds are disregarded when the CD is being created.
Changing scenes assigned to markers
The
For more detailed information regarding Auto Scene, refer to ???Recalling scenes automatically during recording or playback (Auto Scene)??? (p. 52).
The allocation of scenes to markers can be modified from the Marker screen at any time.
1.On the Marker screen, move the cursor to ???No.??? and then use the TIME/VALUE dial to select the number of the marker in question.
2.Move the cursor to ???Scene??? and select the number of the
scene to be assigned using the TIME/VALUE dial.
The selected scene will be assigned to the marker.
3.If you wish to store the modified settings, save the current song (p. 72).
If you do not save the song, your settings will not be stored.
Stopping automatically at a marker (Marker Stop)
The
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SYSTEM icon and press [ENTER/YES].
Alternatively, you can press [F1] (SYSTEM) if the SYSTEM icon is currently displayed.
The System screen will appear.
3. Move the cursor to ???Marker Stop??? and select ???ON??? using the TIME/VALUE dial.
If you set this to ???OFF???, the Marker Stop function will be deactivated.
50
Registering and recalling mixer settings (Scene)
The
For example, if you wish to compare different mix balances during mixdown, it is convenience to register each of the different mixer setting as a scene.
In addition, you can also assign scenes to markers (p. 48) to have them recalled automatically during recording or playback, and this function is referred to as Auto Scene.
Registering, recalling, and deleting scenes
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SCENE icon and press [ENTER/YES].
Alternatively, you can press [F3] (SCENE) if the SCENE icon is currently displayed.
The Scene screen will appear.
3. Use the TIME/VALUE dial to select the number of the scene to be registered, recalled, or deleted.
If you select the number of a scene that has already been registered, an asterisk (*) will be displayed before the number to inform you of this fact.
4.Register, recall, or delete a scene.
To recall:
Press [F4] (CALL).
To register:
Press [F3] (SAVE).
An asterisk (*) indicates that a scene has already been registered. If you select such a scene, it will be overwritten using the current settings.
To delete:
Press [F2] (DELETE).
The asterisk (*) indicating a registered scene will disappear to show that the scene is no longer registered.
5.Press [EXIT/NO] several times to return to the top screen.
6.If you wish to store the scene settings, save the current song (p. 72).
Recalling a scene without changing track volumes
When you recall a scene, the track volumes change to the levels stored in that scene, but the positions of the faders remain the same. As a result, fader positions and actual volumes will no longer match. However, the following procedure can be used in situations where you want to recall a scene without changing the track volumes from those matching the current fader positions.
1.Move to the Scene screen.
2.Move the cursor to ???Track Level??? and select ???FADER???
using the TIME/VALUE dial.
Track Level
This setting determines how track volumes will be treated when a scene is recalled.
SCENE:
When a scene is recalled, the track volumes will change to the levels stored in that scene. As a result, it is quite possible that the front panel???s fader positions will no longer match the actual track volumes.
FADER:
Even if a scene is recalled, the track volumes will stay at the levels matching the positions of the front panel???s faders.
3.Press [EXIT/NO] several times to return to the top screen.
4.If you wish to store the modified settings, save the current song (p. 72).
If you do not save the song, your settings will not be
stored.
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51
Recalling scenes automatically during recording or playback (Auto Scene)
The
Referred to as Auto Scene, this function makes it possible for track faders, effects, etc. to be controlled automatically.
Setting an Auto Scene
1.With the top screen displayed, move to the position in the song where you want settings to be changed automatically.
2.Hold down [STOP] and press [MARK].
A new marker will be created at the current position. Also at this time, a new scene will be created and assigned to the marker. All settings for track faders, effects, and the like will be stored in this scene.
In addition, an ???S??? will appear in the Marker name area on the top screen to indicate that a scene has been
assigned to the marker.
3.Press [ZERO] to return to the beginning of the song and then press [PLAY] to start playback.
When playback reaches the position of the new marker, the scene that you have assigned to it will be automatically recalled. In addition, an ???S??? will appear in the top screen???s Marker name area.
Automatic recalling of scenes is not restricted to playback and recording; in fact, scenes are recalled automatically whenever the current position is moved to the position of the corresponding marker, even if playback is stopped at the time. It is important to note that not all parameter settings stored in a scene will be restored when it is recalled automatically. Settings are restored for the following parameters.
???Faders for Tracks 1 through 15/16
???Track mute
???The MASTER fader
???Pan (for Tracks 1 through 15/16)
???Compressors and limiters
???EQ (for Tracks 1 through 15/16) (p. 74)
???Insert effects (p. 74), Vocal Tool Box (p. 75), Speaker Modeling (p. 75), Mastering Tool Kit (p. 75)
???Chorus/delay sends (for Tracks 1 through 15/16)
???Reverb sends (for Tracks 1 through 15/16)
*Settings can be made to indicate whether or not EQ and effect parameters will be restored by Auto Scene (p. 53). This is set to OFF in the factory settings.
4.If you wish to store the modified settings, save the current song (p. 72).
The allocation of scenes to markers for Auto Scene can be modified later on. For more detailed information regarding the modification of scene assignments, refer to ???Changing scenes assigned to markers??? (p. 50).
???A maximum of 100 markers can be created in a single song, and this includes both markers with scenes assigned and those without. Furthermore, a maximum of 100 scenes can be registered. If you try to create a marker or scene that will result in the corresponding limit being exceeded, the message ???Marker Memory Full!??? or ???Scene Memory Full!??? will be displayed and this action will not be possible.
???When a new marker and scene are created as described in Step 2, the lowest available number will be assigned to this new scene.
???Markers cannot be created within 100 ms of one another. In such instances, first clear the existing marker, and then carry out Step 2 (p. 48).
???When a scene is recalled, there may be a delay of several hundredths of a second before the stored settings are actually applied to your song. Please note that this delay is intentional and is intended to prevent noise being generated as a result of sudden changes in parameters.
???If you do not save the song as indicated in Step 4, your settings will not be stored.
Clearing an Auto Scene
1.Press MARKER [SEARCH ] or [SEARCH ] to move to the marker with the scene assignment you wish to clear.
This marker will be shown in the display???s Marker box.
2.Press MARKER [CLEAR].
The current marker will be cleared together with the scene that was assigned to it.
If a scene has also been assigned to some other marker, the scene itself won???t be erased; only the current marker will be erased.
52
Recalling scenes automatically during recording or playback (Auto Scene)
Disabling Auto Scene
Auto Scene can actually hinder your work in certain situations if settings are automatically restored while you are manually operating track faders and the like.
In such cases, use the following procedure to disable Auto Scene and prevent it from changing your settings.
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SYSTEM icon and press [ENTER/YES].
Alternatively, you can press [F1] (SYSTEM) if the SYSTEM icon is currently displayed.
The System screen will appear.
3.Move the cursor to ???Auto Scene??? and select ???OFF??? using the TIME/VALUE dial.
Auto Scene will now be disabled.
To enable Auto Scene once again, return the above setting to ???ON.???
4.If you wish to store the modified settings, save the current song (p. 72).
Take care not to forget if ???Auto Scene??? is set to ???OFF??? when saving a song, or Auto Scene will not function afterwards. We recommend returning this setting to ???ON??? as often as possible when saving songs.
Setting Auto Scene control of effects and track EQ
Use the following procedure to allow or forbid the control of effects (i.e., insert effects, Vocal Tool Box, Speaker Modeling, and Mastering Tool Kit) and of track EQ by Auto Scene.
1.Press [UTILITY].
The Utility screen will appear.
2.Move the cursor to the SYSTEM icon and press [ENTER/YES].
Alternatively, you can press [F1] (SYSTEM) if the SYSTEM icon is currently displayed.
The System Parameter screen will appear.
3.Move the cursor to ???Effects??? or ???Track Equalizer??? and
select ???ON??? or ???OFF??? using the TIME/VALUE dial.
ON: Control by Auto Scene is allowed.
OFF: Control by Auto Scene is forbidden.
4.If you wish to store the modified settings, save the current song (p. 72).
???When playback reaches a location where a marker has been set, the scene assigned to the marker is called up automatically, and the settings change to those recorded in the scene, including the track EQ and effects patch parameters.
???Be sure to note that application of the effects in the performance may be delayed from several hundred milliseconds to one second from the point at which the marker is set.
???Patch switching will be possible for similar types of effects (for example, patches from insert effects), but not for different types. In addition, this type of change will not be possible for different insert effect connections (p. 82).
???Depending on the sounds used in a performance recorded on a track, noise may be audible when the EQ is being adjusted.
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53
Finding the start or end of a section of audio (Scrub/Preview)
The Scrub function:
When you are editing a song, you will often need to know exactly where a section of audio starts or exactly where to set up the punch in position for the automatic start of recording. the
When you play back your song using Scrub, an extremely short section of audio (i.e., 45 ms) either immediately before or immediately after the current position will be played back repeatedly. Furthermore, when Scrub is combined with another function known as Preview, you can search for breaks between phrases using a longer repeat time (i.e., 1.0 s).
The Preview function
Preview is a function that allows you to play the
For more detailed information regarding the usage of Preview, refer to ???Using Scrub and Preview to find the end of a section of audio??? (p. 55).
Now Time
Using Scrub to find the start of a section of audio
1.Hold down [STOP] and press [PLAY].
[PLAY] will start flashing and scrubbing will begin. The level meter for the currently selected track will also be shown on the display at this time.
In addition, the track that is currently being scrubbed will be indicated at the top of the screen.
The
???Changing the scrubbing direction.???
2.Press the TRACK button for the track you want to scrub.
3.Move the current position little by little using the TIME/VALUE dial, searching for the point at which the next phrase begins (i.e., the start of the section of audio).
4.When you have located the start of the section of audio, press [STOP] to stop scrubbing.
In order that this point may be easily found again later on, it is a good idea to press [MARK] at this time to place a marker at the current position.
Muting of all tracks will be canceled whenever you use the Scrub function.
54
Finding the start or end of a section of audio (Scrub/Preview)
Changing the scrubbing direction
The
Use the following procedure to change this scrubbing direction.
1
4 2, 3
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SCRUB/PRV. icon and press [ENTER/YES].
Alternatively, you can press [F4] (SCRUB/PRV.) if the SCRUB/PREVIEW icon is currently displayed.
The Scrub/Preview screen will appear.
3.Move the cursor to ???Scrub FROM/TO??? and use the TIME/VALUE dial to change the scrubbing direction.
FROM:
Scrubbing is performed from the current position.
TO:
Scrubbing is performed to the current position.
4.Press [EXIT/NO] several times to return to the top screen.
Using Scrub and Preview to find the end of a section of audio
Enabling Preview
You must first of all set up the
function.
1.Press [UTILITY].
2.Move the cursor to the SCRUB/PRV. icon and press [ENTER/YES].
Alternatively, you can press [F4] (SCRUB/PRV.) if the SCRUB/PREVIEW icon is currently displayed.
The Scrub/Preview screen will appear.
3.Move the cursor to ???Preview Switch??? and select ???ON???
using the TIME/VALUE dial.
The Preview function will be enabled.
4. Press [EXIT/NO] several times to return to the top screen.
Using Scrub and Preview
1.Hold down [STOP] and press [PLAY].
[PLAY] will start flashing and scrubbing will begin.
2.While scrubbing, press either [REW] or [FF].
If you press [REW], the
3.Use Scrub and Preview to find the end of the section of audio.
4.Move the current position little by little using the TIME/VALUE dial, searching for the point at which the phrase ends (i.e., the end of the section of audio).
If you press [REW] at this time, you can check whether or not the phrase cuts in suddenly during playback.
5.When you have located the end of the section of audio, press [STOP] to stop scrubbing.
In order that this point may be easily found again later on, it is a good idea to press [MARK] at this time to place a marker at the current position.
1 Section
55
Editing a recorded performance (Track Edit)
The
Precautions when editing tracks
Remember to always save your song if you want to store the track edits that you have made. In the
If audio data exists at the copy or move destination, it will be overwritten.
Be sure to set the length of audio to be copied or moved to more than 0.5 seconds. If a section of audio of less than this length is copied or moved, you will not be able to hear it upon playback. Please ensure that no audio of less than 0.5 seconds in length is left behind after a move, insert, delete, or erase operation. If a section of audio of less than this length is created in front of or behind this type of edit, you will not be able to hear it upon playback.
Copying audio data (Track Copy)
The Track Copy function allows you to copy a specified section of audio data to a new location.
In addition, you can copy audio data to multiple tracks in a single operation, and you can also copy data repeatedly, creating a sequence of identical audio sections starting at the specified location.
This function allows you to create songs quickly and conveniently when, for example, you want to reuse a recorded phrase from a certain track or when you want to repeat the same phrase again and again.
When copying audio data, you will normally want the start of the copied section to be aligned with the destination that you specify. However, it may sometimes be necessary to align a point somewhere along the section of copied audio data with this destination point. The
For example, if you are copying an effect sound comprising a ticking bomb followed by an explosion, you will probably want to align the start of the explosion sound with the specified destination. Normally, you would have to calculate the length of time from the start of the sound effect until the explosion before you could determine the correct copy destination. With this function, however, you can specify the start point of the explosion in the original data using ???FROM,??? and the copy destination where you want the explosion to be heard using ???TO.??? As a result, it is easy to copy the entire sound effect with the explosion positioned exactly where you want it.
Example 1: Copying to the same track twice
Example 2: Copying to a different track twice
B
B' B"
Example 3: Copying audio data using ???FROM???
C
C'
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) button if the TRACK icon is currently displayed.
The Track screen will appear.
3.Move the cursor to the COPY or COPY + INS icon and press [ENTER/YES].
COPY
56
Editing a recorded performance (Track Edit)
COPY + INS (insert)
The Track Copy screen will appear, allowing you to select the tracks and
If you select COPY + INS, an empty space of the required length will first of all be inserted at the copy destination, and then the source audio will be copied.
Example 4: Copying audio data with COPY + INS
If you are using COPY + INS, it will not be possible to specify
the same track as the source and destination of copying.
4.Use [CURSOR] and the TIME/VALUE dial to choose the tracks and
If a name has been assigned to the selected track, it will
be displayed at this time.
5.If you want to copy audio on other tracks using the same settings (for range, position, etc.), move the cursor to the
position shown below and turn the TIME/VALUE dial.
You will now be able to specify other tracks as the source and destination of other copy operations.
In this case, it is not possible to specify a copy destination track that coincides with another copy source track.
If you want to cancel the copy for a specific track, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed. Copying will not be performed for any line containing one or more question marks.
As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6. Move the cursor to the right half of the screen and specify the copy range and copy destination positions.
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Pressing [F1] (DISP.FMT.) at this time will allow you to select how positions will be specified (i.e., by measure, time, or marker).
The following parameters should now be set.
START (Start point):
This parameter is used to specify the start point of the audio data to be copied.
END (End point):
This parameter is used to specify the end point of the audio data to be copied.
TO (To point):
This parameter is used to specify the basic destination point.
TIMES (copy time):
This parameter is used to specify the number of copies to be made (between 1 and 99).
FROM (From point):
This parameter is used to specify the point within the source audio data to be aligned with the To point. Normally, this is set to the same value as the Start point.
???If time values are used to specify the above points and you then switch the specification method to measures or markers, a plus
(+) character may be displayed to warn that the indicated positions and actual positions are not the same. If you want to specify points using measures or markers, this discrepancy can be eliminated by using the TIME/VALUE dial to make settings in each of the relevant screens.
???If you want to set the copy range as extending from the start to the end of the song, press [F3] (SELECT ALL).
7.When you have made all of the necessary settings, press [F4] (GO).
The audio data will now be copied, and when the message ???Complete!??? appears, it indicates that this operation has been completed.
8.Press [EXIT/NO] several times to return to the top screen.
57
Editing a recorded performance (Track Edit)
Moving audio data (Track Move)
The Track Move function allows you to move a specified section of audio data to a new location.
When audio data has been moved from its original position, a blank space will be left behind.
You can also use this function to move audio data from a number of tracks in a single operation.
When moving audio data, you will normally want the start of the relocated section to be aligned with the destination that you specify. However, it may sometimes be necessary to align a point somewhere along the section of relocated audio data with this destination point. The
For example, if you are moving an effect sound comprising a ticking bomb followed by an explosion, you will probably want to align the start of the explosion sound with the specified destination. Normally, you would have to calculate the length of time from the start of the sound effect until the explosion before you could determine the correct destination. With this function, however, you can specify the start point of the explosion in the original data using ???FROM,??? and the destination where you want the explosion to be heard using ???TO.??? As a result, it is easy to move the entire sound effect with the explosion positioned exactly where you want it.
Example 1: Moving data within a specific track
Example 2: Moving data to a different track
B
B
Example 3: Moving data using ???FROM???
C
C
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/ YES].
Alternatively, you can press [F3] (TRACK) if the TRACK icon is currently displayed.
The Track Menu screen will appear.
3.Move the cursor to the MOVE or MOVE + INS icon and press [ENTER/YES].
MOVE
MOVE + INS (insert)
The Track Move screen will appear, allowing you to select the tracks and
If you select MOVE + INS, an empty space of the required length will first of all be inserted at the destination, and then the source audio will be moved.
58
Editing a recorded performance (Track Edit)
Example 4: Moving audio data with MOVE + INS
If you are using MOVE + INS, it will not be possible to
specify the same track as the source and destination.
4.Use [CURSOR] and the TIME/VALUE dial to choose the tracks and
destination.
If a name has been assigned to the selected track, it will be displayed at this time.
5.If you want to move audio on other tracks using the same settings (for range, position, etc.), move the cursor to the position shown below and turn the TIME/
VALUE dial.
You will now be able to specify other tracks as the source and destination of other move operations.
In this case, it is not possible to specify a destination track that coincides with another source track.
If you want to cancel the move for a specific track, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed.
???A move operation will not be performed for any line containing one or more question marks.
???As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6. Move the cursor to the right half of the screen and specify the move range and destination positions.
Pressing [F1] (DISP.FMT.) at this time will allow you to select how positions will be specified (i.e., by measure, time, or marker).
The following parameters should now be set.
START (Start point):
This parameter is used to specify the start point of the audio data to be moved.
END (End point):
This parameter is used to specify the end point of the audio data to be moved.
TO (To point):
This parameter is used to specify the basic destination point.
FROM (From point):
This parameter is used to specify the point within the source audio data to be aligned with the To point. Normally, this is set to the same value as the Start point.
???If time values are used to specify the above points and you then switch the specification method to measures or markers, a plus (+) character may be displayed to warn that the indicated positions and actual positions are not the same. If you want to specify points using measures or markers, this discrepancy can be eliminated by using the TIME/VALUE dial to make settings in each of the relevant screens.
???If you want to set the move range as extending from the start to the end of the song, press [F3] (SELECT ALL).
7.When you have made all of the necessary settings, press [F4] (GO).
The audio data will now be moved, and when the message ???Complete!??? appears, it indicates that this operation has been completed.
8.Press [EXIT/NO] several times to return to the top screen.
1 Section
59
Editing a recorded performance (Track Edit)
Exchanging audio data (Track Exchange)
The Track Exchange function allows you to exchange the all
recorded data between two different tracks.
Example: Exchanging all data between Tracks 1 and 2
Track 1
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) if the TRACK icon is currently displayed.
The Track Menu screen will appear.
3.Move the cursor to the EXCHANGE icon and press [ENTER/YES].
Alternatively, you can press [F1] (EXCHANGE) if the EXCHANGE icon is currently displayed.
The Track Exchange screen will appear, allowing you to select the tracks and
source and destination.
4.Use [CURSOR] and the TIME/VALUE dial to choose the tracks and
If a name has been assigned to the selected track, it will
be displayed at this time.
5.If you want to exchange audio data between other tracks, move the cursor to the position shown below
and turn the TIME/VALUE dial.
You will now be able to specify other tracks as the source and destination of another exchange operation.
In this case, it is not possible to specify a destination track that coincides with another source track.
If you want to cancel the exchange of data between specific tracks, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed.
???Data exchange will not be performed for any line containing one or more question marks.
???As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6.When you have made all of the necessary track selections, press [F4] (GO).
The audio data will now be exchanged, and when the message ???Complete!??? appears, it indicates that this operation has been completed.
7.Press [EXIT/NO] several times to return to the top screen.
60
Editing a recorded performance (Track Edit)
Inserting a blank space between audio data (Track Insert)
The Track Insert function allows you to insert a blank space at a specific location. If you want to add a new phrase to the middle of a section of audio data, use this function to add a blank space of the same length as the new phrase, and then record the phrase into this space.
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) if the TRACK icon is currently displayed.
The Track Menu screen will appear.
3.Move the cursor to the INSERT icon and press [ENTER/YES].
Alternatively, you can press [F2] (INSERT) if the INSERT icon is currently displayed.
The Track Insert screen will appear, allowing you to select the track and
be inserted.
4.Use [CURSOR] and the TIME/VALUE dial to choose the track and
If a name has been assigned to the selected track, it will be displayed at this time.
5.If you want to insert a blank space into other tracks using the same settings (for position, length, etc.), move the cursor to the position shown below and turn the
TIME/VALUE dial.
You will now be able to specify other tracks for insertion of the same blank space. If you want to cancel the insertion for a specific track, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed.
???Insertion will not be performed for any line containing one or more question marks.
???If you want to insert the same blank space into all V- Tracks or all tracks, turn the TIME/VALUE dial clockwise until ???*??? is selected.
???If you want to select all
???As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6.Move the cursor to the right half of the screen and specify
the position and length of the blank space to be inserted.
Pressing [F1] (DISP.FMT.) at this time will allow you to select how the position will be specified (i.e., by measure, time, or marker).
The following parameters should now be set.
START (Start point):
This parameter is used to specify the position at which the blank space will be inserted.
LENGTH:
This parameter is used to specify the length of the blank space.
61
Editing a recorded performance (Track Edit)
If a time value is used to specify the Start point and you then switch the specification method to measures or markers, a plus (+) character may be displayed to warn that the indicated position is not the same as the actual position. If you are specifying these items as measure locations, you can eliminate this discrepancy by using the TIME/VALUE dial in measures screen to specify the location.
7.When you have made all of the necessary settings, press [F4] (GO).
The blank space will be inserted, and when the message ???Complete!??? appears, it indicates that this operation has been completed.
8.Press [EXIT/NO] several times to return to the top screen.
Deleting audio data and closing the resulting gap (Track Cut)
The Track Cut function allows you to delete audio data from a specified range, and when audio data is deleted in this way, the section of audio data positioned behind it is moved forwards to fill the resulting gap.
A
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) if the TRACK icon is currently displayed.
The Track Menu screen will appear.
3.Move the cursor to the CUT icon and press [ENTER/YES].
Alternatively, you can press [F4] (CUT) if the CUT icon
is currently displayed.
The Track Cut screen will appear, allowing you to select the track and
4.Use [CURSOR] and the TIME/VALUE dial to choose the track and
If a name has been assigned to the selected track, it will
be displayed at this time.
5.If you want to delete audio data from other tracks using the same settings (for range, etc.), move the cursor to the
position shown below and turn the TIME/VALUE dial.
You will now be able to specify other tracks for deletion of audio data over the same range. If you want to cancel the deletion for a specific track, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed.
???Deletion will not be performed for any line containing one or more question marks.
???If you want to delete audio data from all
???Alternatively, if you want to select all
???As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6.Move the cursor to the right half of the screen and specify the deletion range.
62
Editing a recorded performance (Track Edit)
Pressing [F1] (DISP.FMT.) at this time will allow you to select how the positions will be specified (i.e., by measure, time, or marker).
The following parameters should now be set.
START (Start point):
This parameter is used to specify the start point of the audio data to be deleted.
END (End point):
This parameter is used to specify the end point of the audio data to be deleted.
???If time values are used to specify the above points and you then switch the specification method to measures or markers, a plus (+) character may be displayed to warn that the indicated positions and the actual positions are not the same. If you want to specify points using measures or markers, this discrepancy can be eliminated by using the TIME/VALUE dial to make settings in each of the relevant screens.
???If you want to set the deletion range as extending from the start to the end of the song, press [F3] (SELECT ALL).
7.When you have made all of the necessary settings, press [F4] (GO).
The audio data will now be deleted, and when the message ???Complete!??? appears, it indicates that this operation has been completed.
8.Press [EXIT/NO] several times to return to the top screen.
Erasing audio data (Track Erase)
The Track Erase function allows you to erase audio data from a specified range; however, when audio data is erased in this way, the section of audio data positioned behind it is not moved forwards to fill the resulting gap.
A
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) if the TRACK icon is currently displayed.
The Track Menu screen will appear.
3.Move the cursor to the ERASE icon and press [ENTER/YES].
Alternatively, you can press [F1] (ERASE) if the ERASE
icon is currently displayed.
1 Section
The Track Erase screen will appear, allowing you to select the track and
63
Editing a recorded performance (Track Edit)
You will now be able to specify other tracks for the removal of audio data over the same range.
If you want to cancel the erase operation for a specific track, turn the TIME/VALUE dial counterclockwise until a question mark (?) is displayed.
???Erase will not be performed for any line containing one or more question marks.
???If you want to erase audio data from all
???Alternatively, if you want to select all
???As Tracks 9/10 through 15/16 are stereo tracks, it will not be possible to select either of their mono tracks independent of the other.
6.Move the cursor to the right half of the screen and
specify the erase range.
Pressing [F1] (DISP.FMT.) at this time will allow you to select how the positions will be specified (i.e., by measure, time, or marker).
64
Maximizing the volume levels of data recorded to the tracks (Normalize)
The Normalize function raises the volume of prerecorded track data to the highest level possible.
What Normalize does:
The maximum values for wave data handled in digital recording are predetermined. Since exceeding these levels even slightly causes the sound to become distorted, recording levels are normally set so that the sound does not distort. However, this lowers the overall volume of the recorded data.
fig.sssss
But there is a process that digitally calculates the recorded data in order to extend the waveforms to the maximum values for the wave data being treated. This process is called ???normalization.??? After normalization, the waveform looks like this:
fig.sssss
This allows you to ensure you are getting full volume within the allowable range of values for the data you are working with.
Furthermore, even if any other tracks have been recorded at relatively low volume levels, you can use this function to increase volume later on.
1. Press [UTILITY]
The Utility Menu screen will appear.
2. Move the cursor to the TRACK icon and press [ENTER/YES].
Alternatively, you can press [F3] (TRACK) if the TRACK
icon is currently displayed.Section The Track Menu screen will appear.
3.Move the cursor to the NORMALIZE icon and press [ENTER/YES].
Alternatively, you can press [F3] (NORMALIZE) if the NORMALIZES icon is currently displayed.
The Normalize screen will appear.
4. Select the track you want to normalize with the TIME/ VALUE dial.
You can select mono or stereo tracks. With stereo tracks selected, you can increase the volume level while maintaining the balance between the left and right tracks.
5.Move the cursor to the right half of the screen and specify the start point and end point for the segment you want to normalize using [CURSOR] and the TIME/ VALUE dial.
The Normalize Time Setting screen will appear.
65
Maximizing the volume levels of data recorded to the tracks (Normalize)
If you are normalizing the entire track from beginning to end, press [F3] (SELECT ALL).
6.Use [CURSOR] to move the cursor to ???PERCENT??? then set the normalization volume with the TIME/VALUE
dial.
PERCENT:
This parameter sets the amplitude (1 to 100%) with respect to the digital maximum. When set to 100%, the amplitude of the wave data is digitally converted to the maximum value that can be handled. A setting of 50% cuts the amplitude in half.
7.Press [F4] (GO).
???Track: Normalize...??? appears in the screen, and normalization begins. The process is finished when ???Complete!??? is displayed.
If you don???t like the results of the normalization, you can undo them (Basic Operation; p. 42).
8.Save the song to store the results of the normalization in memory (p. 72).
???Set a minimum length of 0.5 seconds for the segment to be normalized. No sound will play back if the segment is shorter than 0.5 seconds.
???The sound is interrupted for an instant (about twenty milliseconds) immediately before and after the normalized segment. For this reason, we recommend setting the start and end points at locations where this will not be noticed, such as during breaks in performances.
???If normalization is run with the ???PERCENT:??? setting of 100%, note that the sound during playback may become distorted when the volume is raised further, such as when effects are used.
???If there is wave data in the normalized segment that approaches the maximum amplitude, even for an instant, then you cannot expect to achieve much with the normalize effect. This tendency is especially pronounced with sounds such as drums in which the amplitude of their loudest passages differ greatly from other sections. Be sure to keep this in mind.
???If after normalization you load another song or turn off the
66
Organizing your songs
Displaying song details (Song Information)
Use Song Information to display the following information for the currently selected song.
???Song number
???Song name
???Song protection (on or off)
???Whether recording or editing has been carried out
???Disk memory used for the song
Disk memory is displayed in units of 1 MB (i.e., 1,048,576 bytes) and should be treated as a general guide rather
than an exact figure.
1
4 2, 3
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SONG icon and press [ENTER/ YES].
Alternatively, you can press [F2] (SONG) if the SONG icon is currently displayed.
The Song Menu screen will appear.
3.Move the cursor to the INFO icon and press [ENTER/ YES].
Alternatively, you can press [F1] (INFO) if the INFO icon is currently displayed.
The Song Information screen will appear.
No.:
Shows the song???s number.
Name:
Shows the song???s name.
If song protection is turned on, ???PROTECTED??? will be displayed here.
If the song is recorded or edited, ???EDITED??? will be displayed here.
Size:
Shows the disk memory used for the current song (in MB).
4.Press [EXIT/NO] several times to return to the top screen.
1 Section
67
Organizing your songs
Alternatively, you can press [F3] (COPY) if the COPY icon is currently displayed.
A list of the songs currently stored on the hard disk will appear.
In addition, an asterisk (*) is used to indicate the song that is currently loaded.
68
Organizing your songs
3.Move the cursor to the ERASE icon and press [ENTER/ YES].
Alternatively, you can press [F4] (ERASE) if the ERASE icon is currently displayed.
A list of the songs currently stored on the hard disk will appear.
In addition, an asterisk (*) is used to indicate the song
that is currently loaded.
1 Section
69
Organizing your songs
Making the most of hard disk capacity (Song Optimize)
When you overwrite or erase audio data by overdubbing, punch in/out recording, or track editing, this audio data will not actually be deleted from the
Use the Song Optimize function to increase the amount of free space on your hard disk by permanently erasing this type of unneeded data.
1
4
2,3
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SONG icon and press [ENTER/ YES].
Alternatively, you can press [F2] (SONG) if the SONG icon is currently displayed.
The Song Menu screen will appear.
3.Move the cursor to the OPTIMIZE icon and press [ENTER/YES].
Alternatively, you can press [F1] (OPTIMIZE) if the OPTIMIZE icon is currently displayed.
The message ???Optimize Song???? will appear.
4.Press [ENTER/YES].
The song optimization process will now begin, and when the message ???Complete!??? appears, it indicates that this has been completed.
???In certain cases, a relatively long period of time will be required for song optimization to be completed; however, this is normal and does not indicate a malfunction. Please do not turn off the
???If the
???Song optimization also clears the song???s edit history, and for this reason, you will not be able to use the Undo function for any edits carried out before this process. It is also important to note that if you use Undo after saving a song that has just been optimized, all audio data will be deleted.
70
Organizing your songs
Protecting a song (Song Protect)
Even if you have saved an important song to the
The message ???Save Current???? may be displayed during the following process. This occurs when the current song contains audio data, edits, or settings that have not been saved, and you should press [ENTER/YES] if you want to save these now. If this will not be necessary, press [EXIT/NO]. It is important to note, however, that if you do not save the song at this time, all such audio data, edits, and settings will be lost and the song will be restored to its last saved condition.
Protecting a song (Song Protect)
1
4
2,3
1. Press [UTILITY].
The Utility Menu screen will appear.
2.Move the cursor to the SONG icon and press [ENTER/ YES].
Alternatively, you can press [F2] (SONG) if the SONG icon is currently displayed.
The Song Menu screen will appear.
3.Move the cursor to the PROTECT icon and press [ENTER/YES].
Alternatively, you can press [F2] (PROTECT) if the PROTECT icon is currently displayed.
The message ???Protect On???? will appear.
4.Press [ENTER/YES].
The current song will be protected.
Up to this point, the message ???Save Current???? is displayed when recorded and edited material is added to songs. If you want to turn on the Song Protect function after saving changes to a recording or settings, press [ENTER/YES] to undo the changes to the recording or settings, or press [EXIT/NO] to turn on the protection.
When finished, the message ???Complete!??? will appear and the display will automatically return to the top screen.
When a song has been protected in this way, the song protection mark ( ) will be shown on the display.
Removing song protection
1.Carry out Steps 1 through 3 as described above in ???Protecting a song.???
The message ???Protect Off???? will appear.
2.Press [ENTER/YES].
Protection will be removed from the current song. When this process has finished, the message ???Complete!??? will appear and you???ll automatically be returned to the top screen.
3.If you wish to store the Protect Off setting, save the current song (p. 72).
1 Section
71
Organizing your songs
Naming a song (Song Name)
When you create a new song, the
The Utility Menu screen will appear.
2.Move the cursor to the SONG icon and press [ENTER/YES].
Alternatively, you can press [F2] (SONG) if the SONG icon is currently displayed.
The Song Menu screen will appear.
3.Move the cursor to the NAME icon and press [ENTER/ YES].
Alternatively, you can press [F1] (NAME) if the NAME icon is currently displayed.
The Song Name screen will appear.
4.Move the cursor to the character you want to change and select a new character using the TIME/VALUE dial.
5.Press [EXIT/NO] several times to return to the top screen.
Saving your song (Song Save)
Note, however, that the
???Audio data
???Mixer settings
???The Insert Effects??? song patch (i.e., S001 through S050*)
*S001 through S100 in the case of the Guitar Bank
*S001 through S010 in the case of the Multi Channel Bank
???The Vocal Tool Box???s song patch (i.e., S01 through S10)
???The Mastering Tool Kit???s song patch (i.e., S01 through S19)
???The Speaker Modeling???s song patch (i.e., S01 through S33)
???Rhythm Arrangement settings (i.e., S001 through S010)
???Loop Phrase sequence (i.e., S001 through S050)
???Bass pattern (i.e., S000 through S999)
???Drum pattern (i.e., S000 through S999)
???Loop Effect settings (i.e., S001 through S050)
???3 Band EQ and Compressor settings
???Tuner settings
???Utility settings (with the exception of LCD contrast, phantom, sub mixer and Digital In Assign)
1.With the top screen displayed, hold down [STOP] and press [REC].
The message ???Save Current???? will appear.
2.Press [ENTER/YES]. (If you do not want to save, press [EXIT/NO].)
The message ???Storing Current...??? will appear on the screen and saving of the song will begin. When saving has been completed, the message ???Complete!??? will appear.
In addition to the above method, songs can also be saved from the Utility screen. Please refer to ???Saving your song from the Utility screen??? (Basic Operation; p. 57).
72
Section 2 Using Effects
Section 2
Using
Effects
73
Makeup of
The
??? Insert effects (p. 76)
Insert effects are applied to input audio and are capable of changing the sound in a wide range of different ways. By changing the way an insert effect is connected, you can have it be applied not only to the input audio, but also to a track???s playback or to the Master output. Furthermore, a host of different insert effects can be chosen to match the instrument or input in question.
GUITAR/BASS effects:
These effects are used with audio from guitars and bass guitars. In addition to COSM amp modeling and COSM overdrive for electric guitars, the
MIC effects:
These effects are used with audio from solo vocal microphones. The
SIMUL effects:
These effects are used to record a guitar track and a vocal track simultaneously. For this reason, they allow effects for electric guitar or acoustic guitar to be used at the same time as vocal effects.
In terms of guitar effects, you can make use of amplifier modeling, acoustic guitar simulators, acoustic processors, and many other algorithms.
And in terms of vocal effects, compressors, equalizers, noise suppressors, delay, and the like have been made available. Note that when SIMUL effects are used, the guitar effect will be applied to the INPUT 1/MIC 1 audio source; the vocal effect, to the INPUT 2/MIC 2 audio source.
These effects are used independently and simultaneously on 8 input sources. In order to provide for situations where you are recording from a number of different microphones, the
STEREO effects:
As the name suggests, these effects are applied to stereo inputs. The STEREO bank features stereo compressors,
What is COSM (Composite Object Sound Modeling)? Technology that virtually reconstructs an actually existing structure or material using a different means is called ???modeling??? technology. COSM is proprietary Roland technology that creates new sounds by combining various sound modeling technologies.
???
These effects are applied to the playback from individual tracks so that sounds can be made more compatible with each other.
Compressors:
This type of effect is used to suppress variations in volume. If the volume of a track fluctuates widely, you can make it more uniform using a compressor. In addition, when compressors are applied heavily, they can suppress the dynamic volume variations that are characteristic of musical instruments, thus allowing you to create distinctive new sounds.
Compressors can be used on either 1 through 8 tracks or 9/10 through 15/16 tracks.
This type of effect is used to modify the tone of an audio signal. To do this, it separates the range of frequencies that make up a sound into low, mid, and high bands, allowing the volume of each of these bands to be adjusted independently.
??? Loop effects (p. 112)
Applied to playback from tracks and to input audio being monitored, loop effects are used to add a sense of spaciousness and depth. The following types of loop effects are available on the
Reverb:
By adding reverberation to a sound, this effect imbues the sound with a sense of spaciousness and depth.
Chorus:
A chorus effect copies the original (direct) sound, changes its pitch slightly, and then adds this back to the original to make it swell or feel more like a stereo sound.
74
Makeup of
Delay:
A delay is a little bit like an echo. It can add a sense of spaciousness and depth to the sound. In addition, when this effect is applied to instruments that play melodies, it can make their performance sound smoother or can add an extra bounce to their rhythm.
Doubling:
This effect sets up a tiny time deviation (or delay) between the left and right sides of a signal to give the sound a stereo feel.
??? Vocal Tool Box (p. 116)
The Vocal Tool Box is used with the playback from tracks on which solo vocal performances have been recorded, and it allows you to correct variations in pitch and to add a backing chorus.
The following two effects can be selected from the Vocal Tool Box.
Pitch Correction
The pitch correction function allows you to correct the pitches of vocal performances recorded on a track in real time and in units of semitones.
Harmony Sequence
This effect adds a backing chorus to the playback of a vocal performance recorded on a track based on the chord sequence specified for your rhythm arrangement (p. 148).
If this effect is applied to a track not containing a solo vocal performance, it will not be possible to achieve the desired result.
??? Mastering Tool Kit (p. 129)
The
A good balance of the volumes of different performances is the most important factor when creating audio CDs that sound loud and powerful. If performances have not been mixed and balanced well, no amount of processing using the Mastering Tool Kit will produce the desired effect.
??? Speaker Modeling (p. 127)
This effect allows the acoustical characteristics of various types of monitor speakers to be modeled for playback.
In professional recording studios, recorded audio is played through various types and sizes of monitor speakers so that the sound from each can be compared, and this ensures that the final
Even if you only use one set of monitor speakers with the BR- 1600CD, the Speaker Modeling effect allows you to compare the sound of different speakers in the same way.
Supported combinations of effects
Loop effects can always be used together with any track's compressor or EQ.
Of the insert effects, the Vocal Tool Box, the Mastering Tool Box, and Speaker Modeling, only one of them can be used at a time.
2 Section
75
Using insert effects
This section will provide a description of the methods for changing and saving the various parameters for insert effects.
Rather than being restricted to usage only during recording, the
Effect patches and banks
The specific effect used as an insert and the parameters set for this effect are changed by selecting what is called as an Effect Patch. The
Whenever you press INPUT SELECT buttons, the appropriate bank of effects will be automatically selected. For example, when you press [GUITAR/BASS], a patch from the Guitar bank will be automatically loaded, and when you press [VOCAL], a patch from the MIC bank will be automatically selected. The relationship between INPUT SELECT buttons and the selected bank is as follows:
Furthermore, each of these banks contains various different patches, as shown below.
Preset patches
Preset patches contain data that has been set up in advance, and it will not be possible to write new settings to them.
User patches
User patches are stored on the
Song patches
Song patches can be modified and saved in the same way as user patches; however, their data is stored on the hard disk as part of the song that they are used in. As a result, these patches prove extremely useful when you want each song to maintain the specific effect settings that were used during recording of its tracks.
At the time of purchase, the user patches in each of the
76
Using insert effects
Makeup of effect patches
An effect patch is a named set of data that specifies the various audio parameters for a single effect algorithm.
Meanwhile, each effect algorithm consists of a series of effect blocks that have been combined in a manner that achieves the algorithm???s purpose. For example, the COSM OD GUITAR AMP algorithm is configured as follows:
Example: COSM OD GUITAR AMP algorithm
As another example, let???s look at the 8CH COMP EQ algorithm that is used when recording from eight inputs simultaneously. This algorithm is configured as follows:
Example: 8CH COMP EQ algorithm
In total, the
Modifying insert effect settings
To create a new effect, find the preset patch that is closest to what you are looking for, and then change the settings to get the sound just right. When you are saving a preset patch with modified settings, you should save it as a user patch or a song patch.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
The left half of this screen will display the way in which effect blocks are connected in this patch; the right half will display the parameter settings for the effect block currently highlighted by the cursor.
4. Move the cursor to the effect block you want to edit.
If the TIME/VALUE dial is turned counterclockwise at this time, the solid lines indicating the effect block at the current cursor position will switch to dotted lines, indicating that the corresponding effect has been turned off. Similarly, if the TIME/VALUE dial is turned clockwise, the dotted lines will switch back to solid lines, indicating that the effect has been turned on.
77
Using insert effects
5.Press [F3] (=>PRM.).
The cursor will jump to the parameter area on the right of the screen, and you will now be able to change the
parameter settings.
6.Move the cursor to the parameter whose setting you want to change and select a new value using the TIME/ VALUE dial.
7.If you also want to edit other effect blocks, press [F2] (BLOCK<=) to move the cursor to the left of the screen, and then repeat Steps 4 and 5.
Note that you can press CURSOR [ ] or [ ] while on a parameter setting screen to jump to the parameter setting
screen for the next effect block to the left or right, respectively.
8.Press [EXIT/NO] to return to the Effects Patch screen.
In order to indicate that the effect settings have been temporarily changed, the bank number will be displayed as ???*TMP.??? If you select a different patch, load a different song, or turn off the
9.To save your modified settings, carry out the procedure described in ???Saving insert effect settings (Effect Patch Write)??? (p. 81).
Changing the sound of insert effects using the VALUE knobs
The following four knob icons are displayed on the insert effects' patch screen.
Parameters
Value
The text above each icon indicates the parameter that has been assigned to it, and the text below each icon indicates the current value of that parameter.
The value knobs VALUE 1 through VALUE 4 can now be used to directly edit the values of the corresponding parameters.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
Bank
2.Move one of the value knobs VALUE 1 through VALUE 4.
The icon for that knob will change in response to this movement. In addition, the value of the parameter assigned to the knob will also change, and this will modify the sound of the effect accordingly.
3.To save the modified sound, carry out the procedure described below in ???Saving insert effect settings (Effect Patch Write)??? (p. 81).
Changing parameters assigned to VALUE knobs
Use the following procedure to change the effect parameters that are assigned to each of the VALUE knobs.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
Bank
2. Move the cursor to the text above the icon whose parameter assignment is to be changed.
3.Select the parameter to be assigned using the TIME/ VALUE dial.
4.To save the settings, carry out the procedure described below in ???Saving insert effect settings (Effect Patch Write)??? (p. 81).
78
Using insert effects
The parameters that can be assigned will depend on the selected effect algorithm. For more detailed information, refer to ???Effect parameters assigned to VALUE knobs??? (p. 137).
Changing effect block connections
When you have selected the COSM OD GUITAR AMP effects algorithm, you will be able to freely modify the way in which the algorithm's internal effect blocks are connected. As a result, you will be able to try out a wide range of different effect sequences in the same way as if you were using compact pedal effects and audio cables.
In order to change sequences in this way, you will first of all need to select a patch using the COSM OD GUITAR AMP algorithm.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
Bank
2. Press [F2] (EDIT).
The Effects Edit screen will appear.
3.Move the cursor to the effect block whose connection sequence is to be modified, and then press [F2] (MOVE).
The effect block's icon will change and ????????? will appear
at the current connection position.
4. Using [CURSOR], move the ????????? to the new connection position.
If you want to cancel the operation, press [EXIT/NO] or [F1] (CANCEL).
5. Press [ENTER/YES] or [F2] (INSERT).
The effect block will be connected at the new position.
6.If you want to reposition any of the other effect blocks, repeat Steps 3 through 5.
7.To save your modified connections, carry out the procedure described in ???Saving insert effect settings (Effect Patch Write)??? (p. 81).
2 Section
79
Using insert effects
Switching compressors, equalizers, and
When the 8CH COMP EQ algorithm has been selected, you will be able to set the effect blocks for adjacent inputs (e.g., INPUT 1 and INPUT 2, or INPUT 3 and INPUT 4) to stereo operation (Stereo Link).
As a result, the
1.Start off by selecting a patch that uses the 8CH COMP EQ algorithm.
2.Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
Bank
3. Press [F2] (EDIT).
The Effects Edit screen will appear.
4. Move the cursor to the effect for which Stereo Link is to be turned on.
To turn on Stereo Link for INPUT 1 and INPUT 2, move the cursor to an effect block displayed on a row with either 1 or 2 on the
Similarly, to turn on Stereo Link for INPUT 7 and INPUT 8, move the cursor to an effect block displayed on a row with either 7 or 8 on the
5.Press [F2] (LINK ON).
Stereo Link will turn on and the display for [F2] will
change to (LINK OFF).
6.Press [F2] (LINK OFF) if you want to turn Stereo Link off.
Stereo Link will turn off and the display for [F2] will
change to (LINK ON).
7.To save the Stereo Link settings, carry out the procedure described in ???Saving insert effect settings (Effect Patch Write)??? (p. 81).
When Stereo Link is turned on, the parameters for each of the adjacent effect blocks will use the same values, and when one of these parameters is modified, the same parameter from the corresponding adjacent effect will be automatically and simultaneously modified.
80
Using insert effects
Saving insert effect settings (Effect Patch Write)
Modified effect settings are saved by writing them together
with a new patch name.
1. Press [F1] (NAME) on the Effects Edit screen.
2.Move the cursor to the characters in the patch name you want to change and select new characters using the TIME/VALUE dial.
At this time, the FUNCTION buttons operate as follows.
[F1] (INSERT):
An empty space of one character in length will be inserted.
[F2] (DELETE):
A single character will be deleted.
[F3] (123...):
The character type will switch to numbers.
[F4] (A<=>a):
The character type will toggle between uppercase and lowercase.
3.Press [EXIT/NO] to return to the Effects Edit screen.
4.Press [F4] (WRITE/COPY).
The Effects Patch Write/Copy screen will appear.
5. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
FROM:
This field should be left unchanged at ???*TMP(CURRENT)??? If a different message is displayed, however, move the cursor to this field and turn the TIME/VALUE dial counterclockwise to restore ???*TMP(CURRENT).???
TO:
This field sets the effect patch to which your new settings are to be written. Whenever you call up the Effects Patch Write/Copy screen, the cursor will be automatically positioned here. Note that you can also move the cursor to the bank field and turn the TIME/VALUE dial to select a new destination bank.
6.Press [F4] (GO).
The effect patch will be written. When finished, the message ???Complete!??? will appear and the display will automatically return to the Effects Patch screen. If you selected a different destination bank than that specified with the INPUT SELECT button, this new bank selection will be maintained after writing has been completed.
7.Press [EXIT/NO] several times to return to the top screen.
2 Section
81
Using insert effects
Copying insert effect settings (Effect Patch Copy)
The
1. Press [F4] (WRITE/COPY) on the Effects Edit screen.
The Effects Patch Write/Copy screen will appear.
2.Move the cursor to the ???FROM:??? field and select the effect patch to be copied using the TIME/VALUE dial.
FROM:
This field selects the effect patch to be copied. Although ???*TMP(CURRENT)??? may be displayed in this field when you call up the Effects Patch Write/Copy screen after modifying patch settings, this may be freely changed. Note that you can also move the cursor to the bank field and turn the TIME/VALUE dial to select a source bank.
3.Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
TO:
This field selects the patch to be overwritten by copying. Whenever you call up the Effects Patch Write/Copy screen, the cursor will be automatically positioned here. Note that you can also move the cursor to the bank field and turn the TIME/VALUE dial to select a new destination bank.
4.Press [F4] (GO).
The effect patch will be copied. When finished, the message ???Complete!??? will appear and the display will automatically return to the Effects Patch screen.
If you selected a different destination bank than that set by pressing the INPUT SELECT button, this new bank selection will be maintained after copying has been completed.
5.Press [EXIT/NO] several times to return to the top screen.
It is important to remember that the destination patch will be completely overwritten by the patch specified with ???FROM:???. Care should be taken to ensure that important patches are not accidentally overwritten in this way.
Changing insert effect connections
Whenever you create a new song, the insert effects will be initially inserted into the input channels, and this is done to ensure that performances can be monitored and recorded with the effects applied. You can, however, modify this connection pattern if so required. By changing the insert effect connections as described below, you can set up the BR- 1600CD for use in various different situations.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Patch number
Bank
2. Press [F3] (LOCATION).
The Effects Location screen will appear.
3. Change the connection using the TIME/VALUE dial.
Refer to ???About insert effect connections.???
4.Press [ENTER/YES] to close the message.
5.Press [EXIT/NO] several times to return to the top screen.
6.If you wish to store the modified connections, save the current song (p. 72).
If you load another song or turn off the
82
Using insert effects
About insert effect connections
You can select any of the following connection patterns for the insert effects.
INPUT
This setting inserts the effect into the corresponding input channel(s). This is the standard connection pattern, and it allows you to monitor and record performances after they have passed through the insert effects.
INPUT
This setting also inserts the effect into the corresponding input channel(s). Although you???ll be able to monitor your input sources after they???ve passed through the insert effects with this type of connection, the corresponding performances will be recorded
TRACK
This setting inserts the effect into the corresponding tracks. You can use this type of connection to apply insert effects to the playback from the selected tracks.
MASTER:
This setting inserts the effect in the Master output. With this type of connection, you can adjust the sound of the complete song during
The available types of connection will depend on the current Input Select condition and on the algorithm that is used in the currently selected effect patch.
When connecting to the Track output:
Available connections
When algorithm other than ???8CH COMP EQ??? is selected
TRACK
When algorithm ???8CH COMP EQ??? is selected
TRACK
2 Section
When connecting to inputs:
If the Input Select condition is changed immediately after Song New is performed, the underlined connections will be automatically selected.
When connecting to the Master channel output:
Although the Master channel output is always available for selection, in the case of the 8CH COMP EQ algorithm, only CH1 and CH2 are connected to the corresponding left channel and right channel, respectively.
Whenever you insert effects into Track 1 through 8 or Track 1/2 through 15/16, the audio will pass through these effects between the compressors and equalizers (p. 108).
Chorus/Delay
Send
Track COMPRESSOR INSERT EQUALIZER
EFFECTS
Reverb Send
83
Using insert effects
Using an expression pedal
When you connect an expression pedal (such as the Roland
Expression Pedal
(Roland
???It is important that you use the specified type of expression pedal (such as the separately available Roland
???Both the Roland
Depending on effect settings, the following operations can be carried out using an expression pedal. Refer to the indicated pages for more detailed information regarding setting methods.
???Wah pedal (???Wah??? (p. 106)
???Volume pedal (???Foot Volume??? (p. 98))
???Pitch Shifter pedal (???Pitch Shifter??? (p. 102))
???Vibrato pedal (???Vibrato??? (p. 106))
84
Insert effect algorithm list
The algorithms (the available effects and their connection order) that can be used as an insert effect are shown below. The algorithms that can be selected will differ for each bank. To select the algorithm that you wish to use, first select the effect bank that includes that algorithm, and then refer to the separate ???Effect Patch List??? and select a patch that uses the desired algorithm.
For details on selecting banks and patches, refer to ???Modifying insert effect settings??? (p. 77).
If you would like to know more about each effect, refer to ???Insert effect parameter functions??? (p. 90).
BANK: GUITAR
1. COSM OD GUITAR AMP
This
COSM Overdrive/Distortion
COSM PreAmp&Speaker
Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
FX
-Compressor
-Limiter
-Acoustic Guitar Simulator
-Pickup Simulator
-Tremolo
-Slow Gear
-Defretter
-Phaser
-Flanger
-Pitch Shifter
-2x2 Chorus
-Pan
-Vibrato
-
-Short Delay
-Humanizer
-Ring Modulator
-Sub Equalizer
Delay
Chorus
2. ACOUSTIC SIM
This is a
Acoustic Guitar Simulator
Compressor
4Band Equalizer
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
3.BASS SIM
This simulates the sound of a bass, and you can use it to obtain the sound of a bass while playing an electric guitar.
* You should avoid playing chords when using the Bass Simulator.
Bass Simulator
Compressor/Defretter
-Compressor
-Defretter Noise Suppressor Foot Volume Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan
2 Section
85
Insert effect algorithm list
4. COSM COMP GUITAR AMP
This is a
COSM Comp/Limiter
PreAmp
Speaker Simulator
4Band Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
Delay
5. ACOUSTIC GUITAR
This is a
Acoustic Processor
Compressor
4Band Equalizer
Noise Suppressor
Delay
6. BASS MULTI
This is a
Compressor/Defretter
-Compressor
-Defretter Octave Enhancer
4Band Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
7.COSM BASS AMP
This is a
Compressor
PreAmp
Speaker Simulator
4Band Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
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8. COSM COMP BASS AMP
This is a
In addition to a COSM compressor/limiter, it uses a preamp and speaker simulator to produce characteristic amp sounds.
COSM Comp/Limiter
PreAmp
Speaker Simulator
4Band Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
Delay
BANK: MIC
9. VOCAL MULTI
This is a
Compressor
Enhancer
4Band Equalizer
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
10. VOICE TRANSFORMER
This is a
produce unique effects using a voice transformer.
Voice Transformer
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
11.COSM VOCAL COMP
This is a
compressor/limiter is perfect for creating basic sounds.
COSM Comp/Limiter
Enhancer
4Band Equalizer
Noise Suppressor
Foot Volume
Delay
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12. MIC MODELING
This modifies the sound recorded using a conventional dynamic mic, lapel mic, or direct line, making it sound as though it had been recorded using an expensive condenser mic or a special studio mic.
The mic simulator can also simulate proximity effects.
Mic Converter
Bass Cut Filter
Distance
Limiter
BANK: STEREO
13. STEREO MULTI
This algorithm connects seven types of effects, all in full stereo.
Compressor
Ring Modulator
4Band Equalizer/Wah
-4Band Equalizer
-Wah
Noise Suppressor
Foot Volume
Modulation
-Flanger
-Chorus
-Phaser
-Pitch Shifter
-Doubling
-Tremolo/Pan Delay
14.
This allows you to simulate the sound of audio being played on an AM radio, the sound of old records played on an old- fashioned gramophone, and even extreme sound degradation produced by
Noise Suppressor
BANK: SIMUL
15. VO+GT.AMP
This algorithm is for use when simultaneously recording a vocal part and electric guitar.
You can create an amp sound for the guitar using a preamp and speaker simulator.
(MIC) Compressor 4Band Equalizer Noise Suppressor Delay
(GUITAR) Compressor PreAmp
Speaker Simulator
Noise Suppressor
Delay
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16. VO+AC.SIM
This algorithm is for use when simultaneously recording a vocal part and electric guitar.
It allows you to make the electric guitar sound like an acoustic guitar.
(MIC) Compressor 4Band Equalizer Noise Suppressor Delay
(GUITAR)
Acoustic Guitar Simulator
Compressor
Noise Suppressor
Delay
17. VO+ACOUSTIC
This algorithm is for use when simultaneously recording a vocal part and acoustic guitar.
You can create a warm sound for the guitar and make it sound as if a mic were being used, even when an electric- acoustic is connected using a direct line.
(MIC) Compressor Noise Suppressor
(GUITAR) Acoustic Processor Compressor
Noise Suppressor
BANK:
18. 8CH COMP EQ
This algorithm is used when recording up to 8 microphones simultaneously, and it provides all of the basic effects needed to make great simultaneous recordings.
Compressor
3Band Equalizer
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The trademarks listed in this document are the property of their respective companies. Said companies are not affiliated with BOSS and have neither licensed nor authorized the BOSS
Acoustic Guitar Simulator
This simulates the sound of an acoustic guitar. It allows you to use an electric guitar to produce sounds similar to those of an acoustic guitar.
It will be easier to achieve the desired effect if you set the pickup selector of your guitar to the front position.
*This effect can be used when ???COSM OD GUITAR AMP,??? ???ACOUSTIC SIM,??? or ???VO+AC.SIM??? algorithms are selected.
This parameter turns the acoustic guitar simulator effect on and off.
This adjusts the volume of the acoustic guitar simulator.
???When ???COSM OD GUITAR AMP??? algorithm is selected
*This effect can be used when FX ???FX Select??? parameter is set to ???AC.???
This adjusts the interference to the strings made by the top plate. That is, it adjusts the attack sense or harmonic contents.
This adjusts the resonance of the sound caused by the body. That is, it adjusts the softness and fatness of the sound which is the typical characteristics of acoustic guitars.
???When ???ACOUSTIC SIM??? or ???VO+AC.SIM??? algorithm is selected
Set this to the type of pickup on the guitar being played.
Character
This selects one of four sound types.
STD (STANDARD):
A normal acoustic guitar.
JUMBO:
An acoustic guitar with a body that is bigger than that of the STANDARD guitar. This guitar has a more powerful bass sound.
ENHANCE:
An acoustic guitar with a more responsive attack. With this setting, the guitar will retain a higher degree of presence in almost any situation.
PIEZO:
Simulates the sound you would get from a pickup installed on an
This adjusts the level of the direct sound from the
This adjusts the way in which the top plate affects the
This adjusts the resonance generated by the
*If
Acoustic Processor
This processor allows you to change the sound produced by the pickup on an
This parameter turns the acoustic processor effect on or off.
This adjusts the resonance generated by the
This adjusts the simulated distance between the acoustic guitar and the microphone used to capture its sound.
This adjusts the overall volume of the acoustic processor.
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3 Band Equalizer
This is the
*This effect can be used when ???8CH COMP EQ??? algorithm is selected.
Sets the equalizer type for the high range.
SHLV:
This selects the shelving type equalization.
PEAK:
This selects the peaking type equalization.
This parameter sets the gain (amount of boost or cut) for the high- range equalizer.
This parameter sets the frequency for the high range equalizer.
This parameter sets the range of change in gain for the frequency set by ???High Freq.??? A larger value results in a narrower range of change.
This parameter is only valid when ???High Type??? has been set to ???PEAK.???
This parameter sets the gain (amount of boost or cut) for the midrange equalizer.
This parameter sets the central frequency for the midrange equalizer.
This parameter sets the range of change in gain for the frequency set by ???Mid Freq.??? A larger value results in a narrower range of change.
Sets the equalizer type for the low range.
SHLV:
This selects the shelving type equalization.
PEAK:
This selects the peaking type equalization.
This parameter sets the gain (amount of boost or cut) for the low range equalizer.
This parameter sets the frequency for the low range equalizer.
This parameter sets the range of change in gain for the frequency set by ???Low Freq.??? A larger value results in a narrower range of change. This parameter is only valid when ???Low Type??? has been set to ???PEAK.???
4 Band Equalizer
This is the
*This effect can be used in the ???COSM OD GUITAR AMP,??? ???BASS MULTI,??? ???COSM BASS AMP??? or ???STEREO MULTI??? algorithm when 4 Band Equalizer/Wah ???Effect Type??? parameter is set to ???EQ.???
This parameter turns the equalizer on or off.
This parameter sets the gain (amount of boost or cut) for the low range equalizer.
This parameter sets the central frequency for the
This parameter sets the range of change in gain for the frequency set by
This parameter sets the gain (amount of boost or cut) for the low- midrange equalizer.
This parameter sets the frequency for the
This parameter sets the range of change in gain for the frequency set by
This parameter sets the gain (amount of boost or cut) for the high- midrange equalizer.
This parameter sets the gain (amount of boost or cut) for the high- range equalizer.
This sets the overall volume level after equalization.
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Bass Simulator
This simulates the sound of a bass guitar. You can use it to recreate the sound of a bass guitar while playing an electric guitar. Note that you should avoid playing chords when using the Bass Simulator.
This parameter turns the bass simulator effect on or off.
This sets the bass tone characteristic. LOOSE produces the sound of a thicker string gauge.
This adjusts the overall volume of the bass simulator.
Bass Cut Filter
This filter cuts out vocal pop and other unwanted lower range noise. In this, it simulates the bass cut switch found on certain microphones.
This setting turns the Bass Cut Filter on or off.
Thru will generally be used; however, you can use this parameter to adjust the frequency if the attack contains an unwanted
Chorus
This effect adds a sound with a subtly shifted pitch to the direct sound, which gives the final output sound greater breadth and depth. Best results will be achieved when stereo output is used.
This parameter turns the chorus effect on or off.
This adjusts the rate of the chorus.
This adjusts the depth of the chorus.
This parameter adjusts the overall volume of the effect sound.
???When ???COSM OD GUITAR AMP??? algorithm is selected
Selection for the chorus mode.
MONO:
This chorus effect outputs the same sound from both L and R.
STEREO:
This is a stereo chorus effect that adds different chorus sounds to L and R.
Adjusts the time needed for the effect sound to be output after the direct sound has been output. By setting a longer pre delay time, you can obtain an effect that sounds like more than one sound is being played at the same time (doubling effect).
This allows you to get a mild effect sound by cutting the
When ???Flat??? is selected, the high cut frequency will have no effect.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
*This effect can be used when the Modulation ???Effect Type??? parameter is set to ???CHORUS.???
Adjusts the time needed for the effect sound to be output after the
direct sound has been output.
2x2 Chorus
Two separate stereo chorus units are used for the low- frequency and
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???2CE.???
This parameter sets the frequency at which the frequency components of the direct sound are divided into bass and treble bands.
This adjusts the speed of the chorus effect for the low frequency range.
This adjusts the depth of the chorus effect for the low frequency range. If you wish to use this as a doubling effect, use a setting of ???0.???
This adjusts the time from when the low frequency range direct sound is output until the effect sound is output. Extending the
This adjusts the volume of the low frequency range.
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This adjusts the speed of the chorus effect for the high frequency range.
This adjusts the depth of the chorus effect for the high frequency range. If you wish to use this as a doubling effect, use a setting of ???0.???
This adjusts the time from when the high frequency range direct sound is output until the effect sound is output. Extending the pre- delay will produce the sensation of multiple sounds (doubling effect).
This adjusts the volume of the high frequency range.
Compressor
This effect can be used to produce a long sustain sound by
evening out volume levels in the input signal.
???When ???COSM OD GUITAR AMP??? algorithm is selected
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???CS.???
This parameter turns the compressor effect on or off.
This adjusts the range (or time) over which the
This adjusts the strength of the attack. Larger values will result in a sharper attack, creating a more clearly defined sound.
???When ???8CH COMP EQ??? algorithm is selected
This parameter turns the compressor effect on or off.
Adjust this parameter to match the input signal. Compression will be applied to input levels in excess of this level. The smaller the value set here, the lower the level at which the compressor kicks in.
This parameter affects the way in which compression is applied (i.e., the knee) in the vicinity of the threshold.
SOFT:
With this knee setting, compression is applied gently and is gradually increased as the level of the audio signal approaches the threshold.
MEDIUM:
With this knee setting, compression is applied a little gently and is a little gradually increased as the level of the audio signal approaches the threshold.
HARD:
With this knee setting, no compression whatsoever is applied until the level of the audio signal reaches the threshold, and once the threshold has been crossed, compression will be applied fully in accordance with the ratio setting.
This adjusts the compression ratio. Higher ratios produce a stronger compression effect.
This parameter adjusts the amount of time it takes for the compression ratio set by ???Ratio??? to be reached once the input level exceeds the set threshold level and compression begins. The larger the value set here, the more rapidly compression will be applied.
This adjusts the time it takes for compression to be removed once the signal level drops below the threshold. Lower values cause the compression to be released more rapidly, making it easier to distinguish the sound from successively played strings.
This adjust the volume of the effect sound.
???When algorithm other than ???8CH COMP EQ??? is selected
This parameter turns the compressor effect on or off.
This adjusts the range (or time) over which the
This adjusts the strength of the attack. Larger values will result in a sharper attack, creating a more clearly defined sound.
This adjust the volume of the effect sound.
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COSM Comp/Limiter
(COSM Compressor/Limiter)
This effect can be used to produce a long sustain sound by evening out volume levels in the input signal. In addition, you can also use it as a limiter to suppress only peaks in the volume and prevent distortion.
A limiter is an effect that prevents distortion by suppressing input signals in excess of a specific value (i.e., the threshold). You can also get the same effect achieved with a compressor by setting the threshold to a low value.
The
Sets the compressor/limiter to ON or OFF.
Type
Selects the compressor/limiter type.
(Active when BOSSCmp or
This parameter adjusts the strength of the picking attack produced when the strings are played. Larger values will result in a sharper attack, creating a more clearly defined sound.
(When set to BOSSCmp,
Boosts
(Active when Rack160 is selected.)
Adjust this parameter to match the input signal from your bass. Compression will be applied to input levels in excess of this level. The smaller the value set here, the lower the level at which the limiter kicks in.
(Active when VtgRack is selected.)
This parameter controls the input level. Increasing the value will produce a deeper effect.
(When set to Rack160, VtgRack)
This adjusts the limiter compression ratio. Higher ratios produce a stronger compression effect.
(Active when VtgRack is selected.)
This parameter adjusts the amount of time it takes for the compression ratio set by ???Ratio??? to be reached once the input level exceeds the set threshold level and compression begins. The larger the value set here, the more rapidly compression will be applied.
(Active when VtgRack is selected.)
This adjusts the time it takes for compression to be removed once the signal level drops below the threshold. Higher values cause the compression to be released more rapidly, making it easier to distinguish the sound from successively played strings.
(Active when BOSSCmp is selected.)
This parameter adjusts the tone. Higher values cause the high frequencies to be boosted more, and this results in a harder sound.
Adjusts the overall volume of the effect.
COSM Overdrive/Distortion
This effect distorts the sound to create long sustain
Turns the Overdrive/Distortion effect on or off.
Type
Selects the type of distortion.
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Adjusts the tone for the high frequency range.
Adjusts the overall volume of the overdrive/distortion sound.
COSM PreAmp&Speaker
COSM technology plays an indispensable role in simulating the distinguishing characteristics of various guitar amps in the ???Preamp??? section, and is also used to simulate various speaker sizes and cabinet constructions in the ???Speaker Simulator.???
Turns the Preamp/Speaker Simulator effect on or off.
Type
This sets the type of the guitar preamp. The distortion and tone characteristics of each amp are as shown below:
Adjusts the tone for the middle frequency range.
Adjusts the tone for the high frequency range.
Adjusts the tone for the ultra high frequency range.
*If you have selected ???VO DRV,??? ???VO LEAD,??? ???VO CLEAN,??? ???MCH DRV,??? ???MCH LEAD,??? or ???FAT MCH??? as the type, raising the presence will cut the high range (the value will change from 0 to
Adjusts the overall volume of the entire preamp.
*Be careful not to raise the Level setting too high.
Turns the bright setting on or off.
OFF:
No brightness is added.
ON:
Brightness is added to create a lighter, crisper tone.
*This will not be displayed for certain Type settings.
Adjusts the distortion generated by the amp, with the level increasing in sequence for LOW, MIDDLE, and HIGH.
*The sound of each type is created with the assumption that gain is set to MIDDLE. It is normal, therefore, to use this setting.
Turns the speaker simulator on or off.
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Speaker Type
This simulates the microphone position. ???CENTER??? simulates the condition that the microphone is set in the middle of the speaker cone.
*When the FULLRNG type of preamp has been selected, ???Mic Level??? should be set to 100, and ???Direct Level??? should be set to 0.
This parameter adjusts the delay between the original sound and the output of ambience (i.e., room reflections).
This parameter adjusts the sound of the ambience by varying the room size. Larger values produce longer ambience and increase the sense of spaciousness.
This parameter adjusts the density of the ambience. Larger values produce a denser sound.
Amb HF Damp DARK, NORMAL, BRIGHT
This parameter adjusts the tone of the ambience.
DARK:
High frequencies decay relatively quickly, producing a darker sounding ambience.
NORMAL:
This setting produces ambience with a standard sound.
BRIGHT:
High frequencies decay relatively slowly, producing a brighter sounding ambience.
Adjusts the volume of ambience.
This effect is useful for reducing sibilance (or harsh ???S???
sounds) produced by vocalists.
This parameter turns the
This adjusts the sensitivity with respect to the input volume, and it controls the way in which the effect is applied.
Adjusts the overall volume of the effect.
Defretter
This effect simulates the sound of a fretless bass.
This parameter turns the defretter effect on or off.
This controls the input sensitivity of the defretter. Adjust this parameter until your guitar???s harmonic changes sound natural.
This parameter controls the attack of the defretter. Increasing the value will cause the harmonics to change more slowly, thus producing a relatively
This controls the ratio of harmonics. Increasing the value will increase the
harmonic content and therefore will create a more unusual sound.
???When ???COSM OD GUITAR AMP??? algorithm is selected
Adjusts the amount of blurring between the notes.
Adds a characteristically resonant quality to the sound.
Adjusts the volume of the defretter sound.
Adjusts the volume of the direct sound.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
Adjusts the volume of the defretter sound.
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Delay
This effect creates a thicker sound by applying a delayed
sound to the direct sound.
This parameter turns the delay effect on or off.
This parameter selects the type of delay to be used.
SINGLE:
A simple delay.
Pan:
The delayed sound is panned across the left and right channels. This type of delay will be effective when stereo output is used.
This parameter adjusts the amount of feedback. Changing the amount of feedback also causes the number of individual repetitions of the delayed sound to change.
Adjusts the overall volume of the delay sound.
???When ???COSM OD GUITAR AMP??? algorithm is selected
This parameter adjusts the delay time (i.e., the interval for which sound is delayed).
Adjusts the delay time of the right channel delay. This setting adjusts the R channel delay time relative to the L channel delay time (considered as 100%).
This sets the frequency at which the high cut filter begins to take effect. This allows you to get a mild effect sound by cutting the high- end component above the set frequency.
When it is set to ???Flat,??? the high cut frequency is off or has no effect.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
This parameter adjusts the delay time (i.e., the interval over which
sound is delayed).
Distance
Microphones often exhibit a boost in the volume of the lower frequencies when they are positioned close to the sound source, and this is referred to as proximity effect.
The Distance effect is used to simulate this phenomenon.
This setting turns Distance on or off.
This parameter is used to adjust the proximity effect, as described above. Adjustment in the [+] direction will move the microphone closer to the sound source; adjustment in the
This simulates the time difference occurring as a result of distance
from the sound source.
Doubling
By adding a slightly
*This effect can be used when the Modulation ???Effect Type??? parameter is set to ???DOUBL???N.???
This parameter turns the doubling effect on or off.
This parameter adjusts the delay time (i.e., the interval for which sound is delayed).
This parameter adjusts the
Effect Level
This adjusts the overall volume of the delay sound.
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Enhancer
By adding sounds that are
This parameter turns the enhancer effect on or off.
Adjusts the manner in which the enhancer will be applied with respect to input signals.
Adjusts the frequency at which the enhancer will begin to be applied. The effect will be noticeable in frequencies above the frequency set here.
Adjusts the amount of
Adjusts the amount of
Adjusts the overall volume of the enhanced sound.
Flanger
This algorithm produces a flanging effect, which makes a
sound seem as if it is twisting.
*If the ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???FL??? is selected for the ???FX Select??? of the FX. If other than ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???FLANGER??? is selected for the ???Effect Type??? of the Modulation.
This parameter turns the flanger effect on or off.
Determines the rate of the flanging effect.
Determines the depth of the flanging effect.
This parameter adjusts the center frequency at which the effect will be applied.
Determines the amount of resonance (or feedback). Increasing this value will emphasize the flanging effect, producing a more unusual sound.
This parameter adjusts the diffusion. Large values produce greater diffusion, and this will be effective when stereo output is used.
???When ???COSM OD GUITAR AMP??? algorithm is selected
This adjusts the volume of the flanger sound.
This adjusts the volume of the direct sound.
Foot Volume
Specify the volume between effects. By using an expression pedal to control the foot volume, you can smoothly change the volume of the output sound. For a detailed explanation, see ???Using an expression pedal??? (p. 84).
Switches the foot volume on or off.
Humanizer
This can create human
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???HU.???
This adjusts the cycle for changing the two vowels.
This adjusts the depth of the effect.
This determines the point where the two vowels are switched. When it is set to ???50,??? vowel 1 and vowel 2 are switched in the same length of time. When it is set to lower than ???50,??? the time for vowel 1 is shorter. When it is set to higher than ???50,??? the time for vowel 1 is longer.
This adjusts the volume of the humanizer sound.
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Limiter
A limiter is an effect that prevents distortion by suppressing
input signals in excess of a specific value (i.e., the threshold).
This parameter turns the limiter effect on or off.
???When ???COSM OD GUITAR AMP??? algorithm is selected
Adjust this parameter to match the input signal. Limiting will be applied to input levels in excess of this level.
This adjusts the time it takes for limiting to be removed once the signal level drops below the threshold.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
Adjust this parameter to match the input signal. Limiting will be applied to input levels in excess of this level.
Adjusts the time it takes for the effect to become active once the input level exceeds the threshold level.
This adjusts the time it takes for limiting to be removed once the signal level drops below the threshold.
Adjusts the cutoff frequency for level detection. When ???Thru??? is selected, this will operate as a conventional limiter.
Adjusts the overall volume of the effect.
Low Cut Filter
This filter is used to eliminate unwanted
Turns the low cat filter on and off.
This parameter switches the microphone phase between OFF (phase same as input) and ON (phase is opposite of input).
This parameter adjusts the cutoff frequency of the
This effect is used to produce a
This parameter turns the
Effect Type
Select the operating mode for the
RADIO:
The audio will sound as if it is being played on an AM radio.
By adjusting ???Tuning,??? you can simulate the transient sounds that would occur as you adjust the radio???s tuning frequency.
PLAYER:
The audio will sound as if it is being played on a gramophone. Needle noise caused by scratches and dust on the record is also simulated.
DIGITAL:
This setting allows you to create a
??? When ???RADIO??? or ???PLAYER??? is selected
This parameter is used with the RADIO setting. It simulates the transient sounds that would occur as you adjust the AM radio???s tuning frequency
This parameter is used with the PLAYER setting. It simulates the wow and flutter that occur when the speed of the turntable is not constant.
This parameter is used to simulate noise.
This adjusts the balance of the direct and effect volumes.
This filter reduces the amount of digital distortion. When turned off, it allows you to create an intense
This parameter allows you to modify the sampling rate.
Modifies the number of data bits. When turned off, the number of data bits will remain unchanged.
If an extremely low number of bits is selected, certain input sources may result in loud noises being input, even when there is no input sound. In such a case, raise the noise suppressor???s threshold.
This filter reduces the amount of digital distortion produced by the
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Adjusts the overall volume of the
Adjusts the volume of the direct sound.
Modify Filter
This parameter selects the filter type.
Adjusts the volume level of the sound that has passed through the modify filter.
Mic Converter
This effect can convert the characteristics of an inexpensive
This setting turns the Mic converter on or off.
Input
Selects the type of microphone that was actually used to record the part.
Output
Specifies the microphone to be simulated.
A
*The
Phase
Specifies the phase of the mic.
NORMAL Output has the same phase as the input
INVERSE Output has the opposite phase to the input
Noise Suppressor
This effect is used to reduce noise and hum. Since it does this in accordance with the sound???s envelope (i.e., the way in which the volume rises and falls over time), it has very little effect on the sound itself and does not affect its natural character.
This parameter turns the noise suppressor effect on or off.
Adjust this parameter to match the volume of the noise. If the noise is relatively loud, a higher setting will be appropriate. If the level of the noise is low, select a lower setting. Adjust this value until the way in which the sound decays is as natural as possible.
*High settings for ???Threshold??? may result in no sound being output when the instrument is played with the volume turned down.
Adjusts the time from activation of the noise suppressor until the volume is reduced to zero.
Octave
This effect duplicates parts at one octave lower down to
create a richer sound.
This parameter turns the octave effect on or off.
Voc.Dy
ideal for guitar amps or snare drums.
A popular dynamic microphone used for vo- cals and featuring an extended midrange.
This adjusts the volume of the sound one octave below.
A dynamic microphone with an extended low Lrg.Dy end. This is effective when used with bass
drums, toms, and other similar sounds.
Adjusts the volume of the direct sound.
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Pan
With the volume level of the left and right sides alternately changing, when playing sound in stereo, you can get an effect that makes the guitar sound appear to fly back and forth between the speakers.
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???PAN.???
Phaser
By adding
phaser effect gives a whooshing, swirling character to the
sound.
*If the ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???PH??? is selected for the ???FX Select??? of the FX.
If other than ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???PHASER??? is selected for the ???Effect Type??? of the Modulation.
This parameter turns the phaser effect on or off.
???When ???COSM OD GUITAR AMP??? algorithm is selected
Type
Selects the number of stages that the phaser effect will use.
This parameter sets the amount of resonance (or feedback). Increasing the value will emphasize the effect, producing a more unusual sound.
This sets on or off of the step function. When the step function is turned on, the change of a sound will be in steps.
This sets the cycle of the step function that changes the rate and depth. When it is set to a higher value, the change will be finer.
This adjusts the volume of the phaser.
This adjusts the volume of the direct sound.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
This sets the rate of the Phaser effect.
Determines the depth of the Phaser effect.
Adjusts the center frequency of the phaser effect.
Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.
Pickup Simulator
This produces the sound of different types of pickup. You can produce thick
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4STAGE
This is a
8STAGE
This is an
Type
12STAGE
This is a
Select the pickup type.
BIPHASE
This is the phaser with two phase shift cir- cuits connected in series.
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Pitch Shifter
This effect moves the pitch of the original sound up or down
within a range of two octaves.
*If the ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???PS??? is selected for the ???FX Select??? of the FX. If other than ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???P.SHIFT??? is selected for the ???Effect Type??? of the Modulation.
This parameter turns the pitch shifter effect on or off.
???When ???COSM OD GUITAR AMP??? algorithm is selected
This selects the number of voices for the pitch shift sound.
right channels.
The
Selection for the pitch shifter mode.
FAST, MEDIUM, SLOW:
The response is slower in the order of FAST, MEDIUM and SLOW, but the modulation is lessened in the same order.
Adjusts the amount of pitch shift (the amount of pitch change) in semitone steps. If the
Make fine adjustments to the pitch shift.
*The amount of the change in the Fine ???100??? is equivalent to that of the Pitch ???1.???
Adjusts the time from when the direct sound is heard until the pitch shifted sounds are heard. Normally you can leave this set at ???0 ms.???
This adjusts the feedback amount of the pitch shift sound.
Adjusts the volume of the pitch shift sound.
This adjusts the volume of the direct sound.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
P.Shift Type
Selects either a manual or
MANUAL:
A simple pitch shifter.
PEDAL:
The effect of the
Adjusts the amount of pitch shift (i.e., the degree of change in pitch) in units of one semitone. By selecting DETUNE, you can add a slightly
This adjusts the balance of the direct and effect volumes.
This parameter adjusts the
102
Insert effect parameter functions
Preamp
This effect is used to adjust the distortion and tone of guitar
???With ???COSM BASS AMP??? or ???COSM COMP BASS AMP??? algorithms
sounds.
AC
The vintage sound of an early transistor amp.
*When Bass, Middle, and Treble are all set to 0, certain Amp Type settings may result in no sound being output.
AMG
The sound of a large
Turns the preamp effect on or off.
Amp Type
This sets the type of preamp to be used. The distortion and tone characteristics of each amp are as shown below:
???With ???COSM COMP GUITAR AMP,??? or ???VO+GT.AMP??? algorithms
Adjusts the volume and distortion of the amp.
Adjusts the tone for the low frequency range.
Adjusts the tone for the middle frequency range.
*If you have selected ???MATCH??? or ???VO DRV??? as the preamp type, the middle control will have no effect.
Adjusts the tone for the high frequency range.
Adjusts the tone of the
*This is not displayed when the algorithm is ???COSM BASS AMP??? or
???COSM COMP BASS AMP.???
*If you have selected ???MATCH??? or ???VO DRV??? as the preamp type, raising the presence will cut the high range (i.e., the value will change from ???0??? to
Adjusts the overall volume of the preamp.
Turns the bright setting on or off.
OFF:
No brightness is added.
ON:
Brightness is added to create a lighter, crisper tone.
*This will not be displayed for certain Amp Type settings.
Adjusts the distortion generated by the amp, with the level increasing in sequence for LOW, MIDDLE, and HIGH.
*The sound of each type is created with the assumption that gain is set to MIDDLE. It is normal, therefore, to use this setting.
2 Section
103
Insert effect parameter functions
Ring Modulator
This creates a
This parameter turns the ring modulator effect on or off.
This adjusts the frequency of the internal oscillator.
Adjusts the volume of the effect sound.
Adjust the volume of the direct sound.
Short Delay
This is a delay with the maximum delay time of 400 ms. This
effect is useful for making the sound fatter.
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???SDD.???
This parameter turns the short delay effect on or off.
Feedback refers to returning the delayed signal back into the input of the delay. This parameter adjusts the volume that is returned to the input. Higher settings will result in more delay repeats.
Adjusts the volume of delay sound.
Slow Gear
This produces a
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???SG.???
This parameter turns the slow gear effect on or off.
This adjusts the sensitivity of the slow gear. When it is set to a lower value, the effect of the slow gear can be obtained only with a stronger picking, while no effect is obtained with a weaker picking. When the value is set higher, the effect is obtained even with a weak picking.
This adjusts the time needed for the volume to reach its maximum from the moment you begin picking.
Speaker Simulator
This effect simulates the characteristics of various types of speakers. When the output from the
This parameter turns the speaker simulator effect on or off.
Speaker Type
Selects the type of speaker that will be simulated.
???On Mic??? simulates the sound obtained using a dynamic microphone; ???Off Mic??? simulates the sound obtained using a condenser microphone.
???With ???COSM COMP GUITAR AMP,??? or ???VO+GT.AMP??? algorithms
??? With ???COSM BASS AMP??? or ???COSM
COMP BASS AMP??? algorithms
This adjusts the simulated microphone position. CENTER reproduces the sound obtained by setting the microphone in the middle of the speaker cone. 1 to 10 cm represents the distance of the microphone from the center of the speaker cone.
104
Insert effect parameter functions
Sub Equalizer
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???SEQ.???
This parameter turns the sub equalizer effect on or off.
This parameter sets the gain (amount of boost or cut) for the bass equalizer.
This parameter sets the gain (amount of boost or cut) for the low- midrange equalizer.
This parameter sets the central frequency for the
This parameter sets the range of change in gain for the frequency set by
This parameter sets the gain (amount of boost or cut) for the high- midrange equalizer.
This parameter sets the central frequency for the
This parameter sets the range of change in gain for the frequency set by
This parameter sets the gain (amount of boost or cut) for the treble equalizer.
This parameter adjusts the volume after the equalizer stage.
Tremolo
Tremolo is an effect that creates a cyclic change in volume.
*This effect can be used when ???COSM OD GUITAR AMP??? algorithm is selected.
Tremolo/Pan
Tremolo is an effect that creates a cyclic change in volume, and pan moves the stereo position in a cyclic manner between left and right (when stereo output is used).
*This effect can be used when the Modulation ???Effect Type??? parameter is set to ???TRM/PAN.???
This parameter turns the tremolo/pan effect on or off.
Mode
This parameter selects tremolo or pan, and it also selects how the effect will be applied.
The volume will change cyclically and smooth changes will be produced.
The volume will change cyclically and abrupt changes will be produced.
The sound will be moved cyclically between the left and right. Smooth changes will be produced.
The sound will be moved cyclically between the left and right. Abrupt changes will be produced.
Adjust the rate at which the effect will operate.
Adjusts the depth of the effect.
Although this resembles a phaser effect, it also provides a
unique undulation that you can???t get with a regular phaser.
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???UV.???
Adjusts the rate of the
Adjusts the depth of the
2 Section
105
Insert effect parameter functions
Vibrato
This effect creates vibrato by slightly modulating the pitch.
*This effect can be used in the ???COSM OD GUITAR AMP??? algorithm when FX ???FX Select??? parameter is set to ???VB.???
This parameter sets whether or not vibrato is to be controlled using the pedal.
MANUAL:
Vibrato is applied normally.
PEDAL:
The depth of vibrato can be controlled by the degree to which the expression pedal is applied.
This adjusts the rate of the vibrato.
When ???PEDAL??? has been selected for ???Type,??? full application of the expression pedal will produce vibrato at this depth.
Voice Transformer
This effect controls the formants in a vocal part, allowing a variety of different voice characters to be created. Specifically, it adds two voice characters with differing formants to the direct sound.
This parameter turns the voice transformer effect on or off.
Adjust the formant of the voice character 1.
Adjust the formant of the voice character 2.
Adjust the volume of the voice character 1.
Adjust the volume of the voice character 2.
Adjust the volume of the direct sound.
Wah
The wah effect creates a unique tone by changing the frequency response characteristics of a filter.
Auto wah modifies the filter in a cyclic fashion or in response to the volume of the input source in order to create automatic wah effects.
Touch wah creates an automatic wah by changing the filter in response to the volume of the input. Pedal wah lets you use an Expression pedal or the like to obtain
*If the ???BASS MULTI,??? ???COSM BASS AMP,??? or ???STEREO MULTI??? algorithms are selected, this effect can be used if ???WAH??? is selected for the ???Effect Type??? of the 4Band Equalizer/Wah. If the ???COSM OD GUITAR AMP??? algorithm is selected, this effect can be used if ???WAH??? or ???AW??? is selected for the ???Effect Type??? of the EQ/Wah.
Turns the touch wah effect on or off.
???When ???COSM OD GUITAR AMP??? algorithm is selected
Selects either pedal wah ???WAH??? or auto wah ???AW.???
WAH:
The effect will function as a pedal wah.
AW:
The effect will function as an auto wah.
??? When ???WAH??? is selected
The expression pedal can be used to operate the wah effect.
Type
This selects the wah type.
This adjusts the position of the wah pedal.
106
Insert effect parameter functions
??? When ???AW??? is selected
The effect will be applied automatically based on the volume of the performance. Alternatively, it is also possible to apply wah in a cyclic fashion.
Selection for the wah mode.
LPF:
This creates a wah effect over a wide frequency range.
BPF:
This creates a wah effect in a narrow frequency range.
Selection for the direction in which the filter will change in response to the input.
UP:
The frequency of the filter will rise.
DOWN:
The frequency of the filter will fall.
Adjusts the sensitivity of the filter in the direction specified by the polarity setting. Higher values will result in a stronger response. When the setting is 0, the strength of the picking will have no effect.
Adjusts the center frequency of the wah effect.
Adjusts the way in which the wah effect is applied to the area around the center frequency. Lower values will produce a wah effect over a wider area; higher values, a wah effect over a narrower area. When the setting is 50, a standard wah sound will be produced.
*With a value of ???50??? a standard wah sound will be produced.
Adjusts the frequency of the auto wah.
Adjusts the depth of the auto wah effect.
This parameter adjusts the volume.
???When algorithm other than ???COSM OD GUITAR AMP??? is selected
Wah Type
Selects either touch wah ???TOUCH??? or pedal wah ???PEDAL.???
TOUCH:
The effect will function as a touch wah.
PEDAL:
The effect will function as a pedal wah.
??? When ???TOUCH??? is selected
Selects the direction in which the filter will change in response to input.
UP:
The frequency of the filter will rise.
DOWN:
The frequency of the filter will fall.
Adjusts the sensitivity of the filter in the direction specified by the polarity setting. Higher values will result in a stronger response. When the setting is 0, the strength of the picking will have no effect.
Adjusts the center frequency of the wah effect.
Adjusts the way in which the wah effect applies to the area around the center frequency. Lower values will produce a wah effect over a wide area around the center frequency. Higher values will produce a wah effect in a narrow area around the center frequency. With a value of ???50??? a standard wah sound will be produced.
This parameter adjusts the volume.
??? When ???PEDAL??? is selected
The effect of the wah pedal can be reproduced by operating an expression pedal.
For a more detailed explanation, see ???Using an expression pedal??? (p. 84).
Adjusts the way in which the wah effect is applied to the area around the center frequency. Lower values will produce a wah effect over a wider area; higher values, a wah effect over a narrower area. When the setting is 50, a standard wah sound will be produced.
This parameter adjusts the volume.
2 Section
107
Using
Compressors and equalizers
Each of the
Compressors:
A compressor is used to smooth out volume fluctuations in the track???s playback, thus making it easier to hear at all times.
A maximum of 8 different compressors can be used, and these can be selected for use on Tracks 1 through 8 or Tracks 9/10 through 15/16.
A
Compressor and equalizer connections
Each track???s compressor and equalizer are connected as shown below.
Track COMPRESSOR EQUALIZER
Chorus/Delay
Send
Reverb Send
108
Using
Adjusting the sound of compressors and equalizers
The sound of compressors and equalizers can even be adjusted during playback so that you can listen to the results and choose the best settings for your tracks.
Adjusting a compressor
For details regarding basic compressor operations, refer to ???Suppressing variations in volume (Compressor)??? (Basic Operation; p. 47).
The following section will deal with the finer points of compressor setting methods.
1. Press [COMP].
The Compressor screen will appear.
2. Press [F2] (EDIT).
The Compressor Edit screen will appear.
3.Move the cursor to the parameter that you want to change and select a new setting using the TIME/ VALUE dial.
You will be able to hear how your new settings change the sound.
Adjust this parameter to match the input signal. Compression will be applied to input levels in excess of this level. The smaller the value set here, the lower the level at which the compressor kicks in.
This adjusts the compression ratio. Higher ratios produce a stronger compression effect.
This parameter adjusts the amount of time it takes for the compression ratio set by ???Ratio??? to be reached once the input level exceeds the set threshold level and compression begins. The smaller the value set here, the more rapidly compression will be applied.
This adjusts the time it takes for compression to be removed once the signal level drops below the threshold. Lower values cause the compression to be released more rapidly, making it easier to distinguish the sound from successively played strings.
MEDIUM:
With this knee setting, compression is applied a little gently and is a little gradually increased as the level of the audio signal approaches the threshold.
HARD:
With this knee setting, no compression whatsoever is applied until the level of the audio signal reaches the threshold, and once the threshold has been crossed, compression will be applied fully in accordance with the ratio setting.
LEVEL
This adjust the volume of the compression.
4.Press [F1] (ON/OFF) to switch the compressor on and off.
[F1] is used to toggle between on and off.
5.Press [EXIT/NO] several times to return to the top screen.
6.If you wish to store the modified settings, save the current song (p. 72).
Only one set of compressor settings can be saved per song.
109
Using
Selecting tracks to be compressed
A maximum of 8 different compressors can be used, and these can be selected for use on Tracks 1 through 8 or Tracks 9/10 through 15/16. At the time of purchase, Tracks 1 through 8 will be selected for compression.
Let's now change the settings to have compression applied to Tracks 9/10 through 15/16.
1. Press [COMP].
The Compressor screen will appear.
2.Press [F3] (TRACK
Tracks 9/10 through 15/16 will now be selected for compression. Each time you press [F3], the tracks for compression will toggle between Tracks 1 through 8 and Tracks 9/10 through 15/16.
3.If you wish to store the modified settings, save the current song (p. 72).
Switching compressors between stereo and mono (Stereo Link)
If you intend to apply a compressor to a
1. Press [COMP].
The Compressor screen will appear.
2.Use the track buttons or [CURSOR] to select one or both tracks from a stereo pair.
3.Press [F4] (LINK ON).
Stereo Link will be toggled between on and off.
4.If you wish to store the modified settings, save the current song (p. 72).
Tracks 9/10 through 15/16 are fixed as stereo tracks, and therefore, Stereo Link will always be on for the corresponding compressors. It will not be possible to turn Stereo Link off for these tracks.
Adjusting a
For details regarding basic equalizer operations, refer to ???Adjusting the sound of each track (Equalizer)??? (Basic Operation; p. 48).
The following section will deal with the finer points of equalizer setting methods.
1. Press [EQ].
The Equalizer screen will appear.
2.Press [F1] (ON/OFF) to toggle the equalizer between on and off.
3.Press the FUNCTION button ([F2], [F3], or [F4]) corresponding to the band (HIGH, MID, or LOW) whose settings you want to modify.
The Equalizer Edit screen for that band will appear.
When pressing [F2] (HIGH):
When pressing [F3] (MID):
When pressing [F4] (LOW):
4.Move the cursor to the parameter that you want to change and select a new setting using the TIME/VALUE dial.
You will be able to hear how your new settings change the sound.
??? When ???HIGH??? is selected
Sets the equalizer type for the high range.
SHLV
This selects the shelving type equalization.
PEAK
This selects the peaking type equalization.
110
Using
This parameter sets the frequency for the high range equalizer.
This parameter sets the range of change in gain for the frequency set by ???HIGH FREQUENCY.??? A larger value results in a narrower range of change.
This parameter is only valid when ???HIGH TYPE??? has been set to ???PEAK.???
??? When ???MID??? is selected
This parameter sets the central frequency for the midrange equalizer.
This parameter sets the range of change in gain for the frequency set by ???MID FREQUENCY.??? A larger value results in a narrower range of change.
??? When ???LOW??? is selected
Sets the equalizer type for the low range.
SHLV
This selects the shelving type equalization.
PEAK
This selects the peaking type equalization.
This parameter sets the gain (amount of boost or cut) for the low range equalizer.
This parameter sets the frequency for the low range equalizer.
This parameter sets the range of change in gain for the frequency set by ???LOW FREQUENCY.??? A larger value results in a narrower range of change.
This parameter is only valid when ???LOW TYPE??? has been set to ???PEAK.???
5.Press [EXIT/NO] several times to return to the top screen.
6.If you wish to store the modified settings, save the current song (p. 72).
Only one set of equalizer settings can be saved per song.
Switching equalizers between stereo and mono (Stereo Link)
If you intend to apply an equalizer to a
Use the following procedure to turn Stereo Link on and off.
1. Press [EQ].
The Equalizer screen will appear.
Stereo Link can be turned on for Tracks 1 and 2, Tracks 3 and 4, Tracks 5 and 6, and Tracks 7 and 8. It will not be possible to turn Stereo Link on for any other combination of tracks, such as Tracks 2 and 3. In addition, it will not be possible to turn on Stereo Link for
3. If you want to turn Stereo Link off, press either one of the two track buttons that are currently lit.
Stereo Link will be turned off.
The pressed track button will remain on, and the other track button will turn off.
Whenever Stereo Link is turned on, the parameters for the equalizers on both of the linked tracks will use the same values. When one of these parameters is modified, the same parameter for the adjacent track will be automatically and simultaneously modified.
4. If you wish to store the modified settings, save the current song (p. 72).
Tracks 9/10 through 15/16 are fixed as stereo tracks, and therefore, Stereo Link will always be on for the corresponding equalizers. It will not be possible to turn Stereo Link off for these tracks.
111
Using loop effects
About loop effects
Effects that are connected between the
The
Chorus:
A chorus effect creates a copy of the original sound with a very slight change in pitch, and by superimposing this on top of the original sound, it lets you add fatness and breadth to the sound.
Delay:
A delay is a little bit like an echo, and by repeating the original sound after it is played, this effect can add a sense of spaciousness and depth to the sound. In addition, when this effect is applied to instruments that play melodies, it can make their performance sound smoother or can add an extra bounce to their rhythm.
Doubling:
A doubling effect sets up a tiny time deviation (or short delay) between the left and right sides of a signal to give the sound a stereo feel.
Reverb:
Reverb (or reverberation) is the result of countless reflections from the floor, walls, and ceiling of the room in which the musician is performing. Think of the sound that lingers and fades away after you clap your hands in a
You can only select and use one chorus, delay, or doubling
About loop effect connections
You can select any of the following
PlaybackTrack
Sound COMPRESSOR
Reverb Send
INSERT
EFFECTS
*When the Insert Effects apply to the Track
Reverb Send
Even if you record an input source to which a loop effect has been applied, only the direct sound (i.e., without the effect) will actually be recorded on the track. After recording an input source, however, the setting for its
source with the loop effect applied.
Note that the
112
Using loop effects
Basic loop effect operations
Adjusting the sound of loop effects
For more detailed information regarding the setting of send levels for each individual input source or track, refer to ???Enhancing the sound (Loop Effects)??? (Basic Operation; p. 50). In addition to the send level, a number of other settings can be made for loop effects to finely tune their sound. The following section will describe how settings can be made to do just this.
Since the sound of the loop effects can even be adjusted during playback, you can listen to the results in real time and choose the best settings for your song.
Adjusting reverb
Use the following procedure (Reverb Edit) to make fine adjustments to the reverb sound.
1. Press [REVERB].
The Reverb Send screen will appear.
Pressing [F3] (MIN) at this time sets the reverb send level to the minimum value (0). Conversely, pressing [F4] (MAX) sets the reverb send level to the maximum value (100).
2. Press [F2] (EDIT).
The Reverb Edit screen will appear.
3.Move the cursor to the parameter that you want to change and select a new setting using the TIME/ VALUE dial.
You will be able to hear how your new settings change the reverb sound.
Selects the type of reverb to be used.
ROOM:
Simulates the reverberation of a small room.
HALL:
Simulates the reverberation of a concert hall.
PLATE:
Simulates the reverberation of reverb devices using large metal plates that have been constant favorites in professional studios.
This parameter adjusts the duration (time) of the reverb.
This parameter adjusts the delay between the direct sound and the start of the reverb.
This parameter adjusts the overall tone of the reverb sound. Negative values produce a darker tone; positive values, a brighter tone.
This parameter adjusts the density of the reverb, with larger values producing a denser sound.
HF DAMP DARK, NORMAL, BRIGHT (Default: NORMAL)
This parameter sets the brightness of the reverb sound.
DARK:
High frequencies die away relatively quickly to produce a darker sounding reverb.
NORMAL:
This setting produces reverb with a standard sound.
BRIGHT:
High frequencies die away relatively slowly to produce a brighter sounding reverb.
LOW CUT FLAT, 40
This parameter sets the
This parameter adjusts the volume of the reverb.
If [F4] (DEFAULT) is pressed, the selected parameter is set to the default value marked above.
4.Press [EXIT/NO] several times to return to the top screen.
5.If you wish to store the modified settings, save the current song (p. 72).
Only one set of reverb settings can be saved per song.
2 Section
113
Using loop effects
Adjusting chorus
Use the following procedure (Chorus Edit) to make fine adjustments to the chorus sound.
1. Press [CHORUS/DELAY].
The Chorus/Delay Send screen will appear.
Pressing [F3] (MIN) at this time sets the chorus send level to the minimum value (0). Conversely, pressing [F4] (MAX) sets the chorus send level to the maximum value (100).
2. Press [F2] (EDIT).
The Chorus/Delay Edit screen will appear.
3.Move the cursor to the parameter that you want to change and select a new setting using the TIME/ VALUE dial.
You will be able to hear how your new settings change the chorus sound.
TYPECHORUS, DELAY, DOUBLING
This parameter selects the type of effect. Be sure to set this to CHORUS here.
This adjusts the delay between output of the direct sound and output of the effect sound.
This parameter sets the
Adjusts the overall volume of the effect sound. If you set this to
0, the chorus will have no effect.
If [F4] (DEFAULT) is pressed, the selected parameter is set to the default value marked above.
4.Press [EXIT/NO] several times to return to the top screen.
5.If you wish to store the modified settings, save the current song (p. 72).
Only one set of chorus settings can be saved per song.
Adjusting delay
Use the following procedure (Delay Edit) to make fine adjustments to the delay sound.
1. Press [CHORUS/DELAY].
The Chorus/Delay Send screen will appear.
Pressing [F3] (MIN) at this time sets the delay send level to the minimum value (0). Conversely, pressing [F4] (MAX) sets the delay send level to the maximum value (100).
2. Press [F2] (EDIT).
The Chorus/Delay Edit screen will appear.
3.Move the cursor to the parameter that you want to change and select a new setting using the TIME/VALUE dial.
You will be able to hear how your new settings change the delay sound.
This parameter selects the type of effect. Be sure to set this to DELAY here.
This parameter adjusts the delay time (i.e., the interval over which sound is delayed).
This parameter adjusts the amount of feedback. Changing the amount of feedback also causes the number of individual repetitions of the delayed sound to change.
If the feedback is set to too large a value, individual delays will overlap, the delay volume will increase, and distortion may occur as a result. In such a case, lower the feedback level.
This parameter adjusts the speed at which the high frequency portion of the delay sound dies away. Higher values cause the high frequencies to die away quicker, and this produces a darker sound.
This adjusts the overall volume of the delay sound.
114
Using loop effects
Adjusts the amount of reverb that is applied to the delayed sound.
If [F4] (DEFAULT) is pressed, the selected parameter is set to the default value marked above.
4.Press [EXIT/NO] several times to return to the top screen.
5.Press [PLAY] to start playback.
The delay will now be applied to the track???s playback.
6.If you wish to store the modified settings, save the current song (p. 72).
Only one set of delay settings can be saved per song.
Adjusting doubling
In situations where professional engineers want to make a strummed guitar performance sound equally present on both the left and right speakers, they generally use a technique called doubling. Specifically, this involves recording the same performance twice on different tracks and then panning one of the tracks to the left and the other to the right.
The
This type of doubling is achieved by copying the original sound (or direct sound), panning the copied sound away from the original sound, and playing back both of these with the copied sound delayed slightly, thus creating a
1.Before you start, pan the track to be doubled to the left or right.
???Setting the
2.Press [CHORUS/DELAY].
The Chorus/Delay Send screen will appear.
3.Move the cursor to the track to be doubled and select a send level using the TIME/VALUE dial.
You can also select a track by pressing its track button. In order to make the effect of doubling clearly audible, it is advisable to initially set the send level to 100. You will then be able to make a new setting while listening to the playback.
Pressing [F3] (MIN) at this time sets the doubling send level to the minimum value (0). Conversely, pressing [F4] (MAX) sets the doubling send level to the maximum value (100).
4.Press [F2] (EDIT).
The Chorus/Delay Edit screen will appear.
5.Move the cursor to the parameter that you want to change and select a new setting using the TIME/VALUE dial.
You will be able to hear how your new settings change the doubling sound.
TYPEDOUBLING
This parameter selects the type of effect. Be sure to set this to DOUBLING here.
DELAY TIME
This parameter adjusts the delay time (i.e., the interval over which sound is delayed).
This parameter adjusts the volume of the delayed sound.
If [F4] (DEFAULT) is pressed, the selected parameter is set to the default value marked above.
If the delay time is too short, the left and right sides of the doubled track will begin to sound identical, producing a thicker version of the original sound. On the other hand, if the delay time is too long, the left and right sides will stand out too much and will sound like two separate performances.
6.Press [EXIT/NO] several times to return to the top screen.
7.Press [PLAY] to start playback.
Doubling will now be applied to the track???s playback.
8.If you wish to store the modified settings, save the current song (p. 72).
Only one set of doubling settings can be saved per song.
2 Section
115
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
The Vocal Tool Box
The term Vocal Tool Box is used to describe a group of effects that are used on recorded vocal tracks to fix incorrect pitches and to automatically apply a backing chorus. When compared with guitars, pianos, and other musical instruments, the human voice generally produces a relatively unstable tone. And when recording unprepared vocalists, this can often lead to considerable difficulties in the form of notes sung out of tune and poor sound quality.
Even if you have recorded a skilled vocalist, however, applying a backing chorus can further enhance the level of the overall performance. When properly used, the
Makeup of the Vocal Tool Box
The following two types of effects make up the
??? Pitch Correction
This effect automatically fixes incorrect pitches in solo vocal tracks. Specifically, it detects incorrect pitches within (50 cents and adjusts them to the correct pitch in real time and in units of semitones.
??? Harmony Sequence
In order to apply a simple backing chorus, this effect creates a
Both of these effects are intended for use with the playback of recorded audio tracks and cannot be used on input sources. The Vocal Tool Box and audio tracks are connected as shown below.
116
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Vocal Tool Box patches
In the case of both pitch correction and harmony sequence, you can set up the way in which the effect is to be applied and can then save these settings. A group of such settings is referred to as a Patch.
At the time of purchase, a total of 10 pitch correction and harmony sequence patches (i.e., preset patches) will be stored in the
Precautions for Vocal Tool Box usage
???When you are using the Vocal Tool Box, you will not be able to use insert effects, the Mastering Tool Kit, or speaker modeling.
???The Vocal Tool Box is intended for use with recorded vocal tracks and it cannot be applied to input sources or the Master output.
???Pitch correction and harmony sequence are separate effects. For this reason, they cannot both be used at the same time.
???These effects will function when applied to solo performances other than vocals; however, the fundamental differences between the character of the human voice and that of musical instruments makes it highly unlikely that the desired result will be achieved.
???In the following situations, the Vocal Tool Box may not be able to accurately detect the pitch, and normal operation will not be possible.
-When other sounds are mixed in with the solo vocal part.
-When the volume of the vocal part is excessively loud or quiet.
-When the vocal part contains a lot of sibilance or is very breathy (such as a singer that whispers, or one with a husky voice).
-When the vocal part contains an excessive number of different pitches (such as fast, deep vibrato or fast speech)
-When the part is sung with a very low voice containing a lot of harmonics.
*If the
Fixing the pitch of vocals (Pitch Correction)
Let???s now use the
Using this feature, we will be able to correct pitches in real time and in semitone units.
1.Before using pitch correction, record a solo vocal track to work with.
2.Press [REC MODE] several times until the BOUNCE indicator lights up.
The
3.Press [VOCAL TOOL BOX].
This button will light up to indicate that the Vocal Tool Box is turned on.
The Vocal Tool Box???s patch selection screen will appear.
Algorithm name
4.Move the cursor to the patch number field and select a patch using the TIME/VALUE dial.
You should select a patch for which ???PITCH CORRECTION??? is displayed
5.Press [F3] (LOCATION).
6.Use TIME/VALUE dial to select the track containing the solo vocal recording.
The following tracks can be selected at this time: Tracks 1 through 8, or Tracks 9/10 through 15/16
7.Start playback on the
Pitches will be corrected in the solo vocal part as it is played. A
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Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
8.Press a track button to select the track for recording the corrected vocal part.
The track button will turn red and start flashing to indicate selection as the recording track.
Although the tracks will be selected as the stereo tracks when track buttons are first pressed, if one of the flashing buttons for Tracks 1 through 8 is pressed while flashing, the corresponding track will be selected as a mono track.
9.Move the faders for all tracks except the track containing the solo vocal recording all the way down.
Note that this also applies to faders for Drums, Bass, and Loop Phrases.
10.Press [ZERO] to jump to the start of the song and then press [REC].
[REC] will turn red and start to flash, indicating that the
11.Press [PLAY].
Both [PLAY] and [REC] will light up and recording will start. The solo part will be played and any incorrect pitches will be fixed. At the same time, the corrected part will be recorded on the selected track.
12.Press [STOP] at the point where you want to stop recording.
The
13.Press [ZERO] to jump to the start of the song once again and then start playback of the recorded track.
Move the fader for the track containing the original vocal part all the way down, and raise the fader for the track containing the corrected vocal part to an appropriate point. As you listen to the corrected part, confirm whether or not you are happy with the corrections.
If you do not like the way the vocal part was corrected, use Undo (Basic Operation; p. 42) to cancel the recording.
14.If you wish to store the corrected track, save the current song (p. 72).
Setting the correction method for vocal pitch (Pitch Correction Edit)
Each of the preset patches 1 through 5 uses a slightly different method for correcting pitches. Normally, it will be sufficient to select the patch that gives the results you like best; however, if you cannot achieve favorable results using any of these patches, you can change the pitch correction settings to create a patch of your own.
1.Select a preset patch to base your new patch on.
2.Press [F2] (EDIT).
The Pitch Correction Edit screen will appear.
3. Move the cursor to the setting you want to change and select a new value using the TIME/VALUE dial.
Type LO.MALE, HI.MALE, LO.FEML, HI.FEML
Set this parameter to match the type of voice in the original vocal part. If this parameter is not set correctly, problems will be more likely to occur in pitch detection and correction.
LO.MALE (Low Male)
Select this setting for a
HI.MALE (High Male)
Select this setting for a
LO.FEML (Low Female)
Select this setting for a
HI.FEML (High Female)
Select this setting for a
*If the
This setting determines how quickly pitch correction will react to changes of pitch in the original vocal part. Large values result in a longer time before correction is applied; consequently, changes in pitch will be more gradual. Small values produce rapid changes in pitch.
4.To save your modified settings, carry out the procedure described in ???Saving Vocal Tool Box settings (Patch Write)??? (p. 121).
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Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Applying a backing chorus to vocals (Harmony Sequence)
Lets now use the
Backing chorus parts are created by modifying the pitch of the original solo vocal track. As a result, it will not be possible to create a backing chorus that uses different lyrics or a different rhythm than the original part.
1.Before using harmony sequence, record a solo vocal track to work with.
2.Enter a chord sequence for your rhythm arrangement.
???Inputting chords??? (p. 190)
3.Press [REC MODE] several times until the BOUNCE indicator lights up.
The
4.Press [VOCAL TOOL BOX].
This button will light up to indicate that the Vocal Tool Box is turned on. The Vocal Tool Box???s patch selection
screen will appear.
Algorithm name
5.Move the cursor to the patch number field and select a patch using the TIME/VALUE dial.
You should select a patch for which ???HARMONY SEQUENCE??? is displayed
6.Press [F3] (LOCATION).
7.Use TIME/VALUE dial to select the track containing the solo vocal recording.
The following tracks can be selected at this time: Tracks 1 through 8, or Tracks 9/10 through 15/16
8.Start playback on the
Listen to the backing chorus that will now be applied to the solo vocal part during playback. If necessary, adjust the volume using the corresponding track fader. Press [STOP] to end playback.
9.Press a track button to select the track on which the backing chorus will be recorded.
The track button will turn red and start flashing to indicate selection as the recording track.
10.Move the faders for all tracks except the track including solo vocal recording all the way down.
Note that this also applies to faders for Drums, Bass, and Loop Phrases.
11.Press [ZERO] to jump to the start of the song and then press [REC].
[REC] will turn red and start to flash, indicating that the
12.Press [PLAY].
Both [PLAY] and [REC] will light up and recording will start. The solo part will be played and the backing chorus will be applied. At the same time, the backing chorus will be recorded on the selected track.
13.Press [STOP] on the point where you want to stop recording.
The playback on the
14.Press [ZERO] to jump to the start of the song once again and then start playback of the recorded track.
Move the fader for the track containing the original vocal part all the way down, and raise the fader for the track containing the backing chorus to an appropriate point. You will now be able to hear just the backing chorus.
If you do not like the way the backing chorus was applied, use Undo (Basic Operation; p. 42) to cancel the recording.
15.If you wish to store the backing chorus, save the current song (p. 72).
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Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Inserting rests in a backing chorus
Whenever you use Harmony Sequence, a continuous backing chorus is played from the beginning to the end of the song. In certain cases, however, you will probably need the backing chorus to stop at certain points within your song. To do this, specify
Playback of the backing chorus will be stopped for chords that have been specified as
Example: Inputting the chords Cmaj ??? C - - - ??? Fmaj
Setting the application method for backing choruses (Harmony Sequence Edit)
Each of the preset patches 6 through 10 uses a slightly different method for applying harmonies. Usually it will be sufficient to select the patch that gives the results you like best; however, if you cannot achieve favorable results using any of these patches, you will be able to change harmony sequence settings to create a patch of your own.
1.Select a preset patch to base your new patch on.
2.Press [F2] (EDIT).
The Harmony Sequence edit screen will appear.
If the TIME/VALUE dial is turned counterclockwise at this time, the solid lines indicating the effect block at the current cursor position will switch to dotted lines, indicating that the corresponding effect has been turned off. Similarly, if the TIME/VALUE dial is turned clockwise, the dotted lines will switch back to solid lines, indicating that the effect has been turned on.
3.Press [F3] (=>PRM.).
The cursor will jump to the parameter area on the right of the screen, and you will now be able to change the parameter settings.
Note that you can press CURSOR [ ] or [ ] while on a parameter setting screen to jump to the parameter setting
screen for the next effect block to the left or right, respectively.
4.Move the cursor to the setting you want to change and select a new value using the TIME/VALUE dial.
These parameters are used to make settings for each of the voices comprising the backing chorus.
This is used to turn each of the voices in the backing chorus on or off. When a voice is turned off, it will produce no audio. Note that if all voices 1 through 3 are turned off, no audio will be produced for the backing chorus.
This sets the amount of time that passes between the original vocal part and the backing chorus voice. By setting longer delays and setting a different delay for each of the voices, you can make the backing chorus sound more realistic.
By setting shorter delay times, the backing chorus can be made to sound more artificial.
This adjusts the
This adjusts the degree of pitch instability that is unique to human voices.
The higher this setting, the greater the degree of pitch instability in the backing chorus voice, and the more like a human voice it will sound. If settings are excessively high, however, the backing chorus will sound amateurish.
With lower settings, the pitches of the voice become more stable and the overall backing chorus starts to sound more artificial.
COMMON
These parameters are used to make settings for the overall backing chorus.
Set this parameter to match the type of voice in the original vocal part. If this parameter is not set correctly, problems will be more likely to occur in pitch detection and correction.
LO.MALE (Low Male)
Select this setting for a
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Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
HI.MALE (High Male)
Select this setting for a
LO.FEML (Low Female)
Select this setting for a
HI.FEML (High Femail)
Select this setting for a
*If the
This sets the balance of volumes between the original vocal part and the backing chorus. A setting of 0:100 results in only the backing chorus being heard. Similarly, a setting of 100:0 results in only the original vocal being heard.
This adjusts the amount of the backing chorus that is sent to chorus, delay, or doubling. Higher values result in a larger amount of the backing chorus being sent to the selected effect. Alternatively, a value of 0 should be used when no chorus, delay, or doubling is to be applied to the backing chorus.
This adjusts the amount of the backing chorus that is sent to reverb. Higher values cause reverb to be applied to a greater degree. Alternatively, a value of 0 should be used when no reverb is to be applied to the backing chorus.
5.Press [EXIT/NO] to return to the Pitch Correction or Harmony Sequence patch selection screen.
In order to indicate that the effect settings have been temporarily changed, the bank number will be displayed as ???*TMP.???
If you select a different patch, load a different song, or turn off the
6.To save your modified settings, carry out the procedure described below in ???Saving Vocal Tool Box settings (Patch Write).???
Saving Vocal Tool Box
settings (Patch Write)
Modified Vocal Tool Box settings are saved by writing them
together under a new patch name.
1.Press [F1] (NAME) on the Pitch Correction or Harmony Sequence screen.
The patch name setting screen will appear.
2.Move the cursor to the characters in the patch name you want to
change and select new characters using the TIME/VALUE dial.
3.Press [EXIT/NO] to return to the Pitch Correction or Harmony Sequence edit screen.
4.Press [F4] (WRITE/COPY).
The Vocal Tool Box Write/Copy screen will appear.
5. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
FROM:
This field should be left unchanged at ???*TMP(CURRENT).??? If a different message is displayed, however, move the cursor to this field and turn the TIME/VALUE dial counterclockwise to restore ???*TMP(CURRENT).???
TO:
This field sets the patch to which your new settings are to be written.
6.Press [F4] (GO).
The Vocal Tool Box patch will be written. When this process has been completed, the Vocal Tool Box patch screen will be displayed once again.
7.Press [EXIT/NO] several times to return to the top screen.
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Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Copying Vocal Tool Box
settings (Patch Copy)
The
1.Press [F4] (WRITE/COPY) on the Pitch Correction or Harmony Sequence screen.
The Vocal Tool Box Write/Copy screen will appear.
2. Move the cursor to the ???FROM:??? field and select the patch to be copied using the TIME/VALUE dial.
FROM:
This field selects the patch to be copied. Although ???*TMP(CURRENT)??? may be displayed in this field when you call up the Patch Write/Copy screen after modifying patch settings, this may be freely changed.
3. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
TO:
This field selects the patch to be overwritten by copying.
4.Press [F4] (GO).
The patch will be copied. When the message ???Complete!??? appears, it indicates that copying has been completed.
5.Press [EXIT/NO] several times to return to the top screen.
It is important to remember that the destination
patch will be fully overwritten by the patch specified
with ???FROM:???.
122
Recreating the characteristics of different monitor speakers (Speaker Modeling)
In order to allow you to recreate the characteristics of various different types of monitor speakers, the
Makeup of Speaker
Modeling
Speaker Modeling comprises the following effect blocks.
SP Modeling
Bass Cut Filter
Low Freq Trimmer
High Freq Trimmer
Limiter
The most important of these is SP MODELING, and it is this effect block that actually performs the modeling of speaker characteristics.
The BASS CUT FILTER block is used to filter out any unwanted
The LOW FREQUENCY TRIMMER and HIGH FREQUENCY TRIMMER effect blocks are used to adjust the tone of the low and middle frequency bands, respectively. Finally, the LIMITER block prevents distortion by suppressing any rise in volume beyond a specified level.
Connecting external monitor speakers
To obtain the best results using the
DIGITAL OUT
Monitor speakers other than the above are to be connected as
follows.
Power Amp
2 Section
LINE OUT
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Recreating the characteristics of different monitor speakers (Speaker Modeling)
Speaker Modeling patches
At the time of purchase, the
???Speaker Modeling Patch List??? (separate document)
Using Speaker Modeling
1.Press [SPEAKER MODELING].
This button will light up and the Speaker Modeling
patch screen will appear.
*Note that this action will cause insert effects, the Vocal Tool Box, and the Mastering Tool Kit to be turned off automatically.
2.Move the cursor to the patch number field and select a patch using the TIME/VALUE dial.
The
???Speaker Modeling Patch List??? (separate document)
Turning off Speaker Modeling
Use the following procedure if you want to temporarily turn
off Speaker Modeling.
1. Press [F1] (ON/OFF) on the Speaker Modeling patch screen.
Speaker Modeling will be turned off.
Press [F1] (ON/OFF) once again to turn Speaker Modeling back on.
Modifying Speaker Modeling settings
Each of the effect blocks that make up the Speaker Modeling feature can be
Before starting, however, you will need to select the Speaker Modeling patch that you would like to change.
1.Press [F2] (EDIT) on the Speaker Modeling patch screen.
The Speaker Modeling edit screen will appear.
The left half of this screen will display the way in which effect blocks are connected in this patch; the right half will display the parameter settings for the effect block currently highlighted by the cursor.
If the TIME/VALUE dial is turned counterclockwise at this time, the solid lines indicating the effect block at the current cursor position will switch to dotted lines, indicating that the corresponding effect has been turned off. Similarly, if the TIME/VALUE dial is turned clockwise, the dotted lines will switch back to solid lines, indicating that the effect has been turned on.
2.Move the cursor to the effect block you want to edit and press [F3] (=>PRM.).
The cursor will jump to the parameter area on the right of the screen, and you will now be able to change the parameter settings.
Note that you can press CURSOR [ ] or [ ] while on a parameter setting screen to jump to the parameter setting
screen for the next effect block to the left or right, respectively.
For more detailed information regarding settings, refer to ???Speaker Modeling parameter functions??? (p. 127).
3.Move the cursor to the parameter that you want to change and select a new value using the TIME/VALUE
dial.
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Recreating the characteristics of different monitor speakers (Speaker Modeling)
4.If you also want to edit other effect blocks, press [F2] (BLOCK<=) to move the cursor to the left of the screen, and then repeat Steps 2 and 3.
Note that you can press CURSOR [ ] or [ ] to jump to the parameter setting screen for the next effect block to the left or right.
5.Press [EXIT/NO] to return to the Speaker Modeling
patch screen.
In order to indicate that the Speaker Modeling settings have been temporarily changed, the patch number will be displayed as ???*TMP.??? If you select a different patch, load a different song, or turn off the
To save your modified settings, carry out the procedure described below in ???Saving Speaker Modeling settings.???
Saving Speaker Modeling settings (Patch Write)
Modified Speaker Modeling settings are saved by writing
them together under a new patch name.
1. Press [F1] (NAME) on the Speaker Modeling edit screen.
2.Move the cursor to the characters in the patch name you want to change and select new characters using the
TIME/VALUE dial.
3.Press [EXIT/NO] to return to the Speaker Modeling edit screen.
4.Press [F4] (WRITE/COPY).
The Speaker Modeling Patch Write/Copy screen will appear.
5. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
6.Press [F4] (GO).
The Speaker Modeling patch will be written. When the message ???Complete!??? appears, it indicates that writing has been completed.
7.Press [EXIT/NO] several times to return to the top screen.
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Recreating the characteristics of different monitor speakers (Speaker Modeling)
Copying Speaker Modeling
settings (Patch Copy)
The
1.Press [F4] (WRITE/COPY) on the Speaker Modeling edit screen.
The Speaker Modeling Patch Write/Copy screen will
appear.
2. Move the cursor to the ???FROM:??? field and select the patch to be copied using the TIME/VALUE dial.
FROM:
This field selects the patch to be copied. Although ???*TMP(CURRENT)??? may be displayed in this field when you call up the Patch Write/Copy screen after modifying patch settings, this may be freely changed.
Note that you can also move the cursor to the bank field and turn the TIME/VALUE dial to select a new patch number to be copied.
3. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
TO:
This field selects the patch to be overwritten by copying. Whenever you call up the Patch Write/Copy screen, the cursor will be automatically positioned here. Note that you can also turn the TIME/VALUE dial to select a new destination patch number.
4.Press [F4] (GO).
The patch will be copied. When the message ???Complete!??? appears, it indicates that copying has been completed.
5.Press [EXIT/NO] several times to return to the top screen.
It is important to remember that the destination patch will be fully overwritten by the patch specified by ???FROM:???. As it will not be possible to restore these, care should be taken to insure that important patches are not accidentally overwritten in this way.
126
Speaker Modeling parameter functions
This effect simulates the response of a wide variety of speakers, ranging from
SP Modeling
Bass Cut Filter
Low Freq Trimmer
High Freq Trimmer
Limiter
SP Modeling (speaker modeling)
Speaker Modeling is adjusted to ensure that the best results can be obtained when you use Roland
Turns speaker modeling on or off.
Model
Selects the speaker whose characteristics you wish to simulate.
Output Sp.
This parameter is used to specify the actual type of speaker connected to the
Phase
Specifies the phase of the speakers.
NORMAL: The output phase will be the same as that of the input.
INVERSE: The output phase will be the opposite to that of the input.
127
Speaker Modeling parameter functions
Bass Cut Filter
This filter cuts out vocal pop and other unwanted
noise.
This setting turns the Bass Cut Filter on or off.
This parameter sets the frequency below which vocal pop and other undesirable
Low Freq Trimmer
This trimmer is used to process low frequencies.
Switches the low frequency trimmer on or off.
Adjusts the gain (i.e., the amount of boost or cut) for the low frequency trimmer.
Specifies the center frequency for the low frequency trimmer.
High Freq Trimmer
This trimmer is used to process high frequencies.
Switches the high frequency trimmer on or off.
Adjusts the gain (i.e., the amount of boost or cut) for the high frequency trimmer.
Specifies the center frequency for the high frequency trimmer.
Limiter
A limiter reduces loud input levels to prevent distortion.
Adjust this parameter to match the input signal. Limiting will be applied to input levels in excess of this level.
This adjusts the time it takes for limiting to be removed once the signal level drops below the threshold.
This parameter adjusts the overall volume.
128
Using the Mastering Tool Kit
The Mastering Tool Kit
When creating a CD, it is crucial that the overall volume of the song be reduced in order to allow its loudest parts to be recorded without any degradation of sound quality. However, this reduction in volume can often result in CDs that lack power and punch. In addition, since our ears are not as sensitive to sound in the lower range of frequencies, it may be difficult to hear these sounds even if the level meter indicates maximum volume, and this factor also hinders the production of
The Mastering Tool Kit contained within the
Audio CDs can be created without using the Mastering Tool Kit, and you can choose whether or not to use it.
If you are new to the
Makeup of the Mastering Tool Kit
The Mastering Tool Kit comprises the following effect blocks.
2 Section
COMP-
RESSOR
COMP-
RESSOR
Of these, the effect block that plays the most important role is the
???The
???The middle band, which contains the sounds of the vocals, and the lead guitars and other instruments that play melodies.
???The
In order to do what is required of them, instruments must be played with varying rhythms and volumes. All of these different performances are combined to produce the music played by a band (or ensemble).
If a compressor were to be applied over the complete frequency range of such a group performance in order to keep its volume within the limits suitable for burning to an audio CD, the
129
Using the Mastering Tool Kit
Modifying Mastering Tool Kit
settings (Edit)
Each of the effect blocks that make up the Mastering Tool Kit can be
Before starting, however, you will need to select the Mastering Tool Kit patch whose settings you would like to change.
1. Press [F2] (EDIT) on the Mastering Tool Kit patch screen.
The Mastering Tool Kit edit screen will appear.
The left half of this screen will display the way in which effect blocks are connected in this patch; the right half will display the parameter settings for the effect block currently highlighted by the cursor.
2.Move the cursor to the effect block you want to edit and press [F3] (=>PRM.).
The cursor will jump to the parameter area on the right of the screen, and you will now be able to change the
parameter settings.
For more detailed information regarding settings, refer to ???Mastering Tool Kit parameter functions??? (p. 134).
3.Move the cursor to the parameter that you want to change and select a new value using the TIME/VALUE dial.
4.If you also want to edit other effect blocks, press [F2] (BLOCK<=) to move the cursor to the left of the screen, and then repeat Steps 2 and 3.
Note that you can press CURSOR [ ] or [ ] to jump to the parameter setting screen for the next effect block to
the left or right.
5.Press [EXIT/NO] to return to the Effects Patch screen.
In order to indicate that the Mastering Tool Kit settings have been temporarily changed, the patch number will be displayed as ???TMP.??? If you select a different patch, load a different song, or turn off the
To save your modified settings, carry out the procedure described below in ???Saving Mastering Tool Kit settings.???
130
Using the Mastering Tool Kit
Saving Mastering Tool Kit settings (Patch Write)
Modified effect settings are saved by writing them together
under a new patch name.
1. Press [F1] (NAME) on the Mastering Tool Kit edit screen.
2.Move the cursor to the characters in the patch name you want to change and select new characters using the
TIME/VALUE dial.
3.Press [EXIT/NO] to return to the Mastering Tool Kit edit screen.
4.Press [F4] (WRITE/COPY).
The Mastering Tool Kit Patch Write/Copy screen will
appear.
5. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
FROM:
This field should be left unchanged at ???*TMP(CURRENT).??? If a different message is displayed, however, move the cursor to this field and turn the TIME/VALUE dial counterclockwise to restore ???*TMP(CURRENT).???
TO:
This field sets the patch to which your new settings are to be written. Whenever you call up the Patch Write/ Copy screen, the cursor will be automatically positioned here.
6.Press [F4] (GO).
The Mastering Tool Kit patch will be written. When the message ???Complete!??? appears, it indicates that writing has been completed.
7.Press [EXIT/NO] several times to return to the top screen.
Copying Mastering Tool Kit settings (Patch Copy)
The
1.Press [F4] (WRITE/COPY) on the Mastering Tool Kit edit screen.
The Mastering Tool Kit Patch Write/Copy screen will
appear.
2. Move the cursor to the ???FROM:??? field and select the patch to be copied using the TIME/VALUE dial.
FROM:
This field selects the patch to be copied. Although ???*TMP(CURRENT)??? may be displayed in this field when you call up the Patch Write/Copy screen after modifying patch settings, this may be freely changed.
3. Move the cursor to the ???TO:??? field and select a destination patch using the TIME/VALUE dial.
TO:
This field selects the patch to be overwritten by copying. Whenever you call up the Patch Write/Copy screen, the cursor will be automatically positioned here.
2 Section
131
Using the Mastering Tool Kit
4.Press [F4] (GO).
The patch will be copied.
When the message ???Complete!??? appears, it indicates that copying has been completed.
5.Press [EXIT/NO] several times to return to the top screen.
It is important to remember that the destination patch will be fully overwritten by the patch specified by ???FROM:???. As it will not be possible to restore these, care should be taken to insure that important patches are not accidentally overwritten in this way.
Performing automatic
The term
The Auto Fade In/Out function can only be used in Mastering mode. In addition, this can be used only when the Mastering Tool Kit is ON (FX: ON is displayed).
Settings made for the Auto Fade In/Out function are shared by all of the Mastering Tool Kit???s patches and are stored together with the corresponding song.
Performing automatic
1.Confirm that ???FX:ON??? is displayed in the Mastering Tool Kit top screen.
If ???FX:OFF??? is displayed, press [F1] (OFF=>ON) to
display ???FX:ON.???
2.Move the cursor to ???AUTO FADE IN??? and select ???ON??? with the TIME/VALUE dial.
3.Press [F3] (AUTO FADE).
The Auto Fade In setting screen will appear.
4.Move the cursor to the setting you want to change and select a new value using the TIME/VALUE dial.
START:
This parameter sets the start time for fade in.
When the current position is in front of the START point, you will not be able to hear the
LENGTH:
The parameter sets the time (in seconds) from the start of
CURVE:
This parameter sets the shape of the volume increase curve during
A The volume will be perceived as increasing at a steady rate.
B The volume will be perceived initially as increasing at a faster rate, and this rate will level off as the fade- in progresses.
5.Press [EXIT/NO] to return to the Mastering Tool Kit patch screen.
6.Move the current position to before the START point and begin playback.
When the current position reaches the START point, the
132
Using the Mastering Tool Kit
Performing automatic
1.Confirm that ???FX:ON??? is displayed in the Mastering Tool Kit top screen.
If ???FX:OFF??? is displayed, press [F1] (OFF=>ON) to
display ???FX:ON.???
2.Move the cursor to ???AUTO FADE OUT??? and select ???ON??? with the TIME/VALUE dial.
3.Press [F3] (AUTO FADE).
The Auto Fade Out setting screen will appear.
4.Move the cursor to the setting you want to change and select a new value using the TIME/VALUE dial.
START:
This parameter sets the start time for fade out.
LENGTH:
The parameter sets the time (in seconds) from the start of
???If the end point of the song is positioned before the point corresponding to START + LENGTH, the song will end abruptly
???When the current position is after the point corresponding to START + LENGTH, you will not be able to hear the
CURVE:
This parameter sets the shape of the volume reduction curve during
A The volume will be perceived as being reduced at a steady rate.
B The volume will be perceived initially as dropping at a slower rate, and this rate will increase as the
5.Press [EXIT/NO] to return to the Mastering Tool Kit patch screen.
6.Move the current position to before the START point and begin playback.
When the current position reaches the START point, the
If you wish to store the Auto Fade In/Out settings, save the current song (p. 72). Unless the song is saved, any new settings will be lost when the power is turned off or a new song is loaded.
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Mastering Tool Kit parameter functions
This is a compressor effect that controls the volume level for each frequency range (lower range, midrange, and upper range) separately in order to even out the differences between them.
This allows you to achieve the optimal level when mixing down to MD or DAT, and when using
Effect of the input ???delay time???
With regular compressors, once excessive levels are detected, there is a momentary delay before the signal is suppressed. This algorithm circumvents this problem by using the input sound only for detection of the level, while a predetermined amount of delay is applied to the sound that is actually processed and output. The input delay time is the delay time setting used for this purpose.
Dividing the signal into separate frequency ranges
To divide the sound into separate frequency ranges, set the
Equalizer
This parameter turns the equalizer effect on or off.
Sets the overall volume before passing through the equalizer.
Sets the
Sets the amount of boost or cut in the lower band.
Sets the center frequency for the lower band.
Sets the steepness of the frequency response curve at the lower band???s center frequency.
*The Low Q setting is disabled when ???SHLV??? is selected for the Low Type.
Sets the amount of boost or cut in the
Sets the center frequency for the
Sets the steepness of the frequency response curve at the lower- middle band???s center frequency.
Sets the amount of boost or cut in the
Sets the center frequency for the
Sets the steepness of the frequency response curve at the upper- middle band???s center frequency.
Sets the
Sets the amount of boost or cut in the upper band.
Sets the center frequency for the upper band.
Sets the frequency response curve steepness at the upper band???s center frequency.
*The High Q setting is disabled when ???SHLV??? is selected for the High Type.
Sets the overall volume level after equalization.
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Mastering Tool Kit parameter functions
Bass Cut Filter
This filter cuts out vocal pop and other unwanted
noise.
This setting turns the Bass Cut Filter on or off.
This parameter sets the frequency below which vocal pop and other undesirable
Enhancer
This effect makes a sound livelier, and thus, more present in the mix.
This parameter turns the enhancer on or off.
Sets the degree to which the enhancer is to be applied.
Sets the frequency at which the enhancer will begin to affect the sound.
Sets the volume of the effect sound.
Input
This effect divides the original sound into three frequency
Sets the overall volume level before the signal passes through the expander/compressor.
This parameter sets the amount of time by which the input sound is delayed.
Sets the
Split Freq H1.6???16.0 kHz
Sets the
middle and high bands.
Expander
This effect expands the dynamic range at a fixed ratio.
This setting turns the expander on or off.
This parameter sets the volume level at which the
Sets the ratio for output increase in the low band when the input level falls below the Lo threshold.
Sets the time it takes for the
Sets the time it takes for the
This sets the volume level at which the midrange expander goes into effect.
This parameter sets the volume level at which the
Sets the time it takes for the
Sets the time it takes for the
This parameter sets the volume level at which the
Sets the ratio for output increase in the high band when the input level falls below the Hi threshold.
Sets the time it takes for the
Sets the time it takes for the
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135
Mastering Tool Kit parameter functions
Compressor
This effect is used to compress the overall output signal
when the input level exceeds a set value.
This setting turns the compressor on or off.
This parameter sets the volume level at which the
This parameter sets the ratio for suppression of the
Sets the time it takes for the
Sets the time it takes for the
This parameter sets the volume level at which the
This parameter sets the ratio for suppression of the
Sets the time it takes for the
Sets the time it takes for the
This parameter sets the volume level at which the
This parameter sets the ratio for suppression of the
Sets the time it takes for the
Sets the time it takes for the
With this compressor, the level is automatically adjusted to the optimum setting in response to the threshold and ratio settings. In addition, since lengthening the attack setting may result in distortion, a buffer (or safety margin) of
Mixer
The mixer is used to adjust the volume of each frequency
band.
Sets the volume level for the low band after the signal has passed through the expander and compressor.
Sets the volume level for the middle band after the signal has passed through the expander and compressor.
Sets the volume level for the upper band after the signal has passed through the expander and compressor.
Limiter
This effect is used to suppress
distortion can be prevented.
This setting turns the limiter on or off.
Adjust this parameter to match the input signal.
Adjusts the time it takes for the limiter to become active once the input level exceeds the threshold level.
This adjusts the time it takes for limiting to be removed once the signal level drops below the threshold.
Output
This component is used to control the overall output.
Sets the volume level of the overall sound after the signal has passed through the limiter.
Soft clipping suppresses the noticeable distortion that may occur through heavy use of compression and limiting.
This setting is used to prevent the action of muting sounds from becoming too noticeable.
136
Effect parameters assigned to VALUE knobs
When the effect patch selection screen is displayed, you can assign parameters you wish to control to value knobs VALUE 1 through VALUE 4.
When the effect patch selection screen is displayed, you can assign parameters you wish to control to value knobs VALUE 1 through VALUE 4.
??? Insert Effects
Algorithm: COSM OD GUITAR AMP
137
Effect parameters assigned to VALUE knobs
138
Effect parameters assigned to VALUE knobs
Algorithm: ACOUSTIC GUITAR
139
Effect parameters assigned to VALUE knobs
140
Effect parameters assigned to VALUE knobs
141
Effect parameters assigned to VALUE knobs
Algorithm: COSM VOCAL COMP
Algorithm: STEREO MULTI
142
Effect parameters assigned to VALUE knobs
Algorithm:
143
Effect parameters assigned to VALUE knobs
Algorithm: VO+ACOUSTIC
??? Vocal Tool Box
Algorithm: HARMONY SEQUENCE
144
Section 3 Using Rhythm
Section 3
Using
Rhythm
145
Makeup of Drum/Bass/Loop Phrase
The
This chapter will provide a description of Drum Patterns, Bass Patterns, and Loop Phrases. In addition, rhythm arrangements will also be described.
Drums
On the
Drum tracks usually contain a variety of percussion instrument sounds, such as kick drums, snares,
Furthermore, drum tracks can also be made to automatically play basic drum performances of one or several measures in a repetitive fashion.
At the time of purchase, the
???For details on how drums are actually used, refer to ???Using drums??? (p. 149).
???Drums can only be used when Track 15/16 has been set up as a drum track using its track type setting (p. 149).
???Up to five individual drums sounds can be played simultaneously. If an attempt is made to play more than five such sounds at any one time, any previous sounds that are still being played will be silenced before new sounds are played.
Bass
On the
The
In addition, bass tracks can also be made to automatically play basic bass performances in a repetitive fashion. The data used to create these basic bass performances is known as a bass pattern.
At the time of purchase, the
???For details on how bass are actually used, refer to ???Using bass??? (p. 163).
???Bass can only be used when Track 13/14 has been set up as a bass track using its track type setting (p. 163).
???The
???Only one sound can be played simultaneously. If an attempt is made to play more than two such sounds at any one time, any previous sounds that are still being played will be silenced before new sound is played.
146
Makeup of Drum/Bass/Loop Phrase
Loop Phrases
One method often used when putting songs together involves the creation first of all of a section of basic audio data of one or two measures in length, and the basic song structure is then formed by repeating this section the required number of times. The term Loop Phrase is used to describe one of these sections of basic audio data.
The most appropriate Loop Phrases for your tunes can be selected, placed on the Loop Phrase track, and then played back as many times as you like.
You can also create your own original Loop Phrases using portions of recorded audio tracks or by importing audio data from commercially available sampling CDs and the like.
Audio data recorded from live performances
Select the portion of the performance
(Loop Phrase track)
Loop Phrase
Commercially available sampling
The
At the time of purchase, the
???For details on how Loop Phrases are actually used, refer to ???Using Loop Phrases??? (p. 176).
???Loop Phrases can only be used when Track 11/12 has been set up as a Loop Phrase track using its track type setting (p. 176).
Tracks 11/12, 13/14, and 15/16 serve both as audio tracks and as tracks for Loop Phrases, Bass Patterns, Drum Patterns, and respectively. A track type can be set independently for each of these tracks, so for example, if you only want to use hear a Bass Pattern while the other tracks play recorded performances as normal, this can be easily set up.
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Rhythm arrangements
The drum, bass, and Loop Phrase elements described above can only repeat a single basic pattern; nevertheless, they can be extremely useful when practicing or putting together ideas for songs.
Once you have decided on the structure of your song, however, simple repeating patterns will begin to sound uninteresting, and you will probably want to use different patterns for sections such as the intro, verse, chorus, fill, and ending.
Luckily, the
For example, you can prepare separate patterns for the intro, the verse, the chorus, the fill, and the ending, and these can then be arranged in the appropriate order for your song. In addition, a rhythm arrangement also lets you specify a chord progression for the bass pattern to play along with.
What???s more, rhythm arrangements allow tempos to be set up on a
At the time of purchase, the
Loop Phrases are not used in preset rhythm
Pattern mode and Arrangement mode
In order to allow patterns and rhythm arrangements to be worked on separately, the
To use rhythm arrangements, press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN], so the button???s indicator is lighted. With this, Arrangement mode is activated, and you will be able to use the
If, on the other hand, you want to activate Pattern mode, press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN], this time turning off the button???s indicator. In this mode, only the currently selected drum pattern, bass pattern, and/or Loop Phrase will be played back, and this will be done repetitively.
148
Using drums
To use drums, you must first of all set up Track 15/16 as a
4. If you wish to store the track type setting, save the
drum track using its track type setting.
current song (p. 72).
Track Types
AUDIO:
The track will be used for recorded audio.
DRUMS:
The track will be used for a drum pattern.
METRONOME:
The track will be used to play a metronome.
You should select ???DRUMS??? here.
The DRUMS indicator from TRACK TYPE SELECT will light up to indicate that Track 15/16 has been set up for use as a drum track.
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149
Using drums
Selecting a drum kit
Now that we can hear the drums, let???s select a drum kit to
work with.
1.Make sure that PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] is extinguished (you???re in Pattern mode).
If this button???s indicator is lit (which means you???re in Arrangement mode), press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] to turn it off.
2.Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
3. Press [F1] (SETUP).
The dialog for pattern setup will appear.
4.Move the cursor to ???Drum Kit??? and select a new drum kit using the TIME/VALUE dial.
Press [PLAY]; the drum pattern is played. Repeat this process to select the kit that gives the best sound for your song.
Although playback may stop for a period of 2 to 3 seconds when the drum kit is changed, this is normal and is not the result of a malfunction.
5.When you have selected the drum kit you want to use, press [EXIT/NO] several times to return to the top screen.
6.If you wish to store the drum kit selection, save the current song (p. 72).
The drum kit selection is common to all drum patterns. It is not possible to store a different drum kit for each different pattern.
Selecting drum patterns
1.Make sure that PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] is extinguished (you???re in Pattern mode).
If this button???s indicator is lit (which means you???re in Arrangement mode), press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] to turn it off.
2.Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
3.Move the cursor to the drum pattern field and select a pattern using the TIME/VALUE dial.
Playback of the newly selected drum pattern will start as soon as the previously selected drum pattern has ended.
4.When you have selected the drum pattern that you want to use, press [EXIT/NO] several times to return to the top screen.
5.If you wish to store the drum pattern selection, save the current song (p. 72).
The user drum patterns and song drum patterns contained in the
???*TMP??? appears for the drum pattern immediately after its data is recorded or edited. If you try to select a different drum pattern with the TIME/VALUE dial while the cursor is positioned above this, the cursor turns white. If you press [ENTER/YES] at this point, the cursor reverts to black, and the drum pattern number is confirmed. If you do not want to confirm it, press [EXIT/NO]; ???*TMP??? is indicated again, and the drum pattern reverts to the state it was in immediately after editing. This allows you to avoid inadvertently erasing data you have edited.
150
Using drums
Changing the drum pattern tempo
1.Make sure that PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] is extinguished (you???re in Pattern mode).
If this button???s indicator is lit (meaning you???re in Arrangement mode), press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] to turn it off.
2.Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
3.Move the cursor to ???TEMPO??? and select a suitable tempo using the TIME/VALUE dial.
You will be able to hear how your new setting changes the playback tempo.
The tempo can be set anywhere within a range of 25.0 to 250.0 BPM. (Beats Per
4.After you have set the tempo, press [EXIT/NO] several times to return to the top screen.
5.If you wish to store the pattern???s tempo, save the current song (p. 72).
The tempo is common to all drum patterns, bass
patterns, and Loop Phrases.
Setting the tempo using [TAP]
In addition to setting the tempo using [CURSOR] and the TIME/VALUE dial, you can also set it by tapping your finger on [TAP] at the desired tempo. (Tap Tempo)
This feature proves extremely useful when you want to match the playback tempo to that of an audio CD but don???t know the actual BPM value.
To set the tempo in this way, tap your finger on [TAP] four times with approximately the same interval between each tap. The tempo will be set based on the average tapping interval.
About the Drum Pattern Beat
Although every drum, bass, and Loop Phrase pattern has its own beat setting, there is also a universal beat setting that can be applied to all drum and bass patterns and Loop Phrases as a whole.
When drum, bass, and Loop Phrase patterns are played simultaneously in Pattern mode, they are not played according to any of their individual beat settings, but instead conform to one beat setting that is applied to them all.
For more detailed information, refer to ???Setting the Universal Beat for Drums, Bass, and Loop Phrases??? (p. 186).
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