Section 1
Editing
Section 2
Using
Effects
Section 3
Using
Rhythm
Section 4
Using the
CD-R/RW Drive
Section 5
Using
MIDI
Section 6
Using
USB
Section 7
Other
Convenient
Functions
Section 8
Appendices
Section 9
Before using this unit, carefully read the sections entitled:
Recording
and Playback
Thank you, and congratulations on your choice of the BOSS BR-1200CD
Digital Recording Studio.
“USING THE UNIT SAFELY”(page 2–3)
“IMPORTANT NOTES” (page 4–5)
These sections provide important information concerning the proper
operation of the unit. Additionally, in order to feel assured that you have
gained a good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety.
The manual should be saved and kept on hand as a convenient reference.
■ Printing conventions in this manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[PLAY]
PLAY button
[CURSOR]
CURSOR button
• Reference such as (p. **) indicate pages in this manual to which you can
refer.
Copyright © 2004 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of BOSS CORPORATION.
03890501
’06-04-4N
Basic
Operation
Owner’s Manual
USING THE UNIT SAFELY
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.
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
other adverse effects
respect to the home
furnishings, as well
animals or pets.
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.
to damage or
caused with
and all its
to domestic
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 powercord plug must be unplugged from the outlet.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.
001
008c
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• 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.
..........................................................................................................
..........................................................................................................
001-50
• Connect mains plug of this model to a mains
socket outlet with a protective earthing
connection.
..........................................................................................................
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” sheet.
..........................................................................................................
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 heat-generating equipment); or
are
• 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.
..........................................................................................................
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.
..........................................................................................................
2
008e
• Use only the attached power-supply cord. Also,
the supplied power cord must not be used with
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!
..........................................................................................................
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
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.
..........................................................................................................
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
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.
..........................................................................................................
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
BR-1200CD
Digital Recording Studio
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
012b
101b
• 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” sheet when:
• The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• 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!)
..........................................................................................................
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.
015
• Do not force the unit’s power-supply cord to
share an outlet with an unreasonable number of
other devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
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 CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
..........................................................................................................
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.
..........................................................................................................
109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet.
..........................................................................................................
110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
118a
• Should you remove the grand terminal, keep
them in a safe place out of children’s reach, so
there is no chance of them being swallowed
accidentally.
..........................................................................................................
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 specifications 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)
..........................................................................................................
3
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply
Maintenance
301
401a
• 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.
• 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, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
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 initiating 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.
354a
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., CD-R/RW or external computer connected
via USB), or written down on paper (when possible).
During repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry related
to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no
liability concerning such loss of data.
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., CD-R/RW or external computer connected via USB).
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s hard disk once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
• 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.
553
355b
• Never strike or apply strong pressure to the display.
• 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.
• 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
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
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.
561
• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
4
IMPORTANT NOTES
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 information on cable specifications, contact the manufacturer of the cable.
Handling CD-ROMs
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
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.
About the License Agreement
• The BR-1200CD and its CD-R/RW capability are designed
to allow you to reproduce material to which you have
copyright, or material which the copyright owner has
granted you permission to copy.
Accordingly, reproduction of Music CD or other
copyrighted material without permission of the copyright
owner avoiding technical prohibiting features of secondgeneration and later copying like SCMS or others constitutes copyright infringement and may incur penalties
even in case such reproduction is for your own personal
use and enjoyment (private use). Consult a copyright
specialist or special publications for more detailed information on obtaining such permission from copyright
holders.
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 BR1200CD. These damages may include but are not limited
to the following events which can occur when using the
BR-1200CD.
853
• Any loss of profit that may occur to you
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
• Permanent loss of your music or data
• Inability to continue using the BR-1200CD itself or a
connected device
204
The explanations in this manual include illustrations
that depict what should typically be shown by the
display. Note, however, that your unit may incorporate 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.
....................................................................................................................................................................................................................................
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 Computer, Inc.
209
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
....................................................................................................................................................................................................................................
5
Precautions Regarding the Hard Disk
The BR-1200CD contains an internal hard disk. This device is of an extremely high-precision design, and it can be easily damaged
if not used and handled correctly. To ensure that the hard disk is being handled properly, you must adhere to the following:
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 “Saving Data on the Hard Disk to CD-R/RW Discs” (p. 228).
Note that Roland assumes no liability whatsoever, including monetary compensation, for the loss of any recorded content in
the event of the malfunction of, or physical damage to the hard disk, or for any direct or incidental damages resulting from
the loss of such data.
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 BR-1200CD while the power is turned on.
Transporting the BR-1200CD unprotected in an automobile trunk.
Knocking the BR-1200CD against table edges when it is being moved.
Positioning the BR-1200CD close to drums during performances.
Positioning the BR-1200CD close to amplifiers for guitars and other musical instruments during performances.
●
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 BR-1200CD rising, and
this will drastically reduce the hard disk's lifespan.
●
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 (p. 37), disconnect the power plug.
In addition, even if the hard disk appears to be operating correctly, carry out a Surface Scan (p. 285) to confirm that it has not been damaged.
6
Rev0.02
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.
Notes When Using Mics
Always be sure to switch the phantom power off except when connecting condenser mics requiring a phantom power supply.
Supplying phantom power to dynamic mics, audio playback equipment, and other devices that do not use phantom power may
cause damage to your equipment.
For mic specifications, please refer to the owner's manual for whatever model of mic you are using.
(BR-1200CD Phantom Power: +48 V DC, 7 mA Max.)
Phantom power is supplied to the eight XLR connectors for INPUT 1/MIC 1 and INPUT2/MIC 2 simultaneously. The phantom
power cannot be switched on or off for each connector individually.
If simultaneously using mics that require phantom power with those that don't, then connect any mic that does not need phantom
power to one of the standard
1/4” phone jacks. Phantom power is supplied only to the XLR connectors, not to the standard jacks.
To connect mics to the standard jacks, use a commercially available XLR-to-phone adapter cable or other form of adapter.
About the CD-ROM “Discrete Drums”
A CD-ROM is supplied with the BR-1200CD.
The CD-ROM includes a variety of drum phrases created by Discrete Drums.
These professionally recorded drum parts are saved as Loop Phrases that can easily be imported directly into the BR-1200CD and
used in your songs.
Drum phrases are categorized and sorted under each folder in .WAV format files.
The BR-1200CD allows you to easily use these phrases by using the Loop Phrase Import function.
This CD-ROM is not an Audio CD. This CD-ROM should not be played with a consumer audio CD player. If it is, very loud
noises can be generated and audio equipment such as CD players, amplifiers or speakers can be damaged!!
Since all the data included in this CD-ROM has already been factory-installed in the User bank of the Loop Phrase area of the BR1200CD, you can easily use the Loop Phrase functions and add the audio to your tracks without using this CD-ROM.
However, in case you initialize your hard disk drive in the BR-1200CD, or accidentally erase the User Loop Phrases, you can
recover all of the factory-installed Loop Phrases by importing them from this CD-ROM.
To import Loop Phrases from this CD-ROM, refer to “Create Loop Phrase” in “Section 4 Using Rhythm.” (“Using wave
data on a CD-ROM/R/RW disc (Loop Phrase Import)” (p. 190))
For more information about the factory-installed Loop Phrases in the User Bank, which are the original WAV files on this CDROM, please refer to “User Loop Phrase List” (p. 334).
Rev0.02
7
Before Using CD-R/RW Discs
Two different types of recordable disc can be used with the
BR-1200CD—namely, CD-R discs and CD-RW discs.
What is a CD-R disc?
CD-R (Compact Disc Recordable) is a CD to which data can
be written. It is not possible to erase or move the data that
has been written.
This type of disc should be used to create audio CDs that will
be played on standard CD players. Playback of CD-RW discs
will not be possible on this type of equipment. In addition,
even if you have created an audio CD using a CD-R disc,
playback will only be possible on players that support the
playback of recordable discs.
What is a CD-RW disc?
CD-RW (Compact Disc ReWritable) is a CD that can be
written and erased. As a result, this type of recordable disc
can be used again and again.
While you can create audio CDs using CD-RW discs, it will
not be possible to play these CDs on a standard CD player.
(You will, however, be able to play these discs using the BR1200CD's CD-R/RW drive.)
Handling the CD-R/RW Disc Drive
●
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 CD-R/RW discs.
When the unit has been moved, allow it to become
accustomed to the new environment (allow a few hours)
before operating it.
●
Avoid using the CD-R/RW drive in locations with high
temperatures. Failure to observe this precaution can
result in the drive becoming unable to operate correctly
or in write errors. In addition, this type of environment
can also reduce the lifespan of the CD-R/RW drive.
●
Remove any disk from the drive before powering up or
down.
●
To avoid the risk of malfunction and/or damage, insert
only CD-R/RW discs into the disc drive. Never insert
any other type of disc. Avoid getting paper clips, coins,
or any other foreign objects inside the drive.
8
●
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 CD-RW drive lens cleaner.
* Note that some commercially available cleaners are intended
for CD-R drives, while others are intended for CD-RW drives.
Be sure to select a cleaner for CD-RW drives.
* Never use commercially available cleaner intended for
standard CD players. This type of cleaner cannot be used to
clean the BR-1200CD's write lens.
* Even if the recommended type of CD-R/RW disc is used in a
perfectly normal CD-R/RW drive, the possibility of write
errors cannot be completely eliminated. Please be aware that
this type of problem can still occur as a result of variations in
CD-R/RW drives and CD-R/RW disc manufacturing
differences.
Handling CD-R/RW Discs
* In addition to the following precautions, please also read the
instructions provided with the CD-R/RW discs.
●
DO NOT play a CD-R/RW disc (CD-R/RW disc on
which song data has been backed up) on a conventional
audio CD player. The resulting sound may be of a level
that could cause permanent hearing loss. Damage to
speakers or other system components may result.
●
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.
Before Using CD-R/RW Discs
Compatibility of CD-R/RW
discs and drives
●
Ensure that the recommended type of CD-R/RW discs
are always used. Failure to observe this precaution can
lead to an increase in the frequency of write errors.
●
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 CD-R/RW drives and CD-R/RW disc
manufacturing differences.
●
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 CD-R/RW disc to
built in CD-R/RW drive...
Removing a CD-R/RW disc
1. Hold the stopper downward and remove a CD-R/RW
disc from outer rim.
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
When you insert a CD-R/RW disc to built in CD-R/RW
drive, lock the CD-R/RW disc at correct position according
to “Insert a CD-R/RW disc” below. Please be careful to lock a
CD-R/RW disc correctly. Unless, it is possible that the disc
tray is stuck and unable to remove a CD-R/RW disc.
Inserting a CD-R/RW disc
Emergency Eject Hole
Make sure the BR-1200CD’s power has been turned OFF
before attempting to use the emergency eject hole. If you
insert something while the power is on, the disc could get
damaged, or unexpected problems may occur.
1. Press the eject button and open a disc tray.
2. Pull out a disc tray.
3. Locate the position of center hole of CD-R/RW disc at
stopper of CD-R/RW drive.
4. Press the CD-R/RW disc downward. The CD-R/RW
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 CD-R/RW disc has been correctly
inserted. Failure to properly and fully insert a disc can result
in an inability to carry out writing correctly.
5. Press disc tray until it is locked in the BR-1200CD.
9
Contents
USING THE UNIT SAFELY ............................... 2
Basic Operation................33
IMPORTANT NOTES....................................... 4
Precautions Regarding the Hard Disk ........... 6
Notes When Using Mics ................................ 7
Connecting other devices.............................34
Precautions When Making Connections................35
Turning on/off the BR-1200CD ....................36
About the CD-ROM “Discrete Drums” ............ 7
Turning on the BR-1200CD.......................................36
Before Using CD-R/RW Discs ......................... 8
Turning off the BR-1200CD ......................................37
Introduction to the BR-1200CD.................... 18
Listening to the demo songs
and selecting songs (Song Select) ................38
Main Features ..............................................................18
Panel Descriptions ...................................... 20
Top Panel......................................................................20
Front Panel ...................................................................26
CD-R/RW drive ...........................................................26
Display..........................................................................27
Rear Panel ....................................................................28
Basic operation of the recorder ...................39
Playing and stopping .................................................39
Using a foot switch..................................................39
Adjusting the volume ................................................40
Changing the current position .................................41
Using the transport buttons...................................41
Using TIME/VALUE dial ......................................42
Common operations and display items ....... 30
Using markers..........................................................43
Top screen ....................................................................30
Changing V-Tracks.....................................................44
Current position..........................................................30
Turning tracks off temporarily (Track Mute) .......46
FUNCTION buttons ([F1] through [F3]).................30
Page Scroll....................................................................31
Scroll Bar ......................................................................31
Preparing a song
for recording (Song New)............................48
Cursor............................................................................31
Selecting an input source
for recording (Input Select) ......................... 50
TIME/VALUE dial ......................................................32
Recording guitar or bass guitar................................50
VALUE 1/PAN, VALUE 2,
and VALUE 3 knobs...................................................32
Recording a solo vocal microphone ........................50
Recording guitar + Vocal...........................................50
When recording stereo inputs to a stereo track.....50
Adjusting the
input source volume (Input Sensitivity) ....... 51
Recording with effects (Insert Effects).......... 52
When you Want to Record the
Input Sounds As Is .....................................................53
Selecting drums
to act as a guide for recording ................... 54
Setting up a drum track (Track Type Select).........54
Playing drum sounds .................................................55
Selecting drum patterns ............................................56
Rev0.02
10
Contents
Changing the drum pattern tempo..........................58
Changing the Final Mastering Track ......................80
Set the new tempo
using the TIME/VALUE dial ................................58
Rectifying recording mistakes
(Undo/Redo) ...............................................81
Setting the tempo using [TAP]..............................59
Undo ..............................................................................81
Changing the drum sounds ......................................60
Redo...............................................................................81
Adjusting the recording level ...................... 62
Mixing audio from various tracks
onto a stereo track (Bounce)........................82
Setting an audio input’s left-right position
(Input Pan) ................................................. 63
Applying reverb for a warmer sound
during recording (Reverb)........................... 64
Recording................................................... 66
Recording a new track while listening to
an earlier recording (Overdubbing) ............ 68
Saving your song (Song Save) .................... 70
Saving your song from the Utility screen ..............71
Demo Song List........................................... 72
Setting the left-right position
of each track (Pan).......................................................82
Suppressing variations
in volume (Compressor) ............................................82
Adjusting the sound
of each track (Equalizer) ............................................83
Enhancing the sound (Loop Effects) .......................84
Applying reverb ......................................................84
Applying chorus, delay or doubling ....................85
Mixing the playback tracks
to a single stereo track (Bounce) ..............................86
Bouncing directly to a CD-R/RW disc ....................87
Section 1
Recording and Playback ...... 73
Section 2 Editing...............89
Playing back
repeatedly (Repeat Function) ...................... 74
Placing markers in your song (Marker) .......90
Re-recording only the portion
that is mistaken (Punch In/Out) .................. 75
Clearing markers.........................................................90
Manual punch in and punch out .............................75
Editing markers...........................................................91
Performing manual punch in
and punch out using [REC] ...................................75
Moving markers ......................................................91
Performing manual punch in and
punch out using a foot switch ...............................76
Auto punch in and punch out ..................................76
Specifying the section to be re-recorded..............76
Recording procedure ..............................................77
Repeating recording
in a specific section (Loop Recording)....................78
Specifying the section to be repeated ...................78
Specifying the section to be recorded...................78
Performing loop recording ....................................78
Using V-Tracks ........................................... 79
Switching V-Tracks....................................................79
Moving to markers .....................................................90
Naming a marker ....................................................91
Assigning an audio-CD song division
to a marker ...............................................................91
Changing scenes assigned to markers .................92
Stopping automatically
at a marker (Marker Stop)......................................92
Registering and recalling
mixer settings (Scene) .................................93
Registering, recalling, and deleting scenes ...........93
Recalling a scene
without changing track volumes .............................93
Recalling scenes automatically
during recording or playback (Auto Scene) ..........94
Setting an Auto Scene .............................................94
Clearing an Auto Scene ..........................................95
11
Rev0.02
Assigning names to V-Tracks (Track Name) ........80
Positioning a marker ..................................................90
Contents
Disabling Auto Scene .............................................95
Setting Auto Scene control
of effects and track EQ............................................95
Finding the start or end of a section
of audio (Scrub/Preview)............................ 97
Using Scrub to find the
start of a section of audio ..........................................97
Changing the scrubbing direction ..........................98
Using Scrub and Preview
to find the end of a section of audio .......................98
Enabling Preview ....................................................98
Using Scrub and Preview.......................................98
Editing a recorded
performance (Track Edit)............................. 99
Section 3 Using Effects ....115
Makeup of BR-1200CD effects ...................116
Using insert effects....................................118
Effect patches and banks.........................................118
Modifying insert effect settings.............................119
Changing the sound
of insert effects using the VALUE knobs ...........120
Changing parameters
assigned to VALUE knobs ...................................120
Changing effect block connections .....................121
Saving insert effect settings....................................122
Copying insert effect settings.................................123
Copying audio data (Track Copy) ...........................99
Changing insert effect
connections (Insert Effect Location)......................123
Moving audio data (Track Move)..........................101
Using an expression pedal ......................................124
Exchanging audio data (Track Exchange) ............103
Inserting a blank space
between audio data (Track Insert).........................104
Maximizing the volume levels
of data recorded to the tracks (Normalize) ..........105
Deleting audio data and closing
the resulting gap (Track Cut) .................................107
Erasing audio data (Track Erase) ...........................108
Organizing your songs ............................. 110
Displaying song details (Song Information).......110
Using loop effects .................................... 125
Changing the Loop Effect Settings........................125
Chorus/Delay/Doubling.....................................125
Reverb .....................................................................126
Using track-specific compressors
(Track Compressor) ...................................128
Switching track compressors
between stereo and mono (Stereo Link) ............129
Copying songs (Song Copy) ...................................110
Using track-specific equalizers
(Track EQ) .................................................130
Erasing songs (Song Erase) .....................................111
Setting the Track EQ ................................................130
Making the most of
hard disk capacity (Song Optimize) .....................112
Switching equalizers
between stereo and mono (Stereo Link) ............130
Protecting a song (Song Protect) ............................113
Protecting a song (Song Protect) .........................113
Fixing the pitch of vocals/Adding a
backing chorus to vocals (Vocal Tool Box) .......131
Removing song protection...................................113
The Vocal Tool Box ..................................................131
Naming a song (Song Name)..................................114
Makeup of the Vocal Tool Box...............................131
Saving your song (Song Save)................................114
Vocal Tool Box patches............................................132
Fixing the pitch of vocals (Pitch Correction) .......132
Setting the correction method
for vocal pitch (Pitch Correction Edit) ..................133
Making Detailed Settings for
Pitch Correction (Correction Event Map).............134
Inserting rests in a backing chorus .......................137
12
Rev0.02
Applying a backing chorus
to vocals (Harmony Sequence)...............................136
Contents
Setting the application method for
backing choruses (Harmony Sequence Edit) ......137
Section 4 Using Rhythm..153
Making More Detailed Backing Chorus
Settings (Harmony Event Map) .............................138
Makeup of Drum/Bass/Loop Phrase......... 154
Saving Vocal Tool Box settings
(Patch Write) ..............................................................140
Bass ..............................................................................154
Copying Vocal Tool Box settings
(Patch Copy)...............................................................141
Recreating the characteristics of different
monitor speakers (Speaker Modeling) ...... 142
Speaker Modeling patches .....................................143
Using Speaker Modeling ........................................143
Turning off Speaker Modeling............................143
Modifying Speaker Modeling settings ................143
Saving Speaker Modeling settings .......................144
Copying Speaker Modeling settings ....................145
Mastering................................................. 146
Before using the Mastering Tool Kit ....................146
Selecting the Mastering Tool Kit...........................146
Adjusting the
Mastering Tool Kit Effects and Volume ..............147
Mastering ...................................................................148
Drums..........................................................................154
Loop Phrases ..............................................................155
Rhythm arrangements ............................. 156
Pattern mode and Arrangement mode..................156
Using drums ............................................ 157
Setting the track type ...............................................157
Playing drum sounds ...............................................157
Selecting drum patterns ..........................................158
Changing the drum pattern tempo........................158
Setting the tempo using [TAP] ............................158
Selecting a drum kit .................................................159
Creating drum patterns .............................160
Preparing for recording ...........................................160
Creating drum patterns
using real-time recording ........................................161
Practicing before recording (Rehearsal).............162
Recording in perfect time (Quantize).................162
Modifying
Mastering Tool Kit settings (Edit).........................149
Creating drum patterns using step recording .....163
Editing patch settings ...........................................149
Correcting drum patterns (Microscope) ...............165
Saving Mastering Tool Kit settings ......................150
Changing the
drum pattern’s groove (Swing) ..............................167
Copying Mastering Tool Kit settings ...................151
Using Auto Fade In/Out ..........................................151
Performing
automatic fade-in (Auto Fade In) .......................151
Performing
automatic fade-out (Auto Fade Out)..................152
Changing a drum pattern’s name ..........................168
Copying drum patterns............................................168
Deleting drum patterns ...........................................169
Loading drum patterns
from the CD-R/RW drive (SMF Import)...............169
Using bass ................................................171
Setting the track type ...............................................171
Playing bass ...............................................................171
Selecting bass sounds ..............................................172
Selecting bass patterns ............................................172
Specifying bass pattern chords ..............................173
Changing the bass pattern’s tempo .......................173
Creating bass patterns ..............................174
Preparing for recording ...........................................174
Rev0.02
13
Contents
Creating bass patterns
using real-time recording........................................175
Creating rhythm arrangements .................199
Practicing before recording (Rehearsal).............176
Erasing All Pattern Assignments
at One Time................................................................200
Recording in perfect time (Quantize).................176
Assembling drum and bass patterns ....................199
Creating bass patterns
using step recording.................................................177
Inserting patterns......................................................200
Correcting bass patterns (Microscope) .................179
Changing and moving chords ................................201
Changing the
bass pattern’s groove (Swing) ................................180
Deleting chords .........................................................201
Changing a bass pattern’s name ............................181
Copying bass patterns .............................................182
Deleting bass patterns .............................................182
Loading bass patterns
from the CD-R/RW drive (SMF Import) ..............183
Using Loop Phrases .................................. 185
Inputting chords .......................................................200
Inserting chords ........................................................202
Assembling Loop Phrases .......................................202
Erasing All Loop Phrases at One Time.................204
Inserting Loop Phrases ............................................204
Copying a Loop Phrase from a
rhythm arrangement to an audio track .................204
Setting the track type ...............................................185
Modifying all of the loop phrases in the current
rhythm arrangement (Arrangement Modify) ..............206
Playing Loop Phrases...............................................185
Naming and saving rhythm arrangements ..........207
Selecting a Loop Phrase...........................................186
Copying a rhythm arrangement.............................208
Adjusting the Loop Phrase
and Drum Volume Balance ....................................186
Deleting a rhythm arrangement.............................208
Changing the Loop Phrase tempo .........................187
Setting the tempo using [TAP]............................187
Creating Loop Phrases .............................. 188
Setting tempos and beats for
individual measures (Tempo Map/Beat Map) ......209
Setting tempos for
individual measures (Tempo Map).......................209
Using a portion of an audio track..........................188
Setting beats for
individual measures (Beat Map)............................210
Using wave data on a
CD-ROM/R/RW disc (Loop Phrase Import) ........190
Using a metronome...................................211
Reading all files at once........................................191
Setting the track type ...............................................211
Specifying and modifying the
source loop phrase (Time Modify)........................192
Playing a metronome ...............................................211
Modifying Loop Phrase settings............................193
Adjusting the Metronome
and Loop Phrase Volume Balance .........................212
Assigning Loop Phrases to track buttons ............194
Copying Loop Phrases .............................................194
Erasing Loop Phrases ...............................................195
Setting the Universal Beat
for Drums, Bass, and Loop Phrases........... 196
Using rhythm arrangements ..................... 197
Selecting a rhythm arrangement............................197
Changing the rhythm arrangement tempo ..........197
Setting the tempo using [TAP]............................198
Selecting metronome sounds .................................212
Creating Drum and Bass Patterns
Simply and Easily (EZ Compose) ................213
What is EZ Compose? ..............................................213
Using EZ Compose ...................................................213
Creating a pattern..................................................213
Adding a chord progression................................214
Adding a fill-in ......................................................214
Pasting In Rhythm Arrangements ......................215
Modifying rhythm arrangement settings ............198
Rev0.02
14
Contents
Section 5
Using the CD-R/RW Drive ... 217
Creating Audio CD .................................... 218
Precautions.................................................................218
Setting the time between songs (Pre-Gap) ..........218
Writing Songs to Discs ............................................219
Writing songs individually
(Track At Once) .....................................................219
Setting the time until the
CD-R/RW drive stops (CD Hold Time)................238
Importing songs
from CDs to audio tracks...........................239
Section 6 Using MIDI ......241
MIDI fundamentals....................................242
What is MIDI? ...........................................................242
Writing several songs at once
(Disc At Once By Song) ........................................220
MIDI connectors .......................................................242
Creating Audio CDs with Audio Tracks
Separated by Markers (Disc At Once by Marker) .........222
MIDI Implementation Charts ................................242
MIDI channels...........................................................242
Playing Back Audio CDs.........................................224
Playing drum and bass patterns
on external MIDI sound module ................243
Enabling playback on CD players (Finalize) ......225
Drum sounds and note numbers ...........................244
Using the CD-R/RW drive
to exchange data ..................................... 226
Synchronizing external
MIDI sequencers and rhythm machines .... 245
Saving Recorded Songs to CD-R/RW Discs ........226
Backing up a song (Song Backup) ......................226
Synchronizing a MIDI device to the rhythm’s
tempo using the MIDI timing clock .....................245
Reading backup songs
back into the hard disk (Song Recover) .............227
Synchronizing a MIDI sequencer
to the playback time using MTC ...........................246
Saving Data on the Hard Disk
to CD-R/RW Discs ....................................................228
Changing the TIME field display........................248
Saving Data
to CD-R/RW Discs (User Backup) .....................228
Reading backup user data
back into the hard disk (User Recover)..............229
Saving the Entire Contents
of the Hard Disk to a CD-R/RW Disc ...................230
Saving the Hard Disk Contents to a CD-R/RW
Disc (HDD Backup) ..............................................230
Reading backed-up hard disk contents
back into the hard disk (HDD Recover) ............231
Copying and writing waveform data....................232
Synchronizing a MIDI device by recording its
tempo changes on the BR-1200CD (Sync Track) .........248
Setting the starting time
of synchronization (Sync Offset)...........................250
Controlling MMC-compatible devices
from the BR-1200CD ................................ 251
Controlling track volumes
via MIDI (MIDI Fader) ............................... 252
Turning MIDI Fader on and off.............................252
Setting the MIDI channel for MIDI Fader ..........253
Confirming the current fader positions ...............253
Copying waveform data from a computer
to the audio tracks (WAV/AIFF Import) ..........232
Inputting drum and bass patterns
from a MIDI keyboard (MIDI Recording) ...... 254
Copying audio track waveform data
to computers (WAV/AIFF Export) ....................233
Using MIDI to Control the Switching of the
Insert Effects (Effects Program Change) ........ 255
Playing SMFs using
external MIDI instruments (SMF Player) ............236
Erasing data from a
CD-RW disc (CD-RW Erase) ..................................237
Rev0.02
15
Contents
Section 7 Using USB ....... 257
Performing hard disk operations...............284
Before Using USB (Overview) ................... 258
Viewing information about the
hard disk (Hard Disk Information).......................284
Operations that can be performed via USB.........258
Initializing the hard disk (Disk Initialize) ..........285
Compatible OS..........................................................258
Initializing only one of multiple partitions ........286
Connecting a computer............................................259
Structure of data
on the BR-1200CD’s hard disk ...............................259
With Windows ......................................... 260
Backing up the BR-1200CD’s data.........................260
Reading backup data back into the
BR-1200CD from the PC (Recover)........................261
Section 9 Appendices .....287
Insert effect algorithm list..........................288
BANK: GUITAR .......................................................288
1. COSM OD GUITAR AMP................................288
2. ACOUSTIC SIM.................................................288
Saving BR-1200CD track data in
WAV/AIFF format (WAV/AIFF Export) ...............263
3. BASS SIM............................................................288
Loading WAV/AIFF files in
BR-1200CD tracks (WAV/AIFF Import) ...............265
5. ACOUSTIC GUITAR ........................................289
With Macintosh ........................................ 267
7. COSM BASS AMP.............................................289
Backing up the BR-1200CD’s data.........................267
8. COSM OD BASS AMP......................................290
Reading backup data back into the
BR-1200CD from the PC (Recover)........................268
9. COSM COMP BASS AMP................................290
4. COSM COMP GUITAR AMP..........................289
6. BASS MULTI......................................................289
BANK: MIC................................................................290
Saving BR-1200CD track data in
WAV/AIFF format (WAV/AIFF Export) ...............270
10. VOCAL MULTI ...............................................290
Loading WAV/AIFF files in
BR-1200CD tracks (WAV/AIFF Import) ...............271
12. COSM VOCAL COMP ...................................291
11. VOICE TRANSFORMER ...............................291
13. MIC MODELING ............................................291
Section 8
Other Convenient Functions .... 273
BANK: STEREO........................................................291
Adjusting the display’s contrast ................ 274
BANK: SIMUL ..........................................................292
14. STEREO MULTI ..............................................291
15. LO-FI BOX ........................................................291
16. VO+GT.AMP ...................................................292
Tuning instruments (Tuner) ....................... 275
Setting the reference pitch ......................................275
17. VO+AC.SIM .....................................................292
18. VO+ACOUSTIC ..............................................292
Tuning.........................................................................275
Mixing audio-device output with the
BR-1200CD’s output (Audio Sub Mix)........ 277
Using condenser microphones
(Phantom Power) ..................................... 278
Creating a MD protected
from digital copying ................................. 280
Changing the content of the
level meter display (Pre/Post Fader) ......... 281
16
Acoustic Guitar Simulator ......................................293
Acoustic Processor ....................................................293
3 Band Equalizer .......................................................294
4 Band Equalizer .......................................................294
Bass Simulator...........................................................294
Bass Cut Filter............................................................294
Chorus .........................................................................295
2x2 Chorus ..................................................................295
Compressor ................................................................296
Rev0.02
Initializing
all BR-1200CD settings (Initialize) ............. 282
Insert effect parameter functions ...............293
Contents
COSM Comp/Limiter
(COSM Compressor/Limiter) .................................296
Mastering Tool Kit parameter functions .... 315
COSM Overdrive/Distortion..................................297
Bass Cut Filter............................................................316
COSM PreAmp&Speaker .......................................297
Enhancer .....................................................................316
De-esser ......................................................................299
Input ............................................................................316
Defretter .....................................................................300
Expander .....................................................................316
Delay ...........................................................................300
Compressor ................................................................317
Distance ......................................................................301
Mixer ...........................................................................317
Doubling ....................................................................301
Limiter.........................................................................317
Enhancer .....................................................................301
Output .........................................................................317
Flanger ........................................................................302
Foot Volume ..............................................................302
Humanizer .................................................................302
Limiter.........................................................................302
Equalizer.....................................................................315
Effect parameters
assigned to VALUE knobs ..........................318
Insert Effect Patch List................................327
Lo-Fi Box.....................................................................303
Vocal Tool Box Patch List...........................330
Mic Converter............................................................304
Speaker Modeling Patch List .....................330
Noise Suppressor......................................................304
Mastering Tool Kit Patch List......................330
Octave .........................................................................304
Pan ...............................................................................304
Preset Rhythm Arrangement List ...............331
Phaser..........................................................................305
Preset Drum Pattern List ............................332
Pickup Simulator ......................................................305
Preset Bass Pattern List .............................333
Pitch Shifter ...............................................................306
Preamp ........................................................................307
User Loop Phrase List ................................334
Ring Modulator.........................................................308
Harmony Sequence Chord Note List...........336
Short Delay ................................................................308
Troubleshooting ........................................337
Slow Gear...................................................................308
Speaker Simulator ....................................................308
Error Messages .........................................340
Sub Equalizer ............................................................309
MIDI Implementation.................................343
Tremolo.......................................................................309
Specifications ............................................349
Tremolo/Pan ..............................................................309
Index ....................................................... 351
Uni-V...........................................................................309
Vibrato ........................................................................310
Voice Transformer....................................................310
Wah..............................................................................310
Speaker Modeling parameter functions .... 313
SP Modeling (speaker modeling)..........................313
Bass Cut Filter ...........................................................314
Low Freq Trimmer....................................................314
High Freq Trimmer ..................................................314
17
Rev0.02
Limiter.........................................................................314
Introduction to the BR-1200CD
Main Features
■ Ease of use
The BR-1200CD has been designed so that even
beginners will be able to use it in the same way as a
standard tape recorder.
Regardless of whether you want to record put together a
demo, or create a finished audio CD, you will be able to
put the BR-1200CD to use as soon as you take it out of
the box. Novices and experts alike can fully enjoy the
thrilling world of digital recording using this advanced
digital audio workstation.
■ Digital processing of audio
In addition to a digital mixer and a digital hard-disk
recorder, the BR-1200CD also features a programmable
drum and bass sequencer and comes with a full
complement of digital effects. All the steps needed for
professional-level music recording, such as the editing of
recorded performances, track bouncing, the application
of effects, and mix-down can be carried out completely
within the digital domain, thus ensuring that there will
be no degradation in the quality of your audio.
■ CD-quality digital sound
The BR-1200CD records and plays back digital audio at a
sampling rate of 44.1 kHz and with an uncompressed
linear bit depth of 16 bits—exactly the same as
commercially available music CDs. Thanks to this, you
can record musical performances with no loss of audio
quality whatsoever.
■ 12-track simultaneous playback
The BR-1200CD digital audio workstation features 8
tracks for mono recording and playback in addition to 4
tracks for recording and playback in stereo; furthermore,
all 12 of these tracks can be played back at the same time.
■ V-Tracks
Each of the BR-1200CD’s audio tracks provides 16 VTracks (or virtual tracks), allowing you to record as
many as 192 (12 x 16) different performances. If, for
example, you want to record multiple takes of a guitar
solo so that the best can be chosen later on, this feature
allows you to do so with ease.
The BR-1200CD provides you with a full range of
powerful effects for many different situations. In specific
terms, Insert Effects are used during recording, Loop
Effects work like standard send/return effects, the
Mastering Tool Kit allows you to master finished songs,
the Vocal Tool Box cleans up vocal tracks, and Speaker
Modeling allows you to hear how your songs would
sound on different speaker systems. With this arsenal at
your disposal, you will be able to make professionalsounding recordings using just the BR-1200CD—without
having to rely on external effects processors. In addition
to COSM amplifier modelings inherited straight from
the BOSS GT-6/GT-6B, the Insert Effects feature a wealth
of other modelings and effects algorithms. And rather
than being restricted to use with guitars alone, the Insert
Effects also provide wide-ranging support for 8-track
simultaneous recording, microphone modeling, and
many other applications. What’s more, the Loop Effects
include spatial effects such as chorus, delay and reverb,
which are vital for proper stereo mixdown.
■ Vocal Tool Box for better-sounding
vocals
The BR-1200CD’s Vocal Tool Box empowers you with
the ability to fix incorrect pitches in recorded vocal
performances and to automatically apply vocal
harmonies to your vocal tracks.
■ Creation of audio and backup CDs
The BR-1200CD comes with its own CD-R/RW drive
already installed, and you can use this to easily create
audio CDs by burning your finished songs onto CD-R
discs. In addition, the CD-R/RW drive also allows you
to use CD-R/RW discs to conveniently back up songs
and song data.
Before you use the CD-R/RW drive, it is important that
you first of all read “Before Using CD-R/RW Discs” (p. 8).
■ Mastering Tool Kit for professionalsounding CDs
The Mastering Tool Kit integrated into the BR-1200CD
allows you to make final adjustments to the volume and
other characteristics of mixed songs. Featuring an
equalizer and limiter in addition to a 3-band compressor,
this tool kit makes it easy to balance the volume and
power of songs before they are written to an audio CD.
Rev0.02
18
■ A host of digital effects
Introduction to the BR-1200CD
■ Powerful editing functions
With the BR-1200CD, you can copy, move, and erase
audio, and perform many other editing operations that
are only possible with full digital recorders. For example,
you could repeat a certain four-measure drum pattern
over and over to create a break-beats sound;
alternatively, you could easily position the exact same
chorus section at the beginning and end of a song.
What’s more, the BR-1200CD uses a process known as
Non-Destructive Editing to store the data from before a
edit, and as a result, you can use functions known as
Undo and Redo to cancel and restore edits.
“Rectifying recording mistakes (Undo/Redo)” (p. 81)
■ Saving of mixer settings
The term Scene is used to describe a batch of BR-1200CD
mixer and effect settings, and up to 100 scenes can be set
up and stored for each song. Accordingly, these settings
can be conveniently recalled whenever you are
balancing volumes during mix-down, comparing the
sound of different effects, or performing other similar
operations. In addition, another BR-1200CD function
known as Auto Scene allows registered scenes to be
recalled automatically during playback.
“Registering and recalling mixer settings (Scene)” (p. 93)
■ Rapid relocation of the current position
The BR-1200CD’s Marker function allows you to position
as many as 100 different markers at various points
within your song. For example, if you position markers
at the end of the intro, the beginning of the guitar solo,
and other similar points, you will be able to jump to
these points in an instant whenever you want to listen to
the corresponding sections again. You can also assign
names to any or all of these markers, and this proves
extremely helpful during involved editing sessions.
■ PCM Drum/Bass
A PCM Drum/Bass (p. 154) capable of sequencing drum
and bass patterns has been integrated into the BR1200CD, 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 rhythm-section
performance with interesting variations at appropriate
points during your song, and the PCM Drum/Bass also
allows you to set up chord progressions for the bass part.
Once you have played and recorded tracks along with
the BR-1200CD’s PCM Drum/Bass, it will then be very
easy to perform edits at measure positions.
“Section 4 Using Rhythm” (p. 153)
■ Loop phrase functionality
The BR-1200CD lets you import commercially available
loop phrase data using the CD- R/RW drive and then
save this data on the internal hard disk. The tempo for
these loop phrases can then be freely set to the required
speed so that they can be played in sync with your
recorded tracks. Using this function, you can easily
create songs by layering performances over break beats
or other rhythm patterns.
■ Chromatic tuner
Featuring a chromatic tuner covering the range from C1
to B6, the BR-1200CD allows you to quickly tune any
guitar or bass guitar connected to it (p. 275).
“Placing markers in your song (Marker)” (p. 90)
Rev0.02
19
Panel Descriptions
Top Panel
fig.0005-01
2
1
5
9
3
4
6
8
7
10
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.
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 -6 dB. Use the INPUT SENS
knobs to adjust the input sensitivity in such a way that each
PEAK indicator only lights up occasionally when the
corresponding instrument is being played hard.
3. 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.
What is AF method (Adaptive Focus method)?
Adaptive Focus is a unique Roland/BOSS 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 MIC 2 jack for recording
from a line-in or a microphone.
SIMUL:
SIMUL mode is activated by holding down [GUITAR/BASS]
and pressing [VOCAL]. In this condition, either the
GUITAR/BASS or the MIC 1 jack will be selected together
with the 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.
LINE:
This button is used to select the LINE jack. In this case, the
audio from the input source recorded on the track selected
for recording.
GUITAR/BASS:
This button is used to select either the GUITAR/BASS jack
for recording guitar or bass or the MIC 1 jack for recording
from a line-in or a microphone. Note that the GUITAR/BASS
jack will be selected automatically when an instrument is
connected to it.
20
Use this button to select an insert effects’ patch (p. 118) and
to call up the screen for editing effects settings and the like.
Rev0.02
* When either [GUITAR/BASS] or [VOCAL] is alone selected,
Adaptive Focus (AF) will be activated for recording.
4. EFFECTS button
Panel Descriptions
5. 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.
SEARCH
button:
Use this button to jump back to the previous marker before
the current position.
SEARCH
button:
6. TUNER ON/OFF button
Use this button to jump forward to the next marker after the
current position.
Use this button to turn the tuner (p. 275) on and off.
CLEAR button:
7. REC MODE (recording mode) 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.
This is used to prepare the BR-1200CD for recording. In
addition, it also allows you to select one of the following
three recording modes:
10. AUTO PUNCH IN/OUT
INPUT:
The AUTO PUNCH IN/OUT section is used to make settings
for the auto punch in/out function.
Allows you to record the instruments and microphones
connected to the input jacks. The units is normally used in
this mode.
ON/OFF button:
BOUNCE:
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.
Allows you to mix the audio from several tracks and to
record it on one or two different tracks.
IN button:
MASTERING:
Allows you to master your finished songs using the BR1200CD’s Mastering Tool Kit.
8. 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.
9. 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 BR-1200CD will
place a marker at the current position.
Sets the punch-in position. When pressed, the current
position is registered as the punch-in position and the
button’s indicator lights up. Once a punch-in position has
been registered, you can jump to this position at any time by
pressing [IN].
OUT button:
Sets the punch-out position. When pressed, the current
position is registered as the punch-out position and the
button’s indicator lights up. Once a punch-out position has
been registered, you can jump to this position at any time by
pressing [OUT].
DELETE button:
Deletes the current punch-in or punch-out position. To do
this, hold down [DELETE] and then press either [IN] or
[OUT] to delete the corresponding auto punch position.
When the [IN] or [OUT] setting is cleared in this way, its
indicator will be turned off.
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.
21
Rev0.02
“Placing markers in your song (Marker)” (p. 90)
Panel Descriptions
fig.0005-02
20
28
29
30
19
18
21
14
22
13
12
27
26
25
23
11
24
15 16 17
11. ZERO button
17. REC (record) button
Press to jump to the very beginning of the song.
This is the BR-1200CD’s record button, and in addition to
normal recording, it is also used to perform manual punch-in
and punch-out. This button’s indicator will turn red and
begin to flash when the BR-1200CD is standing by to start
recording, and this will change to a steady red when
recording is actually started.
12. REW button
The song will rewind while you hold down this button.
13. FF button
The song will fast-forward while you hold down this button.
14. REPEAT button
Selects a section of your song to listen to repeatedly (“Playing
back repeatedly (Repeat Function)” (p. 74)).
This function is useful when you want to record several
times using punch-in and punch-out (p. 75) before saving the
best performance.
15. STOP button
This button stops song playback or recording.
16. 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.
This calls up a screen that allows settings to be made for the
pan (i.e., the left-right position) of each playback track and
input source (p. 82).
19. 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. 82).
20. 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. 83).
21. 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. 125).
Rev0.02
22
18. PAN button
Panel Descriptions
22. 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. 126).
23. AUDIO TRACK MIXER faders 1–8,
9/10, 11/12
These faders are used to control the volumes of the
corresponding tracks during playback.
Since tracks 9/10 and 11/12 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 8 and
9/10 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.
24. Track buttons 1–8, 9/10, 11/12
Track buttons 1 through 8, 9/10, and 11/12 are used to select
tracks for recording or for the setting of parameters.
Furthermore, they can also be used to select drum and/or bassguitar sounds when you are creating a drum pattern or a bass
pattern. Since tracks 9/10 and 11/12 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:
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.
25. 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. 131)
26. 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.
“Mastering” (p. 146)
27. SPEAKER MODELING button
Use this button to turn the Speaker Modeling on and off, and
also to call up a screen for setting of its parameters.
“Recreating the characteristics of different monitor
speakers (Speaker Modeling)” (p. 142)
28. 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. 156.
The track contains no audio data (i.e., it has not been
recorded on).
29. EDIT button
Steady green:
Used to input and set parameters for Drum, Bass, Loop
Phrase and rhythm arrangements (p. 153).
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 BR-1200CD
is in standby mode for recording.
Steady red:
The track is being recorded to.
When ARRANGEMENT indicator is lit up:
Press [EDIT] to call up a screen for creating rhythm
arrangements and editing the relevant parameters.
When PATTERN indicator is lit up:
Press [EDIT] to call up a screen for creating drum and/or
bass patterns and editing the relevant parameters.
30. EZ COMPOSE button
23
Rev0.02
This enables the “Easy Compose function,” a handy feature
that makes creating rhythm patterns and arrangements a
snap (p. 213).
Panel Descriptions
fig.0005-03
34
37
38
46 47
39
40
44
43
41
42
45
31
32
36
35
33
31. TAP button
34. TRACK TYPE SELECT button
By tapping this button along with your song, you can set the
tempo for the Drum, Bass and Loop Phrases (p. 158, p. 173, p.
187).
Calls up a screen for selecting track types. Tracks 8 and 9/10
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:
32. V-TRACK button
Calls up a screen for selecting V-Tracks (p. 44).
Track 8
33. TRACK MUTE button
Track 9/10
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 (p. 46).
• If a track being recorded is muted, the BR-1200CD will
automatically cancel muting when recording has ended.
• Track Mute is not enabled for tracks other than those
whose Track Type is set to AUDIO (p. 157, p. 171, p. 185).
The Track Mute is also cancelled with the track type is
changed.
“Section 4 Using Rhythm” (p. 153)
35. TRACK TYPE indicators
These indicators allow you to confirm the current track types
for Tracks 8 and 9/10.
Track 8
Track 9/10
Lit
Bass
Drum (metronome)
& Loop Phrase track
Unlit
Audio track
Audio track
Rev0.02
24
Audio track or Bass track
Audio track or Drum (metronome) & Loop
Phrase track
Panel Descriptions
36. VALUE knobs
45. CD-R/RW
When the icons for these knobs are displayed on-screen, use
these knobs to change setting values.
AUDIO CD WRITE/PLAY button
37. UTILITY button
Calls up a wide range of functions such as track editing,
organization of songs, and the like.
38. 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)” (p. 81)).
39. 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.
40. CURSOR buttons
Press these buttons to move the cursor in the corresponding
direction.
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 CD-R/RW disc or to reload the saved songs to the BR1200CD.
LOOP PHRASE IMPORT button
Use this button to import break-beats and various other
types of Loop Phrase.
46. MIDI indicator
This indicator will light up whenever the BR-1200CD
receives MIDI data via the MIDI IN connector.
47. HD ACCESS indicator
This indicator will light up whenever the BR-1200CD is
reading or writing on the hard disk.
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.
41. ENTER/YES button
Press this button to confirm a selection or a value being
entered.
42. EXIT/NO button
Press this to return to the previous screen or to reject an
operation.
43. MASTER fader
Controls the overall volume of your song.
44. F1–F3 buttons
Pressing these buttons while the functions are indicated in
the bottom part of the screen executes the corresponding
function.
Rev0.02
25
Panel Descriptions
Front Panel
fig.0005-04
3 2
1
5
4
7
6
1. GUITAR/BASS jack
CD-R/RW drive
This high-impedance input jack is used to directly connect
guitar or bass.
fig.05-02
The 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.
2. PHONES jack
Use this jack to connect separately sold headphones.
3. PHONES VOLUME knob
Adjusts the volume for headphones connected to the
PHONES jack.
The BR-1200CD uses this drive unit to read from, write to,
and play CD-R/RW discs.
Before you use the CD-R/RW drive, it is important that
you first of all read “Before Using CD-R/RW Discs” (p. 8).
4. Disc tray
Place the CD-R/RW discs on this tray.
5. Access indicator
This indicator will light up whenever data is being read from
or written to a CD-R/RW disc.
6. EJECT button
Press this button to eject a CD-R/RW disc from the drive
unit. Note that it will only be possible to eject the CD-R/RW
disc while the BR-1200CD is powered up.
If you need to eject the disc after the power has been turned
off, turn the BR-1200CD back on and then press the EJECT
button. If excessive force is used to extract a disc, you risk
causing damage to the drive.
7. 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. 9).
Rev0.02
26
Panel Descriptions
Display
5. Information
fig.05-03
The Information box displays various items of song data
(such as effect patch, marker names, tempo, chord, and the
remaining time available for recording).
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” (p. 274).
fig.0005-05
1
2
5
3
6
4
7
6. 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 post-fader volume levels).
If you would like the level meters to show the volumes
before passing through the faders (i.e., the pre-fader volume
levels), refer to “Changing the content of the level meter
display (Pre/Post Fader)” (p. 281).
1. Marker
7. Master level meter
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, “- - -” will be
displayed here.
This level meter provides a graphic display of the overall
stereo volume after audio has passed through the MASTER
fader.
2. 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.
3. Time
This box displays the current position in terms of hours,
minutes, and seconds.
4. 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 (non-drop). This represents
one type of MIDI Time Code (MTC) specification, and if you
want to operate the BR-1200CD and other MIDI devices in
synchrony with each other, all must be set to the exact same
MTC specification.
“Synchronizing external MIDI sequencers and rhythm
machines” (p. 245)
Rev0.02
27
Panel Descriptions
Rear Panel
fig.0005-06
3
2
13
1
4
5
6 7
8
9
10 11
12
14
1. POWER switch
6. MIDI IN connector
Use this switch to turn the BR-1200CD on and off (p. 36).
The BR-1200CD receives MIDI data via this connector.
Connect the MIDI OUT connector of external MIDI devices
such as sequencers to this connector using a MIDI cable.
2. DC IN (AC adaptor) jack
Connect the BR-1200CD’s AC adaptor to this jack.
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 BR1200CD, there is a danger of important audio data being
permanently lost.
4. USB connector
Plug a USB cable into this connector when you want to
exchange data between the BR-1200CD and a PC.
“Section 7 Using USB” (p. 257)
“Section 6 Using MIDI” (p. 241)
7. DIGITAL OUT connector
This optical-type connector is used to output digital audio
signals from the BR-1200CD, and its output is identical to
that of the LINE OUT jack. You can use the DIGITAL OUT
connector to record the BR-1200CD’s output on CD-R or MD
recorders. In addition, it can also be used to make
connections with amplifiers, speakers, and other devices
with digital inputs.
8. FOOT SW jack
Use this jack to connect a separately sold foot switch (such as
the Roland DP-2 or BOSS FS-5U). With a foot switch
connected, you can use it to carry out remote-control
operations such as the start and stop of playback or punchin/out.
5. MIDI OUT connector
The BR-1200CD transmits MIDI data via this connector.
Connect the MIDI IN connector of external MIDI devices
such as rhythm machines, sequencers, and sound modules to
this connector using a MIDI cable.
“Section 6 Using MIDI” (p. 241)
“Using a foot switch” (p. 39)
9. EXP (Expression) PEDAL jack
Use this jack to connect a separately sold expression pedal
(such as the Roland EV-5 or BOSS FV-500L/FV-500H). When
connected, an expression pedal allows you to use the internal
effects processor’s pedal wah and other similar effects.
“Using an expression pedal” (p. 124)
Rev0.02
28
Panel Descriptions
10. LINE OUT jacks
The LINE OUT jacks are used to output an analog audio
signal. Connect these jacks to a device such as a CD-R, MD,
or tape recorder to make an analog recording of the BR1200CD’s output.
If necessary, you can make a setting that mixes the
signals being input via LINE IN jacks with the signal
being output via the LINE OUT jacks. (Audio Sub Mix:
p. 277)
11. LINE IN jacks
The LINE IN jacks for analog audio signals. These jacks are
used to connect CD/MD players and other audio devices
and keyboards and other external sound sources, or tape
recorder to make an analog recording of the BR-1200CD’s
output.
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 (rear panel: 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)
12. MIC 1–2 jacks
These input jacks and connectors are used with line sources
and microphones. Each input can accept two different types
of connections—namely, a balanced connection using the
TRS 1/4” phone jack, and a balanced connection using the
XLR connector.
• Telephone-line ground or lightning rod (may be
dangerous in the event of lightning)
In addition, phantom power at +48 V can be supplied via the
XLR connectors.
“Using condenser microphones (Phantom Power)” (p. 278)
• If a connection is made to both the TRS 1/4” phone jack
and the XLR connector, priority will be given to the TRS
1/4” phone jack.
• The 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/
Rev0.02
29
Common operations and display items
Top screen
Displayed shortly after the power is turned on, this is the
main BR-1200CD screen. Among other important
information, the top screen presents the current position
within the song, the level meters, and remaining recording
time on the hard disk.
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 BR-1200CD completes the current process).
foggy-01d
Tempo
Name of Mark at Current Position
Current Position
Level Meters
Remaining Recording Time
Unless otherwise specified, all procedures described in this
manual will require you to return first of all to the top screen.
Mastering Mode Top Screen
In Mastering mode (p. 146) only, the top screen changes to
the screen like that shown to the left.
Current position
fig.06-02d
Marker Number
Beat Minute Frame
Measure
Hour Second
Sub Frame
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 bars 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 sub-frames. Note that different devices use
different MTC specifications.
If you want to synchronize the BR-1200CD with another
MIDI device using MTC, you will first of all need to set both
to the same MTC specification. At the time of purchase, the
number of frames per second will initially be set to 30 (nondrop) on the BR-1200CD (p. 247).
FUNCTION buttons ([F1] through [F3])
[F1] through [F3] are called the FUNCTION buttons.
fig.06-04
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]
(EDIT)”, you would know that pressing [F1] would select the
“EDIT” function as displayed immediately above the button.
FUNCTION buttons
Rev0.02
30
Common operations and display items
Page Scroll
fig.06-06
When “ ” and/or “ ” is displayed on the left and right of
the screen, respectively, it will indicate that the BR-1200CD
could not fit all of the relevant content on-screen and that
some content is hidden in the direction of the arrow.
The CURSOR [
content.
] or [
] are used to display this hidden
Press[ ] to scroll the screen to the left, and press [
scroll the screen to the right.
] to
Scroll Bar
When you see a scroll bar at the right of the screen, it means
that the BR-1200CD could not fit all of the relevant content in
one screen, and there is additional content hidden at the top
or the bottom.
fig.06-08
The scroll bar itself represents the entire display content, and
the black portion represents the range of that content that is
currently being displayed.
Scroll Bar
To view the hidden content, press CURSOR [
] or [
to move the display area up or down respectively.
]
When the display area is moved up, the black area in the
scroll bar will also move up, and when the display area is
moved down, the black area moves down.
Cursor
The BR-1200CD’s cursor is represented either as an inverted
character, a frame, or an underline in a section of the screen
that allows settings to be made. When represented as a knob
icon, the knob is shown in black.
fig.06-03
(Up)
(Left)
(Right)
(Down)
If the current screen contains a number of such sections, you
can use [CURSOR] to move between the corresponding
setting items. In addition, when you press and hold down
[CURSOR], the on-screen cursor will move continuously in
the corresponding direction. If you need to speed up the
motion of the cursor, press and hold the CURSOR arrow for
the required direction of movement, and then press the
CURSOR arrow for the opposite direction. This action will
cause the cursor to move more quickly around the screen.
Example: To move the cursor quickly to the right
Press and hold CURSOR [
], and then press [
].
Example: To move the cursor quickly downward
Press and hold CURSOR [
], and then press [
].
Rev0.02
31
Common operations and display items
TIME/VALUE dial
fig.06-05
The TIME/VALUE dial is used to change the cursor position,
values, or characters. In the case of values, these are
increased when the dial is turned clockwise, and reduced
when the dial is turned counterclockwise.
VALUE 1/PAN, VALUE 2, and VALUE 3 knobs
fig.06-07
These knobs can be used to change the values of parameters
indicated by knob icons (
) on-screen.
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.
Rev0.02
32
Basic Operation
Basic
Operation
33
Connecting other devices
fig.07-01
MIDI
IN
Computer
LINE OUT
MIDI Sequencer,
MIDI Sound Module, etc.
CD Player, Keyboard, etc.
MIDI
OUT
USB
Mic
MIDI Sequencer etc.
DIGITAL IN
AC Adaptor
(PSB-3U)
Guitar
or
Bass
LINE IN
Audio Set, etc.
DS-30A/50A/90A,
Digital Amp, etc.
Stereo
Headphones
Set the polarity switch
as shown below.
Expression Pedal
(Roland EV-5 etc.)
Foot Switch
(FS-5U etc.)
To prevent malfunction and/or damage to speakers
or other devices, always turn down the volume and
turn off all devices before making any connections.
fig.XLR
Rev0.02
34
● This instrument is equipped with balanced (XLR/TRS)
type input jacks. Wiring diagrams for these jacks are
shown below. Make connections after first checking the
wiring diagrams of other equipment you intend to
connect.
Connecting other devices
1
Connect the guitar, bass guitar, microphone,
etc. to the BR-1200CD’s input jacks.
2
Guitar, bass, etc.:
Connect to the GUITAR/BASS jack on the front panel.
Connect to the INPUT 2/MIC 2 input jack on the rear
panel.
Connect to the LINE IN L and R jacks on the rear
panel.
3
If necessary, connect an expression pedal or
foot switch to the BR-1200CD. Any MIDI or
USB connections should also be made.
Basic Operation
The BR-1200CD’s LINE OUT L/R jacks must always
be correctly matched with the amplifier’s left and
right inputs.
Microphone for solo vocals:
CD player, keyboard, etc.:
Connect the LINE OUT L and LINE OUT R
jacks on the rear panel to your amplifier.
If you will be using headphones, connect these
to the PHONES 1 jack.
Precautions When Making Connections
• When a guitar or bass is connected to the GUITAR/BASS jack, the INPUT 1/MIC 1 input jack will be deactivated and
will not accept any sound input.
• Noise may be generated when the pickup on your guitar or bass is close to the BR-1200CD. Move the BR-1200CD and
guitar further apart to eliminate this noise.
• The location of microphones relative to speakers could result in feedback being produced. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating the microphone(s) at a greater distance from the speakers.
3. Lowering volume levels.
• For more detailed information regarding the operation and setting of expression pedals, refer to “Using an expression
pedal” (p. 124).
• For more detailed information regarding the operation and setting of foot switches, refer to “Using a foot switch” (p.
39).
• For more detailed information regarding the operation and setting of MIDI devices, refer to “Section 6 Using MIDI”
(p. 241).
• For more detailed information regarding USB operation and setting methods, refer to “Section 7 Using USB” (p. 257).
• When a condenser microphone is connected to an XLR input jack, phantom power at +48 V can be supplied from the
BR-1200CD. For details on how this is done, see “Using condenser microphones (Phantom Power)” (p. 278).
Rev0.02
35
Turning on/off the BR-1200CD
Turning on the BR-1200CD
Use the POWER switch to turn the BR-1200CD on and off.
Once the connections have been completed (p. 34), turn on power to your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
fig.07-02
POWER Switch
1
Before turning on the power, the volume of all
connected devices should be turned all the way
down.
2
Loop the AC adaptor’s cord around the cord
hook and connect its plug to the BR-1200CD’s
DC IN jack.
This will ensure that, even when the cord is accidentally
pulled, the power will not turn off as a result of the plug
being pulled out of the DC IN jack, and the jack itself
will not be subjected to excessive force.
4
5
If any CD players, keyboards, etc. are
connected to the BR-1200CD’s input jacks, turn
on these devices first.
Press the BR-1200CD’s POWER switch.
The power will turn on and the opening screen will be
displayed.
fig.07-04d
fig.07-03
After a few moments, the message “Now Checking...”
will appear, and this will be followed by the message
“Now Loading...”. When the top screen appears, it
indicates that the BR-1200CD is ready for use.
6
3
Plug the AC adaptor into a power outlet.
If an amplifier or any other similar device is
connected to the BR-1200CD’s output, this should
be turned on last of all.
IMPORTANT
• Noise may be output by the BR-1200CD when the AC adapter is connected or when the power is turned on. Although
such noise does not indicate a malfunction, damage to devices and speakers may result if such actions are performed
while audio amp volume levels are turned up. For this reason, make sure that the audio amp is the last piece of
equipment that is turned on.
36
Rev0.02
• In order to protect the BR-1200CD’s circuits, no operation will be possible for a short period of time after the power is
turned on.
Turning on/off the BR-1200CD
Turning off the BR-1200CD
1
If an amplifier or any other similar device is
connected to the BR-1200CD’s output, this
should be turned off first of all.
Press the BR-1200CD’s POWER switch.
The pressed button pops out.
The message “Shutdown OK?” will appear.
fig.07-04ad
The message “Storing Current...” will appear and
saving of the currently selected song will begin. When
saving has been completed, the message “Now
shutdown... Keep power ON!” is displayed, and the
BR-1200CD will automatically turn off a few moments
later.
If you do not want to save your song at this time,
press [EXIT/NO]. The BR-1200CD will turn off
without the song being saved. In such a case,
however, all audio that was recorded and data that
was edited since you last saved the song will be lost;
accordingly, be careful not to press [EXIT/NO] by
mistake.
Basic Operation
2
• When the currently selected song has been recorded
or edited, the message “Save Current?” appears; press
[ENTER/YES].
• Song Protect is activated for the demo songs already
included in the BR-1200CD at the time of purchase,
and for this reason, the power will turn off without
the message “Save Current?” being displayed.
(IMPORTANT) Precautions when turning off the BR-1200CD
• Always use the POWER switch to turn off the BR-1200CD’s power. Recorded audio data, mixer settings, etc. are not
stored as the corresponding operations are completed; rather, they are stored when the song is saved or when the
power is turned off automatically. Therefore, when the BR-1200CD is turned off by pulling out the AC adaptor’s plug
or by any other method not involving the POWER switch, all recorded audio data, mixer settings, and the like will be
lost. This practice can also lead to song data being lost or to the hard disk being permanently damaged, and it should
be avoided.
• Before removing the AC adaptor from the power outlet, be sure to confirm that the BR-1200CD has turned off fully
(i.e., the display is not lit). The AC adaptor should not be disconnected while data is being saved as this will result in
the loss of recorded audio data and other song contents (i.e., mixer settings, effect patch data, etc.).
• Do not move the BR-1200CD or subject it to shock or vibration before the screen backlighting turns off. If the
backlighting is still on, it means that the hard disk motor has not stopped spinning. It is in this state that the hard
disk’s interior is unstable and the hard disk is most susceptible to damage.
What is meant by saving songs?
In the BR-1200CD, recorded or edited audio data is only temporarily stored on the hard disk until the song that
contains it is saved. For this reason, if the power is turned off before the song has been saved, all of your recorded and
edited data will be lost. The Save function prevents this from occurring by storing the recorded and edited data on the
BR-1200CD’s hard disk.
37
Rev0.02
Note that songs can be saved at any time, not only when the power is being turned off. For more detailed information,
refer to “Saving your song (Song Save)” (p. 70).
Listening to the demo songs and selecting songs (Song Select)
When the BR-1200CD is turned on, the top song is automatically selected and all data necessary for playback is
loaded. When the loading of this data has been completed, the name of the song will be displayed.
If you wish to work on a different song, you can select that song using the following procedure. Demo songs are
stored on the BR-1200CD. Let’s now select one of these songs to listen to. (Refer to the Demo Song List: p. 72.)
fig.07-05
1
4
1
Press [UTILITY].
2,3,4
2,3
3
The Utility Menu screen will appear.
fig.07-05d
Move the cursor to the SELECT icon and press
[ENTER/YES].
Alternatively, press [F2] (SELECT) if the SELECT icon
is currently displayed.
The Song Menu Selection screen will appear.
fig.07-07d
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.
fig.07-06d
4
Move the cursor to the song you want to listen
to and press [F3] (GO).
The message “Now Loading...” will appear and
loading of song data from the hard disk will begin.
After a few moments, the message “Complete!” is
displayed to indicate that the data has been read.
• In certain cases, the message “Save Current?” will appear during the procedure described above. This indicates that
the currently selected song contains recorded audio data and/or edited data that has not been saved. If you want to
save the song, press [ENTER/YES]; if this will not be necessary, press [EXIT/NO]. Note that if you press [EXIT/NO],
the recorded audio data and/or edited data will be lost; accordingly, be careful not to press this button by mistake.
In other cases, the message “Re-Load Current?” may appear. This indicates that although the currently selected song
contains recorded audio data and/or edited data that has not been saved, all such changes are to be discarded and the
song is to be restored to its previously saved condition. If you want to discard the changes and restore the song, press
[ENTER/YES]; if you want to cancel loading, press [EXIT/NO]. Note that if you press [ENTER/YES], the recorded
audio data and/or edited data will be lost; accordingly, be careful not to press this button by mistake.
38
Rev0.02
• The demo songs contained in the BR-1200CD are intended for personal enjoyment only. Usage of these songs for any
other purpose without the permission of the copyright holder is prohibited by law. The data contained in the demo
songs may not be copied or used in secondary works without prior consent of the copyright holder.
Basic operation of the recorder
Playing and stopping
fig.07-09
2
4
1
2
In order to avoid being startled by sudden loud
noises, turn the PHONES VOLUME knobs and
the MASTER fader all the way down before
proceeding.
1,3
3
4
Press [PLAY].
Slowly raise the PHONES VOLUME knob(s)
and the MASTER fader until the playback can
be heard at a suitable level.
Basic Operation
1,3
Press [STOP].
The BR-1200CD will stop playback.
The BR-1200CD will start playback. The playback
position is shown in real time at the top of the display.
In addition, the playback volume for each track is
indicated by the level meters.
Using a foot switch
With a foot switch (such as the optional BOSS US-5U or Roland DP-2) connected to the FOOT SW jack on the BR1200CD’s rear panel, you can use your foot to start and stop performance. Use the following procedure to set the
function of the foot switch.
1
Press [UTILITY].
3
The Utility Menu screen will appear.
Move the cursor to Foot Switch and select
“PLAY/STOP” using the TIME/VALUE dial.
fig.07-05d
4
2
5
Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Press [EXIT/NO] several times to return to the
top screen.
Operate the foot switch.
The song will alternate between play and stop each
time you press the foot switch.
fig.07-06d
Rev0.02
39
Basic operation of the recorder
Adjusting the volume
fig.07-09a
2
1
Move the MASTER fader up and down while
the song is being played.
The overall volume changes in response to the
position of this fader. The display on the MIX level
meter changes in response to the volume.
1
2
Move the Track faders for each track up and
down.
The volume of each track changes in response to the
position of the corresponding fader. In addition, the
display on each track’s level meter changes in
response to its volume.
In certain cases, distortion will occur when a fader is raised too high. In particular, this occurs when the corresponding
level meter rises beyond the 0 dB point. In such a case, lower the fader until the distortion is no longer present.
Rev0.02
40
Basic operation of the recorder
Changing the current position
The current position within a song can be moved regardless of whether or not the song is being played. Any one of a
number of different methods can be used to change the current position.
Basic Operation
• When the current position is changed, it takes a bit of time before you can carry out the next operation. This time is
necessary for reading of data from the hard disk that will be needed for playback at the new song position.
• It is not possible to change the current position while recording.
Using the transport buttons
The song position can be changed using the transport buttons located on the bottom left of the front panel.
fig.07-09b
2
3
1
5
4
1
Press [ZERO].
4
Moves you to the time location 00:00:00-00.00.
2
3
After the BR-1200CD has checked the V-Tracks
currently selected for each track, the current position
will jump to the point in the song at which the last
recording was made.
Press [FF].
The current position will move forward by one
second.
Press [REW].
The current position will move back by one second.
Hold down [STOP] and press [FF].
5
Hold down [STOP] and press [REW].
After the BR-1200CD has checked the V-Tracks
currently selected for each track, the current position
will jump to the point in the song at which the first
recording was made.
Rev0.02
41
Basic operation of the recorder
Using TIME/VALUE dial
A cursor is displayed below the time for the current position on the top screen. Use the TIME/VALUE dial to change
the time values and to move the current position.
fig.07-09c
1,3
2,4
1
Move the cursor to the seconds, minutes or
hours value.
3
Move the cursor to the measures or beats value.
fig.07-103d
Measures Beats
fig.07-101d
Minutes
Hours
Seconds
2
4
Turn the TIME/VALUE dial.
The current position will change in units of seconds,
minutes or hours.
The current position will change in units of measures
or beats. “- - -” will be displayed after measure 999.
Rev0.02
42
Turn the TIME/VALUE dial.
Basic operation of the recorder
Using markers
A number of song markers are set up in the demo songs in advance. These markers can be used to jump to the
corresponding positions within the song.
fig.07-09D
Basic Operation
1
2
1
Press MARKER [SEARCH
].
The current position will jump to the location of one
of the markers that has been set. Each time
[SEARCH
] is pressed, the current position will
jump forward to the next nearest marker. Note that
the marker number corresponding to the current
position is displayed at this time.
2
Press MARKER [SEARCH
3
Move the cursor to the value in the Marker box,
and then use the TIME/VALUE dial to specify a
marker number.
The current position will jump to the location of the
corresponding marker.
].
The current position will jump back. Each time
[SEARCH
] is pressed, the current position will
jump back to the previous nearest marker.
• Up to 100 markers can be set up at will within a song. For more detailed information, refer to “Placing markers in your
song (Marker)” (p. 90).
• The number of the marker at the current position is shown in the display’s Marker box. If no marker has been set up at
this position, “- - -” is displayed.
Rev0.02
43
Basic operation of the recorder
Changing V-Tracks
Recorded variations that use V-Tracks are included in the demo songs. We will now change V-Tracks to listen to
these variations.
fig.07-09k
What are V-Tracks?
Each BR-1200CD track comprises sixteen different
virtual tracks, one of which is selected for recording
and/or playback. In other words, performances can
be recorded onto a total of 192 tracks (i.e., 12 x 16),
and any sixteen of these tracks can be played back at
any one time. The term “V-Track” is used to refer to
the virtual tracks that make up each BR-1200CD
track.
V-Track1
V-Track2
V-Track3
V-Track4
V-Track5
V-Track6
V-Track7
V-Track8
V-Track9
V-Track10
V-Track11
V-Track12
V-Track13
V-Track14
V-Track15
V-Track16
fig.07-09g
2
2
3
4
1
1
(
):
Currently selected V-Track (containing
recorded audio data)
(
):
Currently selected V-Track (not containing
recorded audio data)
(
):
V-Track containing recorded audio data
Press [V-TRACK].
The V-Track screen will appear.
fig.07-10d
44
V-Track not containing recorded audio
data
(
The V-Track from Track 11/12 last used for
mastering (Final Mastering Track)
):
Rev0.02
The V-Track currently selected for each track and the
presence or absence of data in each V-Track are
indicated on the V-Track screen.
( ):
Basic operation of the recorder
2
Move the cursor to the track whose V-Track is
to be changed, and then use the TIME/VALUE
dial to select a new V-Track.
The symbol indicating the currently selected V-Track
will move to this new V-Track.
3
Press [EXIT/NO] to return to the top screen.
4
Press [PLAY] to start playback.
5
If you wish to store the modified settings, save
the current song (p. 70).
Basic Operation
You will now hear the song with the variation that
has been recorded on the newly selected V-Track.
However, if this V-Track contains no data, the
corresponding track will be silent.
fig.07-106d
• It is not possible to change V-Tracks while recording.
• Tracks 9/10 and11/12 are all set to stereo and each comprises two individual tracks; accordingly, V-Tracks can only be
selected in sets of two for these tracks. In other words, it is not possible to select a different V-Track for the left track
and the right track in a stereo pair.
Rev0.02
45
Basic operation of the recorder
Turning tracks off temporarily (Track Mute)
When recording a band or the like, it is often necessary to turn off just the vocalist’s track to listen to the combined
sound of the instruments. In a situation like this, the BR-1200CD allows you to temporarily turn off the audio from
specific tracks (Track Mute).
fig.07-09h
2
1
Hold down [TRACK MUTE] and press the
track button for the track(s) you want to mute.
1,3
3
The track button(s) will start to flash to indicate that
the corresponding track(s) are now muted.
2
Press [PLAY] to start playback.
No audio will be output from the muted track(s).
Even if its fader is raised, the audio from a track will
not be heard when it is muted.
To cancel a muted condition, again hold down
[TRACK MUTE] and press the track button for
the track(s) for which muting is to be canceled.
The track button(s) will stop flashing to indicate that
the corresponding track(s) are no longer muted.
4
If you wish to store the muted condition, save
the current song (p. 70).
• When a track is muted, its condition will be the same as if its fader had been moved all the way down. Muting does
not cause recorded audio data to be deleted.
• Track Mute is not enabled for tracks other than those whose Track Type is set to AUDIO (p. 54). The Track Mute is also
cancelled with the track type is changed.
Rev0.02
46
Basic Operation
47
Preparing a song for recording (Song New)
Preparing a song for recording (Song New)
If you are going to record your own performance from scratch, you will first of all have to create a new song free of
any recorded audio data. This operation is referred to as “Song New,” and it is carried out as follows.
fig.07-15
5
1
Press [UTILITY].
3
The Utility Menu screen will appear.
fig.07-16d
1
4
2,3
2,3
Move the cursor to the NEW icon and press
[ENTER/YES].
Alternatively, you can press [F3] (NEW) if the NEW
icon is currently displayed. The screen for creating a
new song will appear.
fig.07-18d
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.
fig.07-17d
Rev0.02
48
Preparing a song for recording (Song New)
4
Use the TIME/VALUE dial to select the song’s initial track type.
For example, let’s select USE DRUMS + LOOP PHRASE for this song.
Initial Track Types
12 AUDIO TRACKS
USE DRUMS + LOOP
USE DRUMS + BASS + LOOP
Track types can be freely changed even after Song New has been completed.
5
Basic Operation
USE BASS
All tracks from 1 through 11/12 are set up as audio tracks.
Track 8 is used as a bass track, and the remaining tracks 1 through 7,
9/10, and 11/12 are used as audio tracks.
Track 9/10 is used as a drum & loop phrase track, and the remaining
tracks 1 through 8 and 11/12 are used as audio tracks.
Track 9/10 is used as a drum & loop phrase track, Track 8 is used as a
bass track, and the remaining tracks 1 through 7 and 11/12 are used
as audio tracks.
Press [F3] (GO).
The message “New Song...” will appear on the display and a new song will be created. When finished, the message
“Complete!” will appear and the display will automatically return to the top screen.
In certain cases, the message “Save Current?” will appear during the procedure described above. This indicates that
the currently selected song contains recorded audio data and/or edited data that has not been saved. If you want to
save this new data, press [ENTER/YES]; if you don’t want to, press [EXIT/NO]. Note that if you press [EXIT/NO], the
recorded audio data and/or edited data will be lost; accordingly, be careful not to press this button by mistake.
Rev0.02
49
Selecting an input source for recording (Input Select)
Before you start recording an instrument, you will have to select the input source to which that instrument has been
connected. Furthermore, when you select an input source, the appropriate insert effects for that input source will be
automatically selected and applied to the input.
fig.07-19
INPUT SELECT
Buttons
Recording guitar or bass guitar
Recording guitar + Vocal
Press INPUT SELECT [GUITAR/BASS].
Press INPUT SELECT [GUITAR/BASS] and
[VOCAL] simultaneously. (SIMUL)
[GUITAR/BASS] will light up, indicating that either the
INPUT 1/MIC 1 jack on the rear panel or the GUITAR/BASS
jack on the front panel can be used as the input source. (Any
time a plug is inserted into the GUITAR/BASS jack, this
input source will be given priority and the INPUT 1/MIC 1
jack will be deactivated.)
In addition, an effect will be automatically selected from the
insert effects’ guitar bank.
The INPUT SELECT [GUITAR BASS] and [VOCAL] buttons
will light up, indicating that INPUT 1/MIC 1 jack on the rear
panel or GUITAR/BASS jack on the front panel has been
selected as input sources. (The INPUT 1/MIC 1 jack and the
GUITAR/BASS jack share the same internal circuitry.)
In this condition, an effect will be automatically selected
from the insert effects’ simul bank.
Recording a solo vocal microphone
Press INPUT SELECT [VOCAL].
[VOCAL] will light up, indicating that the INPUT 2/MIC 2
jack on the rear panel has been selected as the input source.
In addition, an effect will be automatically selected from the
insert effects’ microphone bank.
When connecting an electric guitar to the BR1200CD, be sure to use the GUITAR/BASS jack.
Note also that when an acoustic guitar is being
recorded using a microphone, the microphone
should be connected to the INPUT 1/MIC 1 jack.
The INPUT 2/MIC 2 jack should be used for
connecting the microphone used for vocals.
When recording stereo inputs to
a stereo track
Press INPUT SELECT [LINE].
INPUT SELECT [LINE] lights up, LINE IN L/R on the rear
panel are selected as the inputs, and the BR-1200CD is
enabled for stereo track recording.
In addition, at this point the insert effects Stereo bank effects
are automatically selected.
Rev0.02
50
Adjusting the input source volume (Input Sensitivity)
fig.07-20
2
1
2
Play the instrument to be recorded.
Check whether the PEAK indicator for that
instrument’s input source lights up when the
instrument is played hard.
If it lights up frequently:
The volume is too loud. Turn the INPUT SENS knob
for the corresponding input source counterclockwise
to reduce the volume to a level where the PEAK
indicator lights up only occasionally when the
instrument is played hard.
Basic Operation
The output from guitars, bass guitars, microphones, keyboards, and other instruments all enter the BR-1200CD as
continuous electrical waves. This type of output is referred to as an analog signal. Inside the BR-1200CD, circuits
known as A/D converters are used to convert these analog signals into digital signals. If the volume of an analog
signal is too high, unpleasant distortion will occur in the corresponding digital signal; however, if the volume of this
signal is too low, the noise that is generated during conversion to digital will become very noticeable. Once
distortion or noise becomes obvious in a digital signal, it is extremely difficult to restore the quality of the sound
using any amount of post-processing. In order to record with good sound quality, therefore, it is extremely
important that you adjust the volume of the analog signal in such a way that the source can be made as loud as
possible without distorting. Adjustment of a source’s volume while it is still an analog signal is carried out using the
INPUT SENS (Input Sensitivity) knob.
If it lights up occasionally when the
instrument is played hard:
The volume is at a suitable level and does not need to
be adjusted.
If it never lights up:
The volume is too low. Turn the INPUT SENS knob
for the corresponding input source clockwise to raise
the volume to a level where the PEAK indicator lights
up only occasionally when the instrument is played
hard.
• If a suitable volume cannot be obtained even when the INPUT SENS knob is used, it is quite possible that the output
volume of the instrument itself is improper level. In such a case, make sure that the instrument’s volume is at a
suitable level, and then repeat the adjustment procedure described above.
• If you are using a condenser microphone that requires phantom power, no sound will be output from the microphone
until the phantom power is turned on. Refer to the user’s manual that came with your microphone, and then turn on
the phantom power if the manual indicates that it is necessary. For more detailed information regarding usage of
phantom power, refer to “Using condenser microphones (Phantom Power)” (p. 278).
Each PEAK indicator lights up when the corresponding analog signal reaches -6 dB, and distortion occurs in the A/D
converter when this signal rises beyond 0 dB.
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51
Recording with effects (Insert Effects)
When an input source is chosen, a suitable insert effect for that input source will be selected automatically by the BR1200CD. For example, when GUITAR/BASS has been chosen, an effect will be selected from the guitar bank; when
VOCAL has been chosen, an effect will be selected from the MIC bank; and so on.
Each bank contains a number of different effects (Effect Patches) with various different settings that affect the sound.
Let’s now select some of these patches.
fig.07-21
2
1
1
Press [EFFECTS].
The insert effects’ patch screen will appear.
fig.07-22d
2
Using the TIME/VALUE dial, change the patch
number and select the desired effect.
The sound of the insert effect will change each time a
different patch is selected.
Whenever a patch is selected, the effect sound will be muted for a short period of time (i.e., 100 to 400 ms (approx.)) in
order to prevent switching noise being output.
At the time of purchase, the BR-1200CD’s preset banks and user banks will contain the same effects.
Rev0.02
52
Recording with effects (Insert Effects)
When you Want to Record the Input Sounds As Is
You may want to turn off an Insert Effect in order to record the input source as is. If this is the case, use the following
procedure to turn off the effect (Effect Off).
fig.07-22a
Basic Operation
1,2,3
1
Press [EFFECTS].
The insert effects’ patch screen will appear.
fig.07-23d
2
3
If you would like to re-apply the insert effect,
press [EFFECT] once again.
The insert effect has been turned on.
[EFFECTS] will light up, indicating that the insert effect
has been turned on.
[EFFECTS] is used to toggle the insert effect between on
and off.
Press [EFFECTS] once again.
The insert effect has been turned off.
[EFFECTS] will go out, indicating that the insert effect
has been turned off.
Even if an insert effect has been turned off, it will be automatically turned back on whenever a different INPUT
SELECT button is pressed or a different patch is selected.
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Selecting drums to act as a guide for recording
It is often difficult to keep playing a part at a fixed tempo until you have become very familiar with it. If you play
along with the BR-1200CD’s internal drums, however, this type of variation in tempo can be dramatically reduced.
Thanks to the highly realistic sound of the BR-1200CD’s PCM drum samples, you’ll be able to enjoy the great feeling
of playing along with actual drums. What’s more, if you record along with a drum track, you’ll be able to perform
editing in units of beats and bars later on.
You can use bass and loop phrase as well as drum as a guide. Please refer to “Section 4 Using Rhythm” (p. 153).
Setting up a drum track (Track Type Select)
In order to set up the BR-1200CD to play drum sounds, use the following procedure to designate Track 9/10 as the
drum & loop phrase track.
If USE DRUMS + LOOP or USE DRUMS + BASS + LOOP was selected during SONG NEW (p. 48), Track 9/10 will be
already set up as the drum track and the following procedure will not be required.
fig.07-25
2
2
3
1
1
With the top screen displayed, press [TRACK
TYPE SELECT].
2
The Track Type Select screen will appear.
fig.07-06ad
fig.07-26d
For more detailed information regarding track types,
refer to “Setting the track type” (p. 157).
3
Press [ENTER/YES].
This operation sets up Track 9/10 as the drum & loop
phrase track.
Rev0.02
54
Move the cursor to “TRACK 9/10” and use the
TIME/VALUE dial to select the
“DRUMS&LP.”
Selecting drums to act as a guide for recording
Playing drum sounds
fig.07-27
Basic Operation
3
1
3
2
4
PATTERN indicator is lit: Pattern mode
In this mode, a rhythm pattern of one or several bars
in length is played repeatedly. This type of playback
can be used instead of a metronome, and it can also
provide a useful guide track when you are working
on ideas for new songs.
Press the track button for Track 9/10 several
times until it starts to flash.
You can press this button repeatedly to cycle through
the available statuses, which are: Flashing → Lit →
Unlit.
Unlit:
ARRANGEMENT indicator is lit:
Arrangement mode
No drum and loop phrase sounds will be
played.
In this mode, drum patterns can be arranged and
played back in accord with a song structure
comprising intro, verse, fill, bridge, break, and ending
elements. Once you have an idea of your new song,
this function allows the complete drum structure to be
easily created.
Flashing: Drum and loop phrase sounds will be
played only when the BR-1200CD is
recording or performing playback.
Lit:
Drum sounds will be played even when
the BR-1200CD is stopped.
The loop phrase only plays during
recording or playback with the recorder.
2
1
3
Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the
PATTERN indicator is lighted.
Each time this button is pressed, it toggles between lit
and unlit.
Play the song from the beginning.
The BR-1200CD will start playback of the drum track.
4
Use the Track 9/10 fader to adjust to the
appropriate volume.
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Selecting drums to act as a guide for recording
Selecting drum patterns
The BR-1200CD features preset drum patterns. Let’s choose one of these patterns to play with.
fig.07-07a
3,5
3,4
6
1
2
6
Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the
PATTERN indicator is lighted.
1
4
2
Move the cursor to the drum pattern number.
fig.07-30d
Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Select screen will appear.
fig.07-81d
5
6
3
Move the cursor to Drum Pattern Group in
“DRUM,” and turn the TIME/VALUE dial to
“P” for the Drum Pattern Group.
Select a drum pattern number using the TIME/
VALUE dial.
Play the song from the beginning.
The BR-1200CD will start playback of the selected
drum pattern.
fig.07-81d
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56
Selecting drums to act as a guide for recording
Basic Operation
At the time of purchase, the BR-1200CD contains drum patterns only in Preset patterns (P001–). User patterns (U001 –)
and Song (S001–) are provided for you to freely create your own drum patterns, and these patterns are initially empty.
If you select “U” or “S” at this time the BR-1200CD will not be able to play back a rhythm track.
Even while the drum pattern is being played, you can repeat Step 5 above to select a new pattern. In such a case,
playback of the newly selected drum pattern will start as soon as the previously selected drum pattern has ended.
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57
Selecting drums to act as a guide for recording
Changing the drum pattern tempo
Two simple methods are available for changing the tempo of the drum track.
● Set the new tempo using the TIME/VALUE dial
● Tap the new tempo using [TAP]
Set the new tempo using the TIME/VALUE dial
fig.07-07a
3
3
4
1
1
2
Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the
PATTERN indicator is lighted.
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 Minute—A value that
indicates the tempo in terms of the number of quarter
notes occurring in one minute.)
Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-008d_ptn.bmp
4
5
After you have set the tempo, press [EXIT/NO]
several times to return to the top screen.
If you wish to store the pattern’s tempo, save
the current song (p. 70).
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58
2
Selecting drums to act as a guide for recording
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.
fig.07-07a
Basic Operation
1
1
Tap your finger on [TAP] four times with
approximately the same interval.
The tempo will be set based on the average tapping
interval.
In addition to the two methods indicated above, it is also possible to specify tempos much more precisely for each
individual measure. For more detailed information, refer to “Setting tempos and beats for individual measures
(Tempo Map/Beat Map)” (p. 209).
And a further method also enables you to control the BR-1200CD’s tempo by synchronizing it with the tempo of an
external MIDI sequencer. For more detailed information, refer to “Synchronizing external MIDI sequencers and
rhythm machines” (p. 245).
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59
Selecting drums to act as a guide for recording
Changing the drum sounds
Drum patterns can be given a completely new feel by changing the sounds of the drums that they use.
fig.07-30g
4
4
3
1
2
Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the
PATTERN indicator is lighted.
1
3
2
Press [F1] (SETUP).
The Pattern Setup screen will appear.
fig.07-32d
Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Select screen will appear.
fig.07-28d
4
Move the cursor to Drum and select a new
drum kit using the TIME/VALUE dial.
The drum pattern will be played using sounds from
the newly selected drum kit.
fig.07-32d
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60
Selecting drums to act as a guide for recording
A short period of time (i.e., 1 or 2 seconds) is required for the switching of drum kits. Although you will not be able to
hear the drum pattern during this period, this is normal and is not the result of a malfunction.
Basic Operation
Although this section described a playback method where a basic rhythm (Drum Pattern) of one or several bars in
length was repeated indefinitely, you can also arrange and play back drum patterns that have been matched to a song
structure comprising Intro, Verse, Fill, Bridge, Break, and End Crash elements in any order. This type of combination
is referred to as a “rhythm arrangement.” For more detailed information regarding rhythm arrangement operations,
refer to “Using rhythm arrangements” (p. 197).
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61
Adjusting the recording level
fig.07-33
1
2
1
Play the instrument to be recorded.
The level meters on the display change in response to
the instrument’s volume.
fig.07-33ad
2
Use the INPUT LEVEL knob to ensure that the
peak display for any level meter does not rise
above 0 dB when the instrument is played
hard.
Rather than changing the volume of effect inputs, the INPUT LEVEL knob adjusts the volume after effects have been
applied. As a result, factors such as distortion and the effect of compressors are not influenced by this knob.
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Setting an audio input’s left-right position (Input Pan)
When recording from a number of different microphones at the same time or in other similar situations, you can
widen the overall sound by setting the left-right position (i.e., the pan) of each microphone before recording is
started.
fig.07-34a
2
Basic Operation
2
1
1
Press CHANNEL EDIT [PAN].
The pan setting screen will appear.
fig.07-34d
2
Move the cursor to “IN,” and use the TIME/
VALUE dial to make a new pan setting.
The setting can also be carried out using the
VALUE1/PAN knob.
L100: Audio is moved to the extreme left.
0:
Audio is moved to the center.
R100: Audio is moved to the extreme right.
You can press [F1]–[F3] at this point to set the pan at a
single touch.
[F1] (LEFT):
L100
[F2] (CENTER): 0
[F3] (RIGHT):
R100
After recording, the pan values set here for each audio input are automatically copied to the corresponding recorded tracks.
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Applying reverb for a warmer sound during recording (Reverb)
Vocalists often find it easier to sing when a small amount of reverb is applied to their voice during recording. This
does not apply to vocalists alone—in fact, you will find that the presence of reverb on other instruments can also lead
to improved performances and better recordings, and this is particularly true in the case of instruments that play
melodies. We will now apply reverb to our input sources to see how it sounds.
fig.07-36a
2
2
3
1
1
Press LOOP EFFECTS [REVERB].
2
The BR-1200CD will display a screen (Reverb Send)
for adjusting the amount of the audio being sent from
each track to the reverb.
Move the cursor to “IN,” and use the TIME/
VALUE dial to set a pleasant reverb send level.
When the reverb send level is 0, no reverb will be
applied; when it is 100, the maximum amount of
reverb will be applied.
fig.07-36d
3
Press [EXIT/NO] to return to the top screen.
• Although the sound you hear will include reverb, this effect is not actually applied to the sound to be recorded. (Only
the true sound of the performance will be recorded.)
64
Rev0.02
• After recording, the values for reverb send levels set here for each audio input are automatically copied to the reverb
send levels of the corresponding recorded tracks. As a result, when you play back a track that was recorded with
reverb applied in this way, you will still be able to hear the same reverb. This may lead you to conclude that you
accidentally recorded the reverb together with the input source, but this is not the case. In actuality, the true sound
was recorded to the track, and reverb was reapplied to the recorded sound during playback. the BR-1200CD copies
these settings to ensure that the same sound heard during recording will be heard during playback; however, if you
no longer need to hear this reverb, set the corresponding reverb send level to zero. This will remove reverb from the
playback sound.
Basic Operation
65
Recording
In the previous sections, you have made all the necessary preparations for recording instruments as they are played
along with a drum pattern. We will now record one of these instruments.
fig.07-38
1,6
5
1
4,7
3
Press [ZERO].
2
6
Press [ZERO].
7
Press [PLAY].
The current position will jump to the beginning of the song.
2
Press the track button for the track to be
recorded (Recording Track).
[PLAY] will light up and the recorded performance
will be played back. Use the fader for the recorded
track to change its volume during playback.
The track button will turn red and start flashing to
indicate selection as a recording track.
The track buttons function in a different way for each
Input Select status. For more detailed information
regarding the relationship between the Input Select
status and the track buttons, refer to “Input select
status and track button functions” below.
3
Press [REC].
[REC] will turn red and start to flash, indicating that
the BR-1200CD is now ready for recording.
4
Press [PLAY].
Both [PLAY] and [REC] will light up and recording
will start. The color of the track button for the
recording track will change to red.
Since the BR-1200CD plays the drum pattern during
recording, the instrument can be played along with
the drums. Note, however, that the drums will not be
recorded onto the recording track. Only the
instrument itself is recorded.
5
Press [STOP] when you want to stop recording.
Both [PLAY] and [REC] will turn off and recording
will stop. Playback of the drum pattern will also stop
at this time. The track button for the recording track
will now start to flash green and orange.
If you wish to store the recorded audio, save
the current song (p. 70).
• If you turn off the BR-1200CD without saving the
current song, the recorded audio will be lost.
• If the track type (p. 54) for tracks 9/10 and 11/12
has been set to anything other than “AUDIO,” it
will not be possible to select the tracks for
recording. If you want to record to these tracks,
the track type must be set to AUDIO.
• After recording has been stopped, a period of 1 or 2
seconds may elapse before you can carry out the
next operation.
• The BR-1200CD allows a single, continuous
recording of up to approximately 13 hours in length
to be carried out. If a single recording reaches this
limit, the message “Memory Full” will be displayed
and recording will be stopped automatically. If you
want to continue recording in such a case, hold
down [REC] and press [PLAY] at the position were
recording was stopped.
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8
Recording
Input Select status and track button functions
*
The following section describes the selection of audio tracks using track buttons. When any of the TRACK TYPE
indicators are lit up, Tracks 9/10 and 11/12 will each be selected for drum patterns, bass patterns, and loop phrases,
respectively. It is important to remember that the operation of these tracks will differ from that of standard audio tracks.
When the Input Select status is GUITAR/BASS:
Basic Operation
Only one of the track buttons will flash, and the sound source will be recorded to the corresponding track.
If a pair of adjacent track buttons (such 1 and 2, or 3 and 4) are pressed simultaneously at this time, both of these
buttons will begin to flash, indicating that the corresponding tracks have been selected as the destination for a stereo
recording. If you then press one of these track buttons, things go back to the way they commonly are, with only one
track button flashing. This means that the corresponding track has been selected to record in mono.
Note that whenever a pair of tracks from Track 9/10 or Track 11/12 is selected, the corresponding tracks will always
be selected for stereo recording.
Certain effects applied to mono input sources produce a stereo output, and the BR-1200CD allows stereo tracks to be
selected so that this audio can be recorded. If the output of such an effect were recorded to a mono track, the stereo
nature of the sound would be lost.
When the Input Select status is VOCAL:
Only one of the track buttons will flash.
If a pair of adjacent track buttons (such 1 and 2, or 3 and 4) are pressed simultaneously at this time, both of these
buttons will begin to flash, indicating that the corresponding tracks have been selected as the destination for a stereo
recording. If you then press one of these track buttons, things go back to the way they commonly are, with only one
track button flashing. This means that the corresponding track has been selected to record in mono.
Note that whenever a pair of tracks from Track 9/10 or Track 11/12 is selected, the corresponding tracks will always
be selected for stereo recording.
Certain effects applied to mono input sources produce a stereo output, and the BR-1200CD allows stereo tracks to be
selected so that this audio can be recorded. If the output of such an effect were recorded to a mono track, the stereo
nature of the sound would be lost.
When the Input Select status is SIMUL:
A pair of tracks are selected for recording, and the track buttons for these tracks start flashing.
In this condition, the audio from the INPUT 1/MIC 1 jack or the GUITAR/BASS jack, and the audio from the INPUT
2/MIC 2 jack will be recorded separately on the two selected tracks.
If one of the flashing track buttons were to be pressed at this time, the other button would stop flashing and turn off,
indicating that a mix of the two input sources will be recorded to the mono track corresponding to the flashing track
button.
Note that whenever a pair of tracks from Track 9/10 or Track 11/12 is selected, the corresponding tracks will always
be selected for the separate recording of each of the input sources.
When the Input Select status is LINE:
A stereo track is selected for recording, and the track button for this track starts flashing.
Sounds input from LINE IN L/R are recorded to the selected audio tracks.
If one of the flashing track buttons were to be pressed at this time, the other button would stop flashing and turn off,
indicating that a mix of the two input sources will be recorded to the mono track corresponding to the flashing track
button.
Note that whenever a pair of tracks from Track 9/10 or Track 11/12 is selected, the corresponding tracks will always
be selected for the separate recording of each of the input sources.
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Recording a new track while listening to an earlier recording (Overdubbing)
The BR-1200CD is a multi-track recorder, and in contrast to standard tape recorders, MD recorders, etc., multi-track
recorders allow you to record new tracks while you listen to tracks that have been previously recorded. This
capability is referred to as “overdubbing.” By recording the vocals, guitar, bass guitar, and other instruments onto
individual tracks, you ensure that the relative levels of instruments and their left-right positioning can be optimized
later on. In addition, it is also possible to replace entire performances for individual instruments.
fig.07-43
2,7
6 4,7 3
1
Press the track button for a track that has not
yet been recorded.
1
4
[PLAY] will turn green, [REC] will change to a steady
red, and recording will start. Although you will be
able to hear the previously recorded tracks at this
time, none of this audio data will be recorded to the
recording track.
The corresponding track will be selected for
recording, and the track button will turn red and start
flashing. The track buttons for tracks that have been
recorded will all be green.
2
3
Move the faders for the previously recorded
tracks to the positions that give suitable
playback volumes.
Press [REC].
[REC] will turn red and start to flash, indicating that
the BR-1200CD is now ready for recording.
5
Play the instrument to be recorded this time
along with the previously recorded tracks.
Only this instrument will be recorded.
6
Press [STOP] at the point where you want to
stop recording.
Both [PLAY] and [REC] will turn off, and the track
button for the recording track will now start to flash
green and orange.
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68
Press [PLAY].
Recording a new track while listening to an earlier recording (Overdubbing)
7
Move the recorded track’s fader to a position
that gives a suitable playback volume, and then
press [PLAY].
[PLAY] will light up and the track just recorded will
play back together with those tracks recorded earlier.
8
9
Repeat Steps 1 to 7 as many times as necessary
to make the required number of recordings.
If you wish to store the recorded audio, save
the current song (p. 70).
Basic Operation
If you turn off the BR-1200CD without saving the current song, the recorded audio will be lost.
Useful tip for overdubbing
When you are making a new recording while listening to previously recorded tracks, these tracks can drown out the
sound of the instrument currently being played, making it difficult to hear. In this type of situation, you can lower the
faders of the playback tracks, use pan to move either these tracks or the instrument being played to the left or right,
etc. to make it easier to hear this instrument.
“Setting the left-right position of each track (Pan)” (p. 82)
“Setting an audio input’s left-right position (Input Pan)” (p. 63)
If you have constructed a song through repeated overdubbing, it is often the case that the recorded instruments will
sound disjointed in terms of volume and position, giving the impression that they’re not actually part of the same
performance. Nevertheless, if you combine each of these tracks into a stereo mix while readjusting the balance of
volume and pan settings, you will be able to convey the image of a single, complete song.
For more information and instructions on mixing down, refer to “Mixing audio from various tracks onto a stereo track
(Bounce)” (p. 82).
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Saving your song (Song Save)
In the BR-1200CD, recorded or edited audio data is only temporarily stored on the hard disk until the corresponding
song is saved. If the power is turned off without saving the song, all newly recorded audio data, edited data,
modified mixer settings, etc. will be lost. The Save function prevents this from occurring by storing the recorded and
edited data on the BR-1200CD’s hard disk.
fig.07-11
2
1
1
With the top screen displayed, hold down
[STOP] and press [REC].
The message “Save Current?” will appear.
fig.07-11ad
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.
Song Protect has activated for the demo songs already included in the BR-1200CD at the time of purchase; accordingly,
the message “Protected Song!” will be displayed at this time and it will not be possible to save the song.
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70
Saving your song (Song Save)
Saving your song from the Utility screen
In addition to the above method, songs can also be saved from the Utility screen. Note that both methods save songs
in exactly the same way.
fig.07-12
1
Basic Operation
2,3,4
2,3
1
Press [UTILITY].
3
The Utility Menu screen will appear.
fig.07-13d
Alternatively, you can press [F1] (STORE) if the
STORE icon is currently displayed. The message
“Save Current?” will appear.
4
2
Move the cursor to the STORE icon and press
[ENTER/YES].
Press [ENTER/YES]. (If you do not want to
save, press [EXIT/NO].)
Move the cursor to the SONG icon and press
[ENTER/YES].
The message “Storing Current...” will appear on the
display and saving of the song will begin.
Alternatively, you can press [F2] (SONG) if the SONG
icon is currently displayed.
When saving has been completed, the message
“Complete!” will appear.
The Song Menu screen will appear.
fig.07-14d
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71
Demo Song List
Song Name
Composer
“Atomic Locust”
Music by Marty Friedman/Takeomi Matsuura
Copyright © 2004 Marty Friedman, Takeomi Matsuura
“Hold Up the Light”
Composers: Percy Bady, Benjamin Winans
Words and Music: Percy Bady, Words: Benjamin Winans
Copyright © 1988 Bad Bady Music, Inc., Dasnice Music, Benny’s Music, BMI
Over My Head
Music by Greg Peters and J.P. Charles
Lyrics by J.P. Charles
Copyright © 2004 JCP Music, ASCAP
* No data for the music that is played will be output from MIDI OUT.
72
Section 1 Recording and Playback
Section 1
Recording
and
Playback
73
Playing back repeatedly (Repeat Function)
Use the Repeat function to play a certain section of the song
in a repeated fashion.
This function can also be combined with punch-in and
punch-out to carry out loop recording (p. 75).
fig.01-010
(A)
(B)
Position
for playback
1. Move to the song position from which looped playback
is to be started.
2. Press [REPEAT].
[REPEAT] will start to flash and the current position will
be specified as the start position (A) for repeat playback.
3. Move to the song position at which playback is to be
looped back.
4. Press [REPEAT].
[REPEAT] will start to light up and the current position
will be specified as the end position (B) for repeat
playback.
5. To redo these settings, press [REPEAT] once again, and
turn it off.
In this condition, the start position (A) and end position
(B) for repeat playback have been cleared. Repeat Steps 1
through 4 to set new positions.
6. Move the current position to a point before (B) and start
playback.
When the song position reaches (B), it will automatically
jump to (A), and the section between (A) and (B) plays
back repeatedly.
• A gap of at least 0.5 seconds (approx.) is required
between the start position (A) and the end position
(B) for repeat playback. As a result, (B) cannot be set
up at a position within 0.5 seconds (approx.) of (A).
• Playback is not repeated when the playback is
started at a song position after (B).
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74
Re-recording only the portion that is mistaken (Punch In/Out)
Performing manual punch in and
punch out using [REC]
The following section will describe using manual punch in
and punch out to re-record a portion of Track 1, which was
recorded earlier.
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.
Section 1
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 re-record specific parts of the
performance. Specifically, punch in refers to an action where
recording is started while listening to playback of a track,
and punch out refers to the reverse situation where recording
is stopped but playback of the track can still be heard. In
other words, you punch in at the start of the section you
want to re-record, and you punch out at the end of that
section.
fig.10-02
fig.10-01
Playback
Recording
Playback
Time
Start
Punch-in
Punch-out
Stop
[PLAY]
[REC]
[REC]
[STOP]
3. Confirm that [ON/OFF] from AUTO PUNCH is not lit
up.
• If you are still not happy with the track after rerecording with punch in and punch out, you can use
Undo (p. 81) to restore the track to its original condition.
• Even if a portion of a track has been re-recorded using
punch in and punch out, the replaced audio data will
remain on the BR-1200CD’s hard disk. If this data will
not be used again, Song Optimization (p. 112) allows you
to delete it together with other unneeded data, thus
ensuring that you make the most of the hard disk’s
storage capacity.
The BR-1200CD supports two different types of punch in/
out procedures—namely, manual punch in/out and auto
punch in/out.
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.
Manual punch in and punch out
6. Move to a position before where you want to start rerecord and press [PLAY] to start playback.
Use [REC] or a foot switch to activate punch in and punch
out. If you are both playing the instrument and operating the
BR-1200CD, it can often be difficult to press [REC] at the
right time. In such a case, a foot switch (such as the optional
Roland DP-2 or BOSS FS-5U) can be used to activate punch
in and punch out conveniently by foot.
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 rerecorded, you can use the same procedure described
above without having to stop playback.
8. Press [STOP] when re-recording has been completed.
9. Listen to the performance with the re-recorded section.
Make sure that you move the current position to a point
before the re-recorded section before starting playback.
75
Rev0.02
If necessary, use the fader for Track 1 to adjust its
volume.
Re-recording only the portion that is mistaken (Punch In/Out)
Performing manual punch in and
punch out using a foot switch
If you intend to use a foot switch (such as the optional
Roland DP-2 or BOSS FS-5U) to activate punch in and punch
out, it should be connected to the BR-1200CD at this time.
Use the following procedure to set the appropriate action for
the foot switch jack.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Auto punch in and punch out
The BR-1200CD supports a function known as Auto Punch In/
Out, which will automatically activate punch in and punch out
at specified locations within a song. This function is extremely
useful in situations where punch in and punch out must be
activated at exactly the right time, and where you need to
concentrate on your performance, not the pressing of buttons.
Specifying the section to be re-recorded
In order to activate punch in and punch out automatically,
you will first of all need to set up the punch in and punch out
positions as described below.
● Registering the punch in position
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System screen will appear.
fig.10-03d
1. Move the current position to the point at which you
want the BR-1200CD to activate punch in and press
AUTO PUNCH IN/OUT [IN].
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.
fig.10-05
3. Move the cursor to “Foot Switch” and select PUNCH
IN/OUT using the TIME/VALUE dial.
fig.10-04d
* 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
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 BR-1200CD
either punches in or punches out.
2. Move the current position to the point at which you
want the BR-1200CD to activate punch out and press
AUTO PUNCH IN/OUT [OUT].
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.
fig.10-06
* Once a punch out position has been registered, you can jump
to this position at any time by pressing [OUT].
76
Rev0.02
* 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.
Re-recording only the portion that is mistaken (Punch In/Out)
* 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.
Once you have determined the segment you want to record,
try actually recording using auto punch in/out.
For this example, we will use auto punch in and punch out to
re-record a portion of Track 1, which was recorded earlier.
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.
Section 1
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. 90).
Recording procedure
fig.10-02
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 rerecord 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 BR-1200CD for recording
and then press [PLAY].
Punch in will be activated automatically at the beginning
of the section to be re-recorded so that you can perform
your part without having to worry about pressing
buttons. Similarly, when the end of this section has been
reached, the BR-1200CD will automatically activate
punch out and continue normal playback.
8. Press [STOP] when re-recording has been completed.
9. Listen to the performance with the re-recorded section.
Make sure that you move the current position to a point
before the re-recorded section before starting playback.
If necessary, use the fader for Track 1 to adjust its
volume. You can press [IN] at this time to jump straight
to the punch in position.
10. To clear the settings for the auto punch in/out section,
hold down [DELETE], press [IN] or [OUT].
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77
Re-recording only the portion that is mistaken (Punch In/Out)
Repeating recording in a
specific section (Loop Recording)
When the BR-1200CD’s repeat function is used in
combination with punch in and punch out, the recorded
section will be played back automatically so you can hear
what you have recorded. In addition, if you find that you are
not happy with your recording, simply press [REC] without
stopping playback to re-record once again. The combination
of auto punch in/out with the repeat function in this way is
referred to as Loop Recording.
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 re-record a portion of Track 1, which was recorded
earlier.
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.
fig.10-02
For more detailed information regarding the repeat
function, refer to p. 74.
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 re-recorded (i.e.,
the section between the punch in and punch out positions). If
the repeat section does not fully enclose the re-record section,
recording may not start as required at the specified position
or it may end abruptly in the middle of the re- record section.
fig.10-07
Recording
Playback
Time
Repeat Start
(A)
Punch-in
Punch-out
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 punch-in position.
The BR-1200CD automatically switches to record mode
at the punch-in position; recording stops automatically
at the punch-out position, and the BR-1200CD reverts to
playback mode.
Repeat
Playback
3. Press AUTO PUNCH IN/OUT [ON/OFF].
Repeat end
(B)
Specifying the section to be recorded
Use “Auto punch in and punch out” (p. 76) to register the
positions where the punch-in and punch-out are to be
performed.
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
punch-in and punch-out positions, the BR-1200CD
immediately switches to record mode at that point, then
automatically stops recording at the punch-out position.
6. Press [STOP] when re-recording has been completed.
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.
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Using V-Tracks
“Editing a recorded performance (Track Edit)” (p. 99)
3. Use the TIME/VALUE dial to change the V-Track setting.
The “
” is displayed when the V-Track containing
recorded audio data is selected.
fig.11-03d
Section 1
Although the BR-1200CD is a 16-track multi-track recorder,
you can select any one of sixteen V-Tracks for each of these
tracks. In this way, you can use the BR-1200CD as if it were
actually a 256-track multi-track recorder. In other words, VTracks can be used to make multiple recordings of guitar
solos, vocals, etc. without having to delete any of these takes,
and this ensures that the best performance can be selected
later on. What’s more, you can also choose the best parts
from takes on a number of different V-Tracks and combine
them onto a single track.
4. When you have finished selecting V-Tracks, press
[EXIT/NO] to return to the top screen.
5. If you wish to store the currently selected V-Tracks,
save the current song (p. 70).
Switching V-Tracks
1. Press [V-TRACK].
The V-Track screen will appear.
fig.11-01d
• If V-Tracks are changed during playback, this
playback will be interrupted momentarily. Note,
however, that this is normal and does not indicate a
malfunction.
• You cannot use the track buttons in the V-Track
screen to select tracks to be recorded.
The currently selected track is shown on the top left of the
display, together with the number of the V-Track that is
selected for it. In addition, the name of the currently
selected V-Track is shown on the middle left of the display.
(
):
(
):
(
):
( ):
( ):
Currently selected V-Track (containing
recorded audio data)
Currently selected V-Track (not containing
recorded audio data)
V-Track containing recorded audio data
V-Track not containing recorded audio data
The V-Track from Track 11/12 last used for
mastering (Final Mastering Track)
2. Move the cursor to the track containing the V-Track
you want to change.
fig.11-02d
In addition to the cursor, the track buttons can also be used to
directly choose the track whose settings are to be changed.
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Using V-Tracks
Assigning names to V-Tracks
(Track Name)
Changing the
Final Mastering Track
Names can be assigned to any or all of the BR-1200CD’s 192
V-Tracks. Although a name corresponding to the Input Select
(i.e., Track Name) used for a V-Track is assigned
automatically when it is initially recorded to, you can easily
edit this name later on.
When in Mastering mode, the symbol [ ] will be
automatically placed on the right of the V-Track from Track
11/12 that was most recently used for mastering.
This V-Track is referred to as the Final Mastering Track. This
V-Track is automatically selected for writing to a CD-R/RW
disc during the creation of an audio CD, and you can speed
up the entire process by setting the final mastering track
correctly.
1. Press [V-TRACK].
The V-Track screen will appear.
fig.11-01d
For more detailed information regarding mastering,
refer to “Mastering” (p. 146).
2. Use [CURSOR] and the TIME/VALUE dial to choose
the V-Track that you are going to name.
fig.11-05d
Although the final mastering track is set automatically when
mastering is carried out, you can change this to any other VTrack later on. Use the following procedure to do so.
1. Press [V-TRACK].
The V-Track screen will appear.
fig.11-07d
In addition to the cursor, the TRACK buttons can also be
used to directly choose the track selected.
The name of the currently selected V-Track is shown on
the bottom of the display.
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.
2. Move the cursor to the “MASTER,” and then use the
TIME/VALUE dial to select the final mastering track.
fig.11-08d
fig.11-06d
3. If you wish to store the new setting for the final
mastering track, save the current song (p. 70).
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. 70).
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80
Only V-Tracks from Track 11/12 can be set as the
final mastering track.
Rectifying recording mistakes (Undo/Redo)
In addition, if you then want to restore this recording, you
can cancel the Undo and return the BR-1200CD to its
condition at the end of recording. (Redo)
Redo
Use Redo to restore a recording that was canceled using
Undo.
When a Redo is possible, the “
” appears beside the
song name of the top screen.
The procedure for Redo is as follows.
Undo
1. Press [UNDO/REDO].
The message “Undo?” will appear.
Section 1
In cases where mistakes were made while playing the
instrument or where volume levels could not be controlled as
desired during recording, you will be able to cancel this
recording and return the BR-1200CD to its condition before
the start of this operation. (Undo)
fig.07-40a
1. Press [UNDO/REDO].
The message “Redo?” will appear.
fig.07-40bd
fig.07-40d
2. Press [F2] (REDO).
2. Press [F3] (UNDO).
The message “Complete!” will be displayed to indicate
that the Undo has been completed.
3. Press [PLAY] to start playback, and confirm that the
recording has been canceled.
4. If you now want to cancel another recording before the
one just canceled, repeat Steps 1 to 3.
Each time an Undo is performed, the BR-1200CD will
cancel the next newest recording.
• Once Song Optimization (p. 112) has been carried
out, Undo will no longer be possible.
• The BR-1200CD is capable of performing up to
approximately 10,000 Undo operations.
The message “Complete!” will be displayed to indicate
that the Redo has been completed.
3. Press [PLAY] to start playback, and confirm that the
recording canceled using Undo has now been restored.
If you have used Undo more than once, Steps 1 to 3 can
now be repeated to perform successive Redo operations.
Each successive Redo will restore another canceled
recording.
• Please note that you will no longer be able to use
Redo, once recording or editing has been performed
after an Undo.
• Once Song Optimization (p. 112) has been carried
out, Redo will no longer be possible.
• Undo can only be used with recorded audio data
and edits performed on this data.
• No other types of change can be canceled using this
function.
Rev0.02
81
Mixing audio from various tracks onto a stereo track (Bounce)
If you have constructed a song through repeated
overdubbing, it is often the case that the recorded
instruments will sound disjointed in terms of volume and
position, giving the impression that they’re not actually part
of the same performance. Nevertheless, if you combine each
of these tracks into a stereo mix while readjusting the balance
of volume and pan settings, you will be able to convey the
image of a single, complete song.
And if you intend to create an audio CD later on, your songs
must be in the form of stereo tracks; consequently, you will
need to perform a mix down for each one.
A mix down is carried out as follows.
(1) Set the left-right position of each track (Pan).
(2) Suppress variations in volume (Compressor).
• In addition to the cursor, the track buttons can also
be used to directly choose the track to which settings
are to be changed. Furthermore, if the track buttons
for tracks 1 and 2, tracks 3 and 4, tracks 5 and 6, or
tracks 7 and 8 are pressed in unison at this time, you
will be able to modify the settings for the two
selected tracks at the same time.
Note that since tracks 9/10 and 11/12 are fixed as
stereo tracks, the parameters for the left and right
sides of each of these tracks will always change in
the same way. It is not possible to modify the
settings of the left and right sides individually.
(3) Adjust the sound of each track (Equalizer).
(4) Widen the overall sound (Loop Effects).
(5) Mix the playback tracks onto a single stereo track
(Bounce).
Suppressing variations in
volume (Compressor)
Setting the left-right position
of each track (Pan)
Each of the tracks contains a built-in compressor, and these
compressors can be used to smoothen out differences in the
volumes and peak levels of the corresponding tracks.
1. Press CHANNEL EDIT [PAN].
The pan setting screen will appear.
fig.07-45d
1. Press [COMP].
The compressor setting screen will appear.
fig.07-47d
2. Move the cursor to the track to which pan setting is to
be changed.
You can also select a track by pressing its track button.
The track button for the selected track will light up.
2. Move the cursor to the track to which compressor
setting is to be changed.
The track button for the selected track will light up.
fig.07-47ad
3. Change the pan setting using the TIME/VALUE dial.
L100:
Audio is moved to the extreme left.
0:
Audio is moved to the center.
R100:
Audio is moved to the extreme right.
4. Press [EXIT/NO] to return to the top screen.
3. Move the cursor to the parameter to which setting is to
be changed, and then use the TIME/VALUE dial to
make a new setting.
fig.07-47bd
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82
Mixing audio from various tracks onto a stereo track (Bounce)
THR (Threshold):
ATK (Attack):
This parameter adjusts the time it takes for the
compressor to start affecting the sound after the volume
exceeds the THR. Smaller values reduce the time until
the compressor starts working.
Adjusting the sound of each
track (Equalizer)
Each of the tracks contains a built-in three-band equalizer
(EQ), and these can be used to adjust the low, mid, and high
bands of audio recorded on the corresponding track.
1. Press [EQ].
The equalizer setting screen will appear.
Section 1
This parameter sets the volume level at which the
compressor starts to affect the sound. As the setting is
made smaller (or more negative), the compressor will
become active at lower volumes.
fig.07-49d
REL (Release):
This parameter adjusts the time it takes for the
compressor to stop affecting the sound after the volume
drops below the THR. Smaller values reduce the time
until the compressor stops working.
The THR, ATK, and REL parameters can also be
adjusted directly using the VALUE 1–3 knobs,
respectively.
2. Move the cursor to the track to which equalizer setting
is to be changed.
The track button for the selected track will light up.
fig.07-49ad
4. Press [EXIT/NO] to return to the top screen.
• In addition to the cursor, the track buttons can also
be used to directly choose the track to which settings
are to be changed.
Furthermore, if the track buttons for tracks 1 and 2,
tracks 3 and 4, tracks 5 and 6, or tracks 7 and 8 are
pressed in unison at this time, you will be able to
modify the settings for the two selected tracks at the
same time. This function is extremely useful when
you want to match the compressor settings of stereo
tracks.
By changing compressor settings in this condition,
all parameters can be set to the same values. And as
the compressors from the two selected tracks will
operate as a stereo compressor in this situation,
differences in the balance of left and right volumes
can be easily eliminated. This method of working in
stereo is referred to as “Stereo Link.”
Note that since tracks 9/10 and 11/12 are fixed as
stereo tracks, the parameters for the left and right
sides of each of these tracks will always change in
the same way. It is not possible to modify the
settings of the left and right sides individually.
• In addition to the parameters displayed on-screen, the
compressors also feature other detailed parameters.
For more detailed information, refer to “Using trackspecific compressors (Track Compressor)” (p. 128).
3. Move the cursor to the parameter to which setting is to
be changed, and then use the TIME/VALUE dial to
make a new setting.
fig.07-49bd
HIGH:
This parameter adjusts the sound of the high band. It is
used to change the brightness or thinness of a sound.
The high-band EQ can be used effectively on hi-hats,
cymbals, etc., and it also used to adjust sibilance (the
harsh “S” sound often present in vocals).
MID:
This parameter adjusts the sound of the mid band. It is
mainly used to change an instrument’s degree of power
or presence, and can be extremely useful when used on
vocals, guitars, saxophones, and other instruments that
play melodies. Human hearing is most sensitive in this
mid-range and the main part of an instrument’s sound is
usually found here; accordingly, the mid-band EQ can be
used effectively on nearly all instruments.
Rev0.02
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Mixing audio from various tracks onto a stereo track (Bounce)
LOW:
This parameter adjusts the sound of the low band. It can
be used to change the degree of punch in bass guitars,
kick drums, and other instruments at the rhythmic core
of a song. Note that low-band EQ has little effect on
brighter instruments such as strings or cymbals.
The high, mid, low and parameters can also be adjusted
directly using the VALUE1, VALUE2, and VALUE3
knobs, respectively.
Enhancing the sound
(Loop Effects)
The BR-1200CD’s mixer features CHORUS/DELAY/
DOUBLING and REVERB as loop effects. When used
correctly, these effects can add a feeling of spaciousness and
depth to the sound.
4. Press [EXIT/NO] to return to the top screen.
What are Loop Effects?
Effects that are connected between a mixer’s effectsend and effect-return are referred to as Loop
Effects. With this type of effect, you can adjust the
degree to which the sound is affected by changing
the send level for the corresponding mixer channel
(or in our case, for the corresponding BR-1200CD
track). Since each track has its own send level, the
degree to which each track is affected can be easily
changed-for example, a lot of reverb can be applied
to vocals, a little reverb can be applied to drums, and
so on. In contrast to insert effects (p. 116), which
affect a particular sound, Loop Effects can be said to
affect the overall sound.
If the setting is raised to an excessive level, the
volume of the corresponding range will be too high,
and there is a danger that this could damage your
hearing. In addition, sound will become distorted
and external audio devices such as headphones may
be damaged. Accordingly, you should take extra
care when making this setting, and if necessary, do
so with the volume turned down.
• In addition to the cursor, the track buttons can also
be used to directly choose the track to which settings
are to be changed. Furthermore, if the track buttons
for tracks 1 and 2, tracks 3 and 4, tracks 5 and 6, or
tracks 7 and 8 are pressed in unison at this time, you
will be able to modify the settings for the two
selected tracks at the same time. This function is
extremely useful when you want to match the EQ
settings of stereo tracks. By changing EQ settings in
this condition, all parameters can be set to the same
values. This method of working in stereo is referred
to as “Stereo Link.”
• Note that since tracks 9/10 and 11/12 are fixed as
stereo tracks, the parameters for the left and right
sides of each of these tracks will always change in
the same way. It is not possible to modify the
settings of the left and right sides individually.
• In addition to the parameters presented on the
display, the equalizers also feature other detailed
parameters of sound settings. For more detailed
information, refer to “Using track-specific equalizers
(Track EQ)” (p. 130).
1. Press LOOP EFFECTS [REVERB].
The BR-1200CD will display a screen (Reverb Send) for
adjusting the amount of the audio being sent from each
track to the reverb.
fig.07-50d
2. Move the cursor to the track to which reverb is to be
applied.
You can also move directly to a track by pressing the
corresponding track button.
3. While listening to the playback from the selected track,
use the TIME/VALUE dial to adjust the reverb send
level until you like what you hear.
When the reverb send level is 0, no reverb will be
applied; when it is 100, the maximum amount of reverb
will be applied.
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Applying reverb
Mixing audio from various tracks onto a stereo track (Bounce)
fig.07-50bd
Applying chorus, delay or doubling
1. Press LOOP EFFECTS [CHORUS/DELAY].
fig.07-51d
• In addition to the cursor, the track buttons can also
be used to directly choose the track to which settings
are to be changed. Furthermore, if the track buttons
for tracks 1 and 2, tracks 3 and 4, tracks 5 and 6, or
tracks 7 and 8 are pressed in unison at this time, you
will be able to modify the settings for the two
selected tracks at the same time. This function is
extremely useful when you want to match the
reverb settings of stereo tracks.
• Note that since tracks 9/10 and 11/12 are fixed as
stereo tracks, the parameters for the left and right
sides of each of these tracks will always change in
the same way. It is not possible to modify the
settings of the left and right sides individually.
• In addition to the parameters presented on the
display, the reverbs also feature other detailed
parameters of sound settings. For more detailed
information, refer to “Using loop effects” (p. 125).
Section 1
4. If necessary, repeat Steps 2 and 3.
The BR-1200CD will display a screen (Chorus/Delay
Send) for adjusting the amount of the audio being sent
from each track to the delay or chorus.
2. Press [F3] (EDIT).
The Chorus/Delay Edit screen will appear.
fig.07-52d
3. Move the cursor to TYPE and select the desired Loop
Effect using the TIME/VALUE dial.
CHORUS:
A chorus effect creates sound a little off, and by adding
this to the original sound, it allows the sound to be
thickened. You can have the effect seemed to be
surrounded by the sound.
DELAY:
A delay effect works like an echo by repeating the
original sound after a specific delay time. You can apply
this effect on instruments that play melodies to create a
richer, thicker sound with no loss of presence.
DOUBL’N:
A doubling effect is essentially the same as a delay with
an extremely short delay time. You can use this effect to
make an instrument recorded in mono sound like it was
actually recorded in stereo.
4. Press [EXIT/NO] to return to the Chorus/Delay Send
screen.
5. Move the cursor to the track to which chorus, delay, or
doubling is to be applied.
You can also move directly to a track by pressing the
corresponding track button.
fig.07-52ad
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85
Mixing audio from various tracks onto a stereo track (Bounce)
6. While listening to the playback from the selected track,
use the TIME/VALUE dial to adjust the send level until
you like what you hear.
When the send level is 0, no effect will be applied; when
it is 100, the maximum amount of effect will be applied.
7. If necessary, repeat Steps 5 and 6.
Mixing the playback tracks to a
single stereo track (Bounce)
If you have made all of the necessary track settings as
described in the previous sections, all that now remains is to
combine your tracks and record this mix in stereo.
In addition, you can also record from one track to a different
track using just the BR-1200CD in a procedure known as
“bouncing.”
You can only select one chorus, delay, or doubling
effect. Different types of chorus, delay, and doubling
effects cannot be used together.
If you are using Drum/Bass/Loop Phrase, these can be
combined with the playback from the recorded tracks in
the mix down process.
To do this, first of all press the track button for the
Drum/Bass/Loop Phrase track (Track 8, 9/10) several
times until it lights up or starts to flash. Then, use the
• In addition to the cursor, the track buttons can also
be used to directly choose the track to which settings
are to be changed. Furthermore, if the track buttons
for tracks 1 and 2, tracks 3 and 4, tracks 5 and 6, or
tracks 7 and 8 are pressed in unison at this time, you
will be able to modify the settings for the two
selected tracks at the same time. This function is
extremely useful when you want to match the
chorus/delay/doubling settings of stereo tracks.
• Note that since tracks 9/10 and 11/12 are fixed as
stereo tracks, the parameters for the left and right
sides of each of these tracks will always change in
the same way. It is not possible to modify the
settings of the left and right sides individually.
• In addition to the parameters presented on the
display, the chorus/delay/doubling also feature
other detailed parameters of sound settings. For
more detailed information, refer to “Using loop
effects” (p. 125).
track’s fader to adjust its volume to a suitable level and
bounce the Drum/Bass/Loop Phrase track to a different
track.
The metronome sound is not bounced when the
track type (p. 157, p. 185) for Tracks 9/10 is set to
“METRO&LP.”
As you will probably want to master (p. 146) your song later
on, let’s bounce to Track 11/12.
1. Press [REC MODE] several times until the BOUNCE
indicator lights up.
All inputs sources will be automatically muted at this
time.
2. Press track button for Track [11/12].
This button will turn red and start to flash, indicating
that Track [11/12] has been selected as the destination
for bouncing. Note that the track buttons for tracks that
have been recorded will all be green.
3. Press [REC], then press [PLAY].
Both [PLAY] and [REC] will light up and recording
(bouncing) will start.
4. When you reach the end of the song, press [STOP].
Both [PLAY] and [REC] will turn off, indicating that
bouncing has been completed.
5. To check the track recorded by bouncing, lower all
faders except the one for Track 11/12, and move the
fader for Track 11/12 to a position that gives a suitable
playback volume.
Rev0.02
86
Mixing audio from various tracks onto a stereo track (Bounce)
6. Press [ZERO], then press [PLAY].
The audio data bounced to Track 11/12 will now be
played back.
This process of adjusting the tone and balance for each
track, and of then recording these to a single stereo track
is referred to as a Mix Down.
• If you turn off the BR-1200CD without saving the
current song, the track recorded by bouncing will be
lost. It is important, therefore, that you save your
songs regularly. Furthermore, if you intend to create
an audio CD later on, you must save the bounced
mix-down track at this time.
• If audio data already exists on the track selected for
bouncing, this data will be overwritten during the
bouncing process. If you want to prevent the data
from being overwritten in this way, you should
ensure during recording and overdubbing that an
empty track is reserved for bouncing. Note that even
if you accidentally overwrite audio data as a result
of bouncing, you can use Undo to restore the data
and cancel the bounce. “Undo” (p. 81)
• After bouncing has been completed, a period of 1 or
2 seconds may elapse before you can carry out the
next operation.
With the BR-1200CD, you can bounce data directly to a CDR/RW disc instead of the audio tracks. This is a convenient
way to keep a copy of song sketches after recording them.
Due to differences in the characteristics of CDR-/RW
discs, there is no way to ensure 100% error-free writing.
For this reason, the bouncing may be discontinued if an
error occurs in writing to the CD-R/RW disc. Never use
this feature with your important recordings.
Section 1
7. If you wish to store the track recorded by bouncing,
save the current song (p. 70).
Bouncing directly to a CD-R/RW disc
1. Prepare a blank CD-R/RW disk or a CD-R/RW disk to
which data has been written using Track-At-Once (p.
219) on the BR-1200CD, but that is not yet finalized (p.
225).
2. Place the CD-R/RW disc in the tray.
The CD-R/RW drive‘s indicator begins flashing.
Wait until the indicator stops flashing.
3. Press [REC MODE] a number of times until the
BOUNCE indicator lights.
The BR-1200CD is switched to BOUNCE mode, and the
cursor moves to the location corresponding to the
bounce-destination track.
4. Turn the TIME/VALUE dial counterclockwise to select
“CD-R/RW.”
5. Press [REC].
The CD-R/RW drive’s motor begins spinning.
• If you want to bounce an instrument being played
live together with playback from previously
recorded tracks, press the appropriate INPUT
SELECT button. This button will light up and
muting of the input sources will be canceled. You
will now be able to record the instrument in
combination with the playback tracks during the
bounce process.
• In contrast to normal recording, you cannot press [REC]
(manual punch in) after first pressing [PLAY].
• The moment [REC] is pressed, a region with a minimum
of one song is created on the disc. Note that even if you
press [STOP] at this point without bouncing any tracks,
the song cannot be deleted.
6. Press [PLAY].
[PLAY] and [REC] light, and bouncing to the CD-R/RW
disc begins.
The sounds are written to the CD-R/RW disc exactly as
they are played back.
7. Press [STOP] when you reach the end of the song.
“Close Track...” appears in the display. Bouncing of the
tracks is complete when “Complete!” appears.
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Rev0.02
• Although the previous sections described a mix
down in terms of bouncing within the BR-1200CD
itself, you can also mix down to an external
recording device as mentioned above. To do this,
simply connect the BR-1200CD’s LINE OUT to the
recording device, start recording on that device, and
then start playback on the BR-1200CD. Note that
there is no need to set REC MODE to BOUNCE at
this time and it is quite acceptable to leave it at
INPUT.
“Now checking...” appears in the display, followed by
“Create Track...” About ten seconds later, “Complete!”
appears in the display, indicating that preparations for
bouncing are complete.
Mixing audio from various tracks onto a stereo track (Bounce)
Several seconds may be necessary before you can
proceed with the next operation.
8. To check the results of the bouncing, play the disc back
as an audio CD (p. 224).
9. To enable playback of the bounced tracks on a
conventional audio CD player, finalize the disc (p. 225).
Finalizing the CD-R/RW disc allows the content to
be heard using a regular CD player but prevents any
further bouncing or writing of tracks to the disc. Do
not finalize the disc if you want to bounce or write
other tracks to it.
If using the BR-1200CD to play the disc, write to the
disc in Track-At-Once format (p. 219).
Rev0.02
88
Section 2 Editing
Section 2
Editing
89
Placing markers in your song (Marker)
The BR-1200CD’s Marker function allows you to place
markers at the required points in a song. You can then jump
quickly to any registered marker position by simply
indicating its number. In addition, this function also proves
extremely useful during the editing process. Up to 100
markers can be positioned within a song, and these are
numbered 1 to 100 from the beginning of the song. For this
reason, whenever a new marker is positioned between two
pre-existing markers, the number of all subsequent markers
will increase by one. For example, numbers will change as
follows when a new marker is inserted after Marker No. 2.
fig.12-01
Marker Marker
1
2
Marker Marker
3
4
Positioning a marker
Press [MARK] to place a marker at the current song position.
fig.12-02
Note that markers must be at least 0.1 seconds (approx.)
apart. Accordingly, it will not be possible to position a
new marker within 0.1 seconds (approx.) of a preexisting marker.
Time
Marker Marker
1
2
Marker
3
Clearing markers
Marker Marker
4
5
Time
In addition, you can also assign names to individual markers.
For more detailed information, refer to “Naming a marker”
(p. 91).
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.
fig.12-03
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.
fig.12-04
Use the TIME/VALUE dial to select the number of the
marker you want to move to.
Rev0.02
90
Placing markers in your song (Marker)
Editing markers
2. Press [F2] (NAME).
* If not creating a marker, “NAME” will not appear.
Moving markers
1. Press [UTILITY].
3. Use [CURSOR] and the TIME/VALUE dial to change
the marker name.
fig.12-09d
The Utility Menu screen will appear.
fig.12-12d
Section 2
4. To save the changed name, save the song (p. 70).
2. Move the cursor to the MARKER icon and press
[ENTER/YES].
The Marker screen will appear.
Assigning an audio-CD song
division to a marker
fig.12-05d
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.
3. Use the TIME/VALUE dial to select the number of the
marker you want to edit.
fig.12-06d
For more detailed information regarding Disc At Once
By Marker, refer to “Creating Audio CDs with Audio
Tracks Separated by Markers (Disc At Once by Marker)”
(p. 222).
When on the Marker screen, even normal markers that you
4. Move the cursor to “Location”, and then use the TIME/
VALUE dial to specify a position for that marker.
fig.12-07d
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.
fig.12-08d
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.
fig.02-0102d
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.
Note that if a marker that has already been named is
designated as a song division marker, the original name
will be deleted.
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3. Save the current song (p. 70).
Placing markers in your song (Marker)
Stopping automatically at a
marker (Marker Stop)
• 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 BR-1200CD allows you to assign scenes to markers so
that they can be recalled automatically during playback. This
operation is referred to as Auto Scene.
The BR-1200CD can be made to automatically stop recording
or playback at marker positions. If the operation (i.e.,
recording or playback) is then restarted, it will continue to
the next marker, where it will again be stopped
automatically.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
For more detailed information regarding Auto Scene,
refer to “Recalling scenes automatically during
recording or playback (Auto Scene)” (p. 94).
The allocation of scenes to markers can be modified from the
Marker screen at any time.
3. Move the cursor to “Marker Stop” and select “ON”
using the TIME/VALUE dial.
fig.12-14d
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.
fig.02-0101d
If you set this to “OFF”, the Marker Stop function will be
deactivated.
The selected scene will be assigned to the marker.
3. If you wish to store the modified settings, save the
current song (p. 70).
If you do not save the song, your settings will not be stored.
Rev0.02
92
Registering and recalling mixer settings (Scene)
The BR-1200CD allows you to register up to 100 batches of
mixer and effect settings per song. Each of these batches of
settings is referred to as a Scene, and they can be quickly and
easily recalled whenever needed.
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. 90) to
have them recalled automatically during recording or
playback, and this function is referred to as Auto Scene.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Press [F1] (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. 70).
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.
Section 2
Registering, recalling, and
deleting scenes
To delete:
1. Move to the Scene screen.
2. Move the cursor to the SCENE icon and press [ENTER/YES].
Alternatively, you can press [F2] (SCENE) if the SCENE
icon is currently displayed.
The Scene screen will appear.
2. Move the cursor to “Track Level” and select “FADER”
using the TIME/VALUE dial.
fig.13-04d
fig.13-02d
Track Level
3. Use the TIME/VALUE dial to select the number of the
scene to be registered, recalled, or deleted.
fig.13-03d
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:
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:
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. 70).
Press [F3] (CALL).
To register:
Press [F2] (SAVE).
If you do not save the song, your settings will not be
stored.
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Rev0.02
An asterisk (*) indicates that a scene has already been
registered. If you select such a scene, it will be
overwritten using the current settings.
Registering and recalling mixer settings (Scene)
Recalling scenes automatically during
recording or playback (Auto Scene)
The BR-1200CD allows you to assign scenes to markers so
that they can be recalled automatically when recording or
playback reaches the corresponding marker positions.
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].
• Chorus/delay sends (for Tracks 1 through 11/12)
• Reverb sends (for Tracks 1 through 11/12)
* Settings can be made to indicate whether or not EQ and effect
parameters will be restored by Auto Scene (p. 95). This is set
to OFF in the factory settings.
4. If you wish to store the modified settings, save the
current song (p. 70).
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. 92).
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.
fig.13-05
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.
• 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. 90).
• 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.
• Faders for Tracks 1 through 11/12
• Track mute
• The MASTER fader
• Pan (for Tracks 1 through 11/12)
• Compressors and limiters
• EQ (for Tracks 1 through 11/12) (p. 130)
94
Rev0.02
• Insert effects (p. 118), Vocal Tool Box (p. 131), Speaker
Modeling (p. 142), Mastering Tool Kit (p. 146)
Registering and recalling mixer settings (Scene)
Clearing an Auto Scene
4. If you wish to store the modified settings, save the
current song (p. 70).
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.
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.
2. Press MARKER [CLEAR].
The current marker will be cleared together with the
scene that was assigned to it.
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.
fig.12-12d
Section 2
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.
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 [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
3. Move the cursor to “Effects” or “Track EQ” and select
“ON” or “OFF” using the TIME/VALUE dial.
fig.10-03d
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System parameter setting screen will appear.
fig.10-03d
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. 70).
3. Move the cursor to “Auto Scene” and select “OFF”
using the TIME/VALUE dial.
Auto Scene will now be disabled.
fig.13-07d
95
Rev0.02
To enable Auto Scene once again, return the above
setting to “ON.”
Registering and recalling mixer settings (Scene)
• 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
algorithm of effects (for example, patches from
“COSM OD GUITAR AMP”), but not for different
types. In addition, this type of change will not be
possible for different insert effect connections (p.
123).
• Depending on the sounds used in a performance
recorded on a track, noise may be audible when the
EQ is being adjusted.
Rev0.02
96
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 BR-1200CD provides a convenient Scrub function that
you can use to locate these positions.
You cannot use the Scrub function with Track 8 and
Track 9/10 when the track type is set to anything other
than “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 BR-1200CD will display either [
] (SCRUB TO) or
[
] (SCRUB FROM) beside “SCRUB” to indicate
whether scrubbing is being performed to or from the
current position. For more detailed information
regarding changing of this scrubbing direction, refer to
“Changing the scrubbing direction.”
Section 2
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).
Using Scrub to find the start
of a section of audio
fig.14-01d
The Preview function
Preview is a function that allows you to play the one-second
section of audio either before or after the current position.
By combining Preview and Scrub, you can move the current
position in small increments to easily locate breaks between
phrases.
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. 98).
Now Time
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.
Sound Data
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.
Time
SCRUB
TO
PREVIEW
TO
SCRUB
FROM
PREVIEW
FROM
Muting of all tracks will be canceled whenever you
use the Scrub function.
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.
Rev0.02
97
Finding the start or end of a section of audio (Scrub/Preview)
Changing the scrubbing direction
The BR-1200CD allows you to perform scrubbing either to or
from the current position.
Use the following procedure to change this scrubbing
direction.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-50d
Using Scrub and Preview to find
the end of a section of audio
Enabling Preview
You must first of all set up the BR-1200CD to use the Preview
function.
1. Press [UTILITY].
2. Move the cursor to the SCRUB icon and press [ENTER/
YES].
Alternatively, you can press [F3] (SCRUB) if the SCRUB
icon is currently displayed.
The Scrub/Preview screen will appear.
2. Move the cursor to the SCRUB icon and press [ENTER/
YES].
3. Move the cursor to “Preview SW” and select “ON”
using the TIME/VALUE dial.
fig.14-04d
Alternatively, you can press [F3] (SCRUB) if the SCRUB
icon is currently displayed.
The Scrub/Preview screen will appear.
fig.14-003d
The Preview function will be enabled.
4. Press [EXIT/NO] several times to return to the top screen.
3. Move the cursor to “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
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 one-second period of audio in front
of the current position will be played (PREVIEW TO); if
you press [FF], the one-second period of audio after the
current position will be played (PREVIEW FROM).
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.
Rev0.02
98
Editing a recorded performance (Track Edit)
The BR-1200CD allows you to edit the makeup of your song
using a host of functions such as the copying or moving of
sections of audio within a track or to different tracks.
Example 1: Copying to the same track twice
fig.15-01
A
Precautions when editing tracks
END
A"
TO
Time
Example 2: Copying to a different track twice
fig.15-02
B
B'
Section 2
• Remember to always save your song if you want to
store the track edits that you have made. In the BR1200CD, edited track data is only temporarily stored
on the hard disk, and unless the corresponding song
is saved, it will be lost when the power is turned off
or a new song is loaded.
START
A'
B"
• 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.
START
END
fig.15-03
C
C'
START FROM
The Track Copy function allows you to copy a specified
section of audio data to a new location.
Time
Example 3: Copying audio data using “FROM”
• 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)
TO
END
TO
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
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 BR-1200CD allows you
to copy data in this way using the “FROM” parameter.
Alternatively, you can press [F3] (TRACK) button if the
TRACK icon is currently displayed.
The Track Menu screen will appear.
fig.15-05d
3. Move the cursor to the COPY or COPY INS icon and
press [ENTER/YES].
COPY
fig.15-06d
99
Rev0.02
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.
2. Move the cursor to the TRACK icon and press [ENTER/YES].
Editing a recorded performance (Track Edit)
COPY INS (insert)
Copying will not be performed for any line containing
one or more question marks. As Tracks 9/10 and 11/12
are stereo tracks, it will not be possible to select either of
their mono tracks independent of the other.
fig.15-07d
6. Press [F3] (LOC).
The Time Setting screen will appear.
The Track Copy screen will appear, allowing you to
select the tracks and V-Tracks to be used as the copy
source and destination.
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
fig.15-08
fig,.02-0380d
7. Use [CURSOR] and the TIME/VALUE dial to specify
the copy range and copy destination positions.
fig.02-0381d
A
A'
START/FROM END TO
Time
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 V-Tracks to be used as the copy source
and destination.
If a name has been assigned to the selected track, it will
be displayed at this time.
fig.15-09d
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.
fig.15-20d
You will now be able to specify other tracks as the source
and destination of other copy operations. However, any
track that has elsewhere already been targeted as a copydestination track cannot be newly selected as the copydestination track.
100
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 [F2] (ALL).
8. When you have made all of the necessary settings,
press [F3] (GO).
The audio data will now be copied, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
Rev0.02
If you want to cancel the copy for a specific track, turn
the TIME/VALUE dial counterclockwise until a
question mark (?) is displayed.
Pressing [F1] (DISP) 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.
Editing a recorded performance (Track Edit)
9. Press [EXIT/NO] several times to return to the top
screen.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Moving audio data (Track Move)
Example 1: Moving data within a specific track
fig.15-22
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.
fig.15-05d
Section 2
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 BR-1200CD allows you
to move data in this way using the “FROM” parameter.
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.
3. Move the cursor to the MOVE or MOVE INS icon and
press [ENTER/YES].
MOVE
fig.15-27d
MOVE INS (insert)
fig.15-28d
A
A
START/FROM END
TO
Time
Example 2: Moving data to a different track
fig.15-23
B
The Track Move screen will appear, allowing you to
select the tracks and V-Tracks to be used as the source
and destination.
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.
B
Example 4: Moving audio data with MOVE + INS
START/FROM END
TO
Time
fig.15-29
A
Example 3: Moving data using “FROM”
fig.15-24
C
A'
C
START/FROM END TO
END
TO
Time
101
Rev0.02
START FROM
Time
Editing a recorded performance (Track Edit)
If you are using MOVE + INS, it will not be possible to
specify the same track as the source and destination.
7. Use [CURSOR] and the TIME/VALUE dial to specify
the move range and destination positions.
fig.15-32d
4. Use [CURSOR] and the TIME/VALUE dial to choose
the tracks and V-Tracks to be used as the source and
destination.
fig.15-30d
Pressing [F1] (DISP) 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):
If a name has been assigned to the selected track, it will
be displayed at this time.
This parameter is used to specify the start point of the
audio data to be moved.
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.
END (End point):
fig.15-31d
This parameter is used to specify the basic destination
point.
This parameter is used to specify the end point of the
audio data to be moved.
TO (To point):
FROM (From point):
You will now be able to specify other tracks as the source
and destination of other move operations.
However, any track that has elsewhere already been
targeted as a move-destination track cannot be newly
selected as the move-destination 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 and 11/12 are stereo tracks, it will not be
possible to select either of their mono tracks independent
of the other.
6. Press [F3] (LOC).
The Time Setting screen will appear.
fig.02-0481d
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 [F2] (ALL).
8. When you have made all of the necessary settings,
press [F3] (GO).
The audio data will now be moved, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
9. Press [EXIT/NO] several times to return to the top
screen.
Rev0.02
102
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.
4. Use [CURSOR] and the TIME/VALUE dial to choose
the tracks and V-Tracks between which you want to
exchange audio data.
If a name has been assigned to the selected track, it will
be displayed at this time.
fig.15-37d
Example: Exchanging all data between Tracks 1 and 2
fig.15-33
Track 1
A
Track 2
B
C
E
D
E
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.
Track 1
Track 2
A
B
fig.15-38d
Section 2
D
C
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
You will now be able to specify other tracks as the source
and destination of another exchange operation.
However, any track that has elsewhere already been
targeted as a exchange-destination track cannot be newly
selected as the exchange-destination 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.
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.
• Data exchange will not be performed for any line
containing one or more question marks.
The Track Menu screen will appear.
• As Tracks 9/10 and 11/12 are stereo tracks, it will not be
possible to select either of their mono tracks independent
of the other.
fig.15-05d
6. When you have made all of the necessary track
selections, press [F3] (GO).
3. Move the cursor to the XCHANGE icon and press
[ENTER/YES].
Alternatively, you can press [F2] (XCHANGE) if the
XCHANGE icon is currently displayed.
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.
The Track Exchange screen will appear, allowing you to
select the tracks and V-Tracks to be used as the exchange
source and destination.
fig.15-36d
Rev0.02
103
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.
fig.15-39
fig.15-43d
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.
fig.15-44d
Blank
TO
LENGTH
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
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.
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.
fig.15-05d
• If you want to insert the same blank space into all VTracks or all tracks, turn the TIME/VALUE dial
clockwise until “*” is selected.
• If you want to select all V-Tracks from all tracks, select
“*- *.”
• As Tracks 9/10 and 11/12 are stereo tracks, it will not be
possible to select either of their mono tracks independent
of the other.
6. Press [F3] (LOC).
3. Move the cursor to the INSERT icon and press
[ENTER/YES].
The Time Setting screen will appear.
fig.15-45d
Alternatively, you can press [F3] (INSERT) if the INSERT
icon is currently displayed.
The Track Insert screen will appear, allowing you to
select the track and V-Track where the blank space will
be inserted.
fig.15-42d
7. Use [CURSOR] and the TIME/VALUE dial to specify
the position and length of the blank space to be
inserted.
Pressing [F1] (DISP) at this time will allow you to select
how the position will be specified (i.e., by measure, time,
or marker).
4. Use [CURSOR] and the TIME/VALUE dial to choose the
track and V-Track where you want to insert a blank space.
If a name has been assigned to the selected track, it will
be displayed at this time.
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:
104
Rev0.02
This parameter is used to specify the length of the blank space.
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.
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:
8. When you have made all of the necessary settings,
press [F3] (GO).
The blank space will be inserted, and when the message
“Complete!” appears, it indicates that this operation has
been completed.
9. Press [EXIT/NO] several times to return to the top screen.
Section 2
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.
fig.12-12d
Rev0.02
105
Editing a recorded performance (Track Edit)
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.
7. Use [CURSOR] to move the cursor to “PERCENT” then
set the normalization volume with the TIME/VALUE
dial.
fig.15-74d
The Track Menu screen will appear.
fig.15-05dI
PERCENT:
3. Move the cursor to the NORMALIZE icon and press
[ENTER/YES].
Alternatively, you can press [F1] (NORMALIZE) if the
NORMALIZE icon is currently displayed.
The Normalize screen will appear.
fig.15-72d
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.
8. Press [F3] (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 (p. 81).
4. Select the track you want to normalize with the TIME/
VALUE dial.
9. Save the song to store the results of the normalization
in memory (p. 70).
fig.15-72ad
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. Press [F3] (LOC).
The Normalize Time Setting screen will appear.
fig.02-0690d
• 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.
6. Use [CURSOR] and the TIME/VALUE dial to specify
the start point and end point for the segment you want
to normalize.
If you are normalizing the entire track from beginning to
end, press [F2] (ALL).
• 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.
106
Rev0.02
• If after normalization you load another song or turn
off the BR-1200CD without saving the current song,
the results of normalization will be lost.
Editing a recorded performance (Track Edit)
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.
fig.15-46
A
fig.15-50d
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.
fig.15-51d
END
Section 2
START
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
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.
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.
fig.15-05d
• If you want to delete audio data from all V-Tracks or all
tracks, turn the TIME/VALUE dial clockwise until “*” is
selected.
• Alternatively, if you want to select all V-Tracks from all
tracks, select “*- *.”
• As Tracks 9/10 and 11/12 are stereo tracks, it will not be
possible to select either of their mono tracks independent
of the other.
6. Press [F3] (LOC).
3. Move the cursor to the CUT icon and press [ENTER/
YES].
The screen for setting the segment to cut appears.
fig.15-52d
Alternatively, you can press [F2] (CUT) if the CUT icon
is currently displayed.
fig.15-49d
Pressing [F1] (DISP) at this time will allow you to select
how the positions will be specified (i.e., by measure,
time, or marker).
The Track Cut screen will appear, allowing you to select
the track and V-Track from which audio data is to be
deleted.
4. Use [CURSOR] and the TIME/VALUE dial to choose
the track and V-Track containing the unwanted audio
data.
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.
107
Rev0.02
If a name has been assigned to the selected track, it will
be displayed at this time.
Editing a recorded performance (Track Edit)
fig.15-05d
• 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 [F2] (ALL).
7. When you have made all of the necessary settings,
press [F3] (GO).
3. Move the cursor to the ERASE icon and press [ENTER/
YES].
Alternatively, you can press [F3] (ERASE) if the ERASE
icon is currently displayed.
The Track Erase screen will appear, allowing you to
select the track and V-Track from which audio data is to
be erased.
fig.15-56d
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)
4. Use [CURSOR] and the TIME/VALUE dial to choose
the track and V-Track containing the unwanted audio
data.
If a name has been assigned to the selected track, it will
be displayed at this time.
fig.15-57d
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.
fig.15-53
A
5. If you want to erase 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.
fig.15-58d
START
END
Time
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
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.
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.
• Erase will not be performed for any line containing one
or more question marks.
• If you want to erase audio data from all V-Tracks or all
tracks, turn the TIME/VALUE dial clockwise until “*” is
selected.
108
Rev0.02
• Alternatively, if you want to select all V-Tracks from all
tracks, select “*- *.”
Editing a recorded performance (Track Edit)
• As Tracks 9/10 and 11/12 are stereo tracks, it will not be
possible to select either of their mono tracks independent
of the other.
6. Press [F3] (LOC).
The screen for setting the segment to delete appears.
fig.02-0831d
Section 2
7. Use [CURSOR] and the TIME/VALUE dial to specify
the erase range.
Pressing [F1] (DISP) 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 erased.
END (End point):
This parameter is used to specify the end point of the
audio data to be erased. If you want to set the erase
range as extending from the start to the end of the song,
press [F2] (ALL).
8. When you have made all of the necessary settings,
press [F3] (GO).
The audio data will now be erased, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
9. Press [EXIT/NO] several times to return to the top
screen.
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109
Organizing your songs
Displaying song details
(Song Information)
No.:
Use Song Information to display the following information
for the currently selected song.
Shows the song’s name.
● Song number
● Song name
● Song protection (on or off)
Shows the song’s number.
Name:
If song protection is turned on, “PROTECTED” will be
displayed here.
If the song is recorded or edited, “EDITED” will be
displayed here.
● Whether recording or editing has been carried out
Size:
● Disk memory used for the song
Shows the disk memory used for the current song (in
MB).
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.
4. Press [EXIT/NO] several times to return to the top
screen.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Copying songs (Song Copy)
Songs that you have saved on your hard disk can be copied
to create new songs.
1. Press [UTILITY].
2. Move the cursor to the SONG icon and press [ENTER/
YES].
The Utility Menu screen will appear.
fig.12-12d
Alternatively, you can press [F2] (SONG) if the SONG
icon is currently displayed.
The Song Menu screen will appear.
fig.16-03d
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.
3. Move the cursor to the INFO icon and press [ENTER/
YES].
The Song Menu screen will appear.
fig.16-03d
Alternatively, you can press [F1] (INFO) if the INFO icon
is currently displayed.
The Song Information screen will appear.
fig.16-04d
3. Move the cursor to the COPY icon and press [ENTER/
YES].
Alternatively, you can press [F1] (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.
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110
Organizing your songs
fig.16-08d
Erasing songs (Song Erase)
Use this function to erase songs from your hard disk.
1. Press [UTILITY].
The Utility Menu screen will appear.
4. Move the cursor to the song to be copied and press [F3]
(GO).
fig.12-12d
The message “Sure?” will appear.
fig.16-09d
5. Press [ENTER/YES].
Copying of the selected song will now begin.
The lowest unused song number will be assigned to the
song newly created in the copy process.
Alternatively, you can press [F2] (SONG) if the SONG
icon is currently displayed.
Section 2
2. Move the cursor to the SONG icon and press [ENTER/
YES].
The Song Menu screen will appear.
fig.16-03d
When copying has finished, the message “Complete!”
will appear and the display will automatically return to
the top screen.
3. Move the cursor to the ERASE icon and press [ENTER/
YES].
• The message “Save Current?” may appear if you
have recorded new audio data, performed editing,
modified mixer settings in the current song.
If you want to save the current mixer settings, etc.,
before copying, press [ENTER/YES]; if this will not
be necessary, press [EXIT/NO].
If Song Copy is used without first of all saving the
current song, any changes made since the last time it
was saved, including recorded audio data, edits,
mixer settings, and the song patch selection will be
lost. It is important, therefore, that the appropriate
care be taken.
• If the message “Disk Full!” appears during the copy
process, it will indicate that there is insufficient
space on the hard disk to save the copied song.
In such a case, you will not be able to copy your
song until you have deleted unwanted data from the
hard disk.
Alternatively, you can press [F2] (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.
fig.16-12d
4. Move the cursor to the song to be erased and press [F3]
(GO).
The message “Erase Song OK?” will appear.
fig.16-13d
5. Press [ENTER/YES].
The selected song will be erased.
If you erase the song that is currently loaded, the BR1200CD will select and load the song with the lowest
song number.
111
Rev0.02
If no songs remain on the hard disk, a new song will be
created automatically.
Organizing your songs
fig.16-03d
The message “Save Current?” may appear if you
have recorded new audio data, performed editing,
modified mixer settings, or changed the effects’ song
patch (p. 118, p. 132, p. 143, p. 146) in the current
song.
If you want to save the current mixer settings, song
patch, etc., before erasing a different song, press
[ENTER/YES]; if this will not be necessary, press
[EXIT/NO].
If Song Erase is used without first of all saving the
current song, any changes made since the last time it
was saved, including recorded audio data, edits,
mixer settings, and the song patch selection will be
lost. It is important, therefore, that the appropriate
care be taken.
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 BR-1200CD’s hard disk. In
certain cases, the amount of hard disk space used to store this
unneeded audio data may become quite large, and you will
not be able to record as much new audio data as you would
expect.
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. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
2. Move the cursor to the SONG icon and press [ENTER/
YES].
3. Move the cursor to the OPTIMIZE icon and press
[ENTER/YES].
Alternatively, you can press [F3] (OPTIMIZE) if the
OPTIMIZE icon is currently displayed.
The message “Optimize Song?” will appear.
fig.16-16d
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 BR-1200CD
during the song optimization process. The amount
of time required will depend on the amount of data
contained in the song and the degree to which
editing has been carried out.
• If the BR-1200CD is turned off forcibly during the
song optimization process by, for example, pulling
out the AC adaptor’s plug, there is a possibility that
the audio data contained in all songs—not just the
song being optimized—will be irreparably
damaged.
• 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.
Alternatively, you can press [F2] (SONG) if the SONG
icon is currently displayed.
The Song Menu screen will appear.
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112
Organizing your songs
Protecting a song (Song Protect)
Even if you have saved an important song to the BR-1200CD’s
hard disk, there is always a possibility that you can
accidentally overwrite audio data and loose irreplaceable
recordings. However, you can use the Song Protect function to
ensure that valuable audio data is protected from being
overwritten.
Protecting a song (Song Protect)
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
The current song will be protected.
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.
fig.16-21d
Section 2
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.
4. Press [ENTER/YES].
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. 70).
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.
fig.16-03d
3. Move the cursor to the PROTECT icon and press
[ENTER/YES].
Alternatively, you can press [F3] (PROTECT) if the
PROTECT icon is currently displayed.
The message “Protect On?” will appear.
fig.16-20d
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113
Organizing your songs
Naming a song (Song Name)
Saving your song (Song Save)
When you create a new song, the BR-1200CD will automatically
name it “SONG 001” or something similar. If all songs are named in
this way, however, it will be difficult to tell them apart. It is
recommended that you name your songs appropriately so that they
can be conveniently managed later on.
Note, however, that the BR-1200CD stores the following
when songs are saved.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
● Audio data
● Mixer settings
● The Insert Effects’ song patch (i.e., S001 through S050*)
* S001 through S120 in the case of the Guitar Bank
● The Vocal Tool Box’s song patch (i.e., S01 through S10)
● The Mastering Tool Kit’s song patch (i.e., S001 through S019)
● The Speaker Modeling’s song patch (i.e., S001 through S044)
● Rhythm Arrangement settings (i.e., S001 through S010)
● Loop Phrase sequence (i.e., S001 through S050)
● Bass pattern (i.e., S000 through S999)
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.
fig.16-03d
● Drum pattern (i.e., S000 through S999)
● Loop Effect settings (i.e., S001 through S050)
● Compressor and 3 Band EQ settings
● Tuner settings
● Utility settings (with the exception of LCD contrast,
phantom, and sub mixer)
1. With the top screen displayed, hold down [STOP] and
press [REC].
The message “Save Current?” will appear.
3. Move the cursor to the NAME icon and press [ENTER/
YES].
fig.16-30d
Alternatively, you can press [F2] (NAME) if the NAME
icon is currently displayed.
The Song Name screen will appear.
fig.16-25d
2. Press [ENTER/YES]. (If you do not want to save, press
[EXIT/NO].)
4. Move the cursor to the character you want to change
and select a new character using the TIME/VALUE dial.
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.
fig.02-111d
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” (p. 71).
5. Press [EXIT/NO] several times to return to the top
screen.
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114
Section 3 Using Effects
Section 3
Using
Effects
115
Makeup of BR-1200CD effects
The BR-1200CD contains the following types of effects.
● Insert effects (p. 118)
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 BR-1200CD features
acoustic guitar simulators, bass guitar simulators, and many
other effects for a range of different purposes.
MIC effects:
These effects are used with audio from solo vocal microphones.
The BR-1200CD features COSM compressors, COSM
microphone modeling, de-esser, and a variety of other MIC
effects that will prove very useful when recording from
microphones.
● Track-specific compressors (p. 128)
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 all tracks (i.e., 1 through 8,
9/10, and 11/12)
• You cannot use the insert effects, Vocal Tool Box,
speaker modeling, or Mastering Tool Kit while the
compressor is being used.
● Track-specific equalizers (p. 130)
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.
Three-band equalizers (or EQs) can be used on all tracks (i.e.,
1 through 8, 9/10, and 11/12). Note also that the EQs for
Tracks 9/10 and 11/12 are stereo effects.
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 GUITAR/BASS/MIC 1 audio source; the
vocal effect, to the MIC 2 audio source.
You cannot use individual track equalization while the
Mastering Tool Kit is being used.
● Loop effects (p. 125)
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 BR-1200CD.
Reverb:
By adding reverberation to a sound, this effect imbues the
sound with a sense of spaciousness and depth.
STEREO effects:
Chorus:
As the name suggests, these effects are applied to stereo
inputs. The STEREO bank features stereo compressors, Lo-Fi
processor, ring modulators, and a range of other effects.
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.
Delay:
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/BOSS technology that creates new sounds by
combining various sound modeling technologies.
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116
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.
Makeup of BR-1200CD effects
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.
You cannot use the loop effects while the Mastering Tool
Kit is being used.
● Vocal Tool Box (p. 131)
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.
● Speaker Modeling (p. 142)
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 mix-down will sound good on any type of speaker.
Even if you only use one set of monitor speakers with the BR1200CD, the Speaker Modeling effect allows you to compare
the sound of different speakers in the same way.
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.
Section 3
Supported combinations of effects
Of the insert effects, the Vocal Tool Box, the Mastering
Tool Box, Speaker Modeling, and the track compressors
only one of them can be used at a time.
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. 156).
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. 146)
The BR-1200CD’s Mastering Tool Kit is used during the
creation of an audio CD to improve the quality of the
finished songs by balancing volumes and compression levels.
When commercially available CDs are originally created,
data is written to them in such a way that the loudest point in
each song is close to the maximum volume that can be
recorded on the CD. A good balance among the volumes of
different performances is the most important factor in
allowing data to be written in this way. However, a special
process known as Mastering is generally carried out to adjust
the overall volume. The Mastering Tool Kit provided in the
BR-1200CD allows you carry out this special processing
simply and quickly.
117
Rev0.02
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.
Using insert effects
This section will provide a description of the methods for
changing and saving the various parameters for insert effects.
The relationship between INPUT SELECT buttons and the
selected bank is as follows:
Rather than being restricted to usage only during recording,
the BR-1200CD’s insert effects can also be used with a
specific track during playback or with the mix created from
various tracks. For more detailed information, refer to
“Changing insert effect connections (Insert Effect Location)”
(p. 123).
[GUITAR/BASS]
Guitar bank
[VOCAL]
MIC bank
[SIMUL]
Simul bank
[LINE]
Stereo bank
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 BR-1200CD contains a wide range of preset
effect patches that have been set up for guitars, vocals, and
many other instruments.
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
fig.31-01a
Furthermore, each of these banks contains various different
patches, as shown below.
Preset patches
Guitar bank
P001 through P120
MIC bank
P001 through P050
Simul bank
P001 through P050
Stereo bank
P001 through P050
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
Guitar bank
U001 through U120
MIC bank
U001 through U050
Simul bank
U001 through U050
Stereo bank
U001 through U050
User patches are stored on the BR-1200CD’s hard disk, and
their settings can be modified and saved. As a result, you
will be able to access these patches from any song. If you
have created an effect patch that you also want to use in a
different song, you should save it as a user patch.
Song patches
OD•DS:
COSM Overdrive / Distortion
Guitar bank
S001 through S120
AMP•SP:
COSM Amp Modeling
MIC bank
S001 through S050
EQ:
4-band Equalizer
Simul bank
S001 through S050
Stereo bank
S001 through S050
:
In total, the BR-1200CD contains 18 such algorithms.
These patches are grouped by input source, and each
grouping is referred to as a Bank. The makeup of banks is as
follows:
fig.31-00
GUITAR / BASS
VOCAL
SIMUL
LINE
GUITAR
Bank
MIC
Bank
SIMUL
Bank
STEREO
Bank
P001–120
U001–120
S001–120
P001–050
U001–050
S001–050
P001–050
U001–050
S001–050
P001–050
U001–050
S001–050
118
At the time of purchase, the user patches in each of the
BR-1200CD’s effect banks will contain the same settings
as the corresponding preset patches. Furthermore, when
you create a new song (Song New), the song patches in
each effect bank will be set up by copying the
corresponding user patches.
Rev0.02
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.
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.
Using insert effects
Modifying insert effect settings
5. Press [F3] (=>PRM.).
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.
fig.31-03d
1. Press [EFFECTS].
The Effects Patch screen will appear.
fig.31-01d
Patch Number
Bank
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 [F3]
(BLOCK<=) to return to the effects edit screen, and
then repeat Steps 4 and 6.
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.
fig.31-04d
When you move the cursor to the bank field and turn the
TIME/VALUE dial, you will be able to select a bank
other than that specified with the INPUT SELECT
button.
3. Press [F1] (EDIT).
The Effects Edit screen will appear.
fig.31-02d
4. Move the cursor to the effect block you want to edit.
fig.31-02ad
Section 3
2. Move the cursor to the patch number field and select a
patch using the TIME/VALUE dial.
The Parameter screen will appear.
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 BR-1200CD while “TMP” is being
displayed, all of the patch settings will return to their
previous condition. As it may not be possible to restore
these settings, the appropriate care should be taken.
9. To save your modified settings, carry out the procedure
described in “Saving insert effect settings” (p. 122).
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.
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119
Using insert effects
Changing the sound of insert
effects using the VALUE knobs
When you move the cursor to the right of the insert effects
patch selection screen, a screen allowing you to edit
parameters with the VALUE knobs appears.
5. Make changes in the parameters in the same manner
with the VALUE 1–VALUE 3 knobs.
6. To save the modified sound, carry out the procedure
described below in “Saving insert effect settings” (p.
122).
fig.31-60
Changing parameters assigned
to VALUE knobs
Use the following procedure to change the effect parameters
that are assigned to each of the VALUE knobs.
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.
1. Press [EFFECTS].
The Effects Patch screen will appear.
fig.31-01d
The value knobs VALUE 1 through VALUE 3 can now be
used to directly edit the values of the corresponding
parameters.
1. Press [EFFECTS].
The Effects Patch screen will appear.
fig.31-01d
2. Press CURSOR [
].
The screen allowing you to edit parameters with the
VALUE dial appears.
fig.31-60
2. Press CURSOR [
].
The screen allowing you to edit parameters with the
VALUE dial appears.
fig.31-60
3. Move the cursor above the icon for the parameter you
want to change.
fig.03-100d
3. Move one of the value knobs VALUE 1 through
VALUE 3.
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.
4. Select the parameter to be assigned using the TIME/
VALUE dial.
5. To save the settings, carry out the procedure described
below in “Saving insert effect settings” (p. 122).
4. Move the cursor to the right again.
The screen for editing parameters with the VALUE dial
appears.
fig.03-071d
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120
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. 318).
Using insert effects
Changing effect block connections
fig.31-54d
When you have selected the COSM OD GUITAR AMP or
COSM OD BASS 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.
6. If you want to reposition any of the other effect blocks,
repeat Steps 3 through 5.
In order to change sequences in this way, you will first of all
need to select a patch using the COSM OD GUITAR AMP or
COSM OD BASS AMP algorithm.
7. To save your modified connections, carry out the
procedure described in “Saving insert effect settings”
(p. 122).
1. Press [EFFECTS].
The Effects Patch screen will appear.
fig.31-01d
Section 3
2. Press [F1] (EDIT).
The Effects Edit screen will appear.
fig.31-02d
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.
fig.03-130d
4. Using [CURSOR], move the “▲” to the new connection
position.
fig.31-53d
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.
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Using insert effects
Saving insert effect settings
Modified effect settings are saved by writing them together
with a new patch name.
1. Press [F1] (NAME) on the Effects Edit screen.
fig.31-05d
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:
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] (A<=>a):
The character type will toggle between uppercase and
lowercase.
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 [F3] (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.
3. Press [EXIT/NO] twice to return to the Effects Edit
screen.
4. Press [F3] (WRITE•COPY).
The Effects Patch Write/Copy screen will appear.
fig.31-06d
5. Move the cursor to the destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.31-07d
Note that you can also move the cursor to the bank field
and turn the TIME/VALUE dial to select a new
destination bank.
Rev0.02
122
Using insert effects
Copying insert effect settings
The BR-1200CD’s function for copying patches proves
extremely useful when you want to create a number of effect
patches with slightly different settings.
1. Press [F3] (WRITE•COPY) on the Effects Edit screen.
The Effects Patch Write/Copy screen will appear.
fig.31-06d
Changing insert effect connections
(Insert Effect Location)
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 BR1200CD for use in various different situations.
1. Press [EFFECTS].
The Effects Patch screen will appear.
Section 3
2. Move the cursor to the copy-source patch number and
select the effect patch to be copied using the TIME/
VALUE dial.
fig.31-01d
Note that you can also move the cursor to the bank field
and turn the TIME/VALUE dial to select a source bank.
2. Press [F2] (LOCATION).
“*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.
The Effects Location screen will appear.
fig.31-10d
3. Move the cursor to the destination patch number and
select a destination patch using the TIME/VALUE dial.
Note that you can also move the cursor to the bank field
and turn the TIME/VALUE dial to select a new
destination bank.
3. Change the connection using the TIME/VALUE dial.
fig.31-11d
4. Press [F3] (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.
4. Press [ENTER/YES] to close the message.
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.
6. If you wish to store the modified connections, save the
current song (p. 70).
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 copy-source patch. Care should be taken to ensure
that important patches are not accidentally overwritten
in this way.
• When the track type for Track 9/10 is set to
“DRUMS&LP,” the effects are applied only to the drums
when “TRACK 9/10” is selected. The effects are not
applied to Loop Phrases. Also note that the effects are
not applied to the metronome or Loop Phrases when the
Track 9/10 track type is set to “METRO&LP.”
123
Rev0.02
• If you load another song or turn off the BR-1200CD
without saving the current song, your changes will be
lost.
Using insert effects
Using an expression pedal
When you connect an expression pedal (such as the Roland
EV-5 or BOSS FV-500L/FV-500H) to the rear panel’s EXP
PEDAL jack, you will be able control certain effect
parameters using your feet.
fig.53-00
Expression pedal
(Roland EV-5 etc.)
• It is important that you use the specified type of
expression pedal (such as the separately available
Roland EV-5 or BOSS FV-500L/FV-500H). Connection of
any other product can cause the BR-1200CD to
malfunction.
• Both the Roland EV-5 and BOSS FV-500L/FV-500H have
a minimum volume setting of 0.
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. 310))
• Volume pedal (“Foot Volume” (p. 302))
• Pitch Shifter pedal (“Pitch Shifter” (p. 306))
• Vibrato pedal (“Vibrato” (p. 310))
Rev0.02
124
Using loop effects
Effects that are connected between the effect-send and effectreturn points of input channels and tracks are referred to as
loop effects. This type of effect is generally used to change
the spatial nature of a song using reverberation, stereo
processing, and the like. You can specify how much of an
input or track to send to a loop effect by setting the
corresponding send level, and naturally, this will change the
degree to which the effect is applied to that input or track.
And since send levels can be set independently for each
different input and track, it is easy to set up conditions
where, for example, a lot of reverb is applied to a vocal line
but only a little is applied to the drums.
The BR-1200CD features CHORUS/DELAY/DOUBLING
and REVERB as loop effects, and using these, you can easily
and effectively add breadth and depth to the sound.
Changing the Loop Effect Settings
Chorus/Delay/Doubling
Although you can make settings for the chorus, delay, and
doubling in screens they share, they cannot be used
simultaneously; you must select one of them before it can be
used.
The procedures for selecting chorus, delay, and doubling and
adjusting the tone are described below.
1. Press [CHORUS/DELAY].
The Chorus/Delay/Doubling Send screen will appear.
fig.34-03ad
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 church—this is
reverb. The actual sound of this effect can vary widely as a
result of factors such as the size of the performance space
(whether it be a room, hall, etc.), the shape of this space, and
the material of the walls or other surfaces that reflect the
sound waves.
Pressing [F1] (MIN) at this time sets the chorus/delay/
doubling send level to the minimum value (0). Conversely,
pressing [F2] (MAX) sets the chorus/delay/doubling send
level to the maximum value (100).
Section 3
Reverb:
2. Press [F3] (EDIT).
The Chorus/Delay/Doubling Edit screen will appear.
fig.34-04ad
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.
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/delay/doubling sound.
TYPE
CHORUS, DELAY, DOUBL’N
This parameter selects the type of effect.
■ When CHORUS is selected
PRE-DELAY
0.5–50.0 ms (Default: 20.0 ms)
This adjusts the delay between output of the direct sound and
output of the effect sound.
RATE
You can only select and use one chorus, delay, or
doubling effect—two or more of these effects cannot be
used at the same time. Note, however, that reverb can be
used at the same time as a chorus, delay, or doubling
effect.
0–100 (Default: 50)
Adjusts the rate of the chorus.
DEPTH
0–100 (Default: 50)
Adjusts the depth of the chorus.
LOW CUT FLAT, 40 Hz–800 Hz (Default: FLAT)
125
Rev0.02
This parameter sets the low-band cutoff characteristic of the
chorus sound.
Using loop effects
LEVEL
0–100 (Default: 50)
Adjusts the overall volume of the effect sound. If you set this to
0, the chorus will have no effect.
■ When DELAY is selected
TIME
10–1000 ms (Default: 500 ms)
This parameter adjusts the delay time (i.e., the interval over
which sound is delayed).
FEEDBACK
0–100 (Default: 0)
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.
HF DAMP
0–100 (Default: 0)
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.
LEVEL
0–100 (Default: 50)
The BR-1200CD provides you with a doubling-type send
effect that allows you to achieve the same effect without
having to make two separate recordings. And since this
makes it possible to apply doubling even to single-track
mono performances, you can make more effective use of
your available tracks.
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 pseudostereo sound. When using this effect, therefore, you will need
to pan the playback track to either the left or the right. The
copied sound will then be played with a short delay on the
opposite side. Doubling will have no effect if the track pan is
set to the center, and the appropriate care should be taken.
Reverb
1. Press [REVERB].
The Reverb Send screen will appear.
fig.34-02d
This adjusts the overall volume of the delay sound.
REV SEND
0–100 (Default: 0)
Adjusts the amount of reverb that is applied to the delayed sound.
■ When DOUBL’N is selected
DELAY TIME
0.5–50.0 ms (Default: 17.0 ms)
This parameter adjusts the delay time (i.e., the interval over
which sound is delayed).
LEVEL
0–100 (Default: 50)
This parameter adjusts the volume of the delayed sound.
Pressing [F1] (MIN) at this time sets the reverb send level
to the minimum value (0).
Conversely, pressing [F2] (MAX) sets the reverb send
level to the maximum value (100).
2. Press [F3] (EDIT).
The Reverb Edit screen will appear.
fig.34-02ad
If [F3] (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. 70).
Only one set of chorus/delay/doubling settings can be
saved per song.
Doubling
126
You will be able to hear how your new settings change
the reverb sound.
TYPE
ROOM, HALL, PLATE (default: HALL)
Selects the type of reverb to be used.
ROOM:
Simulates the reverberation of a small room.
HALL:
Simulates the reverberation of a concert hall.
Rev0.02
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.
3. Move the cursor to the parameter that you want to
change and select a new setting using the TIME/
VALUE dial.
Using loop effects
PLATE:
Simulates the reverberation of reverb devices using large metal
plates that have been constant favorites in professional studios.
TIME
0.1 s – 10.0 s (Default:2.0 s)
This parameter adjusts the duration (time) of the reverb.
PRE-DELAY
1.0 ms –100.0 ms (Default: 15.0 ms)
This parameter adjusts the delay between the direct sound and
the start of the reverb.
TONE
-12–+12 (Default: 0)
This parameter adjusts the overall tone of the reverb sound.
Negative values produce a darker tone; positive values, a
brighter tone.
DENSITY
0–10 (Default: 5)
HF DAMP
Section 3
This parameter adjusts the density of the reverb, with larger
values producing a denser sound.
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 Hz–800 Hz (Default: FLAT)
This parameter sets the low-band cutoff characteristic of the
reverb sound.
LEVEL
0–100 (Default: 50)
This parameter adjusts the volume of the reverb.
If [F3] (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. 70).
Only one set of reverb settings can be saved per song.
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127
Using track-specific compressors (Track Compressor)
A compressor is used to smooth out volume fluctuations in
the track’s playback, thus making it easier to hear at all times.
You cannot use the insert effects, Vocal Tool Box,
speaker modeling, or Mastering Tool Kit while the track
compressor is being used.
For details regarding basic track compressor operations,
refer to “Suppressing variations in volume (Compressor)”
(p. 82).
The following section will deal with the finer points of
compressor setting methods.
1. Press [COMP].
The Track Compressor screen will appear.
fig.32-05d
ATTACK
0.1 mS–100 mS
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.
RELEASE
50 mS–2500 mS
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.
KNEE
SOFT, MEDIUM, HARD
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:
[COMP] lights up at this time, indicating that the track
compressor is switched on. The lights in the insert
effects, Mastering Tool Kit, Vocal Tool Box, and speaker
modeling buttons go off.
* When you next want to use these effects, press the button for
the effect you want. The track compressor is then switched off,
and the effect you have selected is switched on.
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
0.0dB–24.0dB
This adjust the volume of the compression.
2. Press [F3] (EDIT).
The Compressor Edit screen will appear.
fig.32-06d
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.
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.
THRESHOLD
-48 dB–0 dB
6. If you wish to store the modified settings, save the
current song (p. 70).
Only one set of track compressor settings can be
saved per song.
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.
RATIO
2.0: 1–40.0: 1, INF: 1
128
Rev0.02
This adjusts the compression ratio. Higher ratios produce a
stronger compression effect.
Using track-specific compressors (Track Compressor)
Switching track compressors between
stereo and mono (Stereo Link)
If you intend to apply a compressor to a stereo-recorded
track, you will need to align the left and right compressor
settings in order to prevent differences in volume occurring
on the left and right (Stereo Link).
Use the following procedure to turn Stereo Link on and off.
1. Press [COMP].
The Compressor screen will appear.
fig.32-05d
Section 3
2. Use the track buttons or [CURSOR] to select one or
both tracks from a stereo pair.
3. Press [F2] (LINK ON).
Stereo Link will be toggled between on and off.
• Whenever Stereo Link is turned on, the parameters for
the compressors 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.
• You can switch on Stereo Link by simultaneously
pressing two adjacent track buttons.
4. If you wish to store the modified settings, save the
current song (p. 70).
Tracks 9/10 and 11/12 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.
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129
Using track-specific equalizers (Track EQ)
Setting the Track EQ
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. 70).
For details regarding basic equalizer operations, refer to
“Adjusting the sound of each track (Equalizer)” (p. 83).
Only one set of equalizer settings can be saved per
song.
The following section will deal with the finer points of
equalizer setting methods.
1. Press [EQ].
Switching equalizers between
stereo and mono (Stereo Link)
The Equalizer screen will appear.
fig.32-03d
If you intend to apply an equalizer to a stereo-recorded track,
you will need to align the left and right EQ settings in order
to prevent differences in tone occurring on the left and right
(Stereo Link).
2. Press [F1] (ON/OFF) to toggle the equalizer between on
and off.
3. Press [F3] (EDIT).
Use the following procedure to turn Stereo Link on and off.
1. Press [EQ].
The Equalizer screen will appear.
The Equalizer Edit screen will appear.
fig.32-03d
fig.32-04ad
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.
HI GAIN
-12–+12 dB
This parameter sets the gain (amount of boost or cut) for the
high-range equalizer.
HI FREQ
500 Hz–18000 Hz
This parameter sets the frequency for the high range equalizer.
MID GAIN
-12–+12 dB
This parameter sets the gain (amount of boost or cut) for the
midrange equalizer.
MID FREQ
200 Hz–4000 Hz
2. Use the track buttons or [CURSOR] to select one or
both tracks from a stereo pair.
3. Press [F2] (LINK ON).
Stereo Link will be toggled between on and 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.
• You can switch on Stereo Link by simultaneously
pressing two adjacent track buttons.
4. If you wish to store the modified settings, save the
current song (p. 70).
This parameter sets the central frequency for the midrange equalizer.
MID Q
0.3–16.0
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.
LOW GAIN
-12–+12 dB
This parameter sets the gain (amount of boost or cut) for the low
range equalizer.
40 Hz–1500 Hz
This parameter sets the frequency for the low range equalizer.
130
Rev0.02
LOW FREQ
Tracks 9/10 and 11/12 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.
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 BR-1200CD’s Vocal Tool Box will help to ensure that your vocal tracks will always sound great.
Makeup of the Vocal Tool Box
The following two types of effects make up the BR-1200CD’s Vocal Tool Box.
● Pitch Correction
● Harmony Sequence
Section 3
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.
In order to apply a simple backing chorus, this effect creates a three-piece harmony by modifying the pitch of the original solo
vocal track. Furthermore, the harmony pitches are automatically created in accordance with the chord sequence or harmony
pattern specified for your rhythm arrangement (p. 200).
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.
fig.35-01
Chorus/Delay
Send
CHORUS/
DELAY
L
R
MIX
Track Pan
Track
COMPRESSOR
VOCAL
TOOL BOX
L
R MIX
EQUALIZER
• Pitch Correction
• Harmony Sequence
REVERB
L MIX
R
Reverb Send
Rev0.02
131
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 BR-1200CD. In addition, 10 user patches can be
freely set up and used within any song, and 10 song patches
can be set up for use within a specific song.
Precautions for Vocal Tool Box usage
• When you are using the Vocal Tool Box, you will not be
able to use insert effects, track compressor, 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.
Fixing the pitch of vocals
(Pitch Correction)
Let’s now use the BR-1200CD’s pitch correction feature to
clean up some mistakes in a solo vocal part.
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 BR-1200CD will now enter Bounce mode.
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.
fig.35-06d
• 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 BR-1200CD is frequently incorrect when detecting
the pitch, either change the “Type” setting for the pitch
correction function or the “Input Type” setting for the
harmony sequence function. In certain cases, this will
reduce the number of incorrect detections.
You should select a patch for which “PITCH
CORRECTION” is displayed on-screen as the algorithm
name here.
5. Press [F2] (LOCATION).
fig.35-08d
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, Tracks 9/10, or Tracks 11/12
7. Press [ENTER].
8. Start playback on the BR-1200CD.
Pitches will be corrected in the solo vocal part as it is
played. A real-time display of the amount of pitch
correction in units of cents will be provided at the top
right of the screen. Listen to the part to confirm that it is
now completely in tune, and if necessary, adjust the
volume of the part using the corresponding track fader.
Press [STOP] to end playback.
Rev0.02
132
4. Move the cursor to the patch number field and select a
patch using the TIME/VALUE dial.
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
9. 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.
10. 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.
11. Press [ZERO] to jump to the start of the song and then
press [REC].
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 [F1] (EDIT).
The Pitch Correction Edit screen will appear.
fig.35-04d
Section 3
[REC] will turn red and start to flash, indicating that the
BR-1200CD is now ready for recording.
12. 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.
3. Press [F3] (=>PRM.)
The Pitch Correction Parameter screen will appear.
fig.03-363d
13. Press [STOP] at the point where you want to stop
recording.
The BR-1200CD will stop playback.
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 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 (p. 81) to cancel the recording.
15. If you wish to store the corrected track, save the current
song (p. 70).
4. Move the cursor to the setting you want to change and
select a new value using the TIME/VALUE dial.
fig.35-05d
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 low-pitched, male voice.
HI.MALE (High Male)
Select this setting for a high-pitched, male voice.
LO.FEML (Low Female)
Select this setting for a low-pitched, female voice.
HI.FEML (High Female)
Select this setting for a high-pitched, female voice.
133
Rev0.02
* If the BR-1200CD is frequently incorrect when detecting the
pitch, either change the type setting. In certain cases, this will
reduce the number of incorrect detections.
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Smooth
0–100
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.
Corrections that are made too rapidly seem robotic. However, if
the correction is too smooth, in some cases it may appear as if
no correction has been applied. For natural sounding pitch
corrections, set the value in a range between 20 and 40.
Making Detailed Settings for Pitch
Correction (Correction Event Map)
In the procedures described thus far, what has been
explained is how to correct the overall pitch for the entire
song, from start to finish, in semitone increments.
In actual practice, however, there may be situations where
you want to correct only a certain section or adjust the pitch
differently. In such instances, use the following procedure.
5. Press [F3] (BLOCK<=).
The Pitch Correction Edit screen will appear.
fig.03-362d
1. Start by switching to BOUNCE mode and selecting the
patch to which pitch correction is to be applied.
2. Press [F1] (EDIT) in the Vocal Tool Box pitch selection
screen.
The Pitch Correction Edit screen appears.
fig.03-362d
6. To save your modified settings, carry out the procedure
described in “Saving Vocal Tool Box settings (Patch
Write)” (p. 140).
3. Press [F2] (MAP EDIT).
The Correction Event Map screen appears.
fig.03-366d
In the Correction Event Map screen, you can input the
time at which you want the pitch correction to start as
well as the pitch.
Taken together, this timing and pitch data is referred to
as a “correction event.”
fig.03-367
Pitch
Correction
start point
Next event
start point
Correction
pitch
Vocal pitch
Time
You can make corrections freely at the desired points in
the song by arranging correction events in the sequence
they occur.
The sequence of correction events with the information
they contain is called a “correction event map.”
134
Rev0.02
Initially, only one correction event, “AUTO,” is input at
the beginning of the correction event map.
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
AUTO:
SMOOTH
After the specified point in the song, all pitches are
corrected in semitone increments.
The value set here is added to the value of the “Smooth”
patch parameter (p. 134).
4. Press [F1] (NEW).
A new correction event is inserted.
fig.03-0371d
5. Move the cursor to “TIME” and specify the time at
which you want the correction to start with the TIME/
VALUE dial.
fig.03-368d
-100–+100
When set to “0,” the correction speed is the same as that
set in the patch’s “Smooth” setting.
As the value increases in the negative direction, the pitch
correction is executed more rapidly than it would be
according to the value set in the patch, whereas the
correction is applied more smoothly as the selected value
is increased in the positive direction.
* Set the value so that the sum of the values is in a range from 0
to 100. The pitch correction produces no effect when the value
is set below 0 or over 100.
8. Press [F1] (NEW).
Another new correction event is inserted.
fig.03-369d
Section 3
9. Move the cursor to “TIME” and specify the time at which
you want the correction to end with the TIME/VALUE dial.
You cannot change the time of the correction event at the
start of the song.
6. Move the cursor to “NOTE” and specify the pitch you
want to correct with the TIME/VALUE dial.
10. Move the cursor to “NOTE” and specify “OFF.”
fig.03-3682d
fig.03-3681d
11. Have the Recorder play the song from the beginning.
NOTE:
OFF
No correction is made after the specified point in the
song. The song is played using the original pitch.
AUTO
When a correction event specifies the note name in
NOTE, the correction is first applied at the point in the
song specified in Step 5, with the correction ending at the
point specified in Step 9.
12. To delete any unnecessary correction events, move the
cursor to the event and press [F3] (DELETE).
After the specified point in the song, all pitches are
corrected in semitone increments.
The correction event is deleted.
C, C#, –A#, B
You cannot delete the correction event at the beginning
of the song. If this correction event is unneeded, rather
than deleting it, just set the function to “OFF.”
The performance after the specified point in the song is
adjusted to the specified pitch.
7. Move the cursor to “SMOOTH” and specify the
correction speed.
fig.03-3683d
13. Repeat Steps 4–12 as needed to specify the edited range.
14. To save the correction events you have input, save the
song (p. 70).
135
Rev0.02
You can only save a Correction Event Map to a
single song. Even if you switch the patch with the
pitch correction, the Correction Event Map remains
unchanged.
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 BR-1200CD’s harmony sequence feature to
apply a backing chorus to a solo vocal performance. A threepart backing chorus will be created based on the chord
sequence specified for your rhythm arrangement.
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. 200)
3. Press [REC MODE] several times until the BOUNCE
indicator lights up.
The BR-1200CD will now enter Bounce mode.
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.
fig.35-06d
8. Press [ENTER/YES].
Backing chorus will now be added to the selected track.
9. Start playback on the BR-1200CD.
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.
10. Press a track button to select the track on which the solo
vocal and backing chorus will be recorded.
The track button will turn red and start flashing to
indicate selection as the recording track.
11. 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.
12. 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
BR-1200CD is now ready for recording.
13. 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 solo vocal
and backing chorus will be recorded on the selected
track.
14. Press [STOP] on the point where you want to stop
recording.
The playback on the BR-1200CD will stop.
15. Press [ZERO] to jump to the start of the song once again
and then start playback of the recorded track.
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 on-screen as the algorithm
name here.
Move the fader for the track containing the original vocal
part all the way down, and raise the fader for the track
containing the solo vocal and backing chorus to an
appropriate point. You will now be able to hear just the
backing chorus.
6. Press [F2] (LOCATION).
fig.35-108d
If you do not like the way the backing chorus was
applied, use Undo (p. 81) to cancel the recording.
16. If you wish to store the backing chorus, save the
current song (p. 70).
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, Tracks 9/10, or Tracks 11/12
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136
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 “non-chord” for corresponding chords input in the
chord input screen (p. 200).
3. Press [F3] (=>PRM.).
The Parameter screen will appear.
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.
fig.35-10d
Non-chord can be specified by selecting “- - -” (N.C.) during
Step 5 in the procedure described in “Inputting chords” (p.
200).
Playback of the backing chorus will be stopped for chords
that have been specified as “non-chord,” and this makes it
possible to set up rests.
Chord
Cmaj
Fmaj
backing chorus
C---
Fmaj
On/Off
Time
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 [F1] (EDIT).
The Harmony Sequence edit screen will appear.
fig.35-09d
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.
OFF, ON
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.
Section 3
fig.35-09a
Rest
VOICE1–VOICE3
These parameters are used to make settings for each of the
voices comprising the backing chorus.
Example: Inputting the chords Cmaj → C - - - → Fmaj
Chorus Cmaj
backing chorus
4. Move the cursor to the setting you want to change and
select a new value using the TIME/VALUE dial.
Note that if all voices 1 through 3 are turned off, no audio will
be produced for the backing chorus.
Pre Delay
0.0 ms–50.0 ms
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.
Pan
L100–R100
This adjusts the left-right position of the corresponding voice.
By setting a different pan value for each voice, a backing chorus
with a wider sound can be produced.
Human Feel
0–100
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.
Input 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.
Select this setting for a low-pitched, male voice.
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LO.MALE (Low Male)
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Making More Detailed Backing Chorus
Settings (Harmony Event Map)
HI.MALE (High Male)
Select this setting for a high-pitched, male voice.
LO.FEML (Low Female)
Select this setting for a low-pitched, female voice.
In the procedures described thus far, what has been
explained is how to add the backing chorus automatically to
all of the vocals in the song, from start to finish.
HI.FEML (High Femail)
Select this setting for a high-pitched, female voice.
*
If the BR-1200CD is frequently incorrect when detecting the pitch,
either change the type setting. In certain cases, this will reduce the
number of incorrect detections.
Balance
100:0–0:100
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.
Chorus Send
0–100
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.
Reverb Send
In actual practice, however, there may be situations where
you want to have the backing chorus only a certain section or
make detailed adjustments to the composition of the
harmony. In such instances, use the following procedure.
1. Start by switching to BOUNCE mode and selecting the
patch to which you want to apply the harmony
sequence.
2. Press [F1] (EDIT) in the Vocal Tool Box pitch selection
screen.
The Harmony Sequence Edit screen appears.
fig.03-372d
0–100
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 [BLOCK<=] to return to the Harmony Sequence
Edit screen.
3. Press [F2] (MAP EDIT).
The Harmony Event Map screen appears.
fig.03-374d
6. Press [EXIT/NO] to return to the 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 BR-1200CD while “*TMP” is being
displayed, all of the patch settings will return to their
original condition. As it may not be possible to restore
these settings, due caution should be observed.
7. To save your modified settings, carry out the procedure
described below in “Saving Vocal Tool Box settings
(Patch Write)” (p. 140).
In the Harmony Event Map screen, you can input the
time at which you want addition of the backing chorus
to start as well as the pitch for each of the three voices
comprising the harmony.
Taken together, this timing and pitch data is referred to
as a “harmony event.”
fig.03-400d
Pitch
Voice 1
pitch
Voice 2
pitch
Voice 3
pitch
Time
Start point for the
backing chorus
Start point for the
next backing chorus
You can freely add backing chorus wherever you want
in the song by arranging harmony events in the
preferred sequence.
Rev0.02
138
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
The sequence of harmony events with the information
they contain is called a “harmony event map.”
7. Specify the settings for “VOICE2” and “VOICE3” in
the same manner.
Initially, only one harmony event, “AUTO,” is input at
the beginning of the harmony event map.
8. Press [F1] (NEW).
AUTO:
After the specified point in the song, the backing chorus
is automatically added in accordance with the rhythm
arrangement’s chord map.
Another new harmony event is inserted.
9. Move the cursor to “TIME” and specify the time at
which you want the backing chorus to end with the
TIME/VALUE dial.
fig.03-376d
4. Press [F1] (NEW).
A new harmony event is inserted.
fig.03-3741d
10. Move the cursor to “VOICE1” and specify “OFF.”
5. Move the cursor to “TIME” and specify the time at
which you want the backing chorus to start with the
TIME/VALUE dial.
fig.03-375d
12. Have the Recorder play the song from the beginning.
When the harmony event specifies the note name in
VOICE (1–3), the backing chorus is first added at the
point in the song specified in Step 5, then ends at the
point specified in Step 9.
Section 3
11. Specify “OFF” for “VOICE2” and “VOICE3” in the
same manner.
13. To delete any unnecessary harmony events, move the
cursor to the event and press [F3] (DELETE).
The harmony event is deleted.
You cannot change the time of the harmony event at the
start of the song.
6. Move the cursor to “VOICE1” and specify the pitch for
the first voice with the TIME/VALUE dial.
NOTE:
OFF
You cannot delete the harmony event at the beginning of
the song. If this harmony event is unneeded, rather than
deleting it, just set the function to “OFF.”
14. Repeat Steps 4–13 as needed to specify the backing
chorus.
15. To save the harmony events you have input, save the
song (p. 70).
The first voice is not played after the specified point in
the song.
AUTO
After the specified point in the song, the voice is played
in accordance with the rhythm arrangement’s chord
map.
You can only save a Harmony Event Map to a single
song. Even if you switch the patch with the harmony
sequence, the Harmony Event Map remains
unchanged.
C, C#, –A#, B
After the specified point in the song, the voice is played
at the specified pitch.
In case of “+” is added to “AUTO” or note, it sounds one
octave up.
In case of “-” is added to “AUTO” or note, it sounds one
octave down.
Rev0.02
139
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Saving Vocal Tool Box
settings (Patch Write)
5. Move the cursor to the destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.35-13d
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.
fig.35-11d
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).”
6. Press [F3] (GO).
2. Move the cursor to the characters in the patch name you
want to change and select new characters using the
TIME/VALUE dial.
fig.35-11ad
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.
3. Press [EXIT/NO] twice to return to the Vocal Tool Box
Patch Selection screen.
fig.03-3781d
4. Press [F3] (WRITE•COPY).
The Vocal Tool Box Write/Copy screen will appear.
fig.35-12d
Rev0.02
140
Fixing the pitch of vocals/Adding a backing chorus to vocals (Vocal Tool Box)
Copying Vocal Tool Box
settings (Patch Copy)
The BR-1200CD’s function for copying patches proves
extremely useful when you want to create a number of effect
patches with slightly different settings.
1. Press [F3] (WRITE•COPY) on the Pitch Correction or
Harmony Sequence screen.
The Vocal Tool Box Write/Copy screen will appear.
fig.35-14d
Section 3
2. Move the cursor to the copy-source patch number and
select the patch to be copied using the TIME/VALUE
dial.
fig.35-14ad
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 destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.35-14bd
4. Press [F3] (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.
141
Rev0.02
It is important to remember that the destination
patch will be fully overwritten by the patch specified
with copy-source patch.
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 BR-1200CD provides
a function known as Speaker Modeling. Using this function,
you can hear how your songs will sound on different
monitoring systems; furthermore, by comparing these
different sounds as you search for the best balance, you can
achieve mix-downs of a much higher quality.
The CM-30 monitor speakers are to be connected to the BR1200CD as shown below.
fig.03-509
Speaker Modeling comprises the following effect blocks.
LINE OUT
fig.37-13d
SP Modeling
Bass Cut Filter
Low Freq Trimmer
High Freq Trimmer
Limiter
The DS-30A/50A/90A monitor speakers are to be connected
to the BR-1200CD as shown below.
fig.37-01
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 low-band signals resulting from, for example, pop
noise produced by the vocalist in an otherwise fine
performance.
DIGITAL
IN
Optical cable
DIGITAL OUT
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 BR-1200CD’s Speaker
Modeling feature, it is recommended that you used digitally
connected Roland CM-30 Cube Monitor.
Monitor speakers other than the above are to be connected as
follows.
fig.37-02
In case you own the DS-30A/50A/90A, you can get best
possible performance by the DS-30A/50A/90A.
If you are using any other type of monitor speakers, please
note that speaker modeling may not produce the desired
result.
* The DS-30A/50A/90A is out of production.
LINE OUT
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142
Power Amp
Recreating the characteristics of different monitor speakers (Speaker Modeling)
Speaker Modeling patches
Modifying Speaker Modeling settings
At the time of purchase, the BR-1200CD’s Speaker Modeling
already contains 44 preset patches that cannot be overwritten
(P001 through P044), 44 user patches that can be used in any
song (U001 through U044), and 44 song patches that are
stored together with a specific song (S001 through S044).
User patches and song patches can be overwritten.
Each of the effect blocks that make up the Speaker Modeling
feature can be fine-tuned by making the appropriate settings.
For each monitor speaker, following patches are ready in
preset bank.
Please use proper patch in accordance with your monitor
speaker.
DS-90A
P012–022
DS-50A
P023–033
DS-30A
P034–044
CM-30
Using Speaker Modeling
1. Press [SPEAKER MODELING].
This button will light up and the Speaker Modeling
patch screen will appear.
fig.37-03d
1. Press [F1] (EDIT) on the Speaker Modeling patch
screen.
The Speaker Modeling edit screen will appear.
fig.37-06d
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.
Section 3
P001–011
Before starting, however, you will need to select the Speaker
Modeling patch that you would like to change.
2. Move the cursor to the effect block you want to edit and
press [F3] (=>PRM.).
The Parameter screen will appear.
fig.03-570d
* Note that this action will cause insert effects, the Vocal Tool
Box, the Mastering Tool Kit, and the track compressor to be
turned off automatically.
2. Move the cursor to the patch number field and select a
patch using the TIME/VALUE dial.
The BR-1200CD’s output sound will now be modeled
based on the selected speaker.
For more detailed information regarding settings, refer
to “Speaker Modeling parameter functions” (p. 313).
3. Move the cursor to the parameter that you want to
change and select a new value using the TIME/VALUE
dial.
fig.37-07d
“Speaker Modeling Patch List” (p. 330)
Turning off Speaker Modeling
Use the following procedure if you want to temporarily turn
off Speaker Modeling.
1. Press [SPEAKER MODELING] on the Speaker
Modeling patch screen.
Speaker Modeling will be turned off.
Press [SPEAKER MODELING] once again to turn
Speaker Modeling back on.
4. If you also want to edit other effect blocks, press [F3]
(BLOCK<=) to return to the Speaker Modeling edit
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.
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Rev0.02
5. Press [F3] (BLOCK<=) to return to the Speaker
Modeling edit screen.
Recreating the characteristics of different monitor speakers (Speaker Modeling)
6. Press [EXIT/NO] to return to the Speaker Modeling
patch screen.
Saving Speaker Modeling settings
fig.37-08d
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.
fig.37-09d
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 BR-1200CD while
“*TMP” is being displayed, all of the patch settings will
return to their original condition. As it may not be
possible to restore these settings, due caution should be
observed.
2. Move the cursor to the characters in the patch name you
want to change and select new characters using the
TIME/VALUE dial.
fig.37-09d
To save your modified settings, carry out the procedure
described below in “Saving Speaker Modeling settings.”
3. Press [EXIT/NO] twice to return to the Speaker
Modeling patch screen.
4. Press [F3] (WRITE•COPY).
The Speaker Modeling Patch Write/Copy screen will
appear.
fig.37-10d
5. Move the cursor to the destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.37-11d
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).”
6. Press [F3] (GO).
The Speaker Modeling patch will be written. When the
message “Complete!” appears, it indicates that writing
has been completed.
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7. Press [EXIT/NO] several times to return to the top
screen.
Recreating the characteristics of different monitor speakers (Speaker Modeling)
Copying Speaker Modeling
settings
The BR-1200CD’s function for copying patches proves
extremely useful when you want to create a number of effect
patches with slightly different settings.
1. Press [F1] (WRITE•COPY) on the Speaker Modeling
edit screen.
It is important to remember that the destination
patch will be fully overwritten by the patch specified
by copy-source patch number. 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.
The Speaker Modeling Patch Write/Copy screen will
appear.
fig.37-12d
Section 3
2. Move the cursor to the copy-source patch number and
select the patch to be copied using the TIME/VALUE
dial.
fig.37-12ad
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.
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 destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.37-12bd
Note that you can also turn the TIME/VALUE dial to
select a new destination patch number.
4. Press [F3] (GO).
The patch will be copied. When the message
“Complete!” appears, it indicates that copying has been
completed.
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5. Press [EXIT/NO] several times to return to the top
screen.
Mastering
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.
Selecting the Mastering Tool Kit
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 powerfulsounding CDs.
1. Press [REC MODE] several times until the
MASTERING indicator lights up.
The Mastering Tool Kit contained within the BR-1200CD
provides a means of eliminating this type of problem so that
you can easily create great-sounding CDs. When you use this
Mastering Tool Kit, you will be able to smooth out volume
fluctuations in your songs and balance the sound in the
lower range of frequencies. It is highly recommended,
therefore, that you always use the Mastering Tool Kit to
master your songs before creating audio CDs.
To use the Mastering Tool Kit, you will need to set REC
MODE to MASTERING.
The Mastering Mode top screen will appear.
fig.03-891d
[MASTERING TOOL KIT] will also light up at this time,
indicating that the Mastering Tool Kit has been applied
to Track 11/12.
2. Press [MASTERING TOOL KIT].
The Mastering Tool Kit patch screen will appear.
fig.03-900d
Audio CDs can be created without using the Mastering
Tool Kit, and you can choose whether or not to use it.
Before using the
Mastering Tool Kit
At the time of purchase, the BR-1200CD’s Mastering
Tool Kit already contains 19 preset patches (P 001
through P019) that cannot be overwritten, 19 user
patches (U001 through U019) that can be used in any
song, and 19 song patches (S001 through S019) that are
stored together with a specific song. User patches and
song patches can be overwritten.
3. Select a Mastering Tool Kit patch using the TIME/
VALUE dial.
Start playback on the BR-1200CD, and select the patch
that gives the best sound for your song.
“Mastering Tool Kit Patch List” (p. 330)
For more information regarding the modification of
Mastering Tool Kit settings, refer to “Modifying
Mastering Tool Kit settings (Edit)” (p. 149).
The Mastering Tool Kit can only be used with Track 11/12.
If you have made recordings on tracks 1 through 8 and 9/10,
you should first of all mix these tracks down to Track 11/12
as described in “Mixing audio from various tracks onto a
stereo track (Bounce)” (p. 82).
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Mastering
Adjusting the Mastering Tool
Kit Effects and Volume
Although you can do your mastering just by selecting
patches, you can adjust effects with more detail using the
VALUE 1–3 knobs.
Moreover, adjustment of the volume in mastering is
important in ensuring that music CDs are burned with the
proper volume levels.
1. Press [PLAY], and while playing back Track 11/12,
adjust the Track 11/12 fader until the level meter
generally fluctuates just under the full level. The
volume adjusted here affects the sound quality and the
amount of effects applied in Mastering Tool Kit.
2. Adjust the VALUE 1–3 knobs while playing back Track
11/12 to get the sound you want.
Turning this knob to the right causes the Mastering Tool
Kit to be applied more slowly for a more natural effect.
Since sudden peaks in volume are played back as is, this
condition makes it more difficult to achieve a good
overall volume level.
When the knob is turned to the left, the Mastering Tool
Kit is applied more rapidly in response to sudden
volume peaks. However, this negatively impacts the
naturalness of the sound.
Setting this to the center position maintains the patch’s
original effect.
The VALUE 1–3 Knob settings are not saved to the
patches, but rather are applied to all patches.
3. Adjust the MASTER fader until the MIX L/R level
meter fluctuates just under the full level.
The volume adjusted here determines the volume level
for mastering. This becomes the volume used in CDs
created afterwards.
Section 3
Pegging the level meter can cause the sound to distort,
while setting the level too low may dilute the sound of
the Mastering Tool Kit’s effects. Use your ears as well
when adjusting the volume to achieve the sound you
want while confirming there is no distortion.
VALUE 3 Knob: NATURAL
fig.03-901d
VALUE 1 Knob: DYNAMICS
The sound may be distorted depending on your
setting. Use your ears as well when adjusting the
VALUE 1–3 knobs to achieve the sound you want
while confirming there is no distortion.
This adjusts the difference between the high and low
volume levels during the performance. The range in
volume decreases as the knob is turned to the right
(clockwise). Although this is convenient for achieving an
overall volume level, it results in a loss of some of the
natural dynamics of music.
The range in volume increases as the knob is turned to
the left (counterclockwise). Although this results in a loss
of the overall volume level, it provides a natural
dynamic range that is close to that of the actual
performance.
Setting this to the center position maintains the patch’s
original effect.
VALUE 2 Knob: TONE
Turning this knob to the right boosts the low-frequency
and high-frequency ranges.
Turning this knob to the left produces a more subdued
tone whereby the low-frequency and high-frequency
ranges are not emphasized.
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Setting this to the center position maintains the patch’s
original effect.
Mastering
Mastering
1. Move the current position back to the beginning of the
song.
2. Press [EXIT/NO] to return to the Mastering Mode top
screen.
If you turn off the BR-1200CD without saving the
current song, the mastered track will be lost.
fig.03-891d
3. Use [CURSOR] and the TIME/VALUE dial to choose
the V-Tracks to be used as the source and destination of
mastering.
fig.07-56fd
The V-Track for Track 11/12 that was most recently
used for mastering is set as the final mastering track.
When you subsequently use Disc At Once (p. 220) to
create an audio CD, the BR-1200CD will give
priority to the selection of final mastering track for
songs that you want to write to the CD. For more
detailed information regarding final mastering
track, refer to “Changing the Final Mastering Track”
(p. 80).
4. Press [REC].
[REC] will turn red and start to flash, indicating that the
BR-1200CD is now ready for recording.
5. Press [PLAY].
Both [PLAY] and [REC] will light up and mastering will
begin.
6. When you reach the end of the song, press [STOP].
Both [PLAY] and [REC] will turn off and mastering will
stop.
When mastering has been completed, the current VTrack used as source will automatically switch to the VTrack that you chose as the destination for mastering. In
addition, the BR-1200CD will also turn off the Mastering
Tool Kit (the [MASTERING TOOL KIT] indicator goes
out) to prevent the mastered track from passing through
the kit a second time.
7. Start playback from the beginning of the song and
listen to the mastered track.
If you are not happy with the results of mastering, press
[UNDO/REDO] to cancel the recording that you have
just made. (“Undo” (p. 81))
8. If you wish to store the mastered track, save the current
song (p. 70).
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Mastering
Modifying Mastering Tool Kit settings (Edit)
The Mastering Tool Kit comprises the following effect blocks.
fig.36-01
High-band
GAIN
Track
11/12
Playback
sound
EXPANDER
COMPRESSOR
EXPANDER
COMPRESSOR
EXPANDER
COMPRESSOR
Middle band
INPUT
EQ
BASS CUT
FILTER
BASS
CUT
ENHANCER
FILTER
DIVIDER
GAIN
MIXER
LIMITER
CLIP/
DITHER
MIX
L/R
Low-band
GAIN
• The low-band, which contains the sounds of the kick
drum, bass guitar, and other instruments that provide
the basic song rhythm.
• The middle band, which contains the sounds of the
vocals, and the lead guitars and other instruments that
play melodies.
Editing patch settings
Each of the effect blocks that make up the Mastering Tool Kit
can be fine-tuned by making the appropriate settings.
Before starting, however, you will need to select the Mastering
Tool Kit patch whose settings you would like to change.
Section 3
Of these, the effect block that plays the most important role is
the three-band compressor. Broadly speaking, the
frequencies in a musical performance can separated into the
following three bands or regions:
1. Press [F2] (EDIT) on the Mastering Tool Kit patch
screen.
The Mastering Tool Kit edit screen will appear.
fig.36-02d
• The high-band, which contains the sounds of the hi-hats,
cymbals, and the like.
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 natural-sounding nature of some of the
performances could be impaired. For example, the volume of
the kick drum could cause the compressor to modify the
volume of melodic instruments, or the volume of the lead
guitar could cause the compressor to modify the volume of
the bass guitar. By dividing the overall performance into
three frequency bands and using a different compressor with
each band, volume peaks can be suppressed without making
the performances sound processed or unnatural. In addition
to this type of three-band compressor, the BR-1200CD’s
Mastering Tool Kit also features a number of other effect
blocks that will come in handy when you are adjusting the
volume and presence of your songs.
2. Move the cursor to the effect block you want to edit and
press [F3] (=>PRM.).
The Mastering Tool Kit parameter screen will appear.
fig.36-02ad
For more detailed information regarding settings, refer
to “Mastering Tool Kit parameter functions” (p. 315).
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 [F3]
(BLOCK<=) to return to the Mastering Tool Kit edit
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.
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Mastering
5. Press [F3] (BLOCK<=) to return to the Mastering Tool
Kit edit screen.
Saving Mastering Tool Kit settings
6. Press [EXIT/NO] to return to the Mastering tool Kit
Patch screen.
Modified effect settings are saved by writing them together
under a new patch name.
fig.36-03d
1. Press [F1] (NAME) on the Mastering Tool Kit edit
screen.
fig.36-04d
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 BR-1200CD while
“*TMP” is being displayed, all of the patch settings will
return to their original condition. As it may not be
possible to restore these settings, due caution should be
observed.
2. Move the cursor to the characters in the patch name you
want to change and select new characters using the
TIME/VALUE dial.
fig.36-04ad
To save your modified settings, carry out the procedure
described below in “Saving Mastering Tool Kit settings.”
3. Press [EXIT/NO] twice to return to the Mastering Tool
Kit edit screen.
4. Press [F3] (WRITE•COPY).
The Mastering Tool Kit Patch Write/Copy screen will
appear.
fig.36-05d
5. If you want to change the write destination, select a
destination patch with the TIME/VALUE dial.
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).”
6. Press [F3] (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.
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Mastering
Copying Mastering Tool Kit settings
Using Auto Fade In/Out
The BR-1200CD’s function for copying patches proves
extremely useful when you want to create a number of effect
patches with slightly different settings.
The term Fade-In is used to describe the way in which the
volume is gradually raised from silence to the standard level
at the beginning of a song. The opposite effect, where the
volume is gradually reduced to silence at the end of a song, is
referred to as a Fade-Out. Although you can use the Master
fader to fade in or fade out manually, an Auto Fade In/Out
function is available in Mastering mode so that these effects
can be reproduced automatically.
1. Press [F3] (WRITE•COPY) on the Mastering Tool Kit
edit screen.
The Mastering Tool Kit Patch Write/Copy screen will
appear.
fig.36-07d
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).
fig.36-07ad
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.
Section 3
2. Move the cursor to the copy-source patch number and
select the patch to be copied using the TIME/VALUE
dial.
Performing automatic fade-in
(Auto Fade In)
1. Press [MASTERING TOOL KIT].
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.
The Mastering Tool Kit patch screen will appear.
fig.36-08d
3. Move the cursor to the destination patch number and
select a destination patch using the TIME/VALUE dial.
fig.36-07bd
2. Move the cursor to “AUTO FADE IN” and select “ON”
with the TIME/VALUE dial.
3. Press [F1] (AT.FADE).
The Auto Fade In setting screen will appear.
4. Press [F3] (GO).
fig.36-09d
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.
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.
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It is important to remember that the destination
patch will be fully overwritten by the patch specified
by copy-source patch. 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.
Mastering
When the current position is in front of the START point,
you will not be able to hear the BR-1200CD’s playback as
the volume will be set to zero. The volume will start to
increase little by little when the current position reaches
the START point.
LENGTH:
The parameter sets the time (in seconds) from the start of
fade-in until the standard volume is reached.
CURVE:
This parameter sets the shape of the volume increase
curve during fade-in.
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 fadein progresses.
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
fade-out until the volume reaches zero.
• If the end point of the song is positioned before the point
corresponding to START + LENGTH, the song will end
abruptly mid-way through fade-out. Adjust the START
and LENGTH settings to ensure that the volume
smoothly reduces to zero before the end of the song.
• When the current position is after the point
corresponding to START + LENGTH, you will not be
able to hear the BR-1200CD’s playback as the volume
will be set to zero.
5. Press [EXIT/NO] to return to the Mastering Tool Kit
patch screen.
CURVE:
6. Move the current position to before the START point
and begin playback.
This parameter sets the shape of the volume reduction
curve during fade-out.
When the current position reaches the START point, the
fade-in will begin.
Performing automatic fade-out
(Auto Fade Out)
1. On the Mastering Tool Kit patch screen, move the
cursor to OUT, and select “ON” with the TIME/VALUE
dial.
2. Press [F1] (AT.FADE).
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
fade-out 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
fade-out will begin.
The Auto Fade In setting screen will appear.
3. Press [F2] (FADE OUT).
The Auto Fade Out setting screen will appear.
fig.36-11d
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If you wish to store the Auto Fade In/Out settings,
save the current song (p. 70). Unless the song is
saved, any new settings will be lost when the power
is turned off or a new song is loaded.
Section 4 Using Rhythm
Section 4
Using
Rhythm
153
Makeup of Drum/Bass/Loop Phrase
The BR-1200CD's programmable rhythm section comprises tracks for Drum Patterns, Bass Patterns, and Loop Phrases. When
used, you will be able to have your favorite rhythms automatically played over and over to provide a convenient guide for
recording and practicing. In addition, you can arrange different rhythm performances for the intro, the verse, the chorus, and
other sections in a sequence that matches your song, and this makes it much easier to produce great-sounding demos (Rhythm
Arrangement, p. 156).
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 BR-1200CD, tracks 9/10 are designated as the drum tracks, and can be used to automatically play drum parts. By selecting
realistic drums sounds from the internal PCM drum samples and by setting a suitable tempo, you can have the BR-1200CD
automatically play drum parts that are perfect for making demo songs.
Drum tracks usually contain a variety of percussion instrument sounds, such as kick drums, snares, hi-hats, etc. The BR-1200CD
features a broad variety of these sounds, which are organized into sets called “drum kits.” There are nine drum kits in all on the
BR-1200CD, and these reflect a wide range of different musical styles.
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 BR-1200CD contains 600 preset drum patterns, which cannot be overwritten. In addition, the BR1200CD can also store 999 user drum patterns, which can be used in any song, and 999 song drum patterns, which are stored
together with a specific song. User drum patches and song drum patches can be overwritten.
• For details on how drums are actually used, refer to “Using drums” (p. 157).
• Drums can only be used when Track 9/10 has been set up as a Drum & Loop Phrase track using its track type setting (p. 157).
• The same track is used as both the drum track and the Loop Phrase track. For more detailed information regarding Loop
Phrase, refer to next page.
• 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 BR-1200CD, track 8 is designated as the bass track, and can be used to automatically play bass parts. By selecting realistic
bass sounds from the internal PCM bass samples and by setting a suitable tempo, you can have the BR-1200CD automatically play
bass parts that are perfect for making demo songs.
The BR-1200CD comes complete with twelve different bass guitar sounds including fingered, picked, and slap bass, thus allowing
you to recreate a wide range of different musical styles and genres.
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 BR-1200CD contains 583 preset bass patterns, and these cannot be overwritten. In addition, the BR-1200CD
can also store 999 user bass patterns that can be used in any song and 999 song bass patterns that are saved together with a specific song.
User bass patterns and song bass patterns can be overwritten.
• For details on how bass are actually used, refer to “Using bass” (p. 171).
• Bass can only be used when Track 8 has been set up as a bass track using its track type setting (p. 171).
• The BR-1200CD uses mono bass sounds.
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• 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.
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.
On the BR-1200CD, you can specify that Track 9/10 be the Loop Phrase track, then arrange the Loop Phrases sequentially in
measure units on the track for performance.
fig.20-000
Audio data recorded from live performances
Select the portion of the performance
Section 4
Track
9/10
(Loop Phrase track)
Loop Phrase
Commercially available
sampling CD-ROMs
The BR-1200CD can store 400 user Loop Phrases (in banks A through H) for use in any song and 50 song Loop Phrases that are
saved together with a specific song. User Loop Phrases and song Loop Phrases can be overwritten.
At the time of purchase, the BR-1200CD will contains 190 user Loop Phrases that are ready for immediate use.
• For details on how Loop Phrases are actually used, refer to “Using Loop Phrases” (p. 185).
• Loop Phrases can only be used when Track 9/10 has been set up as a Loop Phrase track using its track type setting (p. 185).
• The same track is used as both the Loop Phrase track and the drum track.
The Bass track and Drum/Loop Phrase track are used together with audio Track 8 and Track 9/10, respectively. The
track type can be set independently for each track; for example, you can use just the Bass track, or use Track 9/10 as
audio tracks.
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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 BR-1200CD’s rhythm arrangement function makes this very easy to do. Using rhythm arrangements, you will be able
to freely arrange a variety of different drum patterns, bass patterns, and Loop Phrases in units of one or more measures.
fig.20-001
Intro
Drum
Bass
Loop
Phrase
Pattern 1
Pattern 1
Pattern 1
Pattern 3
Pattern 2
Pattern 4
Loop Phrase 1
1
2
3
Rhythm
Arrangements
Pattern 4
Loop Phrase 2
4
5
6
Time
Measure
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 measure-by-measure basis (Tempo Map), and beats can also
be set up in the same way (Beat Map).
At the time of purchase, the BR-1200CD contains 100 preset rhythm arrangements, and these cannot be overwritten. In addition, it
can also store 10 user rhythm arrangements that can be used in any song and 10 song rhythm arrangements that are saved
together with a specific song. User rhythm arrangements and song rhythm arrangements can be overwritten.
Loop Phrases are not used in preset rhythm arrangements—in other words, these arrangements contain only drum patterns
and bass patterns.
Pattern mode and Arrangement mode
In order to allow patterns and rhythm arrangements to be worked on separately, the BR-1200CD provides two different modes
for rhythm sessions—namely, Pattern mode and Arrangement mode.
To use rhythm arrangements, press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN], so the ARRANGEMENT indicator
is lighted. With this, Arrangement mode is activated, and you will be able to use the BR-1200CD’s rhythm arrangement feature. In this
mode, patterns and Loop Phrases arranged to form a rhythm arrangement will provide accompaniment whenever you start playback.
If, on the other hand, you want to activate Pattern mode, press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN], so
the PATTERN indicator is lighted. 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.
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Using drums
Setting the track type
Playing drum sounds
To use drums, you must first of all set up Track 9/10 as a
Drum & Loop Phrase track using its track type setting.
Simply changing the track type may not be sufficient to allow
drums to be played. Use the following procedure in such
cases.
fig.20-002
2
2
1. Press the track button for Track 9/10 several times until
it lights up.
3
1
Pressing the button repeatedly allows you to cycle
through the available choices, which are: Flashing → On
→ Off.
Off:
No drum and loop phrase sounds will be played.
Flashing:
Drum and loop phrase sounds will be played only when
the BR-1200CD is recording or performing playback.
On:
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
The sound of the Loop Phrase is played during
recording and playback.
Section 4
fig.20-003d
Drum sounds will be played even when the BR-1200CD
is stopped.
2. Raise the fader for Track 9/10 to a suitable level.
You will now be able to hear the drum sounds.
2. Move the cursor to “TRACK 9/10” and select
“DRUMS&LP” using the TIME/VALUE dial.
fig.20-004d
AUDIO:
The track will be used for recorded audio.
DRUMS&LP:
The track is used as a drum and Loop Phrase track.
METRONOME:
The track is used as a metronome and Loop Phrase track.
3. Press [ENTER/YES].
The Track Type Select screen closes.
The DRUMS/LOOP PH. indicator from TRACK TYPE
SELECT will light up to indicate that Track type has
been set up for use as a Drum & Loop phrase track.
You will now be able to use drums.
4. If you wish to store the track type setting, save the
current song (p. 70).
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Using drums
Selecting drum patterns
Changing the drum pattern tempo
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
The Pattern Selection screen will appear.
fig.20-005d
fig.20-005d
3. Move the cursor to the drum pattern field and select a
pattern using the TIME/VALUE dial.
3. Move the cursor to “TEMPO” and select a suitable
tempo 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. 70).
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 Minute—A value that indicates
the tempo in terms of the number of quarter notes
occurring in one minute.)
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. 70).
The user drum patterns and song drum patterns
contained in the BR-1200CD at the time of purchase
are empty; you won’t hear anything if you select one
of them. If you want to hear drum sounds
immediately after setting up the BR-1200CD for the
first time, select a preset drum pattern.
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.
Rev0.02
158
Using drums
Selecting a drum kit
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.
Now that we can hear the drums, let’s select a drum kit to
work with.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
For more detailed information, refer to “Setting the
Universal Beat for Drums, Bass, and Loop Phrases”
(p. 196).
3. Press [F1] (SETUP).
The dialog for pattern setup will appear.
fig.20-006d
Section 4
4. Move the cursor to “Drum” and select a new drum kit
using the TIME/VALUE dial.
Press [PLAY]; the drum pattern is played.
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].
The pattern Selection screen will appear once again.
6. Press [EXIT/NO] several times to return to the top
screen.
7. If you wish to store the drum kit selection, save the
current song (p. 70).
The drum kit selection is common to all drum
patterns. It is not possible to store a different drum
kit for each different pattern.
Rev0.02
159
Creating drum patterns
If you cannot find a drum pattern that suits your song among
the BR-1200CD’s preset drum patterns, you can easily create
an original pattern as described below.
Either one of the following two methods can be used to do
this.
● Real-time recording
Real-time recording allows you to tap the track buttons in
time with a metronome and to record the performance data
produced. The drum pattern will be repeated over and over,
with new performance data being constantly mixed into it.
Furthermore, the quantize function can be used to fix any
slight deviations in the timing of your performance.
Preparing for recording
Before you use either real-time recording or step recording,
you will need to select the drum pattern to be recorded.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
● Step recording
When you use step recording, individual drum timings are
displayed on a grid representing a single measure, and these
timings can be edited at will. By allowing you to actually see
the drum pattern, this method makes pattern recording a
much simpler task.
3. Move the cursor to “DRUM” and press [F3] (PTN EDIT).
The Drum Pattern Edit screen will appear.
fig.20-010d
• “*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.
4. Move the cursor to “Pattern” and select the number of
the drum pattern to be recorded using the TIME/
VALUE dial.
• From now on, you cannot use the Undo function (p.
81) for creating or editing drum patterns. Please
make sure to crate or edit data with a special care.
5. Use [CURSOR] and the TIME/VALUE dial to set the
number of beats and measures in the drum pattern.
If you press [PLAY] at this time, you will be able to hear
the selected drum pattern.
The user drum patterns and song drum patterns
contained in the BR-1200CD at the time of purchase are
empty; you won’t hear anything if you select one of
them.
The display for the drum pattern will change to “*TMP.”
fig.20-010ad
Rev0.02
160
Creating drum patterns
Creating drum patterns
using real-time recording
6. Use the track buttons to play the desired drum pattern
and use the track faders to set the velocity (dynamics)
of the sounds.
The relationship between track buttons and drum
sounds is as follows.
When a MIDI keyboard is connected to the MIDI IN
port, you will be able to use this keyboard to perform
real-time recording. Note that there is no need to set a
MIDI channel for the MIDI keyboard in such a case (p.
254).
1. After carrying out the steps described in “Preparing for
recording,” press [F2] (REC).
The Pattern Recording screen will appear.
fig.04-0140d
2. Press [F2] (REALTIME).
fig.20-011d
Drum sound
Kick 1
Snare 1
Closed hi-hat
Open hi-hat
Crash cymbal
Ride cymbal
Tom 1
Tom 2
Tom 3
Tom 4
Kick 2
Snare 2
Metronome (click)
Metronome (bell)
Claves
High Q
Stick
Cow bell
Note number
C 2 (36)
D 2 (38)
F#2 (42)
A#2 (46)
C#3 (49)
D#3 (51)
F 2 (41)
A 2 (45)
C 3 (48)
D 3 (50)
B 1 (35)
E 2 (40)
A 1 (33)
A#1 (34)
D#5 (75)
D#1 (27)
G 1 (31)
G#3 (56)
7. If you want to erase an error in the recorded pattern,
press [F3] (ERASE).
fig.20-012ad
3. Move the cursor to “BPM” and select a suitable tempo
for recording using the TIME/VALUE dial.
fig.20-011ad
Note that this only sets the tempo for recording—the
drum pattern is not recorded at this tempo. (It is not
possible to set a specific tempo for a drum pattern.)
If you tap your finger on [TAP] four or more times, the
tempo will be set accordingly.
4. Move the cursor to “METRO” and set the metronome
volume using the TIME/VALUE dial.
5. Press [PLAY].
Real-time recording will start after a one-measure
countdown.
Section 4
The Real-Time Recording standby screen will appear
and the metronome will start.
Track button
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9/10]
[11/12]
[V-TRACK]+[1]
[V-TRACK]+[2]
[V-TRACK]+[3]
[V-TRACK]+[4]
[V-TRACK]+[5]
[V-TRACK]+[6]
[V-TRACK]+[9/10]
[V-TRACK]+[11/12]
The message “ERASE:ON” will appear and drum erase
mode will be activated. In this mode, hold down the
track button corresponding to the drum sound you want
to erase. Any of these drum sounds played in the pattern
while you are pressing the track button will be erased.
When you have finished erasing drum sounds, press [F3]
(ERASE) once again.
8. Press [STOP] at the point where you want to stop
recording.
The Pattern Recording screen will appear once again.
9. Press [EXIT/NO].
The Drum Pattern Edit screen will appear once again.
10. Press [F3] (WR•CPY•DEL).
The Write screen for drum patterns will appear.
fig.20-013d
fig.20-012d
Rev0.02
161
Creating drum patterns
11. Move the cursor to “To:” Use the TIME/VALUE dial to
select the drum pattern to which the data is to be saved.
fig.20-013ad
Only user drum patterns and song drum patterns may
be selected for saving drum pattern data. You will not be
able to select a preset drum pattern at this time.
Recording in perfect time (Quantize)
With real-time recording, the data generated by pressing a
track button is recorded as is, and any imperfections in
timing will be reflected in the performance data. If you don’t
want to hear these imperfections during playback, you can
use the BR-1200CD’s quantize feature to automatically move
performance data to the nearest quarter note, eighth note,
sixteenth note, etc., before the data is actually recorded.
1. Move the cursor to “QTZ” on the Real-Time Recording
standby screen.
fig.20-015d
12. Press [F3] (GO).
The drum pattern will be saved. When the message “Complete!”
appears, it indicates that saving has been completed.
If you select a different drum pattern or load a new
song without saving the current pattern, all of the
newly recorded data will be lost. This data will also
be lost if you turn off the BR-1200CD before saving.
Practicing before recording (Rehearsal)
Whenever rehearsal is turned on, you will be able to play
drum sounds without recording them, even if real-time
recording is in progress. This feature comes in very handy
when you want to practice playing a drum pattern.
1. Press [F2] (REHEARSAL) in real-time recording mode.
The message “REHEARSAL:ON” will appear and
rehearsal mode will be activated.
2. Select a quantization setting using the TIME/VALUE
dial.
fig.20-015ad
QTZ:
(
)
(
(
)
)
(
(
Moves drum sounds to the nearest quarter note.
Moves drum sounds to the nearest eighth note.
)
)
(
Moves drum sounds to the nearest quarter-note triplet.
Moves drum sounds to the nearest eighth-note triplet.
Moves drum sounds to the nearest sixteenth note.
)
Moves drum sounds to the nearest sixteenth-note triplet.
fig.20-014d
(
)
(
OFF
In this mode, you can press a track button to play its drum
sound without the corresponding data being recorded.
2. When you have finished rehearsing, press [F2]
(REHEARSAL) once again to return to real-time
recording mode.
The message “REHEARSAL:OFF” will appear and realtime mode will be reactivated. When you now press a
track button to play a drum sound, the corresponding
performance data will be recorded.
)
Moves drum sounds to the nearest thirty-secondnote triplet.
Quantization will not be carried out, and
performance data will be recorded as is.
3. Press [PLAY].
The BR-1200CD will start recording.
Even during the recording process, you can select a new
quantization setting by changing the “QTZ” value using
the TIME/VALUE dial.
Rev0.02
162
Moves drum sounds to the nearest thirty-second note.
Creating drum patterns
Creating drum patterns
using step recording
[F2] (>>RES<<)
1. After carrying out the steps described in “Preparing for
recording,” press [F2] (REC).
[F3] (<<RES>>)
The Pattern Recording screen will appear.
fig.04-0140d
Each time this button is pressed, magnification of the
step recording grid is decreased.
Each time this button is pressed, magnification of the
step recording grid is increased.
As the degree of grid magnification changes, the
resolution indicated by “RES” changes as follows.
RES:
(
)
Allows input in quarter-note units.
(
2. Press [F1] (STEP).
(
The Step Recording screen will appear.
)
)
(
fig.20-016d
(
(
)
In addition, the abbreviated names of the various drum
sounds are displayed on the left-hand side of this screen.
The actual names corresponding to these abbreviations
are as follows.
Drum name
High tom
Hi- Mid tom
Mid tom
Low tom
Crash cymbal
Ride cymbal
Open hi-hat
Closed hi-hat
Snare 1
Kick 1
Kick 2
Cow bell
Claves
Stick
Snare 2
High Q
Metronome (click)
Metronome (bell)
Note number
D 3 (50)
C 3 (48)
A 2 (45)
F 2 (41)
C#3 (49)
D#3 (51)
A#2 (46)
F#2 (42)
D 2 (38)
C 2 (36)
B 1 (35)
G#3 (56)
D#5 (75)
G 1 (31)
E 2 (40)
D#1 (27)
A 1 (33)
A#1 (34)
Abbreviation
T4
T3
T2
T1
CY
RC
OH
CH
S1
K1
K2
CB
CL
ST
S2
HQ
M1
M2
3. Press [F2] (>>RES<<) or [F3] (<<RES>>) as many times
as necessary to change the step recording resolution.
Allows input in sixteenth-note units.
)
)
(
Allows input in eighth-note triplet units.
Allows input in sixteenth-note triplet units.
Allows input in thirty-second-note units.
)
OFF
Allows input in thirty-second-note triplet units.
Allows input at the finest resolution—i.e., 96
clock units per quarter note.
4. Move the cursor to the position where a drum sound is
to be input, and then use the TIME/VALUE dial to
insert a “●” at that position.
Section 4
“CUR” indicates the current input position (in measures,
beats, and clock units). This value will change whenever
you move the input position using [CURSOR].
Allows input in eighth-note units.
)
(
Allows input in quarter-note triplet units.
fig.020-016bd
(
)
The drum will be played at a high volume.
(
)
The drum will be played at a moderately high volume.
(
)
The drum will be played at a medium volume.
(
)
The drum will be played at a moderately low volume.
(
)
The drum will be played at a low volume.
Nothing (empty)
No drum sound will be played.
* The drum sounds are alternately input or not input (blank)
where the cursor is positioned each time you press [ENTER].
The following buttons can also be used to move the
input position at this time.
[ZERO]
Moves the input position to the start of the song.
[FF]
Moves the input position forward by one
resolution unit as set using “RES.”
[REW]
Moves the input position backward by one
resolution unit as set using “RES.”
fig.20-016aa
Rev0.02
163
Creating drum patterns
When working with long patterns or high resolutions, it
is likely that all of the step recording data will not fit into
a single screen. In such a case, you can press one of the
CURSOR [
the right.
] or [
] to scroll the display to the left or
In addition, if you want to program a drum not currently
shown on the left of the screen, move the cursor up or
down accordingly. This action will cause the steprecording grid to scroll up or down, displaying other
drum sounds.
The tempo can be set anywhere within a range of 25.0 to
250.0 BPM. (Beats Per Minute—A value that indicates
the tempo in terms of the number of quarter notes
occurring in one minute.)
Note that the tempo set here is used only for checking that
the drum pattern is as required. In other words, this tempo
will not be saved with the drum pattern. (It is not possible
to set a specific tempo for a drum pattern.)
9. Move the cursor to “Drum Kit” and select a new drum
kit using the TIME/VALUE dial.
fig.20-016gd
When working on drum patterns created using a method
such as real-time recording, drum sounds may be
positioned at a resolution greater than that set using
“RES.” In this type of situation, the “●” may appear to
be superimposed in the display.In order to edit this type
of data, you will first of all need to increase the
resolution to match the drum sound’s input position.
5. Press [PLAY] to check whether the pattern is as
required.
[PLAY] will light up and the drum pattern will be
played back.
10. Press [ENTER/YES].
The Step Recording Setup screen will be closed and the
original Step Recording screen will appear.
11. Press [EXIT/NO] to end step recording.
The Pattern Recording Selection screen will appear once
again.
fig.20-210d
Press [STOP] at the point where you want to stop playback.
6. To change the pattern tempo or input position or the
test-use drum kit, press [F1] (SETUP).
The Step Recording Setup screen will appear.
fig.20-016ed
12. Press [EXIT/NO] once again.
The Drum Pattern Edit screen will appear once again.
fig.04-0120d
7. Move the cursor to “Measure,” then set the input
position with the TIME/VALUE dial.
fig.20-016fd
13. Press [F3] (WR•CPY•DEL).
The Write screen for drum patterns will appear.
fig.20-024d
8. Move the cursor to “Tempo” and use the TIME/VALUE
dial to select a suitable tempo for checking your pattern.
fig.04-0270d
14. Use the TIME/VALUE dial to select the drum pattern to
which the data is to be saved.
164
Rev0.02
Only user drum patterns and song drum patterns may
be selected for saving drum pattern data. You will not be
able to select a preset drum pattern at this time.
Creating drum patterns
15. Press [F3] (GO).
The drum pattern will be saved. When the message
“Complete!” appears, it indicates that saving has been
completed.
If you select a different drum pattern or load a new
song without saving the current pattern, all of the
newly recorded data will be lost. This data will also
be lost if you turn off the BR-1200CD before saving.
Correcting drum patterns
(Microscope)
• When the BR-1200CD’s internal drum sounds are
being played, the Gate Time setting is ignored and
all sounds continue for the same amount of time;
accordingly, the Gate Time setting may be left at “1.”
• When the BR-1200CD is playing drum sounds by
transmitting MIDI data to an external drum machine
connected to the MIDI OUT port, it is important that
the gate time be set to match the specifications
described in the drum machine’s manual.
3. Move the cursor to the item of performance data to be
modified.
fig.20-026ad
1. Press [F2] (REC) on the Drum Pattern Edit screen.
The Pattern Recording Selection screen will appear.
fig.04-0140d
4. Modify the performance data as described below.
You can confirm the sound where the cursor is
positioned by pressing [ENTER].
To change a drum sound:
Section 4
Microscope is used to make detailed corrections to drum
patterns. In specific terms, this function displays a drum
pattern’s performance data in list format so that any of the
corresponding parameters can be corrected as required.
1) Move the cursor to the drum sound field.
fig.20-026bd
2. Press [F3] (M.SCOPE).
The Microscope screen will appear.
fig.20-025d
2) Select a new drum sound using the TIME/VALUE dial.
The performance data will be updated with this new
drum sound setting.
To change a drum’s volume:
Performance data is displayed on this screen as follows.
1) Move the cursor to “ACC” field.
fig.20-026cd
fig.20-026d_drumsevent.bmp
Gate time
Note number
Location
Drum tone
(the length of time from when the note
begins to the time it stops playing)
Accent
(Velocity)
2) Set a new velocity value using the TIME/VALUE dial.
Larger velocity values produce higher volumes and
vice versa.
To change a drum’s gate time:
165
Rev0.02
1) Move the cursor to the right edge of the screen; when
you move it even further to the right, “GATE”
appears.
Creating drum patterns
fig.20-026dd
2) Set a new value using the TIME/VALUE dial.
The performance data will be updated with this new
gate time setting.
In general, the gate time specifies the amount of time a
sound continues to play. However, drum tones on the
BR-1200CD continue to play for a fixed length of time,
regardless of the gate time setting, making adjustment of
the gate time unnecessary. Adjusting the gate time may
be necessary when playing an external MIDI device
that’s been connected to the BR-1200CD.
To move an item of performance data:
1) Press [F2] (MOVE).
fig.20-026ed
fig.04-0110d
7. Press [F3] (WR•CPY•DEL).
The Write screen for drum patterns will appear.
fig.20-024d
8. Use the TIME/VALUE dial to select the drum pattern to
which the data is to be saved.
Only user drum patterns and song drum patterns may
be selected for saving drum pattern data. You will not be
able to select a preset drum pattern at this time.
9. Press [F3] (GO).
The drum pattern will be saved. When the message
“Complete!” appears, it indicates that saving has been
completed.
2) Use the TIME/VALUE dial to select the time position
to which the performance data is to be moved.
3) Press [ENTER/YES].
The performance data will be moved to this new
position.
To delete an item of performance data:
Pressing [F3] (DELETE) deletes the performance data at
the position of the cursor.
If you select a different drum pattern or load a new
song without saving the current pattern, all of the
corrected data will be lost. This data will also be lost
if you turn off the BR-1200CD before saving.
To insert a new item of performance data:
Pressing [F1] (INSERT) inserts the performance data at
the current position.
5. Press [EXIT/NO] to end Microscope editing.
The Pattern Recording Selection screen will appear once
again.
fig.20-210d
6. Press [EXIT/NO] once again.
The Drum Pattern Edit screen will appear once again.
Rev0.02
166
Creating drum patterns
Changing the drum pattern’s
groove (Swing)
The Swing function allows you to produce a swing-type
groove in your drum patterns by delaying the timing at
which notes with weaker beats are played.
1. Move the cursor to “SWING POS” on the Drum Pattern
Edit screen.
4. Press [PLAY] to check whether the degree of swing is
correct for your song.
Playback of the drum pattern will start. Press [STOP] to
end playback.
5. If you want to store the swing setting you have just
made, press [F3] (WR•CPY•DEL).
The Write screen for drum patterns will appear.
fig.20-024d
fig.20-029d
2. Select the type of note used to generate swing using the
TIME/VALUE dial.
No swing will be applied.
(
):
Swing will be generated in units of eighth notes.
(
):
Swing will be generated in units of sixteenth notes.
3. Move the cursor to “RATE” and set the desired amount
of swing.
fig.20-029ad
50%:
No swing will be applied. Weaker beats will be played
exactly halfway between the stronger beats.
Only user drum patterns and song drum patterns may
be selected for saving drum pattern data. You will not be
able to select a preset drum pattern at this time.
7. Press [F3] (GO).
The swing settings will be saved together with the drum
pattern. When the message “Complete!” appears, it
indicates that saving has been completed.
Section 4
OFF:
6. Use the TIME/VALUE dial to select the drum pattern to
which the data is to be saved.
If you select a different drum pattern or load a new
song without saving the current pattern, your new
swing setting will be lost. This setting will also be
lost if you turn off the BR-1200CD before saving.
51%–100%:
Swing will be generated in accord with the specified
value. A setting of 100% delays the weak beats by the
greatest possible degree, placing them at almost exactly
the same time position as the stronger beats that follow
them.
fig.20-032
50%
Applying swing does not change the actual
performance data stored in a drum pattern.
Regardless of whether or not swing is actually
applied, performance data will always be displayed
at the same positions when you are using
Microscope.
75%
90%
Weaker
beat
Weaker
beat
Weaker
beat
Weaker
beat
Rev0.02
167
Creating drum patterns
Changing a drum pattern’s name
1. Press [F1] (NAME) on the Drum Pattern Edit screen.
If you select a different drum pattern or load a new
song without saving the current pattern, the new
name will be lost. This name will also be lost if you
turn off the BR-1200CD before saving.
The Drum Pattern name screen will appear.
fig.20-032ad
Copying drum patterns
2. Use [CURSOR] and the TIME/VALUE dial to change
the name character by character.
fig.20-32bd
1. Press [F3] (WR•CPY•DEL) on the Drum Pattern Edit
screen.
The Write screen for drum patterns will appear.
fig.20-224d
At this time, the FUNCTION buttons operate as follows.
[F1] (INSERT):
An empty space of one character in length will be
inserted.
[F2] (DELETE):
2. Press [F1] (=>COPY).
The Copy screen for drum patterns will appear.
fig.04-0510d
A single character will be deleted.
[F3] (A<=>a):
The character type will toggle between uppercase and
lowercase.
3. Press [EXIT/NO].
The Drum Pattern Selection screen will appear once
again.
3. Move the cursor to the “From:” field and select the
drum pattern to be copied using the TIME/VALUE dial.
fig.20-032cd
4. Press [F3] (WR•CPY•DEL).
The Write screen for drum patterns will appear.
fig.20-124d
4. Move the cursor to “To:” and use the TIME/VALUE dial to
select the drum pattern to which the data is to be copied.
fig.20-032dd
5. Use the TIME/VALUE dial to select the drum pattern to
which the data is to be saved.
Only user drum patterns and song drum patterns may
be selected for saving drum pattern data. You will not be
able to select a preset drum pattern at this time.
6. Press [F3] (GO).
168
5. Press [F3] (GO).
Copying of the drum pattern will begin. When the
message “Complete!” appears, it indicates that copying
has been completed.
Rev0.02
The new name will be saved together with the drum
pattern. When the message “Complete!” appears, it
indicates that saving has been completed.
Only user drum patterns and song drum patterns may
be selected as destinations for copying. In other words,
you will not be able to select a preset drum pattern at
this time.
Creating drum patterns
The drum pattern selected as the copy destination
will be overwritten in this process. As it will not be
possible to restore the corresponding data, care
should be taken to ensure that important patterns
are not accidentally overwritten in this way.
Loading drum patterns from the
CD-R/RW drive (SMF Import)
The BR-1200CD allows you to read Standard MIDI Files (or
SMFs) from CD-R/RW discs into user drum patterns and
song drum patterns.
Precautions for SMF import
Deleting drum patterns
1. Press [F3] (WR•CPY•DEL) on the Drum Pattern Edit
screen.
The Write screen for drum patterns will appear.
fig.20-324d
●
CR-R/RW discs of ISO9660 Level 2, Mode 1 format are
supported for import. It will not be possible to import
data from discs of any other format.
●
SMFs of up to 240 KB in size and 999 measures may be
imported. It will not be possible to import files that
exceed this size and the number of mesures limit.
fig.20-039
4,6,
7,8,9
2. Press [F2] (=>DELETE).
The Delete screen for drum patterns will appear.
fig.20-037d
3
Section 4
7,8,9
4
5 2 6,10
3. Use the TIME/VALUE dial to select the drum pattern to
be deleted and press [F3] (GO).
The message “Sure?” will appear.
fig.20-038d
1. Using a PC, burn a CD-R/RW disc containing the SMFs
you want to import.
2. Insert this CD-R/RW disc into the BR-1200CD’s CD-R/
RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
4. Press [ENTER/YES].
Deletion of the drum pattern will begin. When the
message “Complete!” appears, it indicates that deletion
has been completed.
• Preset drum patterns cannot be deleted.
• As it will not be possible to restore deleted drum
patterns, care should be taken to ensure that
important patterns are not accidentally deleted.
3. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD screen will appear.
fig.20-040d
4. Move the cursor to the SMF icon and press [ENTER/
YES].
The SMF Menu screen will appear.
Rev0.02
169
Creating drum patterns
fig.20-041d
5. Press [F1] (IMPORT).
The SMF Import screen will appear, displaying a list of
the SMFs contained on the CD-R/RW.
fig.04-0600d
In the case of SMFs supporting the GM, GS, or XG
standards, drum-type performance data is generally
assigned to MIDI channel 10. By setting the MIDI
channel to 10 in such a case, you can ensure that only the
drum data will be extracted from the SMF. (Note that
drum-type data will not necessarily be assigned to
channel 10, and it will be important to confirm the actual
channel in advance.)
9. Move the cursor to “Pattern” and use the TIME/VALUE
dial to select the drum pattern to which the data is to be
imported.
fig.04-0620
If files are grouped into different folders on the current
CD-R/RW, the folder names will be displayed together
with the folder icon (
). To view the list of files within
a folder, move the cursor to the corresponding folder
name and press [ENTER/YES].
6. Move the cursor to the SMF to be imported and press
[F3] (SELECT).
The import setting screen will appear.
fig.04-0610d
It will not be possible to select preset drum patterns as
destinations for SMF import.
10. Press [F3] (ENTER).
Importing of the selected SMF will begin. When the
message “Complete!” appears, it indicates that the
import has been completed.
7. Move the cursor to “Type” and use the TIME/VALUE
dial to select “DRUMS.”
fig.04-0620
8. Move the cursor to “MIDI Ch.” and select the MIDI
channel of the data to be imported using the TIME/
VALUE dial.
Only data associated with the specified MIDI channel
will be extracted from the selected SMF and imported as
a drum pattern.
fig.04-0620
Rev0.02
170
Using bass
Setting the track type
Playing bass
To use bass, you must first of all set up Track 8 as a Bass
track using its track type setting.
Simply changing the track type may not be sufficient to allow
bass to be played. Use the following procedure in such a
case.
fig.20-044
2
2
1. Press the track button for Track 8 several times until it
lights up.
3
1
Pressing the button repeatedly allows you to cycle
through the available choices, which are: Flashing → On
→ Off.
Off:
No bass sounds will be played.
Flashing:
Bass sounds will be played only when the BR-1200CD is
recording or performing playback.
On:
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
2. Raise the fader for Track 8 to a suitable level.
Section 4
fig.20-003d
Bass sounds will be played even when the BR-1200CD is
stopped.
You will now be able to hear the bass sounds.
2. Move the cursor to “TRACK 8” and select “BASS”
using the TIME/VALUE dial.
fig.20-046d
AUDIO:
The track will be used for recorded audio.
BASS:
The track will be used for bass.
3. Press [ENTER/YES].
The Track Type Select screen closes.
The BASS indicator from TRACK TYPE SELECT will
light up to indicate that Track type has been set up for
use as a bass track.
You will now be able to use bass.
4. If you wish to store the track type setting, save the
current song (p. 70).
Rev0.02
171
Using bass
Selecting bass sounds
Selecting bass patterns
Now that we can hear the bass, let’s select a bass sound to
work with.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
The Pattern Selection screen will appear.
fig.20-005d
3. Move the cursor to “BASS” and select a pattern using
the TIME/VALUE dial.
3. Press [F1] (SETUP).
The dialog for pattern setup will appear.
Playback of the newly selected bass pattern will start as
soon as the previously selected bass pattern has ended.
4. When you have selected the bass pattern that you want
to use, press [EXIT/NO] to return to the top screen.
fig.20-006d
5. If you wish to store the bass pattern selection, save the
current song (p. 70).
4. Move the cursor to “Bass” and use the TIME/VALUE
dial to select a bass sound.
The bass sound selection will change.
fig.20-050d
The user bass patterns and song bass patterns
contained in the BR-1200CD at the time of purchase
are empty; you won’t hear anything if you select one
of them. If you want to hear bass immediately after
setting up the BR-1200CD for the first time, select a
preset bass pattern.
Although playback may stop for a period of 1 to 2
seconds when the bass sound is changed, this is normal
and is not the result of a malfunction.
5. When you have selected the bass sound that you want
to use, press [ENTER/YES].
The Bass Pattern Selection screen will appear once again.
6. If you wish to store the bass sound selection, save the
current song (p. 70).
The bass sound selection is common to all bass
patterns. It is not possible to store a different bass
sound for each different pattern.
Rev0.02
172
Using bass
Specifying bass pattern chords
You can specify bass pattern chords as described below to
hear how the bass pattern will sound playing different
chords.
All preset bass patterns have been created based on the
chord C. When you specify a chord, however, the
individual notes that make up the bass pattern will be
automatically adjusted so that the specified chord will
now be played.
Note that simply specifying a chord does not result in
the bass pattern being permanently changed. This action
only causes the final performance to be matched to the
specified chord. As a result, there is no need to worry
about permanently changing bass pattern data by
specifying chords.
6. If you wish to store the chord specification, save the
current song (p. 70).
If you want to add further chord progressions, use
the rhythm arrangement’s chord map. For more
information about chord maps, refer to p. 200.
Changing the bass pattern’s
tempo
The tempo for the playback of bass patterns will be the same
as that used for the playback of drum patterns and Loop
Phrases.
For details on how to specify a tempo, refer to “Changing the
drum pattern tempo” (p. 158).
Chord specification is carried out as follows:
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
About the Bass 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.
Section 4
Chord specifications are common to all bass patterns. It
is not possible to store a different chord specifications for
each different pattern.
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. 196).
3. Press [F1] (SETUP).
The dialog for pattern setup will appear.
fig.20-006d
4. Move the cursor to “Chord” and select the desired
chord using the TIME/VALUE dial.
You will be able to hear the bass performance change to
match the selected chord.
173
Rev0.02
5. Press [EXIT/NO] several times to return to the top
screen.
Creating bass patterns
When you cannot find a suitable bass pattern for your song
among the BR-1200CD’s preset bass patterns, you can easily
create an original pattern as described below. Either one of
the following two methods can be used to do this.
● Real-time recording
Real-time recording allows you to tap the track buttons in
time with a metronome and to record the performance data
produced. The bass pattern will be repeated over and over,
with new performance data being constantly mixed into it.
Furthermore, a quantize function can be used to fix any
slight deviations in the timing of your performance.
● Step recording
Use step recording to enter bass notes one by one while the
pattern is not being played back. If you find it difficult to
create satisfactory patterns using real-time recording, use this
function to easily and conveniently produce the desired
results.
• “*TMP” appears for the bass pattern immediately
after its data is recorded or edited. If you try to select
a different bass 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 bass pattern number is
confirmed. If you do not want to confirm it, press
[EXIT/NO]; “*TMP” is indicated again, and the bass
pattern reverts to the state it was in immediately
after editing. This allows you to avoid inadvertently
erasing data you have edited.
• From now on, you cannot use the Undo function (p.
81) for creating or editing bass patterns. Please make
sure to crate or edit data with a special care.
Preparing for recording
When a MIDI keyboard is connected to the MIDI IN
port, you will be able to use this keyboard to perform
real-time recording. Note that there is no need to set a
MIDI channel for the MIDI keyboard in such a case (p.
254).
Before you use either real-time recording or step recording,
you will need to select the bass pattern to be recorded.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
3. Move the cursor to “BASS” and press [F3] (PTN EDIT).
The Bass Pattern Edit screen will appear.
4. Move the cursor to the pattern number and select the
number of the bass pattern to be recorded using the
TIME/VALUE dial.
fig.20-051ad
If you press [PLAY] at this time, you will be able to hear
the selected bass pattern.
The user bass patterns and song bass patterns contained
in the BR-1200CD at the time of purchase are empty; you
won’t hear anything if you select one of them.
5. Use [CURSOR] and the TIME/VALUE dial to set the
number of beats and measures in the bass pattern.
The display for the bass pattern will change to “*TMP.”
Rev0.02
174
Creating bass patterns
Creating bass patterns using
real-time recording
When a MIDI keyboard is connected to the MIDI IN
port, you will be able to use this keyboard to perform
real-time recording. Note that there is no need to set a
MIDI channel for the MIDI keyboard in such a case (p.
254).
1. After carrying out the steps described in “Preparing for
recording,” press [F2] (REC).
The Pattern Recording Selection screen will appear.
The Real-Time Recording standby screen will appear
and the metronome will start.
fig.20-052d
The Real-Time Recording standby screen will appear
and the metronome will start.
6. Use the track buttons to play the desired bass pattern
and use the track fader 1 to set the velocity (dynamics)
of the sounds.
The relationship between track buttons and bass notes is
as follows.
Track button
[V-TRACK]
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9/10]
[11/12]
[TRACK MUTE]
Note number
C 1 (24)
C#1 (25)
D 1 (26)
D#1 (27)
E 1 (28)
F 1 (29)
F#1 (30)
G 1 (31)
G#1 (32)
A 1 (33)
A#1 (34)
B 1 (35)
Note also that you can use [
] and [
] from
CURSOR to shift up or down by one octave accordingly.
fig.04-0751d
3. Move the cursor to “BPM” and select a suitable tempo
for recording using the TIME/VALUE dial.
fig.20-052ad
Note that this only sets the tempo for recording—the
bass pattern is not recorded at this tempo. (It is not
possible to set a specific tempo for a bass pattern.)
If you tap your finger on [TAP] four or more times, the
tempo will be set accordingly.
4. Move the cursor to “METRO” and set the metronome
level using the TIME/VALUE dial.
5. Press [PLAY].
Real-time recording will start after a one-measure countdown.
Section 4
2. Press [F2] (REALTIME).
fig.20-053d
Multiple bass notes cannot be played simultaneously.
If a bass note is recorded at the same time position as a
previously recorded note, priority will be given to the
newer note and only this will be retained (in other
words, the previously-recorded note will be deleted).
Note that a short delay may occur between deletion of
the older note and playback of the following notes. This
may make it difficult to record your pattern, and
therefore, care should be taken to ensure that you do not
duplicate performance data in this way.
7. If you want to erase an error in the recorded pattern,
press [F3] (ERASE).
The message “ERASE:ON” will appear and bass erase
mode will be activated. In this mode, hold down the
track button corresponding to the bass note you want to
erase. Any of these bass notes played in the pattern
while you are pressing the track button will be erased.
When you have finished erasing bass sounds, press [F3]
(ERASE) once again.
8. Press [STOP] at the point where you want to stop
recording.
The Pattern Recording Selection screen will appear once
again.
Rev0.02
175
Creating bass patterns
9. Press [EXIT/NO].
The Bass Pattern Edit screen will appear once again.
10. Press [F3] (WR•CPY•DEL).
The Write screen for bass patterns will appear.
fig.20-054d
Practicing before recording (Rehearsal)
Whenever rehearsal is turned on, you will be able to play
bass sounds without recording them, even if real-time
recording is in progress. This feature comes in very handy
when you want to practice playing a bass pattern.
1. Press [F2] (REHEARSAL) in real-time recording mode.
The message “REHEARSAL:ON” will appear and
rehearsal mode will be activated.
fig.20-055d
11. Use the TIME/VALUE dial to select the bass pattern to
which the data is to be saved.
Only user bass patterns and song bass patterns may be
selected for saving bass pattern data. You will not be
able to select a preset bass pattern at this time.
12. Press [F3] (GO).
The bass pattern will be saved. When the message
“Complete!” appears, it indicates that saving has been
completed.
If you select a different bass pattern or load a new
song without saving the current pattern, all of the
newly recorded data will be lost. This data will also
be lost if you turn off the BR-1200CD before saving.
In this mode, you can press a track button to play its bass
note without the corresponding data being recorded.
2. When you have finished rehearsing, press [F2]
(REHEARSAL) once again to return to real-time
recording mode.
The message “REHEARSAL:OFF” will appear and realtime mode will be reactivated. When you now press a
track button to play a bass note, the corresponding
performance data will be recorded.
Recording in perfect time (Quantize)
With real-time recording, the data generated by pressing a
track button is recorded as is, and any imperfections in
timing will be reflected in this performance data. If you don’t
want to hear these imperfections during playback, you can
use the BR-1200CD’s quantize feature to automatically move
performance data to the nearest quarter note, eighth note,
sixteenth note, etc., before the data is actually recorded.
1. Move the cursor to “QTZ” on the Real-Time Recording
standby screen.
fig.20-056d
2. Select a quantization setting using the TIME/VALUE
dial.
fig.20-056a
Rev0.02
176
Creating bass patterns
QTZ:
(
)
(
(
)
)
(
(
)
)
OFF
Moves bass notes to the nearest quarter-note triplet.
Moves bass notes to the nearest eighth-note triplet.
Moves bass notes to the nearest sixteenth note.
)
(
Creating bass patterns using
step recording
Moves bass notes to the nearest eighth note.
)
(
(
Moves bass notes to the nearest quarter note.
Moves bass notes to the nearest sixteenth-note triplet.
Moves bass notes to the nearest thirty-second note.
)
Moves bass notes to the nearest thirty-secondnote triplet.
Quantization will not be carried out, and
performance data will be recorded as is.
3. Press [PLAY].
The BR-1200CD will start recording.
Even during the recording process, you can select a new
quantization setting by changing the “QTZ” value using
the TIME/VALUE dial.
• A pattern to be used for step recording must be
originally empty. If you select a pattern that already
contains data, the message “Erase OK?” may be
displayed during the procedure described below. In
such a case, press [ENTER/YES] to continue step
recording. All of the pre-existing data will be erased
to allow recording to be carried out in this way. If
you do not want to erase the pattern’s data, press
[EXIT/NO]. Step recording will be canceled and the
display will return to the Bass Pattern Edit screen.
• It will not be possible to restore data that has been
erased in this way. As a result, care should be taken
during step recording to ensure that important
performance data is not accidentally erased.
The Pattern Recording Selection screen will appear.
fig.20-065d
Section 4
1. After carrying out the steps described in “Preparing for
recording,” press [F2] (REC).
2. Press [F1] (STEP).
The Step Recording screen will appear.
fig.04-0820d
3. Move the cursor to “RES” and change the step
recording resolution using the TIME/VALUE dial.
RES:
(
)
(
(
)
)
(
(
)
Allows input in eighth-note triplet units.
Allows input in sixteenth-note units.
)
Allows input in sixteenth-note triplet units.
Allows input in thirty-second-note units.
177
Rev0.02
)
Allows input in quarter-note triplet units.
Allows input in eighth-note units.
)
(
(
Allows input in quarter-note units.
Creating bass patterns
(
)
OFF
Allows input in thirty-second-note triplet units.
Allows input at the finest resolution—i.e., 96
clock units per quarter note.
4. Move the cursor to “GATE” and select the duration of
the note to be input (i.e., the gate time) as a percentage
using the TIME/VALUE dial.
GATE (gate time): 10% to 95%
When the value is lowered, the more staccato the
performance will become.
With certain sounds, this can make the bass seem as if it
is being played with the strings muted. When the value
is raised, the more legato (i.e., less staccato) the
performance will become. Normally, a setting of
approximately 80% will be appropriate.
5. Move the cursor to “ACC” and set the volume of the
note to be input using the TIME/VALUE dial.
10. Input all of the required performance data and rests by
repeating Steps 3 through 9.
When recording has been completed as far as the end of
the set pattern length, “[END]” will be displayed in the
area for measures, and no further input will be possible.
11. Press [EXIT/NO] to end step recording.
The Pattern Recording Selection screen will appear once
again.
fig.20-066d
12. Press [EXIT/NO] once again.
The Bass Pattern Edit screen will appear once again.
fig.04-0831d
ACC (accent): 1 to 127
The volume is increased as you raise the value, while
lower values result in lower volume. Ordinarily, this can
be set to 100. When you want to add an accent at certain
locations, you can change the value accordingly.
6. Press CURSOR [
] and [
] to shift the input
performance data up or down by one octave.
13. Press [F3] (WR•CPY•DEL).
The Write screen for bass patterns will appear.
fig.20-067d
OCTAVE SHIFT: -2 to +2
[
]:
The data is moved up by one octave.
[
]:
The data is moved down by one octave.
In total, the data can be raised or lowered by a maximum
of two octaves.
7.
Press the track button for the note to be entered.
Performance data will be input each time a track button is
pressed. The length of the performance data is determined
by the length of the note set using “RES.” The duration of
the note played by the performance data is determined by
applying the “GATE” setting to this length.
The volume of the note played by the performance data
will correspond to the “ACC” setting.
8. Press [F3] (REST) at locations where a rest is to be
input.
14. Use the TIME/VALUE dial to select the drum pattern to
which the data is to be saved.
Only user bass patterns and song bass patterns may be
selected for saving bass pattern data. You will not be
able to select a preset bass pattern at this time.
15. Press [F3] (GO).
The bass pattern will be saved. When the message “Complete!”
appears, it indicates that saving has been completed.
A rest of the length set by “RES” will be input.
9. If you want to delete an item of performance data or a rest
that has been input incorrectly, press [F2] (BACK).
The most recently input item of performance data or rest
will be deleted. Each time this button is pressed, the next
newest item of data or rest will be deleted.
Rev0.02
178
If you select a different drum pattern or load a new
song without saving the current pattern, all of the
newly recorded data will be lost. This data will also
be lost if you turn off the BR-1200CD before saving.
Creating bass patterns
Correcting bass patterns
(Microscope)
To change a bass note’s gate time:
1) Move the cursor to “GATE” field.
fig.20-069b
Microscope is used to made detailed corrections to bass
patterns. In specific terms, this function displays a bass
pattern’s performance data in list format so that any of the
corresponding parameters can be corrected as required.
1. After carrying out the steps described in “Preparing for
recording,” press [F2] (REC).
The Pattern Recording Selection screen will appear.
fig.20-065d
2) Set a new value using the TIME/VALUE dial.
The performance data will be updated with this new
gate time setting.
To move an item of performance data:
1) Press [F2] (MOVE).
2) Use the TIME/VALUE dial to select the time position
to which the performance data is to be moved.
3) Press [ENTER/YES].
The performance data will be moved to this new
position.
2. Press [F3] (M.SCOPE).
The Microscope screen will appear.
Performance data is displayed on this screen as follows.
Gate time
Note number
Location
Accent
(the length of time from when the note
begins to the time it stops playing)
(Velocity)
1) Press [F3] (DELETE).
The selected item of performance data will be deleted.
To insert a new item of performance data:
1) Press [F1] (INSERT).
An item of performance data will be inserted at the
current position.
Section 4
fig.20-069d
To delete an item of performance data:
4. Press [EXIT/NO] to end Microscope editing.
3. Move the cursor to the parameter whose setting you
want to change and select a new value using the TIME/
VALUE dial.
The Pattern Recording Selection screen will appear once
again.
fig.20-151d
You can confirm the sound where the cursor is
positioned by pressing [ENTER].
To change a bass note:
1) Move the cursor to “NOTE” field.
fig.20-069ad
5. Press [EXIT/NO] once again.
The Bass Pattern Edit screen will appear once again.
fig.04-0831d
2) Select a new note number using the TIME/VALUE
dial.
The performance data will be updated with this new
note setting.
6. Press [F3] (WR•CPY•DEL).
The Write screen for bass patterns will appear.
fig.20-054d
To change a bass note’s volume:
1) Move the cursor to “ACC” field.
179
Rev0.02
2) Set a new velocity value using the TIME/VALUE
dial.
Larger velocity values produce higher volumes and
vice versa.
Creating bass patterns
7. Use the TIME/VALUE dial to select the bass pattern to
which the data is to be saved.
Only user bass patterns and song bass patterns may be
selected for saving bass pattern data. You will not be
able to select a preset bass pattern at this time.
8. Press [F3] (GO).
The bass pattern will be saved. When the message
“Complete!” appears, it indicates that saving has been
completed.
If you select a different bass pattern or load a new
song without saving the current pattern, all of the
corrected data will be lost. This data will also be lost
if you turn off the BR-1200CD before saving.
Changing the bass pattern’s
groove (Swing)
The Swing function allows you to produce a swing-type
groove in your bass patterns by delaying the timing at which
notes with weaker beats are played.
1. Move the cursor to “SWING POS” on the Bass Pattern
Edit screen.
fig.20-072d
2. Select the type of note used to generate swing using the
TIME/VALUE dial.
OFF: No swing will be applied.
(
): Swing will be generated in units of eighth notes.
(
): Swing will be generated in units of sixteenth notes.
3. Move the cursor to “RATE” and set the desired amount
of swing.
50%:
No swing will be applied. Weaker beats will be played
exactly halfway between the stronger beats.
51%–100%:
Swing will be generated in accord with the specified
value. A setting of 100% delays the weak beats by the
greatest possible degree, placing them at almost exactly
the same time position as the stronger beats that follow
them.
fig.20-073
50%
75%
90%
Weaker
beat
Weaker
beat
Weaker
beat
Weaker
beat
4. Press [PLAY] to check whether the degree of swing is
correct for your song.
Playback of the drum pattern will start. Press [STOP] to
end playback.
Rev0.02
180
Creating bass patterns
5. If you want to store the swing setting you have just
made, press [F3] (WR•CPY•DEL).
The Write screen for bass patterns will appear.
Changing a bass pattern’s name
1. Press [F1] (NAME) on the Bass Pattern Edit screen.
fig.20-054d
fig.20-1000d
6. Use the TIME/VALUE dial to select the bass pattern to
which the data is to be saved.
2. Use [CURSOR] and the TIME/VALUE dial to change
the name character by character.
At this time, the FUNCTION buttons operate as follows.
Only user bass patterns and song bass patterns may be
selected for saving bass pattern data. You will not be
able to select a preset bass pattern at this time.
7. Press [F3] (GO).
The swing pattern will be saved together with the bass
pattern. When the message “Complete!” appears, it
indicates that saving has been completed.
[F1] (INSERT):
An empty space of one character in length will be
inserted.
[F2] (DELETE):
A single character will be deleted.
[F3] (A<=>a):
The character type will toggle between uppercase and
lowercase.
The Bass Pattern Edit screen will appear once again.
If you select a different bass pattern or load a new
song without saving the current pattern, your new
swing setting will be lost. This setting will also be
lost if you turn off the BR-1200CD before saving.
Applying swing does not change the actual
performance data stored in a bass pattern.
Regardless of whether or not swing is actually
applied, performance data will always be displayed
at the same positions when you are using
Microscope.
4. Press [F3] (WR•CPY•DEL).
The Write screen for bass patterns will appear.
Section 4
3. Press [EXIT/NO].
fig.20-154d
5. Use the TIME/VALUE dial to select the bass pattern to
which the data is to be saved.
Only user bass patterns and song bass patterns may be
selected for saving bass pattern data. You will not be
able to select a preset bass pattern at this time.
6. Press [F3] (GO).
The new name will now be stored together with the bass
pattern, and when the message “Complete!” appears, it
indicates that this operation has been completed.
If you select a different bass pattern or load a new
song without saving the current pattern, the new
name setting will be lost. This name will also be lost
if you turn off the BR-1200CD before saving.
Rev0.02
181
Creating bass patterns
Copying bass patterns
Deleting bass patterns
1. Press [F3] (WR•CPY•DEL) on the Bass Pattern Edit
screen.
1. Press [F3] (WR•CPY•DEL) on the Bass Pattern Edit
screen.
The Write bass patterns will appear.
The Write bass patterns will appear.
fig.20-054d
fig.20-054d
2. Press [F1] (=>COPY).
2. Press [F2] (=>DELETE).
The Copy screen for bass patterns will appear.
fig.20-254dfig.20-054d
3. Move the cursor to the “From:” field and select the bass
pattern to be copied using the TIME/VALUE dial.
4. Move the cursor to “To:” and use the TIME/VALUE
dial to select the bass pattern to which the data is to be
copied.
Only user bass patterns and song bass patterns may be
selected as destinations for copying. In other words, you
will not be able to select a preset bass pattern at this time.
5. Press [F3] (GO).
Copying of the bass pattern will begin. When the
message “Complete!” appears, it indicates that copying
has been completed.
The bass pattern selected as the copy destination
will be overwritten in this process. As it will not be
possible to restore the corresponding data, care
should be taken to ensure that important patterns
are not accidentally overwritten in this way.
3. Use the TIME/VALUE dial to select the bass pattern to
be deleted and press [F3] (GO).
The message “Sure?” will appear.
fig.20-079d_bassfrom.bmp
4. Press [ENTER/YES].
Deletion of the bass pattern will begin. When the
message “Complete!” appears, it indicates that deletion
has been completed.
• As it will not be possible to restore deleted bass
patterns, care should be taken to ensure that
important patterns are not accidentally deleted.
• Preset patterns cannot be deleted.
Rev0.02
182
The Bass Pattern Delete screen will appear.
ig.20-078d_bassfrom.bmp
Creating bass patterns
Loading bass patterns from the
CD-R/RW drive (SMF Import)
5. Press [F1] (IMPORT).
The SMF Import screen will appear, displaying a list of
the SMFs contained on the CD-R/RW.
fig.04-1040d
The BR-1200CD allows you to read Standard MIDI Files (or
SMFs) from CD-R/RW discs into user bass patterns and song
bass patterns.
Precautions for SMF import
●
●
CR-R/RW discs of ISO9660 Level 2, Mode 1 format are
supported for import. It will not be possible to import
data from discs of any other format.
SMFs of up to 240 KB in size may be imported. It will not
be possible to import files that exceed this size limit.
fig.20-080
4,6,
7,8,9
If files are grouped into different folders on the current
CD-R/RW, the folder names will be displayed together
with the folder icon (
). To view the list of files within
a folder, move the cursor to the corresponding cursor
name and press [ENTER/YES].
6. Move the cursor to the SMF to be imported and press
[F4] (SELECT).
The import setting screen will appear.
fig.04-1050d
7,8,9
4
7. Move the cursor to “Type” and use the TIME/VALUE
dial to select “BASS.”
fig.04-1070d
Section 4
3
5 2 6,10
1. Using a PC, burn a CD-R/RW disc containing the SMFs
you want to import.
2. Insert this CD-R/RW disc into the BR-1200CD’s CD-R/
RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
8. Move the cursor to “MIDI Ch.” and select a MIDI
channel for the SMF to be imported using the TIME/
VALUE dial.
fig.04-1060d
3. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD screen will appear.
fig.20-040d
Only the data with the corresponding MIDI channel will
be extracted from the selected SMF and imported as a
bass pattern.
4. Move the cursor to the SMF icon and press [ENTER/
YES].
The SMF Menu screen will appear.
fig.20-041d
183
Rev0.02
In the case of SMFs supporting the GM, GS, or XG
standards, bass-type performance data is generally
assigned to MIDI channel 2. By setting the MIDI channel
to 2 in such a case, you can ensure that only the bass data
will be extracted from the SMF. (Note that bass-type data
will not necessarily be assigned to channel 2, and it will
be important to confirm the actual channel in advance.)
Creating bass patterns
9. Move the cursor to “Pattern” and use the TIME/VALUE
dial to select the bass pattern to which the data is to be
imported.
fig.04-1080c
It will not be possible to select preset bass patterns as
destinations for SMF import.
10. Press [F3] (GO).
Importing of the selected SMF will begin. When the
message “Complete!” appears, it indicates that the
import has been completed.
Rev0.02
184
Using 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—i.e., a Loop Phrase—
and the basic song structure is then formed by repeating this
section the required number of times.
The BR-1200CD supports this type of song creation method
and allows you to freely arrange and play Loop Phrases
within rhythm arrangements.
Setting the track type
The Track Type Select screen closes.
The DRUMS/LOOP PH. indicator from TRACK TYPE
SELECT will light up to indicate that Track type has
been set up for use as a Drum & Loop phrase track.
You will now be able to use drums.
4. If you wish to store the track type setting, save the
current song (p. 70).
Playing Loop Phrases
To use Loop Phrases, you must first of all set up Track 9/10
as a Drum & Loop Phrase track using its track type setting.
fig.20-085
2
3. Press [ENTER/YES].
Simply changing the track type may not be sufficient to allow
Loop Phrases to be played. Use the following procedure in
such a case.
2
1. Press the track button for Track 9/10 several times until
it is flashing.
Off:
No drum and loop phrase sounds will be played.
Flashing:
Drum and loop phrase sounds will be played only when
the BR-1200CD is recording or performing playback.
Section 4
3
1
Pressing the button repeatedly allows you to cycle
through the available choices, which are: Flashing → On
→ Off.
On:
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
fig.20-003d
Drum sounds will be played even when the BR-1200CD
is stopped.
The sound of the Loop Phrase is played during
recording and playback.
2. Raise the fader for Track 9/10 to a suitable level.
You will now be able to hear Loop Phrase playback.
2. Move the cursor to “TRACK 9/10” and select
“DRUMS&LP” using the TIME/VALUE dial.
fig.20-087d
AUDIO:
The track will be used for recorded audio.
DRUMS&LP:
The track is used as a drum and Loop Phrase track.
METRO&LP:
The track is used as a metronome and Loop Phrase track.
Rev0.02
185
Using Loop Phrases
Selecting a Loop Phrase
A number of different Loop Phrases will have already been
stored on the BR-1200CD at the time of purchase. Let’s now
select one of these phrases to work with.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
• At the time of purchase, the BR-1200CD will contain
various user Loop Phrases for immediate use. For
more detailed information regarding these user
Loop Phrases, refer to “User Loop Phrase List” (p.
334).
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
3. Move the cursor to “LOOP” and select a phrase using
the TIME/VALUE dial.
Adjusting the Loop Phrase
and Drum Volume Balance
While the balance between the Loop Phrase and drum
volume levels is normally adjusted with the Track 9/10
fader, you can use the following procedure to further adjust
the loop phrase and drum volume balance.
fig.20-087ad
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
fig.20-087d
4. Press [PLAY] to start playback.
The BR-1200CD will start playback, allowing you to hear
the selected Loop Phrase.
When you press [PLAY] immediately after switching
Loop Phrases (before the subsequent Loop Phrase is
completely loaded), the beginning portion of the phrase
may not play back. In such instances, wait about two to
three seconds after switching Loop Phrases before
pressing [PLAY].
5. When you have selected the Loop Phrase you want to
use, press [EXIT/NO] several times to return to the top
screen.
2. Move the cursor to “LEVEL DR” and “LEVEL LP,” then
use the TIME/VALUE dial to adjust the volume level of
the drums and Loop Phrase, respectively.
LEVEL DR:
This adjusts the volume of the drums. The volume
increases as the value is raised. When set to 0, no sound
is output. Set this to 100 when no adjustment is needed.
LEVEL LP:
This adjusts the volume of the Loop Phrase. The volume
increases as the value is raised. When set to 0, no sound
is output. Set this to 100 when no adjustment is needed.
6. If you wish to store the Loop Phrase selection, save the
current song (p. 70).
• The song Loop Phrases (S001–S050) contained in the
BR-1200CD at the time of purchase are empty; you
won’t hear anything if you select one of them.
186
Rev0.02
• It is important to remember that all user Loop
Phrases (A–H) and song Loop Phrases will be
deleted whenever you initialize the BR-1200CD’s
hard disk (p. 285).
Using Loop Phrases
Changing the Loop Phrase tempo
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
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.
fig.20-005d
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.
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.
Loop Phrases can be adjusted to any tempo within a
range of 0.75 to 1.5 times its own tempo. Accordingly, if
the adjusted playback speed would result in a tempo
outside this range, the Loop Phrase will be played back
at either the range’s upper or lower limit. In such a case,
Loop Phrase playback will not be synchronized with the
playback of the drums and bass.
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.
Section 4
The tempo can be set anywhere within a range of 25.0 to
250.0 BPM. (Beats Per Minute—A value that indicates
the tempo in terms of the number of quarter notes
occurring in one minute.)
About the Loop Phrase Beat
For more detailed information, refer to “Setting the
Universal Beat for Drums, Bass, and Loop Phrases”
(p. 196).
The quality of Loop Phrase playback may be reduced
when the adjusted tempo differs considerably from the
original tempo.
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. 70).
The tempo is common to all drum patterns, bass
patterns, and Loop Phrases.
Rev0.02
187
Creating Loop Phrases
Although the BR-1200CD already contains a number of Loop
Phrases at the time of purchase, 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.
Precautions for Loop Phrase creation
●
A single Loop Phrase can be anywhere between 0.5 and
30 minutes in length. Loop Phrase lengths outside this
range are not supported.
Using a portion of an audio track
A portion of any one of the current song’s tracks can be used
to create a Loop Phrase.
Once the start and end time positions for the desired portion
of an audio track have been selected, this portion can then be
converted into a Loop Phrase.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase screen will appear.
fig.20-090d
●
When a Loop Phrase is created, the number of measures
and the tempo are set to match the length of the phrase.
Specifically, the number of measures is set to one of the
following values.
... 1/32, 1/16, 1/8, 1/7, 1/6, 1/5, 1/4, 1/3, 1/2, 1, 2, 4, 8,
16, 32, 64, 128...
Note that even when Loop Phrase settings are being
modified, it will not be possible to set the length of a
Loop Phrase to any other value.
2. Move the cursor to “BY TRACK” icon and press
[ENTER/YES].
The Loop Phrase Create By Track screen will be
displayed.
fig.20-091d
• “*TMP” appears for the Loop Phrase immediately
after its data is recorded or edited. If you try to select
a different Loop Phrase 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 Loop Phrase number is
confirmed. If you do not want to confirm it, press
[EXIT/NO]; “*TMP” is indicated again, and the
Loop Phrase reverts to the state it was in
immediately after editing. This allows you to avoid
inadvertently erasing data you have edited.
• From now on, you cannot use the Undo function (p.
81) for creating or editing Loop Phrases. Please make
sure to crate or edit data with a special care.
3. Use [CURSOR] and the TIME/VALUE dial to specify
the track to be copied.
fig.20-091ed
4. Use [CURSOR] and the TIME/VALUE dial to specify
the copy-destination track.
fig.20-091fd
A through H:
Loop Phrases from user banks A through H. These
phrases will be accessible from any song.
S:
Loop Phrases from the song bank. These phrases are
saved with the song in which they are used.
Rev0.02
188
Creating Loop Phrases
5. Press [F3] (LOC).
The Import Position Setting screen appears.
fig.04-1190d
• If the Loop Phrase selected for creation already
contains data, this will be overwritten by the audio
data from the source track. As it will not be possible
to restore this data, care should be taken to ensure
that important Loop Phrases are not accidentally
overwritten in this way.
6. Use [CURSOR] and the TIME/VALUE dial to set the
start and end time positions of the portion of audio to
be used as the Loop Phrase.
fig.20-092d
Pressing [F1] (DISP) at this time will allow you select
how the positions will be specified (i.e., by measure,
time, or marker).
• If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the above
procedure. If you want to store your audio data and
settings, press [ENTER/YES]. If this will not be
necessary, press [EXIT/NO].
If you press [EXIT/NO], a Loop Phrase is created
from the data most recently saved to the imported
source track. If there is no data saved, a silent Loop
Phrase is created.
Section 4
The following parameters should now be set.
START (Start point):
Use this parameter to specify the start position within
the source track.
END (End point):
Use this parameter to specify the end position within the
source track.
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 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 Loop Phrase as extending from the
start to the end of the song, press [F3] (ALL).
7. Press [F3] (GO).
The BR-1200CD will begin creating the Loop Phrase.
When the message “Complete!” appears, it indicates that
the phrase has been successfully created.
Rev0.02
189
Creating Loop Phrases
Using wave data on a CD-ROM/R/
RW disc (Loop Phrase Import)
If the audio data you want to use for a Loop Phrase is
contained as an AIFF or WAV file on a CD-ROM, CD-R, or
CD-RW disc, this data can be easily imported into a selected
phrase.
Using this function, you will be able to import audio data
from commercially available sampling CDs and from CD-R
or CD-RW discs that you have created using a PC.
1. Insert a CD-ROM, CD-R, or CD-RW containing audio
data in WAV or AIFF format into the BR-1200CD’s CDR/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase Menu screen will appear.
fig.20-090d
Only data of the following format can be imported.
• WAV or AIFF audio
• Mono or stereo
3. Move the cursor to the IMPORT icon and press
[ENTER/YES].
• 8 or 16 bit
• 44.1 kHz sampling rate
• 0.5 seconds (approx.) to 30minutes (approx.) in length.
Alternatively, you can press [F1] (IMPORT) if the
IMPORT icon is currently displayed.
The Loop Phrase Import screen will appear, displaying a
list of the WAV and AIFF files contained on the CD.
fig.20-095d
• CD-R/RW discs of ISO9660 Level 2, Mode 1 format are
supported for import. It will not be possible to import
data from discs of any other format.
• The name of the audio data file will be originally
assigned to the destination Loop Phrase. For more
details regarding the method for changing phrase
names, refer to “Specifying and modifying the source
loop phrase (Time Modify)” (p. 192).
fig.20-093
3,5
8
3,7
If files are grouped into different folders on this disc, the
folder names are displayed together with the folder icon
(
). To view the list of files within a folder, move the
cursor to the corresponding folder name and press
[ENTER/YES].
4. Press [F1] (TYPE) to change the type of audio file to be
imported.
This button toggles between WAV and AIFF formats.
5. Position the cursor on the file you want to import.
2
6. If you would like to hear the audio contained in the
file, press [F2] (PREVIEW).
The BR-1200CD will play the contents of the audio file (Preview).
6 4 1 9
Press [ENTER/YES] once again when you want to stop
playback.
7. When you have selected a file, press [ENTER/YES].
The screen for selecting the import-destination Loop
Phrase appears.
fig.04-1240d
Rev0.02
190
Creating Loop Phrases
8. Use the TIME/VALUE dial to select the Loop Phrase to
which the data is to be imported.
fig.20-096d
Reading all files at once
1. Carry out Step 1 through Step 4 above.
2. Press [F3] (ALL).
All files will be selected.
However, if there is a total of more than fifty files
present, only fifty files will be selected.
9. Press [F3] (GO).
fig.20-097d
The BR-1200CD will begin importing the selected file
and creating the Loop Phrase.
To cancel writing while this operation is in process, press
[EXIT/NO]. When the message “Cancel?” appears, press
[ENTER/YES] to confirm cancellation. (A certain
amount of time may pass between pressing of [EXIT/
NO] and display of the confirmation message.)
When the message “Complete!” appears, it indicates that
the Loop Phrase has been successfully created.
The screen in which you select the import-destination
Loop Phrase appears.
fig.04-1270d
4. Use the TIME/VALUE dial to select the Loop Phrase to
which the data is to be imported.
A through H:
Section 4
In this case, the number of measures is set
automatically according to the length of the
imported Loop Phrase such that the BPM for these
measures are as close to 120.0 as possible. For details
regarding the modification of these settings, refer to
“Modifying Loop Phrase settings” (p. 193).
3. Press [ENTER/YES].
Loop Phrases from user banks A through H.
S:
Loop Phrases from the song bank. These phrases are
saved with the song in which they are used.
If the Loop Phrase selected for creation already
contains data, this will be overwritten by the audio
data from the source file. As it will not be possible to
restore this data, care should be taken to ensure that
important Loop Phrases are not accidentally
overwritten in this way.
5. Press [F3] (GO).
The BR-1200CD will begin importing the selected files
and creating the Loop Phrases. When the message
“Complete!” appears, it indicates that the Loop Phrases
have all been successfully created.
• If any of the Loop Phrases in the selected bank
already contain data, they will be overwritten by the
audio data from the source files. As it will not be
possible to restore this data, care should be taken to
ensure that important Loop Phrases are not
accidentally overwritten in this way.
• A maximum of 50 files can be read at any one time.
If the number of files exceeds 50, only the first 50
files will be read in the operation described above.
Rev0.02
191
Creating Loop Phrases
Specifying and modifying the
source loop phrase (Time Modify)
You are able to change the playback tempo of an existing
loop phrase and create a new loop phrase from that data.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase Menu screen will appear.
fig.20-090d
Example 1)
The bank only contains loop phrases with a BPM setting
of 100.
100 x 0.75 = 75
100 x 1.5 = 150
→ The allowed settings fall in the range from 75 and
above and 150 and under (i.e., from 75 to 150).
Example 2)
The bank contains loop phrases with varying tempos,
with BPM settings of 100, 120, and 140.
The fastest of these tempos is the BPM setting of 140.
140 x 0.75 = 105
The slowest of these tempos is the BPM setting of 100.
2. Move the cursor to TIME MOD icon and press
[ENTER/YES].
The Loop Phrase Time Modify screen will be displayed.
100 x 1.5 = 150
→ The allowed settings fall in the range from 105 and
above and 150 and under (i.e., from 105 to 150).
fig.20-500d
Example 3)
The bank contains loop phrases with varying tempos,
with BPM settings of 50, 100, and 200.
The fastest of these tempos is the BPM setting of 200.
200 x 0.75 = 150
3. Move the cursor to the “FROM” and select the original
loop phrase with the TIME/VALUE dial.
To modify all of the loop phrases in a bank at once, select
the “ALL” indication.
At this point, if you press [F1] (PREVIEW), the loop
phrase is played back. Press [ENTER/YES] to stop the
playback.
4. Move the cursor to “TO,” then with the TIME/VALUE
dial select the destination for the new loop phrase to be
created after the tempo is modified.
5. Move the cursor to “NEW BPM” and set the modified
tempo you want using the TIME/VALUE dial.
The loop phrase’s original BPM are indicated under the
cursor position.
The slowest of these tempos is the BPM setting of 50.
50 x 1.5 = 75
→ The allowed settings fall in ranges of 150 and above,
and 75 and under; no tempo settings can be made in
these ranges. “---” is indicated for the “NEW BPM”
setting, and you cannot go on to make any tempo
modifications.
6. Press [F3] (GO).
“Now Converting...” appears in the screen, and creation
of the new loop phrase with the modified tempo begins.
The process is finished when “Complete!” is displayed.
Just as with other loop phrases, you can arrange and use
newly created loop phrases in Rhythm Arrangements.
“Assembling Loop Phrases” (p. 202)
• The modified tempo range is 0.75 to 1.5 times that of the
original.
192
• If additional recordings or edits have been made
with respect to the currently selected song, the
message “Save Current?” may appear. If you want
to modify the loop phrase’s tempo after the results
of such recording and/or editing have been saved,
press [ENTER/YES]. If you press [EXIT/NO], the
recording/editing is lost.
Rev0.02
• If you had the “ALL” indicated in Step 3, then the original
BPM is not given.
You can set tempos in a range of 0.75 to 1.5 times the
tempos of the loop phrase in the selected bank. If different
loop phrases in the bank have different tempos, you can
make settings ranging from 0.75 times the fastest of the
tempos in the bank to 1.5 times the slowest tempo. If the
desired tempo cannot be set in the given range, “---” is
indicated for the “NEW BPM” setting, meaning you cannot
modify the tempo of any of the loop phrases in the bank.
Creating Loop Phrases
Modifying Loop Phrase settings
When a loop phrase is created, the number of measures is set
automatically according to the length of the Loop Phrase
such that the BPM for these measures are as close to 120.0 as
possible. In addition, the start and end positions for playback
of the Loop Phrase are set to the start and end of the audio
data.
The following procedure can be used to modify any of these
settings.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase Menu screen will appear.
fig.20-090d
The displayed values represent the number of samples
from the beginning of the Loop Phrase.
On the BR-1200CD, 44100 samples correspond to one
second of playback.
The start and end positions of the Loop Phrase can be
modified in units of 16 samples.
It will not be possible to play back Loop Phrases with
less than 0.5 seconds (or 22064 samples) between the
start and end positions.
Press [F1] (PREVIEW) to start playback of the Loop
Phrase and confirm that settings have been modified as
required.
Press [ENTER/YES] once again when you want to stop
playback.
Alternatively, you can press [F2] (EDIT) if the EDIT icon
is currently displayed.
6. If you are going to change the name of the Loop Phrase,
press [F2] (NAME).
The Loop Phrase name screen will appear.
Section 4
2. Move the cursor to the EDIT icon and press [ENTER/
YES].
fig.04-1331d
The Loop Phrase Edit screen will appear.
fig.20-099d
7. Use [CURSOR] and the TIME/VALUE dial to change
the name character by character.
At this time, the FUNCTION buttons operate as follows.
3. Move the cursor to the Loop Phrase number and select
the phrase to be edited using the TIME/VALUE dial.
fig.20-100d
[F1] (INSERT):
An empty space of one character in length will be
inserted.
[F2] (DELETE):
A single character will be deleted.
[F3] (A<=>a):
4. Move the cursor to “MEAS” (length in measures) or
“BEAT,” and modify the setting using the TIME/
VALUE dial.
fig.20-101d
The character type will toggle between uppercase and
lowercase.
8. Press [EXIT/NO] when you have finished making the
change.
The Loop Phrase Edit screen will appear once again.
9. If you want to store your modified settings, press [F3]
(GO).
The message “Sure?” will appear.
fig.20-103d
5. Move the cursor to the start or end position for
playback of the Loop Phrase, and modify the setting
using the TIME/VALUE dial.
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193
Creating Loop Phrases
10. Press [ENTER/YES].
The modified settings will be saved, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
If you load a new song or turn off the BR-1200CD
without saving in this way, all modified settings will
be lost.
Assigning Loop Phrases to
track buttons
To stop playback of the Loop Phrase, press the same
track button once again.
You can also play back the Loop Phrase by pressing [F1]
(PREVIEW). Press [ENTER/YES] to stop playback.
4. If you wish to store the track button allocation, save the
current song (p. 70).
Copying Loop Phrases
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase Menu screen will appear.
fig.20-090d
The input of Loop Phrases into rhythm arrangements can be
made much simpler by allocating Loop Phrases to the
buttons for Tracks 1 through 11/12. Note also that Loop
Phrase allocation settings are saved with each specific song.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase Menu screen will appear.
2. Move the cursor to the COPY icon and press [ENTER/
YES].
The Loop Phrase Copy screen will appear.
fig.20-090d
fig.20-108d
2. Move the cursor to the BUTTON icon and press
[ENTER/YES].
3. Use the TIME/VALUE dial to select the numbers of the
Loop Phrases to be used as the copy source and
destination.
The screen for allocating Loop Phrases to track buttons
will appear.
fig.20-105d
When the cursor is positioned at the copy source or
destination, you will be able to play the corresponding
Loop Phrase by pressing [F1] (PREVIEW).
This function allows you to confirm that your settings
are correct.
Press [ENTER/YES] once again when you want to stop
playback.
3. Move the cursor to the track whose button is to be
assigned a Loop Phrase, and select the Loop Phrase’s
bank and number using the TIME/VALUE dial.
fig.20-106d
The selected Loop Phrase will now be assigned to the
track button for the selected track.
194
The Loop Phrase will now be copied, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
It is important to remember that the destination Loop
Phrase will be completely overwritten by the Loop
Phrase specified by “FROM:”. As it will not be possible
to restore the corresponding data, care should be taken
to ensure that important Loop Phrases are not
accidentally overwritten in this way.
Rev0.02
You can now press this button to play the assigned Loop
Phrase and confirm that all settings are as required.
4. Press [F3] (GO).
Creating Loop Phrases
5. If you copied to a Loop Phrase in the song bank, you
should now save the current song (p. 70).
Erasing Loop Phrases
1. Press CD-R/RW [LOOP PHRASE IMPORT].
Copying all Loop Phrases in a bank
The Loop Phrase Menu screen will appear.
fig.20-090d
1. When you select the Loop Phrase numbers as the copy
source, turn the TIME/VALUE dial clockwise to select
“ALL.”
2. Select the bank to which the Loop Phrases are to be
copied.
3. Press [F3] (GO).
All Loop Phrases in the selected bank will now be
copied.
4. If you copied to the song bank, you should now save
the current song (p. 70).
The Loop Phrase Erase screen will appear.
fig.20-110d
3. Select the Loop Phrase to be deleted using the TIME/
VALUE dial.
If you press [F1] (PREVIEW) at this time, you will be able
to play the selected Loop Phrase. This function allows
you to confirm that your loop-phrase selection is correct.
Press [ENTER/YES] once again when you want to stop
playback.
Section 4
All Loop Phrases in the copy-destination bank will be
overwritten in this process. As it will not be possible to
restore the corresponding data, care should be taken to
ensure that important Loop Phrases are not accidentally
overwritten in this way.
2. Move the cursor to the ERASE icon and press [ENTER/
YES].
If you want to erase all of the Loop Phrases in a specific
bank, move the cursor to the Loop Phrase number field,
and then turn the TIME/VALUE dial clockwise to
display “ALL.”
4. Press [F3] (GO).
The message “Sure?” will appear.
5. Press [ENTER/YES].
The Loop Phrase(s) will now be erased, and when the
message “Complete!” appears, it indicates that this
operation has been completed.
It will not be possible to restore data erased in this
way; accordingly, care should be taken to ensure
that important Loop Phrases are not accidentally
erased.
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195
Setting the Universal Beat for Drums, Bass, and Loop Phrases
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.
The universal pattern beat is set at the factory to 4/4. You can
change this setting using the following procedure.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
fig.20-005d
Example 1) Universal Beat Set to 4/4
fig.20-200
1 2 3 4
Drum Pattern
1 2 3 4 1 2 3 4 1 2 3 4
4/4
1 2 3
Bass Pattern
1 2 3
3/4
1 2 3 4 5
Loop Phrase
1 2 3
1 2 3
The fourth beat is not played,
but is filled by a rest.
3. Press [F1] (SETUP).
The dialog for pattern setup will appear.
fig.20-006d
1 2 3 4 1 2 3 4 1 2 3 4
5/4
The Loop Phrase plays
only through the fourth beat.
4. Move the cursor to “Beat” and use the TIME/VALUE
dial to set a beat.
Example 2) Universal Beat Set to 5/4
fig.20-201
1 2 3 4
Drum Pattern
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
4/4
The fifth beat is not played,
but is filled by a rest.
The beat can be set in a range from 1/1 to 8/8.
5. Press [EXIT/NO] several times to return to the top
screen.
6. If you wish to store the beat setting, save the current
song (p. 70).
1 2 3
Bass Pattern
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
3/4
1 2 3 4 5
Loop Phrase
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
5/4
Rev0.02
196
The fourth and fifth beats are not
played, but are filled by rests.
Using rhythm arrangements
Selecting a rhythm arrangement
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
No Loop Phrases are included in preset rhythm
arrangements, and for this reason, there will be no
playback from the Loop Phrase track.
If you would also like to hear a Loop Phrase, select
either a user rhythm arrangement or a song rhythm
arrangement, and then assign a Loop Phrase to it.
(“Assembling Loop Phrases” (p. 202))
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
3. Move the cursor to the rhythm arrangement number
and use the TIME/VALUE dial to select the number of
the desired rhythm arrangement.
fig.21-02d
Changing the rhythm
arrangement tempo
Two different methods can be used to set the rhythm
arrangement’s tempo—namely, setting of a fixed tempo for
the overall song and setting of tempos for individual
measures (Tempo Map (p. 209)).
The user rhythm arrangements and song rhythm
arrangements contained in the BR-1200CD at the time of
purchase are empty; you won’t hear anything if you select
one of them. Be sure to select a preset rhythm arrangement
here if you want to hear immediate playback.
4. Press the track buttons for Tracks 8 and 9/10 several
times until they are lighted.
Pressing a button repeatedly allows you to cycle it
through the possible statuses, which are: Off → Flashing
→ Lighted.
Off:
It is important to remember that whenever a fixed tempo
is set, all tempos previously set for individual measures
will be permanently overwritten with this new tempo.
Section 4
The following section will describe the method for setting a
fixed tempo.
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
No rhythm arrangement will be played.
Flashing:
Rhythm arrangement will be played only when the BR1200CD is recording or performing.
Lighted:
Rhythm arrangement will be always played even when
the BR-1200CD is not recording or performing.
5. Raise the faders for Tracks 8 and 9/10 to suitable levels.
These tracks will now be set up for playback of a rhythm
arrangement.
6. Press [PLAY] to start playback.
The drum pattern and bass pattern comprising the
rhythm arrangement will now be played.
3. Move the cursor to “BPM” 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 Minute—A value that indicates
the tempo in terms of the number of quarter notes
occurring in one minute.)
4. After you have set the tempo, press [EXIT/NO] several
times to return to the top screen.
197
Rev0.02
5. If you wish to store the rhythm arrangement’s tempo,
save the current rhythm arrangement (p. 207).
Using rhythm arrangements
4. Press [F1] (EDIT).
The tempo set for Pattern mode (p. 158, p. 173, p. 187)
and the tempo set for Arrangement mode are handled
separately.
The Rhythm Arrangement Edit screen will appear.
fig.04-1481d
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)
5. Move the cursor to “DRUM” and select a drum kit
using the TIME/VALUE dial.
fig.04-1482d
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.
6. Move the cursor to “BASS” and select a bass tone using
the TIME/VALUE dial.
fig.04-1483d
Modifying rhythm arrangement
settings
You can change the tones used in Rhythm Arrangement
performances and the key used at the time of the
performance.
7. Move the cursor to “METRONOME” and select a
sound type using the TIME/VALUE dial.
fig.04-1484d
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.04-1460d
8. Move the cursor to “KEY SHIFT” and set the key when
playing the rhythm arrangement using the TIME/
VALUE dial.
fig.04-1485d
3. Move the cursor to the rhythm arrangement number
and use the TIME/VALUE dial to select the number of
the desired rhythm arrangement.
fig.04-1470d
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198
9. If you wish to store the rhythm arrangement’s settings,
save the current rhythm arrangement (p. 207).
Creating rhythm arrangements
If you cannot find a rhythm arrangement that suits your song
among the BR-1200CD’s preset rhythm arrangements, you
can easily create an original arrangement as described below.
• “*TMP” appears for the rhythm arrangement
immediately after its data is recorded or edited. If
you try to select a different rhythm arrangement
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 rhythm arrangement number is
confirmed. If you do not want to confirm it, press
[EXIT/NO]; “*TMP” is indicated again, and the
rhythm arrangement reverts to the state it was in
immediately after editing. This allows you to avoid
inadvertently erasing data you have edited.
Assembling drum and bass patterns
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
You can arrange patterns a measure at a time in this
screen.
5. Move the cursor to “MEAS” and select a measure using
the TIME/VALUE dial.
6. Move the cursor to “NO.” and select a pattern number
using the TIME/VALUE dial.
fig.21-10ad
The selected pattern will now be assigned to the selected
measure.
7. Move the cursor to “LENGTH” and set the length of the
selected pattern as a number of measures.
Note that when the length is changed in this way, the
position of all patterns assigned to subsequent measures
will also change accordingly.
Section 4
• From now on, you cannot use the Undo function (p.
81) for creating or editing rhythm arrangements.
Please make sure to crate or edit data with a special
care.
fig.21-08d
8. To delete a pattern, move the cursor to the measure to
which that pattern is assigned, then press either [F2]
(DELETE) or [F3] (ERASE).
[F2] (DELETE):
The pattern allocation will be canceled and all
subsequent pattern allocations will be shifted forward by
one measure.
[F3] (ERASE):
The pattern allocation will be canceled, leaving an empty
measure where the pattern had been.
3. Press [F2] (VIEW).
The Rhythm Arrangement View screen will appear.
9. When you have assembled patterns as required, press
[EXIT/NO] to return to the Rhythm Arrangement View
screen.
fig.21-33d
10. To save the pattern assignments, continue with the
procedure described in “Naming and saving rhythm
arrangements” (p. 207).
4. The Arrangement View Edit screen appears.
• To arrange drum patterns, move the cursor to “DRUM”
and press [F3] (ARR EDIT).
• To arrange bass patterns, move the cursor to “BASS” and
press [F3] (ARR EDIT).
Rev0.02
199
Creating rhythm arrangements
Erasing All Pattern Assignments
at One Time
To erase all pattern assignments at one time, carry out the
following procedure in the Rhythm Arrangement View
screen.
1. Move the cursor to the type of pattern you want to erase
(“DRUM” or “BASS”), then press [F2] (CLEAR).
The message “Sure?” will appear.
2. Press [ENTER/YES].
All patterns of the type indicated by the cursor position
are erased.
Inputting chords
Simply assembling bass patterns into rhythm arrangements
will result in the same bass line being repeated over and
over. By also inputting chords at the correct positions, you
can have you BR-1200CD automatically adjust the bass
performance to notes that match the chord progression.
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
Inserting patterns
Use the following procedure in the screen for assembling
drum patterns or bass patterns into rhythm arrangements to
insert a new pattern between two that have already been
positioned.
3. Press [F2] (VIEW).
The Rhythm Arrangement View screen will appear.
fig.21-11d_arrangeedit.bmp
1. Move the cursor to “MEAS” and select the measure for
insertion using the TIME/VALUE dial.
2. Press [F1] (INSERT).
A one-measure length pattern (P001) is inserted.
3. Move the cursor to “PATTERN,” then use the TIME/
VALUE dial to select the desired pattern.
4. Move the cursor to “CHORD” and press [F3] (MAP
EDIT).
The Chord Map screen will appear.
fig.21-12d
5. Use [V-TRACK], track buttons [1] through [11/12], or
[TRACK MUTE] to input the note names for chords.
In addition, you can also turn the TIME/VALUE dial
while a track button is being held to select different types
of chords.
Selectable chord types
- - - (N.C)
dim
6
9
m6
mM9
m
M7
7sus4
7#9
madd9
7
M9
7b5
m7
m9
sus4
add9
7(13)
m7b5
mM7
Rev0.02
200
Maj
aug
6(9)
7b9
m6(9)
aug7
Creating rhythm arrangements
Changing and moving chords
• - - - - (N.C., non-chord)
Select this type of chord if you want the original Bass
Pattern to be played without a chord setting.
Normally, when a chord type of root “C” is set to “- - -,”
the original performance data is played as is.
However, when the root is any note other than “C” and
non-chord is selected, the original performance data will
be adjusted according. For example, if the root is “D,”
the Bass Pattern will be adjusted up one tone for
playback.
• If you release a track button without making a chord
type selection, “- - - (N.C.)” will be selected
automatically.
Each time you release a track button, the chord input
position will be automatically moved forward by a
single measure.
This function allows you to conveniently enter chord
progressions.
On the Chord map screen, move the cursor to the
measure/beat/tick field and change the position using
the TIME/VALUE dial.
fig.21-13d
2. Move the cursor to the chord field and change the
chord type using the TIME/VALUE dial.
fig.21-14d
On bass chord
To input chords with On Bass Chord, move the cursor to
the right and select the chord name with the TIME/
VALUE dial.
7. Start playback on the BR-1200CD.
If the current rhythm arrangement contains a bass
pattern, the bass part will be automatically adjusted to
follow the chord progression.
8. To save the input chord progression, continue with the
procedure described in ““Naming and saving rhythm
arrangements” (p. 207).
• Only one chord progression can be saved per
rhythm arrangement.
• Chord sequences input as described above will also
be used for the Vocal Tool Box’s harmony sequence
(p. 136).
• The location of the first chord is always fixed at 0011-00; this position cannot be changed.
Section 4
6. When you have input all of the desired chords, press
[EXIT/NO] to return to the Rhythm Arrangement Edit
screen.
1.
• You cannot bypass a chord and move to a different
position when there are chords programmed in the
positions before and after it. In addition, you cannot
move a chord to the same position already occupied
by another chord.
Deleting chords
Use the following procedure to delete any chords that have
been input incorrectly.
1. On the Chord Input screen, move the cursor to the
chord you want to delete.
fig.21-16d
2. Press [F3] (DELETE).
The selected chord will be deleted.
The positions of chords after the deleted chord will not
change as a result of this action.
201
Rev0.02
You cannot delete the first chord.
Creating rhythm arrangements
Inserting chords
Assembling Loop Phrases
Use the following procedure to insert a new chord between
two existing chords.
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
1. On the Chord Input screen, move the cursor to the
chord immediately in front of the insertion position.
fig.21-17d
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
2. Press [F1] (NEW).
A chord will be inserted and the cursor will be moved to
this chord.
3. Press [F2] (VIEW).
The Rhythm Arrangement View screen will appear.
fig.04-1501d
fig.21-18d
3. You can now use [CURSOR], the TIME/VALUE dial,
and the track buttons to set the chord’s position, type,
and note names.
4. Move the cursor to “LOOP” and press [F3] (ARR EDIT).
The screen for allocating Loop Phrases to rhythm
arrangements will appear.
fig.21-20d
This screen allows you to assemble Loop Phrases in units
of one measure.
5. Move the cursor to “MEAS” and select a measure using
the TIME/VALUE dial.
fig.21-20d
6. Move the cursor to “NO.” and select a Loop Phrase
using the TIME/VALUE dial.
fig.21-21d
The selected Loop Phrase will now be assigned to the
selected measure.
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202
Creating rhythm arrangements
TEMPO
Simplifying Loop Phrase input
When Loop Phrases are assigned to the track buttons,
you will be able to use the track buttons to conveniently
input Loop Phrases. In such a case, the length of the
Loop Phrase will be set as the number of measures that it
contains. For instructions for assigning Loop Phrases to
the track buttons, refer to “Assigning Loop Phrases to
track buttons” (p. 194).
7. Move the cursor to “LEN” and set the length of the
selected Loop Phrase as a number of measures.
Note that when the length is changed in this way, the
position of all Loop Phrases assigned to subsequent
measures will also change accordingly.
8. To delete a Loop Phrase, move the cursor to the
measure to which that pattern is assigned, then press
either [F2] (DELETE) or [F3] (ERASE).
[F2] (DELETE):
[F3] (ERASE):
The Loop Phrase allocation will be canceled, leaving an
empty measure where the Loop Phrase had been.
9. Move the cursor to “VOL” and select a suitable volume
for the Loop Phrase using the TIME/VALUE dial.
Although it is quite acceptable to leave the volume at
100, adjustment may need to be carried out when the
volume of the Loop Phrase is much louder or quieter
that than of the other tracks being played.
10. Move the cursor to “POS” and select “TOP” or
“BOTTOM” using the TIME/VALUE dial.
POS (POSITION)
In cases where the Loop Phrase that has been input is
less than one measure in length, this parameter
determines whether it will be aligned with the beginning
or end of the measure.
TOP:
The Loop Phrase is aligned with the beginning of the
measure.
BOTTOM:
The Loop Phrase is aligned with the end of the measure.
The speed of Loop Phrase playback will be automatically
adjusted to synchronize the Loop Phrase with the rhythm
arrangement’s tempo. This is the standard setting.
OFF:
The Loop Phrase will be played back at its own speed
setting regardless of the rhythm arrangement’s tempo.
• When “ON” has been selected, the speed of Loop Phrase
playback will be automatically adjusted to match the
rhythm arrangement tempo. Loop Phrases can be
adjusted to any tempo within a range of 0.75 to 1.5 times
its own tempo. Accordingly, if the adjusted playback
speed would result in a tempo outside this range, the
Loop Phrase will be played back at either the range’s
upper or lower limit. In such a case, Loop Phrase
playback will not be synchronized with the playback of
the other rhythm arrangement components (i.e., drums
and bass).
• The quality of Loop Phrase playback may be reduced
when the adjusted tempo differs considerably from the
original tempo.
• When the rhythm arrangement is set to a faster tempo
than that of the Loop Phrase, it will become necessary to
read hard-disk data for Loop Phrase playback at a faster
rate than normal, and this will increase the probability of
a “Drive Busy!” (p. 340) message being displayed. In
such a case, the Loop Phrase can be copied to an audio
track to reduce the load on the BR-1200CD’s hard disk.
For more details regarding this operation, refer to
“Copying a Loop Phrase from a rhythm arrangement to
an audio track” (p. 204).
Section 4
The Loop Phrase allocation will be canceled and all
subsequent Loop Phrase allocations will be shifted
forward by one measure.
ON:
12. Repeat Steps 5 through 11 to arrange Loop Phrases as
required.
13. Play the song from the beginning.
As the BR-1200CD performs playback, you will be able
to hear Loop Phrases playing along with your song;
however, Loop Phrases will not be played back when the
BR-1200CD is stopped.
14. To save your Loop Phrase allocations, carry out the
procedure described below in “Naming and saving
rhythm arrangements” (p. 207).
11. Move the cursor to “TEMPO” and select “ON” or
“OFF” using the TIME/VALUE dial.
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203
Creating rhythm arrangements
Erasing All Loop Phrases at
One Time
Copying a Loop Phrase from a rhythm
arrangement to an audio track
To erase all Loop Phrase assignments at one time, carry out
the following procedure in the Rhythm Arrangement View
screen.
When one or more Loop Phrases have been assembled into
the currently selected rhythm arrangement, you can copy the
complete loop-phrase assembly as audio data to one of the
BR-1200CD’s audio tracks.
1. Move the cursor to “LOOP,” then press [F2] (CLEAR).
The message “Sure?” will appear.
2. Press [ENTER/YES].
All assigned Loop Phrases are deleted.
Inserting Loop Phrases
Use the following procedure in the screen for assembling
Loop Phrases into rhythm arrangements to insert a new Loop
Phrase between two that have already been positioned.
1. Move the cursor to “MEAS” and select the measure for
insertion using the TIME/VALUE dial.
2. Press [F1] (INSERT).
A Loop Phrase (A001) will be inserted.
3. Move the cursor to “NO.” and select the desired Loop
Phrase using the TIME/VALUE dial.
• The speed of Loop Phrase playback will be automatically
adjusted to the tempo of the rhythm arrangement. Since
this process increases the rate at which data must be read
from the hard disk, the probability of a “Drive Busy!”
message being displayed also increases. This will be
particularly noticeable in cases where the rhythm
arrangement’s tempo is considerably faster than the
Loop Phrase’s original tempo and cases where short
Loop Phrases are played back repeatedly. If, however,
you copy the Loop Phrase arrangement to an audio
track, the load placed on the hard disk during playback
can be reduced, and the “Drive Busy!” message will be
displayed much less frequently.
• Only Loop Phrases can be copied in this way—in other
words, you will not be able to copy drum or bass
patterns to an audio track.
• Even if the tempo is subsequently changed, the playback
speed of audio data created in this way will not be
affected. For this reason, before copying Loop Phrase
arrangements to an audio track, it is important that you
set the tempo carefully and make sure that it will not
need to be adjusted again.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
[LOOP PHRASE IMPORT] will light up and the Loop
Phrase screen will appear.
fig.21-090d
2. Move the cursor to the TO TRACK icon and press
[ENTER/YES].
Alternatively, you can press [F1] (TO TRACK).
A screen for selecting the destination track will appear.
3. Use [CURSOR] and the TIME/VALUE dial to specify
the copy-destination track.
fig.21-23d
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204
Creating rhythm arrangements
4. Press [F3] (LOC).
fig.04-1661d
Once audio data has been copied to an audio track in this
way, it will not be possible to change its tempo at a later
time.
5. Use [CURSOR] and the TIME/VALUE dial to specify
the copy range.
fig.21-24d
If you are not happy with the results of a copy operation,
you can use Undo to cancel it. (“Undo” (p. 81))
7. Press the track button for Track 9/10 several times until
it turns off.
The Loop Phrase will now be turned off.
8. Raise the fader for the copy-destination track to a
suitable level.
Pressing [F1] (DISP) at this time will allow you select
how the positions will be specified (i.e., by measure,
time, or marker).
The following parameters should now be set.
START (Start point):
9. Press [PLAY] to start playback.
The copied Loop Phrase will be played back from the
copy-destination track.
10. If you wish to store the results of the copy operation,
save the current song (p. 70).
END (End point):
This parameter is used to specify the end point of the
copy-destination.
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 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.
Unless the song is saved, the copied audio will be
lost when the BR-1200CD is turned off or a new song
is loaded.
Section 4
This parameter is used to specify the start point of the
copy-destination.
If you want to set the range as extending from the start
of the song to the end of the Loop Phrase(s), press [F2]
(ALL).
6. Once you’ve made all the necessary settings, press [F3]
(GO).
The message “Now Copying…” will appear on the
display and copying to the audio track will begin.
To cancel writing while this operation is in process, press
[EXIT/NO]. When the message “Cancel?” appears, press
[ENTER/YES] to confirm cancellation. (A certain
amount of time may pass between pressing of [EXIT/
NO] and display of the confirmation message.)
When the message “Complete!” appears, it indicates that
copying has been completed.
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205
Creating rhythm arrangements
Modifying all of the loop phrases in the current
rhythm arrangement (Arrangement Modify)
Example 2)
If you have already set up a rhythm arrangement using loop
phrases, you can modify all of the loop phrases used in that
rhythm arrangement at one time.
The fastest of these tempos is the BPM setting of 140.
1. Press CD-R/RW [LOOP PHRASE IMPORT].
The Loop Phrase screen will appear.
fig.20-090d
The rhythm arrangement contains loop phrases with
varying tempos, with BPM settings of 100, 120, and 140.
140 x 0.75 = 105
The slowest of these tempos is the BPM setting of 100.
100 x 1.5 = 150
→ The allowed settings fall in the range from 105 and
above and 150 and under (i.e., from 105 to 150).
Example 3)
The rhythm arrangement contains loop phrases with
varying tempos, with BPM settings of 50, 100, and 200.
The fastest of these tempos is the BPM setting of 200.
2. Move the cursor to ARR.MOD icon and press [ENTER/
YES].
The Loop Phrase Arrangement Modify screen will be
displayed.
fig.21-500d
200 x 0.75 = 150
The slowest of these tempos is the BPM setting of 50.
50 x 1.5 = 75
→ The allowed settings fall in ranges of 150 and above,
and 75 and under; no tempo settings can be made in
these ranges. “---” is indicated for the “BPM” setting,
and you cannot go on to make any tempo modifications.
5. Press [F3] (GO).
“Now Converting...” appears in the screen, and creation
3. Move the cursor to “ARRANGE” and select the rhythm
arrangement whose tempo you want to modify using
the TIME/VALUE dial.
of the new loop phrase with the modified tempo begins.
The process is finished when “Complete!” is displayed.
U001–U010: User Rhythm Arrangement
S001–S010:
Song Rhythm Arrangement
You cannot select a preset rhythm arrangement.
4. Move the cursor to “NEW BPM” and set the modified
tempo you want using the TIME/VALUE dial.
The modified tempo range is 0.75 to 1.5 times that of the
loop phrases contained in the rhythm arrangement. If
different loop phrases have different tempos, you can
make settings ranging from 0.75 times the fastest of the
tempos to 1.5 times the slowest tempo. If the desired
tempo cannot be set in the given range, “---” is indicated
for the “BPM” setting, meaning you cannot modify the
tempo of any of the loop phrases.
Example 1)
The rhythm arrangement only contains loop phrases
with a BPM setting of 100.
• In this case, the original loop phrases are
overwritten by the modified loop phrases. For
example, if the loop phrases A001, B003, and S005
are used in a rhythm arrangement, the newly
created loop phrases become A001, B003, and S005,
and the original A001, B003, and S005 are deleted.
Take care to note that once loop phrases are
overwritten, the procedure cannot be undone, and
there is no way to recover the previous loop phrases.
• If additional recordings or edits have been made
with respect to the currently selected song, the
message “Save Current?” may appear. If you want
to modify the loop phrase’s tempo after the results
of such recording and/or editing have been saved,
press [ENTER/YES]. If you press [EXIT/NO], the
recording/editing is lost.
100 x 0.75 = 75
100 x 1.5 = 150
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→ The allowed settings fall in the range from 75 and
above and 150 and under (i.e., from 75 to 150).
Creating rhythm arrangements
Naming and saving rhythm
arrangements
The following section describes how to name and save the
rhythm arrangements that you create.
Unless the song is saved, all rhythm arrangement data
will be lost when a different rhythm arrangement is
selected or a new song is loaded. In addition, this data
will also be lost if you turn off the BR-1200CD before
saving your data. It is a good idea, therefore, to regularly
save rhythm arrangements that you intend to use again.
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
[F3] (A<=>a):
The character type will toggle between uppercase and
lowercase.
6. Once you’ve made all the desired modifications, press
[EXIT/NO] twice.
The Rhythm Arrangement Selection screen will appear
once again.
7. Press [F3] (WR•CPY•DEL).
The Write screen for rhythm arrangements will appear.
fig.21-28d
8. Use the TIME/VALUE dial to select the rhythm
arrangement to which the data is to be saved.
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
9. Press [F3] (GO).
3. Press [F1] (EDIT).
The Rhythm Arrangement Edit screen will appear.
fig.21-26d
Section 4
Only user rhythm arrangements and song rhythm
arrangements may be selected for saving rhythm
arrangement data. You will not be able to select a preset
rhythm arrangement at this time.
The rhythm arrangement will be saved. When the
message “Complete!” appears, it indicates that saving
has been completed.
4. Press [F1] (NAME).
The Rhythm Arrangement Name screen will appear.
fig.04-1711d
5. Use [CURSOR] and the TIME/VALUE dial to change
the name character by character.
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.
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207
Creating rhythm arrangements
Copying a rhythm arrangement
Deleting a rhythm arrangement
1. Press [F3] (WR•CPY•DEL) on the Rhythm
Arrangement Edit screen.
1. Press [F3] (WR•CPY•DEL) on the Rhythm
Arrangement Edit screen.
2. Press [F1] (=>COPY).
2. Press [F2] (=>DELETE).
The Copy screen for rhythm arrangements will appear.
The Delete screen for rhythm arrangements will appear.
fig.21-29d
fig.21-30d
3. Move the cursor to the “From:” field and select the
rhythm arrangement to be copied using the TIME/
VALUE dial.
3. Select the rhythm arrangement to be deleted using the
TIME/VALUE dial.
fig.21-31d
4. Move the cursor to “To:” and use the TIME/VALUE
dial to select the rhythm arrangement to which the data
is to be copied.
Only user rhythm arrangements and song rhythm
arrangements may be selected as copy destinations. In
other words, you will not be able to select a preset
rhythm arrangement at this time.
4. Press [F3] (GO).
The message “Sure?” will appear.
fig.21-32d
5. Press [F3] (GO).
Copying of the rhythm arrangement will begin. When
the message “Complete!” appears, it indicates that
copying has been completed.
5. If you are sure you want to delete the rhythm
arrangement, press [ENTER/YES].
Press [EXIT/NO] to cancel deletion.
The rhythm arrangement selected as the copy
destination will be overwritten in this process. As it
will not be possible to restore the corresponding
data, care should be taken to ensure that important
rhythm arrangements are not accidentally
overwritten in this way.
The rhythm arrangement will be deleted. When the
message “Complete!” appears, it indicates that the
deletion has been completed.
• Preset rhythm arrangements cannot be deleted.
• As it will not be possible to restore deleted rhythm
arrangements, care should be taken to ensure that
important arrangements are not accidentally
deleted.
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Setting tempos and beats for individual measures (Tempo Map/Beat Map)
In addition to setting of a single tempo and beat for an entire
rhythm arrangement, the BR-1200CD can also set these
playback parameters more precisely on a measure-bymeasure basis.
If a single tempo and beat can be used from the
beginning to the end of your rhythm arrangement, there
is no particular need to set up a Tempo Map or a Beat
Map.
Setting tempos for individual
measures (Tempo Map)
The Tempo Map function is used to set tempos for individual
measures. This type of map arranges tempos on a measureby-measure basis, and it can be saved together with the
rhythm arrangement.
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
MEASURE:
This parameter sets the measure position for the change
in tempo, and it can be set within a range of 1 to 999. The
position of the first tempo map entry is fixed at “1” and
cannot, therefore, be changed.
You can create up to 50 tempo maps.
If the same tempo is used for multiple consecutive
measures, do not set a separate tempo map for each
measure, but make a single setting for the entire group of
measures.
TEMPO:
This parameter sets the tempo as a BPM (beats per
minute) value with a range of 25.0 to 250.0.
● Adding new tempo map entries
Press [F1] (NEW). A new entry will be added to the
tempo map immediately after the cursor’s current
position.
● Deleting tempo map entries
Press [F3] (DELETE). The tempo map entry at the current
cursor position will be deleted. Note that it will not be
possible to delete the first entry in a tempo map.
Section 4
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
6. Move the cursor to the parameter whose setting you
want to change and select a new value using the TIME/
VALUE dial.
7. Once you’ve made all the desired tempo map settings,
press [EXIT/NO] to return to the Rhythm Arrangement
Edit screen.
3. Press [F2] (VIEW).
8. If you wish to store the edited tempo map, save the
current rhythm arrangement (p. 207).
The Rhythm Arrangement View screen will appear.
fig.04-1501d
4. Move the cursor to “TEMPO” and press [F3] (MAP
EDIT).
The Tempo Map screen will appear.
fig.21-35d
If no tempo map has been set for this song, a single
tempo will be created at the start of the map.
• Unless the song is saved, all of your edited tempo
map data will be lost when a different rhythm
arrangement is selected or a new song is loaded. In
addition, this data will also be lost if you turn off the
BR-1200CD before saving.
• Whenever a fixed tempo is set for an entire rhythm
arrangement, all tempos previously set in the tempo
map will be permanently overwritten with this new
tempo.
• Tempo map settings will be ignored whenever
SYNC TRACK is being used. To ensure that the
tempo map is used, set “SYNC SOURCE” to
“TEMPO MAP.” (“Synchronizing a MIDI device by
recording its tempo changes on the BR-1200CD
(Sync Track)” (p. 248))
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5. Move the cursor to the tempo map entry to be edited.
Setting tempos and beats for individual measures (Tempo Map/Beat Map)
Setting beats for individual
measures (Beat Map)
The Beat Map function is used to set beats for individual
measures. This type of map arranges beats on a measure-bymeasure basis, and it can be saved together with the rhythm
arrangement.
You can create up to 50 beat maps.
If the same beat is used for multiple consecutive
measures, do not set a separate beat map for each
measure, but make a single setting for the entire group of
measures.
BEAT:
This parameter sets the beat within a range of 1/1 to 8/8.
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/
PATTERN] so the ARRANGEMENT indicator is lighted.
(Arrangement mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Rhythm Arrangement Selection screen will appear.
fig.21-33d
● Adding new time-signature map entries
Press [F1] (NEW). A new entry will be added to the beat
map immediately after the cursor’s current position.
● Deleting time-signature map entries
Press [F3] (DELETE). The time-signature map entry at
the current cursor position will be deleted. Note that it
will not be possible to delete the first entry in a beat map.
7. Once you’ve made all the desired beat map settings,
press [EXIT/NO] to return to the Rhythm Arrangement
Edit screen.
3. Press [F2] (VIEW).
The Rhythm Arrangement View screen will appear.
fig.04-1501d
4. Move the cursor to “BEAT” and press [F3] (MAP EDIT).
The Beat Map screen will appear.
fig.21-38d
8. If you wish to store the edited beat map, save the
current rhythm arrangement (p. 207).
Unless the song is saved, all of your edited timesignature map data will be lost when a different
rhythm arrangement is selected or a new song is
loaded. In addition, this data will also be lost if you
turn off the BR-1200CD before saving.
If no beat map has been set for this song, a single beat
will be created at the start of the map.
5. Move the cursor to the beat map entry to be edited.
6. Move the cursor to the parameter whose setting you
want to change and select a new value using the TIME/
VALUE dial.
MEAS:
This parameter sets the measure position for the change
in beat, and it can be set within a range of 1 to 999. The
position of the first time-signature map entry is fixed at
“1” and cannot, therefore, be changed.
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Using a metronome
The BR-1200CD can be used to play a metronome in place of
a drum performance when recording or practicing.
Playing a metronome
Setting the track type
Simply changing the track type may not be sufficient to allow
a metronome to be played. Use the following procedure in
such a case.
To use a metronome, you must first of all set up Track 9/10
as a Metronome track using its track type setting.
1. Press the track button [9/10] several times until it lights
up.
fig.21-39
2
Pressing the button repeatedly allows you to cycle
through the available choices, which are: Flashing → On
→ Off.
2
Off:
The metronome will not be played.
3
1
Flashing in red:
The metronome will be played only when the BR1200CD is recording.
Flashing in green:
The metronome will be played when the BR-1200CD is
recording or performing playback.
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
fig.20-003d
Section 4
On:
The metronome will be played even when the BR1200CD is stopped.
2. Raise the fader for Track 9/10 to a suitable level.
You will now be able to hear the metronome.
2. Move the cursor to “TRACK 9/10” and select
“METRO&LP” using the TIME/VALUE dial.
fig.20-004d
3. Press [EXIT/NO] to return to the top screen.
The DRUMS&LOOP PH. indicator from TRACK TYPE
SELECT will light up to indicate that Track type has
been set up for use as a metronome track.
You will now be able to use the metronome.
4. If you wish to store the track type setting, save the
current song (p. 70).
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211
Using a metronome
Selecting metronome sounds
Now that we can hear the metronome, let’s select sounds to
be used.
1. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the PATTERN
indicator is lighted. (Pattern mode)
2. Press PROGRAMMABLE RHYTHM [EDIT].
The Pattern Selection screen will appear.
Adjusting the Metronome and
Loop Phrase Volume Balance
While the balance between the metronome and loop phrase
volume levels is normally adjusted with the Track 9/10
fader, you can use the following procedure to further adjust
the metronome and loop phrase volume balance.
1. Press [TRACK TYPE SELECT].
The Track Type Select screen will appear.
fig.21-43d
fig.20-004d
3. Move the cursor to “METRO” and select a sound type
using the TIME/VALUE dial.
2. Move the cursor to “LEVEL DR” and “LEVEL LP,” then
use the TIME/VALUE dial to adjust the volume level of
the metronome and Loop Phrase, respectively.
Available sound types
BEEP:
LEVEL DR:
This sets up a beep-type metronome, with a higherpitched beep being used for the first beat of each
measure.
In this case, adjusts the volume of the metronome. The
volume increases as the value is raised. When set to 0, no
sound is output. Set this to 100 when no adjustment is
needed.
CLICK:
This sets up a click-type metronome, with a louder click
being used for the first beat of each measure.
4. When you have selected the type of sound you want to
use, press [EXIT/NO] several times to return to the top
screen.
LEVEL LP:
This adjusts the volume of the Loop Phrase. The volume
increases as the value is raised. When set to 0, no sound
is output. Set this to 100 when no adjustment is needed.
5. If you wish to store the sound-type selection, save the
current song (p. 70).
The sound-type selection will be used both in
Arrangement mode and in Pattern mode.
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Creating Drum and Bass Patterns Simply and Easily (EZ Compose)
What is EZ Compose?
TYPE / No.: KICK SNR
“EZ Compose” is a group of functions that lets you create a
pattern simply by making a few settings in the screen-you
don’t have to input each individual note of the rhythm. You
can also add a chord progression and fill-ins.
fig.04-1891
This selects the “Kick/Snare” preset pattern and
number.
Type:
8BEAT, 16BEAT, SHUFFLE, 1/2SHUFFLE
TYPE / No.: BASS
This selects the “Bass” preset pattern and number.
Type:
STEADY&SIMPL, ROCK BLUES, BALLAD, FUNK
SOUL
* Choose “- - - - - -” as the TYPE for patterns that you don’t
want to use (i.e., that you want to remain silent).
Using EZ Compose
Press [PLAY] to play the pattern with the current
settings.
Creating a pattern
EZ Compose lets you select a favorite pattern for each group
of sounds, and combine them to create your new pattern.
Section 4
EZ Compose creates patterns with a time signature of 4/
4 or 3/4.
If the time signature of the currently selected pattern is
not one of these, it will be converted to 4/4 or 3/4.
1. Press [EZ COMPOSE].
The EZ Compose Pattern screen will appear.
fig.04-1900d
2. Move the cursor to the relevant item, then use the
VALUE dial to set the value.
BEAT
4/4, 3/4
This sets the beat.
MEAS
1–32
This sets the number of measures in the pattern.
TEMPO
25.0–250.0
This sets the tempo.
TYPE / No.: HH CYM
This selects the “Hi-Hat/Cymbal” preset pattern and
number.
Type:
213
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8BEAT, 16BEAT, SHUFFLE, 1/2SHUFFLE
Creating Drum and Bass Patterns Simply and Easily (EZ Compose)
Adding a chord progression
Adding a fill-in
By selecting the desired chord progression from those made
available on the unit, and adding it to the currently selected
pattern, you can have bass parts be played according to the
selected chord progression.
You can choose from a variety of fill-ins and add them to the
currently selected pattern.
1. Press [F2] (=>CHORD).
fig.04-1920d
1. Press [F2] (=>FILL IN).
The EZ Compose Fill-in screen will appear.
The EZ Compose Chord Progression screen will appear.
fig.04-1910d
2. Move the cursor to the relevant item, then use the
VALUE dial to set the value.
2. Move the cursor to the relevant item, then use the
VALUE dial to set the value.
TEMPO
TEMPO
25.0–250.0
This sets the tempo.
This selects the preset chord progression type and
number.
If you set this to 4MEAS, a small fill-in will be added at
measure 4, measure 8, measure 12, ... etc.
2MEAS Maj, 2MEAS Min, 4MEAS Maj, 4MEAS Min,
8MEAS Maj, 8MEAS Min, BLUES Maj, BLUES Min
* If you choose “- - - - - - - - -,” the chord progression setting will
not be used.
C–B
This sets the key for the performance. The key of the
chord progression is shifted to match the KEY setting.
1–32
This sets the number of times the chord progression is to
be repeated.
* MEAS (number of measures) is determined automatically by
the TYPE/No. and TIMES settings. You cannot directly
change the number of measures.
The screen shows the chord progression you specified.
Press [PLAY] to play the pattern with the current
settings.
1–32MEAS
(Example)
Type:
TIMES
INTERVA: SMALL
Specify the number of measures after which a Small
(short) fill-in will be added
TYPE / NO
KEY
25.0–250.0
This sets the tempo.
* If the number of measures specified by INTERVAL is greater
than the number of measures in the pattern, the fill-in will not
be played.
No.: SMALL
- - - -, S001–S050, L001–L050
Number of preset (Small fill-in) to use
* If you choose “- - - -” the Small fill-in will not be added.
INTERVAL: LARGE
1–32MEAS
Specify the number of measures after which a Large
(long) fill-in will be added
(Example)
If you set this to 16MEAS, a Large fill-in will be added at
measure 16, 32, 48, ... etc.
* If the number of measures specified by INTERVAL is greater
than the number of measures in the pattern, the fill-in will not
be played.
No.: LARGE
- - - -, S001–S050, L001–L050
Number of preset (Large fill-in) to use
* If you choose “- - - -” the Large fill-in will not be added.
* If the Small fill-in and Large fill-in occur at the same measure,
the Large fill-in will take priority.
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Creating Drum and Bass Patterns Simply and Easily (EZ Compose)
Press [PLAY] to play the pattern with the current
settings.
fig.04-1970d
Press [ENTER], you can play only the measures within
which a fill-in occurs.
If the number of measures specified by INTERVAL is
greater than the number of measures in the pattern, the
measure at which the fill-in occurs will not be played.
6. Repeat Steps 1–5 for any further patterns you wish to
paste in.
Pasting In Rhythm Arrangements
7. Press [EXIT/NO] to return to the top screen.
1. Press [F3] (WRITE).
8. To save the rhythm arrangements with the patterns
pasted in, save the rhythm arrangement (p. 207).
The screen for pasting the composed pattern to the
rhythm arrangement appears.
fig.04-1930d
A rhythm arrangement with patterns pasted in is
only temporary.
If you want to keep it stored in memory, be sure to
save the rhythm arrangement.
Section 4
The pattern is pasted to the currently selected rhythm
arrangement.
2. Move the cursor to “MEAS” and specify the pattern’s
starting point with the TIME/VALUE dial.
fig.04-1940d
3. Move the cursor to “DRUM,” then specify the write
destination for the drum pattern you’ve created.
fig.04-1950d
4. Move the cursor to “BASS,” then specify the write
destination for the bass pattern you’ve created.
fig.04-1960d
5. Press [F3] (GO).
215
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The pattern is pasted in the arrangement.
216
Section 5 Using the CD-R/RW Drive
Section 5
Using the
CD-R/RW
Drive
217
Creating Audio CD
Precautions
In addition to CD-R discs, you can also use CD-RW discs
when making audio CDs. However, it may not be possible
for audio CDs created using CD-RW discs to be played on
standard CD players.
Whenever a CD is created using the Disc At Once By
Marker function (p. 222), the pre-gap specified here
will be ignored and all gaps will be set to 0 seconds.
Furthermore, even when CD-R discs are used for this purpose,
playback will not be possible on CD players that do not support
this type of media. You should, therefore, confirm that the CD
player to be used is compatible with CD-R discs.
Note that the BR-1200CD’s CD-R/RW drive can play commercially
produced audio CDs, CD-R discs, and CD-RW discs.
Setting the time between
songs (Pre-Gap)
If silence is included at the end of your finished
song, the pre-gap time will be added to the length of
this section, and as a result, the gap between songs
will be longer than expected when the CD is played
back on a CD player. For details regarding the
deletion of silence from the end of songs, refer to
“Erasing audio data (Track Erase)” (p. 108).
Often when you are playing audio CDs on standard CD
players, you will see a countdown in the form of “-3, -2, -1”
on the player’s display before songs start. This duration is
referred to as a Pre-Gap, and it can be freely set during the
CD creation process to allow song lengths to be adjusted
without having to record silence at the end of each.
1. Press [AUDIO CD WRITE/PLAY].
The Audio CD screen will appear.
fig.40-01d
2. Press [F1] (WRITE).
The Audio CD Write screen will appear.
fig.40-02d
3. Press [F3] (PRE GAP).
The pre-gap setting screen will appear.
fig.40-03d
5. Press [ENTER/YES].
218
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4. Use the TIME/VALUE dial to specify a pre-gap time in
seconds.
Creating Audio CD
Writing Songs to Discs
In order to do this, you’ll need an unrecorded CD-R or CDRW disc.
Writing songs individually
(Track At Once)
1. Load the song that you want to write.
2. Insert an unrecorded CD-R or CD-RW disc into the CDR/RW drive.
Methods for creating audio CDs
The BR-1200CD allows you to create audio CDs in three
different ways.
3. Press [AUDIO CD WRITE/PLAY].
The Audio CD screen will appear.
fig.07-57d
Track At Once:
With Track At Once, only the currently loaded song is
written to the audio CD. If you want to include other
songs on your CD, they will each have to be loaded and
written in sequence. When you use this method,
individual songs can be added to a disc one at a time
until it is full. However, the repetitive writing of
individual tracks in this way can be considerably time
consuming, especially when you are compiling an album
or any other type of audio CD with more than two or
three songs.
4. Press [F1] (WRITE).
The Audio CD Write screen will appear.
fig.40-02d
Disc At Once By Song
Disc At Once By Marker
With this method, you can place markers at the desired
positions in a long audio track to divide the track into
different sections and can write each of these sections to
an audio CD as a different song. A typical example of
this type of long track would be a continuous live
performance recorded over an hour or more. Say this
performance included five songs, you could place
markers at the beginning of each song to ensure that,
once created, the audio CD would appear on a CD
player as containing five different songs.
5. Press [F1] (TRACK).
The Track At Once screen will appear.
fig.07-59d
Section 5
The Disc At Once By Song method allows you to write a
number of different songs selected from the BR1200CD’s hard disk to an audio CD in a single process.
In this way, album creation and other similar operations
can be carried out much more conveniently. However, it
will not be possible to subsequently add other songs to a
disc that has been created using this method. As a result,
a considerable amount of disc memory could be wasted
if only a few songs are written.
6. Use [CURSOR] and the TIME/VALUE dial to choose
the track and V-Track that you want to write.
7. Press [F3] (GO).
The Write Speed screen will appear.
fig.07-61d
8. Use the TIME/VALUE dial to set the write speed.
Alternatively, if you want to use the write speed that is
currently displayed, proceed to Step 9.
9. Press [ENTER/YES].
The message “Write Sure?” will appear.
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Creating Audio CD
10. Press [ENTER/YES].
The message “Now Writing...” will appear and writing
to the audio CD will begin. When writing has been
completed, the message “Finalize OK?” will be
displayed.
11. If you intend to write additional songs to the same CDR disc, press [EXIT/NO].
Alternatively, press [ENTER/YES] if no more songs
will be added to this disc.
If you press [ENTER/YES], the message “Finalizing...”
will appear and the finalization process will begin. When
the message “Complete!” appears, it indicates that the
finalization has been completed. For more detailed
information regarding finalization, refer to “What is
finalization?” (p. 222).
12. Press [EXIT/NO] several times to return to the top
screen.
Writing several songs at once
(Disc At Once By Song)
1. Insert an unrecorded CD-R or CD-RW disc into the CDR/RW drive.
2. Press [AUDIO CD WRITE/PLAY].
The Audio CD screen will appear.
fig.07-57d
3. Press [F1] (WRITE).
The Audio CD Write screen will appear.
fig.40-02d
13. Press the CD-R/RW drive’s EJECT button to eject the
disc.
This completes the writing process.
It may take a period of several seconds before the disc is
actually ejected.
4. Press [F2] (DISC).
The Disc At Once Menu screen will appear.
fig.07-64d
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
5. Press [F1] (BY SONG).
The Disc At Once By Song screen will appear.
fig.05-130d
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
• If the message “Not Blank Disc!” appears, it means that
the CD-R disc already contains data. In such a case,
replace the disc with an unrecorded one.
• If the message “Erase Disc?” appears, it means that the
CD-RW disc already contains data. If you then press
[ENTER/YES], the BR-1200CD will begin erasing data
from the CD-RW disc. Once this process has been
completed, you can proceed to the following steps using
the empty CD-RW disc.
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Creating Audio CD
6. Press [F1] (INSERT).
A new song will be inserted.
7. Use the TIME/VALUE dial to choose the song that you
want to write.
fig.05-131d
16. Press the CD-R/RW drive’s EJECT button to eject the
disc.
This completes the writing process.
For details regarding listening to the audio CD that you
have just created, refer to “Playing Back Audio CDs” (p.
224).
It may take a period of several seconds before the disc is
actually ejected.
8. Move the cursor to the right to display the screen, and
then use the TIME/VALUE dial to set the V-Track that
you want to write.
fig.05-140d
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
At this time, “MASTER V-TRK” will be indicated for the
V-Track that was most recently used for mastering (i.e.,
the final mastering track). This can be used as a guide for
setting the correct V-Track.
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
Section 5
Only stereo tracks can be selected for writing, and you
will not be able to select mono tracks at this time.
9. To cancel selection of a song, press [F2] (DELETE).
The selection will be canceled.
10. To insert a song just before a song that has already
been selected, move the cursor to the position you want
to insert, and then press [F1] (INSERT).
A new song will be inserted.
11. Repeat Steps 6 through 10 to select all of the songs you
want to write, and then press [F3] (GO).
The Write Speed screen will appear.
12. Use the TIME/VALUE dial to set the write speed.
Alternatively, if you want to use the write speed that is
currently displayed, proceed to Step 13.
13. Press [ENTER/YES].
The message “Write Sure?” will appear.
14. Press [ENTER/YES].
The message “Now Writing...” will appear and writing
to the audio CD will begin. When this process has been
completed, the finalization will start automatically.
When the message “Complete!” appears, it indicates that
writing has been fully completed.
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15. Press [EXIT/NO] several times to return to the top
screen.
Creating Audio CD
Creating Audio CDs with Audio Tracks
Separated by Markers (Disc At Once by Marker)
When audio CDs are created from live performances, nonstop DJ mixes, and other tracks recorded continuously over
long periods of time, these long tracks can end up being
written to the CD as a single song.
With the BR-1200CD, however, you can use the marker
function to set divisions at the desired points within such an
audio track so that it can be written as separate songs.
For more detailed information regarding markers, refer
to “Placing markers in your song (Marker)” (p. 90).
Using this function, you can create audio CDs containing live
performances and non-stop DJ mixes with song divisions at
the appropriate points.
Applying markers at song divisions
(CD Track Marker)
The first step in this process is to position markers at the
desired song divisions using the following procedure. A
marker applied in this way is referred to as a “CD Track
Marker.”
• Data cannot be written to an audio CD between the
beginning of an audio track (i.e., time zero) and the
first CD track marker. If you want to write to an
audio CD from the very start of an audio track, press
[ZERO] to return to the start of that track and then
carry out Step 3.
• CD track markers cannot be created within 100 ms of
one another. If this prevents a marker from being
positioned, clear the pre-existing marker and then
carry out Step 3. (“Clearing markers” (p. 90))
• 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 CD track 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.
1. Record the performance that you want to write to the
audio CD as a stereo track (on any of the tracks from 1/2
through 11/12).
2. Move the current position to a point at which the song
is to be divided.
3. Hold down [TAP] and press [MARK].
A CD track marker is created at that point, and a “T” will
appear in the top screen’s Marker box. At the same time,
the CD track number is automatically set as that
marker’s name (i.e. CD01).
fig.07-67d
What is finalization?
In addition to audio data, information such as the
position and time of this data is also written to audio
CDs, and this process is known as “Finalizing.” If
you intend to play your audio CD on a standard CD
player, it is important that finalization be carried
out. Once this has been done, however, you will not
be able to add any more songs to the CD. For this
reason, you should aim to carry out the finalization
of a CD-R/RW disc only when it is nearly full of
songs.
If you don’t finalize:
4. Repeat Step 2 and Step 3 for each of the points at which
you want the track to be divided.
Any CD track markers accidentally created at the wrong
position can be easily removed. (“Clearing markers” (p.
90))
5. If you wish to create an audio CD using these settings,
save the current song (p. 70).
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This completes the division of the song and the
preparation for writing it to a CD-R/RW disc. Let’s now
write the tracks and make an audio CD.
It will not be possible to play your audio CD on a
standard CD player until it has been finalized;
however, you can keep adding songs to the disc
until this process is carried out. The CD-R disc that
is not finalized during the writing process can be
finalized later on. For more details regarding
methods for finalization after the writing of audio
data, refer to “Enabling playback on CD players
(Finalize)” (p. 225).
Creating Audio CD
Writing to an CD-R/RW
We will now write the songs set up using the CD track
markers to a new CD-R or CD-RW.
1. Insert an unrecorded CD-R or CD-RW disc into the CDR/RW drive.
11. Press [ENTER/YES] once again.
The message “Now Writing...” will appear and writing
of the audio CD will begin. When the message
“Complete!” appears, it indicates that writing has been
completed.
2. Press [AUDIO CD WRITE/PLAY].
The Audio CD screen will appear.
fig.07-57d
3. Press [F1] (WRITE).
The Audio CD Write screen will appear.
fig.40-02d
4. Press [F2] (DISC).
The Disc At Once Menu screen will appear.
fig.07-64d
The Disc At Once By Mark screen will appear.
fig.05-160d
6. Use the TIME/VALUE dial to select the audio tracks
that you want to write to the CD.
7. Confirm that the list of CD track markers is correct.
Move the cursor up and down to check the whole list.
8. Press [F3] (GO).
The message “Write Speed” will appear.
9. Use the TIME/VALUE dial to set the write speed.
• If the CD-RW disc already contains data, the
message “Erase Disc?” will be displayed. If you then
press [ENTER/YES], the BR-1200CD will begin
erasing data from the CD-RW disc.
• The audio track chosen as a source must be stereo.
• If the audio track contains no recorded audio data or
if no CD track markers have been set up in the
recorded performance, “NO TRACK” will be
displayed in the list and writing will not be possible.
• Audio CD specifications require that songs be at
least four seconds in length. CD track markers that
set up any song of less than four seconds in length
will be ignored when the CD is being created.
• If the total length of the songs to be written exceeds
the CD-R/RW disc’s maximum recording time, the
message “CD Full!” will appear and writing will not
be possible. In such a case, change the positioning of
the CD track markers (p. 222), use track cut (p. 107),
or use track erase (p. 108) to reduce the total time to
less than the disc’s maximum recording time.
Section 5
5. Press [F2] (BY MARK).
• If the CD-R disc already contains data, the message
“Not Blank Disc!” will appear and writing will not
be possible. Always use an empty disc.
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• To cancel writing while this operation is in process,
press [EXIT/NO]. When the message “Cancel?”
appears, press [ENTER/YES] to confirm
cancellation. (A certain amount of time may pass
between pressing of [EXIT/NO] and display of the
confirmation message.) Please note, however, that
no guarantee can be made regarding the state of the
data written before cancellation. Care must also be
taken with CD-R discs in particular as this media
cannot be written to a second time.
• You will not be able to eject a disc during the writing
process, even if you press EJECT button.
10. Press [ENTER/YES].
The message “Write Sure?” will appear.
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223
Creating Audio CD
Playing Back Audio CDs
Let’s now listen to the audio CD we have just created using
the BR-1200CD’s CD-R/RW drive. In addition to CD-R discs,
this drive can be used to play back CD-RW discs that cannot
be played on standard CD players. Naturally, you will also
be able to listen to commercially produced audio CDs on this
drive, and it can even play back audio CDs created using the
BR-1200CD that have not yet been finalized.
Songs recorded on an audio CD are often referred to as
“tracks.” Be careful to avoid confusing these tracks with
the BR-1200CD's audio tracks.
5. Move the cursor to the
YES].
icon and press [ENTER/
Playback of the audio CD will begin.
fig.07-73bd
You can move the cursor to the following icons and
press [ENTER/YES] to control playback in various ways.
:
Play
:
Pause
:
Stop
1. Insert the audio CD into the CD-R/RW drive.
:
Fast forward
2. Press [AUDIO CD WRITE/PLAY].
:
Rewind
:
Skip forward to the next song
:
Skip back to the beginning of the song or to the
previous song
The Audio CD screen will appear.
fig.07-57d
6. If you want to stop playback of the audio CD, press
[EXIT/NO] several times to return to the top screen.
3. Press [F2] (PLAY).
The message “Now Checking...” will appear initially,
and the menu screen for the audio CD player will then
be displayed.
7. Press the CD-R/RW drive’s EJECT button to eject the
disc.
It may take a period of several seconds before the disc is
actually ejected.
Here, the songs included in the audio CD will be listed
from TR01 up as far as TR 99.
fig.07-73d
4. Use the TIME/VALUE dial to select the song that you
want to listen to.
When an audio disc is inserted into the CD-R/RW
drive, the message “Now Checking...” may remain
on the screen for a relatively long time. This period
of time is required for reading of the data stored on
the audio CD and it is not the result of a
malfunction.
fig.07-73ad
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224
Creating Audio CD
Enabling playback on CD
players (Finalize)
If you intend to play a audio CD that was written using the
BR-1200CD’s CD-R/RW drive on a standard CD player, the
audio CD must be finalized. Audio CD-R/RW discs can be
finalized at any time to enable playback on this type of
player.
What is finalizing?
In addition to the audio data itself, other
information describing the position and time of this
data is also written to audio CDs. This process is
known as “Finalizing.”
If you finalize:
When finalization has been carried out, you will be
able to play your audio CD on a standard CD player.
Note, however, that you will no longer be able to
add songs to a finalized CD.
Furthermore, the finalization of audio CDs
containing only one short song is wasteful, since the
remaining empty space on such discs can no longer
be used.
3. Press [F3] (FINALIZE).
The message “Finalize OK?” will appear.
fig.40-07d
4. Press [ENTER/YES]. (If you want to cancel finalization,
press [EXIT/NO].)
Finalization will begin and the state of progress will be
displayed. When the message “Complete” appears and
the track buttons begin to flash, the finalization is
complete.
5. Press [EXIT/NO] several times to return to the top
screen.
6. Press the CD-R/RW drive’s EJECT button to eject the
disc.
• Once finalization has been started, it will not be
possible to cancel this process.
For this reason, you should aim to carry out
finalizing of a CD-R disc only when it is nearly full
of songs.
If you don’t finalize:
It will not be possible to play your audio CD on a
standard CD player until it has been finalized;
however, you can keep adding songs to the disc
until this process is carried out. Whenever you want
to play your audio CD on a standard CD player, you
should perform finalization.
Section 5
• In certain cases, a period of several seconds will pass
before the disc is actually ejected.
1. Insert the CD-R/RW disc to be finalized into the BR1200CD’s CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press [AUDIO CD WRITE/PLAY].
The Audio CD screen will appear.
fig.40-01d
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225
Using the CD-R/RW drive to exchange data
The BR-1200CD’s built-in CD-R/RW drive can be used to
exchange data in the following ways:
• Storing of songs and other hard-disk data to CD-R/RW
discs (Backup)
• Reading songs and other backup data back into the
hard disk (Recover)
• Swapping of audio data with a PC
Backing up a song (Song Backup)
Saving Recorded Songs to
CD-R/RW Discs
2. Press CD-R/RW [DATA SAVE/LOAD].
Although the songs you’ve recorded and created are stored
on the BR-1200CD’s internal hard disk, all of this data would
be lost in the unlikely event that the hard disk was damaged.
For this reason, we recommend that you also save your songs
on CD-R/RW discs (Backup).
Once songs have been backed up in this way, it will also be possible
to read them from the CD-R/RW discs into another BR-1200CD.
1. Insert an empty CD-R/RW disc into the BR-1200CD’s
CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
The Data CD screen will appear.
fig.41-05d
3. Move the cursor to BACKUP icon, and press [ENTER/
YES].
Alternatively, you can press [F1] (BACKUP) if the
BACKUP icon is currently displayed.
The Backup Menu screen will appear.
fig.41-01d
Precautions for backup
• If a CD-R disc selected for backup already contains data,
the message “Not Blank Disc!” will appear and backup
will not be possible. Always use an empty disc for this
operation. If, on the other hand, you are using a CD-RW
disc that already contains data, the message “Erase Disc?”
will be displayed. If you then press [ENTER/YES], the BR1200CD will begin erasing data from this disc.
• If the current song contains newly recorded audio data or
newly modified settings, the message “Save Current?”
may be displayed during the backup procedure. If you
want to save your song before starting the backup, press
[ENTER/YES]; if this will not be necessary, press [EXIT/
NO]. Remember that if you do not save a modified song at
this time, all newly recorded audio data, edited data,
modified mixer settings, etc. will be lost.
• If the total size of the songs and other data you intend
to back up exceeds the capacity of a single CD-R/RW
disc, you will be able to perform a backup using as
many discs as necessary. In this case, you will need to
have a number of blank CD-R/RW discs on hand, and
during the backup process, you should insert and
remove them as requested on-screen.
• To cancel writing to a CD-R/RW disc, press [EXIT/NO].
When the message “Cancel?” appears, press [ENTER/
YES] to confirm cancellation. (A certain amount of time
may pass between pressing of [EXIT/NO] and display of
the confirmation message.) Please note, however, that no
guarantee can be made regarding the state of the data
written before cancellation.
The Song Backup screen will appear.
fig.41-02d
5. Move the cursor to the song you want to back up and
press [F1] (SELECT).
The song will be selected for backup.
fig.41-02ad
A number of songs can be selected in this way for
backup, and an asterisk (*) will be displayed for each
selected song. To cancel this selection, press [F1] once
again.
If you would like to back up all songs on the hard disk in
a single operation, press [F2] (ALL). All songs will be
selected for backup.
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226
4. Press [F1] (SONG) or move the cursor to SONG icon,
and then press [ENTER/YES].
Using the CD-R/RW drive to exchange data
To cancel this selection, press [F2] once again. This
deselects all songs.
6. When you have selected all of the songs you want to
back up, press [F3] (GO).
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
The message “Write Speed?” will appear.
fig.41-03d
3. Move the cursor to RECOVER icon, and press [ENTER/
YES].
7. Use the TIME/VALUE dial to set the write speed.
8. Press [ENTER/YES].
Alternatively, you can press [F2] (RECOVER) if the
RECOVER icon is currently displayed.
The Recover screen will appear.
fig.41-16d
If you want to cancel the backup, press [EXIT/NO].
The message “Write Sure?” will appear.
fig.41-04d
4. Press [F1] (SONG).
A list of the CD-R/RW disc’s backup songs will be
displayed.
9. Press [ENTER/YES] once again.
fig.41-17d
The BR-1200CD will begin writing data to the CD-R/RW
disc.
5. Move the cursor to the song you want to recover and
press [F1] (SELECT).
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
Reading backup songs back into
the hard disk (Song Recover)
1. Insert a CD-R/RW disc containing backup songs into
the BR-1200CD’s CD-R/RW drive.
The song will selected for recovery.
Section 5
When the message “Complete!” appears, it indicates that
the backup has been successfully completed.
A number of songs can be selected in this way for
recovery, and an asterisk (*) will be displayed for each
selected song. To cancel this selection, press [F1] once
again.
If you would like to recover all of the songs on the CDR/RW disc in a single operation, press [F2] (ALL). All
songs will be selected for recovery.
To cancel this selection, press [F2] once again. This
deselects all songs.
6. When you have selected all of the songs you want to
recover, press [F3] (GO).
The BR-1200CD will start the recovery process. When the
message “Complete!” appears, it indicates that the
recovery has been completed successfully.
The recovered songs will be saved in sequence on
the hard disk using the available song numbers.
227
Rev0.02
The drive’s access indicator will begin to flash. Wait until this
indicator stops flashing and turns off before proceeding.
Using the CD-R/RW drive to exchange data
Saving Data on the Hard
Disk to CD-R/RW Discs
Saving Data to CD-R/RW Discs
(User Backup)
5. Move the cursor to the type of data you want to back up
and press [F1] (SELECT).
The data will selected for backup.
fig.41-07ad
The BR-1200CD allows you to back up the following types of
user data to CD-R/RW discs.
• Insert effect patches
• Mastering Tool Kit patches
• Speaker Modeling patches
• Vocal Tool Box patches
A number of types of data can be selected in this way for
backup, and an asterisk (*) will be displayed for each
selected type. To cancel a selection, simply press [F1]
once again.
• Rhythm arrangements, drum patterns, bass patterns
Data that can be backed up:
• Loop Phrases
Effects/Rhythm:
• Insert Effects User Patches
1. Insert an empty CD-R/RW disc into the BR-1200CD’s
CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD screen will appear.
fig.41-05d
• Vocal Tool Box User Patches
• Mastering User Kit User Patches
• Speaker Modeling User Patches
• User Rhythm Arrangement
• User drum pattern
• User bass pattern
The data described above will all be saved.
Loop Phrase:
User loop phrases will all be saved.
3. Move the cursor to BACKUP icon, and press [ENTER/
YES].
Alternatively, you can press [F1] (BACKUP) if the
BACKUP icon is currently displayed.
The Backup Menu screen will appear.
fig.41-01d
If you would like to back up all such data on the hard
disk in a single operation, press [F2] (ALL). All data
types will be selected for backup.
To cancel this selection, press [F2] once again. This
deselects all data types.
6. When you have selected all of the data you want to
back up, press [F3] (GO).
The message “Write Speed?” will appear.
fig.41-08d
4. Press [F2] (USER) or move the cursor to USER icon, and
then press [ENTER/YES].
The User Backup screen will appear.
fig.41-07d
7. Use the TIME/VALUE dial to set the write speed.
8. Press [ENTER/YES].
If you want to cancel the backup, press [EXIT/NO].
The message “Write Sure?” will appear.
fig.41-09d
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228
Using the CD-R/RW drive to exchange data
9. Press [ENTER/YES] once again.
The BR-1200CD will begin writing data to the CD-R/RW
disc. When the message “Complete!” appears, it indicates
that the backup has been successfully completed.
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
4. Press [F2] (USER).
fig.41-20d
5. Use the TIME/VALUE dial to select the data you want
to recover.
If you select the data that has no backup data, “*EMPTY”
will be displayed.
Data that can be recovered:
ALL
All of the user data on the CD-R/RW disc
EFFECTS
All insert effects patches from the user bank will be
recovered.
MASTERING TOOL KIT
The Mastering Tool Kit’s user bank will be recovered.
SPEAKER MODELING
The Speaker Modeling user bank will be recovered.
Reading backup user data back
into the hard disk (User Recover)
VOCAL TOOL BOX
The Vocal Tool Box’s user bank will be recovered.
RHYTHM
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
User rhythm arrangements, user drum patterns, user
bass patterns, and user loop phrases will all be
recovered.
ARRANGEMENT
Only user rhythm arrangements will be recovered.
Section 5
1. Insert a CD-R/RW disc containing backup user data
into the BR-1200CD’s CD-R/RW drive.
DRUM&BASS PATTERN
Only user drum patterns and user bass patterns will be
recovered.
LOOP PHRASE ALL
User loop phrases from banks A through H will be
recovered.
LOOP PHRASE A–H
3. Move the cursor to RECOVER icon, and press [ENTER/
YES].
Alternatively, you can press [F2] (RECOVER) if the
RECOVER icon is currently displayed.
The Recover screen will appear.
fig.41-16d
Only user loop phrases from the selected bank will be
recovered.
If you select “LOOP PHRASE A–H,” a recovery
destination will appear at the bottom of the display. If
you want to change this setting, move the cursor to
“Destination” and then select a new recovery destination
using the TIME/VALUE dial.
6. When you have selected all of the data you want to
recover, press [F3] (GO).
229
Rev0.02
The BR-1200CD will start the recovery process. When the
message “Complete!” appears, it indicates that the
recovery has been completed successfully.
Using the CD-R/RW drive to exchange data
Saving the Entire Contents of the
Hard Disk to a CD-R/RW Disc
If the hard disk contains any data of the same type
as that being recovered, it will be completely
overwritten in the recovery process. As it will not be
possible to restore this data, care should be taken to
ensure that important data is not accidentally
overwritten in this way.
The BR-1200CD allows you to back up all of the data on the
internal hard disk onto CD-R/RW discs, regardless of the
type of data or the song in which it is used. Data that’s been
backed up this way can later be recovered whenever needed.
Note, however, that this type of backup is limited to the data
contained in the currently selected drive or partition. If you
would also like to back up data from another drive or
partition, you will need to change the current drive first.
Note also that recovered data will be stored on the currently
selected drive.
Saving the Hard Disk Contents to
a CD-R/RW Disc (HDD Backup)
1. Insert an empty CD-R/RW disc into the BR-1200CD’s
CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
3. Move the cursor to BACKUP icon, and press [ENTER/
YES].
Alternatively, you can press [F1] (BACKUP) if the
BACKUP icon is currently displayed.
The Backup Menu screen will appear.
fig.41-01d
4. Press [F3] (HDD).
The message “HDD Backup OK?” will appear.
fig.41-12d
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230
Using the CD-R/RW drive to exchange data
5. Press [ENTER/YES].
The message “Write Speed?” will appear.
fig.41-13d
Reading backed-up hard disk contents
back into the hard disk (HDD Recover)
1. Insert a CD-R/RW disc containing an HDD backup into
the BR-1200CD’s CD-R/RW drive.
6. Use the TIME/VALUE dial to set the write speed.
7. Press [ENTER/YES].
If you want to cancel the backup, press [EXIT/NO].
The message “Write Sure?” will appear.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
fig.41-14d
8. Press [ENTER/YES] once again.
The BR-1200CD will begin writing data to the CD-R/RW
disc. When the message “Complete!” appears, it indicates
that the backup has been successfully completed.
3. Move the cursor to RECOVER icon, and press [ENTER/
YES].
Alternatively, you can press [F2] (RECOVER) if the
RECOVER icon is currently displayed.
The Recover screen will appear.
fig.41-16d
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
Section 5
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
4. Press [F3] (HDD).
The message “HDD Recover OK?” will appear.
fig.41-24d
5. Press [ENTER/YES].
The hard disk will be initialized and then the recovery
process will begin. When the message “Complete!”
appears, it indicates that the recovery has been
completed successfully.
When HDD Recover is carried out, all data and
songs that you have stored on the hard disk will be
overwritten with the contents of the CD-R/RW and
erased. As it will not be possible to restore data or
songs erased in this way, extra care should be taken.
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Using the CD-R/RW drive to exchange data
Copying and writing
waveform data
This procedure requires a computer equipped with a
drive capable of writing to CD-R/RW discs.
If you have a computer equipped with a CD-R/RW drive,
you can use CD-R/RW discs to transfer waveform data
between multiple BR-1200CDs.
You can, for example, use these discs to copy waveform data
created with the audio software on your computer and then
paste the data to audio tracks. You can also take audio track
data recorded with the BR-1200CD and copy it to your
computer for editing.
Copying waveform data from a computer
to the audio tracks (WAV/AIFF Import)
1. Using a PC, burn and finalize a CD-R/RW disc
containing the audio data that you want to import.
For instructions on how to write waveform data to CDR/RW discs, refer to your computer and CD-R/RW
drive owner’s manuals.
2. Place the CD-R/RW disc containing the copied hard
disk data in the BR-1200CD’s CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
3. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
4. Move the cursor to WAVE icon, and press [ENTER/
YES].
Alternatively, you can press [F1] (WAVE) if the WAVE
icon is currently displayed.
If the current song contains newly recorded audio
data or newly modified settings, or if an import has
been carried out, the message “Save Current?” may
be displayed during this procedure.
If you want to save your song before starting the
import process, press [ENTER/YES]; if this will not
be necessary, press [EXIT/NO].
Remember that if you do not save a modified song
at this time, all newly recorded audio data, edited
settings, imported data, etc. will be lost.
The WAV/AIFF screen will appear.
fig.R16-07
5. Press [F1] (IMPORT).
A list of the audio data files contained on the current
CD-R/RW disc will appear.
fig.R16-56d
To be eligible for import, waveform data must meet
the following criteria. In most cases, you will not be
able to import other kinds of data.
• Use “ISO 9660 Level 2, Mode 1” to write the data to
the CD-R/RW disc.
• Audio data must be of WAV or AIFF format, in
stereo or mono, and with an uncompressed bit
depth of 8 or 16 bits. Furthermore, the sampling rate
must be 44.1 kHz.
If the WAV files are collected in a folder, then the folder
name and icon (
) is displayed. To show the WAV
files within the folder, move the cursor to the folder
name and press [ENTER/YES].
fig.R16-94d
• Audio data must be at least 500 ms in length.
• Name waveform data using eight letters followed by
a less than three-character extension.
• The loop point settings within an AIFF file will be
ignored.
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Using the CD-R/RW drive to exchange data
6. To switch the format of the wave file you want to
import, press [F1] (TYPE).
[F1] acts as a toggle, switching the file format between
WAV and AIFF each time it’s pressed.
7. Move the cursor to the waveform data files you want to
import.
fig.R16-08ad
• At this time, press [F1] (DISP) to switch between ways to
specify the location (measures, time, markers).
• If, after specifying the above parameters in terms of
location you switch to the measure or marker indication,
a “+” may appear if a discrepancy between the indicated
position and the actual position arises. When using
measures or markers to make the specification, you can
use the TIME/VALUE dial in the respective screen to
eliminate the discrepancy.
At this point, you can hear what the waveform data sounds
like by pressing [F2] (PREVIEW) (WAVE Preview).
Press [ENTER/YES] again to cancel the preview.
8. Press [F3] (SELECT).
The screen for specifying the import destination appears.
fig.R16-08d
9. Use [CURSOR] and the TIME/VALUE dial to specify
the import-destination track.
fig.R16-08bd
The Import Destination Location Settings screen
appears.
fig.R16-08cd
11. When you have finished making the settings, press [F3]
(GO).
Copying of the waveform data begins.
When “Complete!” appears, the import is finished.
To quit copying while the import is still in progress,
press [EXIT/NO]. When the message “Cancel?” appears,
press [ENTER/YES]; the import is cancelled (it may take
some time after you press [EXIT/NO] for the message to
appear). Files imported up to the time the process is
cancelled are usable.
Copying audio track waveform data
to computers (WAV/AIFF Export)
You can write data for specified tracks to a CD-R/RW disc as
waveform data, then import the waveform data to the
computer, using your computer to read the CD-R/RW disc.
Section 5
10. Press [F3] (LOC).
• If you want the import range to be from the beginning of
the waveform data to the end, press [F3] (ALL).
You will be unable to use CD-R/RW discs if your
computer is only equipped with a CD-ROM or CD-R
drive. In this case, used CD-R discs.
1. Place a writable CD-R/RW disc (a blank disc) in the
BR-1200CD’s CD-R/RW drive.
Set the following items.
START (Start point):
Specify the starting location of the import-destination track.
END (End point):
Specify the ending location of the import-destination track.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
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233
Using the CD-R/RW drive to exchange data
3. Move the cursor to WAVE icon, and press [ENTER/
YES].
Alternatively, you can press [F1] (WAVE) if the WAVE
icon is currently displayed.
6. Press [F3] (LOC).
The Import Destination Location Settings screen
appears.
fig.05-820d
The WAV/AIFF screen will appear.
fig.R16-07
7. Move the cursor to “TYPE,” then rotate the TIME/
VALUE dial to select the file format you want to export.
4. Press [F2] (EXPORT).
fig.R16-11bd
The Waveform Data Export screen appears.
fig.R16-10d
TYPE:
5. Use [CURSOR] and the TIME/VALUE dial to specify
the tracks you want to export.
fig.R16-11ad
WAV
Exports data in WAV format (the format
mainly used with Windows).
AIFF
Exports data in WAV format (the format
mainly used with Macintosh).
8. Use [CURSOR] and the TIME/VALUE dial to set the
time range to be exported.
START (Start Point):
Specifies the export-source track’s start point.
If there are other tracks with the same settings (range,
location) that you want to export, move the cursor to the
following position, then make the settings with the
TIME/VALUE dial.
END (End Point):
Specifies the export-source track’s end point.
fig.R16-11d
• At this time, press [F1] (DISP) to switch between
ways to specify the location (measures, time,
markers).
The BR-1200CD is ready for selection of a new track.
Here, you cannot specify a track on top of another track
that has already been specified.
If you want to undo the specification of a track, rotate the
TIME/VALUE dial to the left and “?” appears.
Entries showing “?” are not exported.
By using the TIME/VALUE dial to select “*,” you can
specify that the operation apply to all tracks or all Vtracks.
If you want the operation to apply to all V-tracks of all
tracks, select “*-*.”
• If, after specifying the above parameters in terms of
location you switch to the measure or marker
indication, a “+” may appear if a discrepancy
between the indicated position and the actual
position arises. When using measures or markers to
make the specification, you can use the TIME/
VALUE dial in the respective screen to eliminate the
discrepancy.
• If you want the export range to be from the
beginning of the waveform data to the end, press
[F3] (ALL).
9. When you have finished making the settings, press [F3]
(GO).
234
Rev0.02
The message “Write Speed?” appears.
Using the CD-R/RW drive to exchange data
fig.R16-93d
10. Rotate the TIME/VALUE dial to set the write speed.
11. Press [ENTER/YES].
The message “Write Sure?” appears.
To cancel, press [EXIT/NO].
12. Press [ENTER/YES] again.
Writing to the CD-R/RW disc begins.
When “Complete!” appears, the writing is finished.
The following files will have been written to the CD-R/
RW disc in ISO9660 Level 2, Mode 1 format.
Track 1, V-Track 1
T01___01.WAV or T01___01.AIF
Track 1, V-Track 2
T01___02.WAV or T01___02.AIF
Track 1, V-Track 3
T01___03.WAV or T01___03.AIF
:
Track 2, V-Track 15
T02__15.WAV or T02__15.AIF
Track 2, V-Track 16
T02__16.WAV or T02__16.AIF
:
Track 3/4, V-Track 1
T0304_01.WAV or T0304_01.AIF
Track 3/4, V-Track 2
T0304_02.WAV or T0304_02.AIF
Track 11/12, V-Track 15
T1112_15.WAV or T1112_15.AIF
Track 11/12, V-Track 16
T1112_16.WAV or T1112_16.AIF
13. Press [EXIT/NO] several times to return to the Top
screen.
14. Press the CD-R/RW drive’s EJECT button to eject the
disc.
15. Use the application on your computer to copy the data
from the CD-R/RW disc.
• If a CD-RW disc that already has data written to it is
loaded, the message “Erase Disc?” appears. Pressing
[ENTER/YES] here begins erasure of the disc. After
the disc has been erased, the export process will
continue.
• When a mono track is specified as the source for
exporting, the data is written as a mono waveform
file. When a stereo track is specified, the data is
written as a stereo waveform file.
• Tracks 9/10 and 11/12 are fixed as a permanent
stereo pair, and so cannot be specified as mono
tracks.
• The range of available write speeds can sometimes
be limited by the type of media being used. In such a
case, the BR-1200CD will allow you to select only the
supported speeds.
• If an error occurs, try changing the write speed and
then carry out the writing process over again.
• The actual time required to complete writing to a
disc will be longer than the time calculated from the
write speed. The data is converted into CD format
during the writing process, and this accounts for the
extra time requirement.
Section 5
:
• If a CD-R disc that already has data written to it is
loaded, the message “Not Blank Disc” appears, and
you cannot proceed with the export. Be sure to use
only blank discs.
• To quit writing to the disc while writing is still in
progress, press [EXIT/NO]. When the message
“Cancel?” appears, press [ENTER/YES]; writing is
cancelled (it may take some time after you press
[EXIT/NO] for the message to appear). However, no
guarantee can be made for the utility of the content
up to the time writing is cancelled.
• It will not be possible to reuse a CD-R disc for which
writing was canceled before completion.
Rev0.02
235
Using the CD-R/RW drive to exchange data
Playing SMFs using external
MIDI instruments (SMF Player)
You can use the BR-1200CD to read SMFs from CD-R/RW
discs and play these files using MIDI instruments connected
to the MIDI OUT port.
Any SMFs that satisfy the following conditions can be played
in this way.
fig.41-27d
5. Press [F2] (PLAYER).
A list of the SMFs contained on the current CD-R/RW
disc will appear.
fig.05-940d
Format:
0 or 1
File size:
250 KB maximum (Note that this will vary slightly based on
the SMF content.)
System Exclusive:
Packet sizes of 512 bytes or less
6. Move the cursor to the SMF to be played and press [F3]
(PLAY).
fig.05-950d
1. Connect a MIDI cable between the MIDI OUT port on
the BR-1200CD and the MIDI IN port on your external
MIDI sound module.
fig.41-25
MIDI
OUT
MIDI
IN
The message “Now Loading...” will appear and the SMF
will be loaded from the CD-R/RW disc.
When the reading process has been completed, the BR1200CD will start playback.
7. Press [ENTER/YES] at the point where you want to stop
playback.
2. Insert a CD-R/RW disc containing SMFs into the CD-R/
RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
In cases where the SMF contains a large amount of
MIDI data, playback of the file may be sluggish.
3. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
4. Move the cursor to SMF icon, and press [ENTER/YES].
Alternatively, you can press [F3] (SMF) if the SMF icon is
currently displayed.
The function selection screen for SMFs will appear.
Rev0.02
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Using the CD-R/RW drive to exchange data
Erasing data from a CD-RW disc
(CD-RW Erase)
If you are using CD-RW discs, you will be able to erase
unneeded data from the discs and reuse them for data storage.
• Once erasing has been started, it will not be possible
to cancel this process.
• The amount of time required for erasing data will
depend on the type of CD-RW disc used.
• This process results in all data being erased from a disc.
• In certain cases, a period of several seconds will pass
before the disc is actually ejected.
• Data erasure is possible only with CD-RW discs.
Data cannot be erased from CD-R discs.
1. Insert the CD-RW disc to be erased into the BR1200CD’s CD-R/RW drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
2. Press CD-R/RW [DATA SAVE/LOAD].
The Data CD Menu screen will appear.
fig.41-05d
Section 5
3. Move the cursor to the ERASE icon and press [ENTER/
YES].
Alternatively, you can press [F2] (ERASE) if the ERASE
icon is currently displayed.
The message “Erase Disc?” will appear.
fig.41-31d
4. Press [ENTER/YES].
Press [EXIT/NO] to cancel deletion.
The data erasure will begin and the state of progress will
be displayed. When the message “Complete!” appears, it
indicates that erasing has been completed.
5. Press [EXIT/NO] several times to return to the Top
screen.
6. Press the CD-R/RW drive’s EJECT button to eject the
disc.
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Using the CD-R/RW drive to exchange data
Setting the time until the CD-R/
RW drive stops (CD Hold Time)
Whenever the BR-1200CD’s CD-R/RW drive is used to read
or write data, the drive’s internal motor will continue to spin
for a specific period of time after this process has been
completed. In situations where this becomes a hindrance to
the music making process, you can set a new duration for the
spinning down of the motor.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
3. Move the cursor to “CD HoldTime” and set a suitable
time using the TIME/VALUE dial.
fig.41-34d
The CD hold time can be set within a range of 1 SEC to
32 MIN. At the time of purchase, the hold time will be
set to 32 SEC.
Once the CD-R/RW drive’s motor has stopped, a
certain amount of time will be required for it to
reach a stable operating speed the next time data
needs to be read or written. If the reading and
writing of data will be carried out frequently, you
should set a longer hold time to ensure that the
drive’s motor does not stop between each operation.
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238
Importing songs from CDs to audio tracks
The BR-1200CD allows you to import selected songs from a
audio CD to audio tracks.
1. Insert a audio CD into the BR-1200CD’s CD-R/RW
drive.
The drive’s access indicator will begin to flash. Wait until
this indicator stops flashing and turns off before
proceeding.
Important Notice
• The BR-1200CD and its CD-R/RW drive are
designed to allow you to reproduce material for
which you own the copyright, or material for which
you have been granted permission to copy by the
copyright owner. Accordingly, the reproduction of
audio CDs or other copyrighted material without
the permission of the copyright owner and the
circumvention of technologies such as SCMS, which
prohibit second-generation and later copies,
constitutes copyright infringement and may incur
penalties, even in cases where such reproduction is
for your own personal use and enjoyment (private
use). Consult a copyright specialist or special
publications for more information regarding the
acquisition of copyright permission from copyright
holders.
• The BR-1200CD does not allow you to import all
songs from a audio CD at once. Songs must be
imported one at a time.
2. Press [AUDIO CD WRITE/PLAY].
The Audio CD Menu screen will appear.
fig.40-01d
3. Press [F2] (PLAY).
The Audio CD Player screen will appear.
fig.40-09d
4. Use the TIME/VALUE dial to select the number of the
song to be imported.
fig.40-09ad
Section 5
You can use the normal procedure for audio CD
playback (p. 224) at this time to hear the selected song.
5. Press [F3] (IMPORT).
The Audio CD import screen will appear.
fig.40-09bd
6. Use the TIME/VALUE dial to select the destination for
import and press [ENTER/YES].
The message “Now Importing...” will appear and import
to the audio track will begin. When the message
“Complete!” appears, it indicates that the import
procedure has been successfully completed.
Rev0.02
239
240
Section 6 Using MIDI
Section 6
Using MIDI
241
MIDI fundamentals
By using MIDI to connect the BR-1200CD to other MIDIcapable devices, you can perform the following:
MIDI channels
●
Play rhythm performances on external MIDI sound
module
●
Synchronize with external MIDI sequencers and rhythm
machines
The MIDI standard allows data to be exchanged among
multiple MIDI-compatible devices using a single MIDI cable,
and this is made possible by what are known as MIDI
channels.
●
Control MMC-compatible devices from the BR-1200CD
●
Control track volumes automatically via MIDI (MIDI
Fader)
●
Input drum and bass patterns using an external
keyboard (MIDI Recording)
This section provides a basic description of MIDI and
explains the various ways it can be used.
What is MIDI?
MIDI stands for “Musical Instrument Digital Interface.”
MIDI is a global standard devised so that performance data,
program change data, and other similar information could be
exchanged among electronic musical instruments and
computers. If a device is MIDI compatible, it will be able to
exchange performance data with other MIDI compatible
devices, even if they are of a different type or brand.
MIDI connectors
MIDI messages (i.e., the data handled by MIDI) are
exchanged using the following three types of MIDI port.
MIDI IN:
This connector accepts the MIDI messages arriving from
other MIDI devices.
In simple terms, a MIDI channel is quite similar to a TV
channel. For example, you can change TV channels to watch
programs from a variety of broadcasters. In this type of
situation, information is communicated only when the
channel on the transmitting end matches the channel on the
receiving end.
Likewise, with MIDI as well, if the transmitting device is (for
example) set to MIDI channel 1, MIDI messages will be
received only if the MIDI channel on the receiving end is also
set to 1.
MIDI Implementation Charts
MIDI makes it possible for a vast range of electronic musical
devices to communicate with each other. However, this does
not mean that every MIDI device can handle every single
type of MIDI message. In reality, two MIDI-compatible
devices can only exchange the MIDI messages that are
supported by both.
The user’s manual for any MIDI-compatible device will
contain a MIDI Implementation Chart, and this chart allows
you to quickly find out which MIDI messages the device in
question can transmit and receive.
When two MIDI devices are to be used together, you should
compare their MIDI implementation charts to make sure that
exchange of the required MIDI messages will be possible.
For more detailed information regarding the BR-1200CD’s
MIDI characteristics, refer to “MIDI Implementation” (p. 343).
MIDI OUT:
All the MIDI messages from the BR-1200CD are sent out
from this connector.
MIDI THRU:
This connector re-transmits all the MIDI messages that arrive
at the MIDI IN connector.
The BR-1200CD is equipped with a MIDI IN and
MIDI OUT port, but not with a MIDI THRU port.
Rev0.02
242
Playing drum and bass patterns on external MIDI sound module
When you play back drum and bass patterns, rhythm
arrangements, and the like, the BR-1200CD will use its
internal drum and bass sounds to reproduce the
programmed performance. However, if you want to use
drum and bass sounds other than those stored internally,
you can transmit performance data via the MIDI OUT port to
have the performance played on a different MIDI sound
module. In this way, you can play back drum and bass
patterns using your favorite sounds.
1. Using a MIDI cable, connect the BR-1200CD to the MIDI
sound module as shown in the following diagram.
fig.50-01
MIDI sound Module
MIDI IN
MIDI OUT
2. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Alternatively, you can press [F2] (MIDI) if the MIDI icon
is currently displayed.
The MIDI screen will appear.
fig.50-03d
5. Move the cursor to “Bass Ch.” and set a suitable MIDI
channel using the TIME/VALUE dial.
OFF:
Note messages will not be transmitted
for bass.
1 through 16:
Note messages for bass will be
transmitted on the selected MIDI channel.
The MIDI channel selected here must be the same as
that selected on the MIDI sound module. In the case
of GS and GM sound module, it is common for
channel 2 to be selected for bass data; accordingly,
MIDI channel 2 should probably be selected at this
time. For details regarding the selection of MIDI
channels on the MIDI sound module, refer to the
corresponding user’s manual.
6. When the required settings have been made, press
[EXIT/NO] several times to return to the top screen.
7. Play the rhythm performance.
The rhythm and bass patterns will now both be played
by the MIDI sound module.
Section 6
3. Move the cursor to the MIDI icon and press [ENTER/YES].
The MIDI channel selected here must be the same as
that selected on the MIDI sound module. In the case
of GS sound module, GM sound module, and BOSS
rhythm machines, it is common for channel 10 to be
selected for drum data; accordingly, MIDI channel
10 should probably be selected at this time. For
details regarding the selection of MIDI channels on
the MIDI sound module, refer to the corresponding
user’s manual.
If necessary, adjust the volume of the performances on
the MIDI sound module.
8. If you wish to store the settings, save the current song
(p. 70).
4. Move the cursor to “Drums Ch.” and set a suitable
MIDI channel using the TIME/VALUE dial.
OFF:
Note messages will not be transmitted
for drums.
1 through 16:
Note messages for drums will be
transmitted on the selected MIDI
channel.
Rev0.02
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Playing drum and bass patterns on external MIDI sound module
Drum sounds and note numbers
The correspondence between drum sounds and note
numbers is as shown below.
Drum name
Note number
Kick 1
C 2 (36)
Snare 1
D 2 (38)
Closed hi-hat
F#2 (42)
Open hi-hat
A#2 (46)
Crash cymbal
C#3 (49)
Ride cymbal
D#3 (51)
Tom 1
F 2 (41)
Tom 2
A 2 (45)
Tom 3
C3 (48)
Tom 4
D 3 (50)
Stick
G 1 (31)
Cow bell
G#3 (56)
Kick 2
B 1 (35)
Snare 2
E 2 (40)
Metronome (click)
A 1 (33)
Metronome (bell)
A#1 (34)
Claves
D#5 (75)
Hi-Q
D#1 (27)
If the drum sounds of your MIDI sound generating device
are not mapped as shown above, you should change the
sounds assigned to the various note numbers.
Refer to the user’s manual for the MIDI sound module for
details on how this is done.
Rev0.02
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Synchronizing external MIDI sequencers and rhythm machines
You can use the BR-1200CD’s tempo and time position as the
master tempo and master time position so that external MIDI
sequencers and rhythm machines can be synchronized with
its playback (Master Sync). The following three
synchronization methods are available.
●
●
A MIDI sequencer or rhythm machine can be
synchronized to the rhythm’s tempo using the BR1200CD’s MIDI timing clock.
A MIDI sequencer can be synchronized to the playback
time using MTC.
●
The tempo variations programmed into a MIDI
sequencer or rhythm machine can be recorded as a sync
track on the BR-1200CD, and the sequencer or rhythm
machine can then be played back using the recorded
tempos.
Even in the case of MIDI sequencers that are compatible with
neither MTC nor MMC, synchronization to the rhythm will
be possible using the MIDI timing clock if Song Position
Pointers are supported. Note, however, that a tempo map
must be created for the rhythm in advance. For more detailed
Synchronizing a MIDI device to the rhythm’s
tempo using the MIDI timing clock
This is the simplest of the three synchronization methods,
and it can be used to synchronize the majority of MIDI
sequencers and rhythm machines.
In this case, the MIDI timing clock is used as the
synchronization master. Specifically, the MIDI timing clock is
a signal that is transmitted six times per sixteenth note in
accordance with the current tempo. It can be used to notify
MIDI sequencers and rhythm machines of the time elapsed
since the start of the song so that these external devices can
be synchronized.
As the majority of MIDI sequencers and rhythm machines sold
today support MIDI timing clock signals, this method will probably
provide the simplest means of achieving synchronization.
1. Using a MIDI cable, connect the BR-1200CD to the
MIDI sound module as shown in the following
diagram.
fig.50-04
information, refer to “Setting tempos for individual measures
(Tempo Map)” (p. 209).
For more information regarding MIDI sequencer
usage methods, refer to the corresponding user’s
manual. Refer to p. 251 for details regarding MMC.
MIDI IN
MIDI OUT
Section 6
The BR-1200CD does not support operation in slave
mode. In other words, it will not be possible to
synchronize the BR-1200CD to the tempo and time
position of an external MIDI sequencer or rhythm
machine.
Rhythm Machine
or MIDI Sequencer
2. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Synchronization will be possible
MIDI OUT
MIDI IN
BR-1200CD
External
Rhythm Machine
Master
Synchronization will not be possible
MIDI IN
BR-1200CD
Slave
MIDI OUT
External
Rhythm Machine
3. Move the cursor to the SYNC icon and press [ENTER/
YES].
Alternatively, you can press [F3] (SYNC) if the SYNC
icon is currently displayed.
Rev0.02
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Synchronizing external MIDI sequencers and rhythm machines
The synchronization setting screen will appear.
fig.50-06d
4. Move the cursor to “Sync Gen.” and select “MIDI
CLK” using the TIME/VALUE dial.
Sync Gen. (Sync Generator):
This parameter sets the type of synchronization signal
that will be output via the MIDI OUT port. When you
intend to perform synchronized operation of an external
MIDI device using a synchronization signal, ensure that
one of the following types of signal is selected for
transmission.
OFF:
No synchronization signal will be transmitted.
Synchronizing a MIDI sequencer
to the playback time using MTC
The term MIDI Time Code (MTC) refers to a type of timesynchronization message that is output every frame in order
to allow MIDI sequencers to be synchronized. Since MTC is
based on time and not tempo, it allows extremely precise
synchronization to be achieved. Although this technique is
most often used with video equipment and the like, a large
number of MIDI sequencers are also MTC compatible.
1. First of all, set up the external MIDI sequencer to
operate based on received MTC signals.
For more information regarding setting methods for the
MIDI sequencer, refer to its user’s manual.
2. Using a MIDI cable, connect the BR-1200CD to the
MIDI sequencer as shown in the following diagram.
fig.50-07
MTC:
MTC (MIDI Time Code) will be transmitted.
MIDI CLK:
MIDI timing clock signals will be transmitted based on
the rhythm tempo.
MIDI Sequencer
5. Press [EXIT/NO] several times to return to the top
screen.
MIDI IN
MIDI OUT
6. Start playback on the BR-1200CD.
As playback starts, the MIDI sequencer will also start to
play in sync.
7. If you wish to store the settings, save the current song
(p. 70).
3. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
4. Move the cursor to the SYNC icon and press [ENTER/
YES].
Alternatively, you can press [F3] (SYNC) if the SYNC icon
is currently displayed.
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246
Synchronizing external MIDI sequencers and rhythm machines
The Sync Parameter screen will appear.
fig.50-09d
5. Move the cursor to “Sync Gen.” and select “MTC”
using the TIME/VALUE dial.
The BR-1200CD will now be set up to transmit MTC
signals.
6. Move the cursor to “MTC Type” and select a suitable
MTC type using the TIME/VALUE dial.
You will need to match the BR-1200CD’s MTC type to that
used on the external MIDI sequencer. For more information
regarding setting methods for the MIDI sequencer, refer to
its user’s manual. For more details regarding MTC types,
refer to “About MTC types” below.
7. Start playback on the BR-1200CD.
As playback starts, the MIDI sequencer will also start to
play in sync.
8. If you wish to store the settings, save the current song
(p. 70).
9. When the required settings have been made, press
[EXIT/NO] several times to return to the top screen.
When using MTC, settings must be made in order to
synchronize the MIDI sequencer to an external MTC
source; when using the MIDI timing clock, settings must
be made in order to synchronize the MIDI sequencer to
an external MIDI timing clock source.
Drop and non-drop MTC formats
NTSC-type video recorders use two different types
of MTC format - namely, drop and non-drop.
Whereas frames are continuous with the non-drop
format, in order to provide support for NTSC-type
color video, drop format MTC skips two frames
every minute other than the 10th, 20th, 30th, 40th,
and 50th minutes.
Generally speaking, it is easier to work with
continuous frames when creating music or video,
and as a result, non-drop formats are more
commonly used. However, drop-format MTC is
often used in broadcasting facilities where the time
code must be matched to the actual clock time.
About MTC types
The following types of MTC can be selected on the BR1200CD. After checking your MIDI sequencer’s
specifications, set the BR-1200CD’s MTC type accordingly.
29N
29.97 frames per second non-drop format. This format is generally used with NTSC color video devices (as used in Japan and the US).
29D
29.97 frames per second drop format. This format is generally used with NTSC-broadcast color
video (as used in Japan and the US).
25
25 frames per second frame-rate format. This format is generally used with SECAM and PAL
type video (as used in Europe and elsewhere),
with audio devices, and with movies.
24
24 frames per second frame-rate format. This format is generally used with movies in the US.
Section 6
30
30 frames per second non-drop format. This
format is generally used with audio devices
such as analog tape recorders and with NTSC
black-and-white video devices (as used in Japan and the US).
Rev0.02
247
Synchronizing external MIDI sequencers and rhythm machines
Changing the TIME field display
Whenever you are transmitting MTC signals from the BR1200CD in order to synchronize an external MIDI device, you
will be able to change the way in which time is displayed in
the TIME field.
1. On the Sync Parameter screen, move the cursor to the
“Time Disp.” field and select a time display format
using the TIME/VALUE dial.
Time Disp. (Time Display Format)
This parameter is used to make settings for the standard
time indicated in the display’s TIME field. Although the
display format is normally set to “ABSOLUTE,” if
necessary, you can set it to “RELATIVE” when you are
transmitting MTC signals from the BR-1200CD in order
to synchronize an external MIDI device.
ABSOLUTE TIME
A specified offset time will be added to the display time.
RELATIVE TIME
The song’s start time is displayed as “00:00:00-00.00.”
2. Move the cursor to “Time Offset” and select a suitable
offset time using the TIME/VALUE dial.
An offset time is used whenever synchronizing external
MIDI devices to the BR-1200CD using MTC in order to
align the MTC time with respect to the song time.
Synchronizing a MIDI device by recording its
tempo changes on the BR-1200CD (Sync Track)
You can use the procedure described below to receive MIDI
timing clock signals from an external MIDI sequencer or
rhythm machine on the BR-1200CD, to detect the tempos of
the MIDI device’s playback, and to automatically create
rhythm tempos based on these.
A tempo recording created in this way is known as a Sync
Track, and when used together with MIDI timing clock
signals, you will be able to synchronize the external MIDI
device to the BR-1200CD while maintaining all of the
originally programmed tempo changes.
● A sync track must be created before
synchronization is possible.
1. Set up the MIDI sequencer or rhythm machine as the
synchronization master and enable the transmission of
MIDI timing clock signals.
For more information regarding setting methods for the
MIDI sequencer or rhythm machine, refer to its user’s
manual.
2. Using a MIDI cable, connect the BR-1200CD to the
MIDI sequencer as shown in the following diagram.
fig.50-10
In specific terms, the offset is determined by subtracting
the desired playback time on the BR-1200CD from the
desired playback time on the MTC-synchronized
external MIDI devices.
For example, the following offset times can be set in
order to have external MIDI devices play back at the
MTC times shown below when the BR-1200CD’s song
time is “01h00m00s00.”
BR-1200CD
song time
MTC on MIDI
devices
Offset time
01h00m00s00
01h30m00s00
00h30m00s00
01h00m00s00
00h30m00s00
23h30m00s00
3. Press [EXIT/NO] several times to return to the top
screen.
4. If you wish to store the settings, save the current song
(p. 70).
MIDI OUT
MIDI IN
3. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Rev0.02
248
Rhythm Machine
or MIDI Sequencer
Synchronizing external MIDI sequencers and rhythm machines
4. Move the cursor to the SYNC TRK icon and press
[ENTER/YES].
2. Reconnect the MIDI cable as shown below.
fig.50-13
Alternatively, you can press [F1] (SYNC TRK) if the
SYNC TRK icon is currently displayed.
The message “Waiting for Clock...” will appear and the
BR-1200CD will enter MIDI Timing Clock Standby
mode.
fig.50-12d
Rhythm Machine
or MIDI Sequencer
MIDI IN
MIDI OUT
5. Start playback on the MIDI sequencer or rhythm machine.
The BR-1200CD will start to record MIDI timing clock
signals.
Note that it will not be possible to perform playback or
recording while these signals are being recorded. In
addition, it will also not be possible to play back rhythm
performances.
Tempos in a range of 25 to 250 BPM can be recorded. All
tempos higher than 250 BPM will be recorded as being
250 BPM; similarly, any tempo lower than 25 BPM will
be recorded as 25 BPM.
Approximately 4,000 eighth notes (i.e., approximately
500 measures in 4/4-time) can be recorded in a sync
track. If this limit is reached, the BR-1200CD will
automatically stop recording.
The Utility Menu screen will appear.
fig.12-12d
4. Move the cursor to the SYNC icon and press [ENTER/
YES].
Alternatively, you can press [F3] (SYNC) if the SYNC
icon is currently displayed.
The synchronization setting screen will appear.
fig.50-15d
Section 6
6. When playback has reached the point at which you
would like to stop recording, stop playback on the
external MIDI sequencer or rhythm machine.
3. Press [UTILITY].
The recording of MIDI timing clock signals will stop
automatically, and the display will return to the top screen.
This completes the process for creating a sync track.
7. If you wish to store the sync track that has been created,
save the current song (p. 70).
Note that only one sync track can be recorded per song.
● Let’s now try to synchronize playback of the
MIDI sequencer or rhythm machine to the BR1200CD based on the sync track that was
created.
1. Referring to the user’s manual for the MIDI sequencer
or rhythm machine, set up this device as a
synchronization slave and enable the reception of
MIDI timing clock signals.
5. Move the cursor to “Sync Source” and select “SYNC
TRK” using the TIME/VALUE dial.
fig.50-16d
TEMPO MAP:
The original tempo map for the rhythm arrangement
will be used.
SYNC TRK:
The sync track will be used.
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Synchronizing external MIDI sequencers and rhythm machines
Setting the starting time of
synchronization (Sync Offset)
“SYNC TRK” will only be available for selection
when a sync track has been recorded.
6. Move the cursor to “Sync Gen.” and select “MIDI
CLK” using the TIME/VALUE dial.
If you wish to synchronize the external MIDI sequencer or
rhythm machine from the middle of the song, do as follows:
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
The BR-1200CD will now be set up to transmit MIDI
timing clock signals.
7. Press [EXIT/NO] several times to return to the top
screen.
8. Press PROGRAMMABLE RHYTHM
[ARRANGEMENT/PATTERN] so the
ARRANGEMENT indicator is lighted. (Arrangement
mode)
2. Move the cursor to the SYNC icon and press [ENTER/
YES].
Alternatively, you can press [F3] (SYNC) if the SYNC
icon is currently displayed.
The synchronization setting screen will appear.
fig.50-06d
You can use sync tracks only in Arrangement mode.
Note that the sync tracks are not functional in
Pattern mode.
9. Start playback on the BR-1200CD.
As playback starts, the MIDI sequencer or rhythm
machine will also start to play in sync.
3. Move the cursor to “Sync Offset” and set the time at
which you wish to start synchronization, using the
TIME/VALUE dial.
fig.50-100d
10. If you wish to store the sync track that has been created,
save the current song (p. 70).
• When “SYNC TRK” has been selected, any editing
of the tempo map (p. 209) on the rhythm
arrangement screen will have no effect.
• Sync track settings are common to all rhythm
arrangements.
4. Press [EXIT/NO] several times to return to the top
screen.
Play the BR-1200CD after completing the above settings,
and the external MIDI sequencer or rhythm machine will
start playing from the time you set with the Sync Offset.
The internal drum/bass/loop phrase in the BR-1200CD
will not be played at the earlier time set with the Sync
Offset.
5. If you wish to store the sync track that has been created,
save the current song (p. 70).
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250
Controlling MMC-compatible devices from the BR-1200CD
2. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
What is MMC?
An abbreviation of MIDI Machine Control, MMC is
a protocol for the remote control of multiple
recording devices from a single device using MIDI
system exclusive messages. Since the BR-1200CD
supports this protocol, it can be used to start, stop,
rewind, or control connected MIDI devices in a
range of other similar ways.
Note, however, that not all MIDI devices will be
compatible with the BR-1200CD’s MMC
configuration. In such a case, it will not be possible
to carry out remote control as described below.
For more details regarding the MMC functions
supported by the BR-1200CD, refer to “MIDI
Implementation” (p. 343).
The following section will describe the settings necessary for
synchronizing a PC-based sequencer application compatible
with MMC and MTC.
In this type of setup, the BR-1200CD will act as master for
both MMC and MTC, and therefore, you will be able to
perform start, stop, rewind, and other similar sequencer
operations remotely from the BR-1200CD.
1. Using a MIDI cable, connect the BR-1200CD to the PC
as shown in the following diagram.
fig.50-17
3. Move the cursor to the MIDI icon and press [ENTER/
YES].
Alternatively, you can press [F2] (MIDI) if the MIDI icon
is currently displayed.
The MIDI screen will appear.
fig.50-19d
4. Move the cursor to “MMC Mode” and select
“MASTER” using the TIME/VALUE dial.
MMC Mode
This parameter is used to set the BR-1200CD’s MMC
operation mode.
OFF:
No MMC signals will be transmitted.
MASTER:
MMC signals will be transmitted and the
BR-1200CD will operate as master in the
MIDI environment.
5. Press [EXIT/NO], move the cursor to the SYNC icon,
and then press [ENTER/YES].
Synchronization using MTC will now be possible.
For more details, see Step 4 and subsequent steps from
“Synchronizing a MIDI device to the rhythm’s tempo
using the MIDI timing clock” (p. 245).
MIDI IN
MIDI OUT
Section 6
For more details regarding the MMC functions
supported by the BR-1200CD, refer to “MIDI
Implementation” (p. 343).
6. Set up the sequencer application for MMC.
The following setting must be made on the sequencer
application to be used. Refer to the user’s manual for the
application in question for details on how this is done.
MTC:
Received
MTC type:
Match this with the MTC type set for the
BR-1200CD.
MMC:
Received
7. Press [EXIT/NO] several times to return to the top
screen.
251
Rev0.02
8. If you wish to store the sync track that has been created,
save the current song (p. 70).
Controlling track volumes via MIDI (MIDI Fader)
The BR-1200CD can both transmit and receive fader
operations in the form of MIDI signals (MIDI Fader). And in
addition to fader signals, expression pedal signals can also be
transmitted and received in the same way. By using this
function to record and playback fader and expression pedal
operations on an external device such as a MIDI sequencer,
you will be able to carry out remote control of BR-1200CD
mix-downs and other procedures.
Signals can be transmitted and received for the following
types of faders.
Turning MIDI Fader on and off
Use the following procedure to turn the transmission and
reception of fader operations via MIDI on and off. At the
time of purchase, MIDI Fader will be turned off, so you will
need to turn this function on if you intend to use it.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
• Faders for Tracks 1 through 8 and 9/10 through 11/12
• The MASTER fader
• An expression pedal
2. Move the cursor to the MIDI icon and press [ENTER/
YES].
Operation signals for the INPUT SENS and INPUT
LEVEL knobs cannot be communicated via MIDI.
Alternatively, you can press [F2] (MIDI) if the MIDI icon
is currently displayed.
The MIDI screen will appear.
fig50-21d
3. Move the cursor to “MIDI Fader” and select “ON”
using the TIME/VALUE dial.
Fader operation data will now be transmitted and
received using controller number 7 (i.e., channel
volume).
4. If you wish to store the sync track that has been created,
save the current song (p. 70).
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252
Controlling track volumes via MIDI (MIDI Fader)
Setting the MIDI channel for
MIDI Fader
Confirming the current fader
positions
At the time of purchase, the following MIDI channels will be
initially assigned to the BR-1200CD’s faders and expression
pedal.
When fader operation data is received via MIDI, the setting
for the corresponding fader will change while the actual
fader remains in the same position, and as a result, the
volume level indicated by the fader and the actual volume
level will no longer match.
Tracks 1 through 8:
Channels 1 through 8
Track 9/10:
Channel 9
Track 11/12:
Channel 11
MASTER fader
Channel 16
Expression pedal
OFF
In such a case, you can use the following procedure to
confirm the fader position and the actual volume level.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
Use the following procedure to change any of these MIDI
channel settings.
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
2. Move the cursor to the FADER icon and press [ENTER/
YES].
Alternatively, you can press [F3] (FADER) if the FADER
icon is currently displayed.
2. Move the cursor to the MIDI icon and press [ENTER/
YES].
A screen showing the various fader positions will
appear.
fig.50-25d
Alternatively, you can press [F2} (MIDI) if the MIDI icon
is currently displayed.
The MIDI screen will appear.
fig.50-23d
Position of the fader (i.e., the indicated volume)
:
Actual fader setting (i.e., the actual volume level)
Whenever you physically move a fader, the actual fader
setting will be aligned with the fader position, and this
condition is indicated by “
” in the fader display.
Section 6
3. Move the cursor to one of the channel settings (i.e.,
“Trk 1 Ch.” through “Trk 11&12 Ch.,” “Mas.Fader Ch.”
and “EXP Pedal Ch.”), and change the channel
assignment using the TIME/VALUE dial.
:
OFF:
Fader operation data will not be communicated via MIDI.
1 through 16:
This channel will be used to transmit and receive fader
operation data. If the same MIDI channel is set for a
number of different faders, any fader operation data
received on that channel will be used to operate all of the
corresponding faders simultaneously.
4. If you wish to store the sync track that has been created,
save the current song (p. 70).
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253
Inputting drum and bass patterns from a MIDI keyboard (MIDI Recording)
Although the BR-1200CD’s track buttons and faders can be
used to input drum and bass patterns, the input procedure
can be simplified and note volumes can be controlled much
more precisely if you use an external MIDI keyboard for this
purpose.
1. Connect an external MIDI keyboard as shown below.
fig.50-26
MIDI Keyboard
MIDI OUT
MIDI IN
2. Start real-time drum or bass recording (p. 161, p. 175).
You will now be able to use the MIDI keyboard to input
drum and bass performance data.
• In some cases, depending on the range, the BR1200CD won’t produce any sound when you press a
key on a MIDI keyboard. This is due to the fact that
only a predetermined range of note numbers have
been assigned sounds, whether it be with drums or
with bass.
For more detailed information, refer to “Drum
sounds and note numbers” (p. 244).
Regardless of the selected sound, furthermore, the
lowest note for bass is C-1 (0), and the highest note is
C5 (72). Note, however, that poor sound quality or
considerable noise may occur with notes below C1
and above C4.
• If the drum and bass sounds are not being played
during Realtime Recording, it may that Note
messages are not being transmitted from the
external MIDI keyboard. After referring to the MIDI
keyboard owner’s manual, make the settings so that
the Note messages are properly transmitted from
the external MIDI keyboard.
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254
Using MIDI to Control the Switching of the
Insert Effects (Effects Program Change)
You can use Program Changes received at MIDI IN to switch
insert effects patches. Similarly, you can also have insert
effects patch selections made on the BR-1200CD transmitted
as Program Changes from MIDI OUT.
4. Move the cursor to “Effects Ch.” and turn the TIME/
VALUE dial to select the MIDI channel over which the
Program Change messages are to be transmitted and
received.
fig.50-60d
1. Press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
OFF:
Bank Select and Program Change messages are not
transmitted or received.
2. Move the cursor to the MIDI icon and press [ENTER/
YES].
Alternatively, you can press [F2] (MIDI) if the MIDI icon
is currently displayed.
The MIDI screen will appear.
fig.50-21d
1–16
Bank Select and Program Change messages are
transmitted and received on the selected channel.
5. If you wish to store the effects program change setting,
save the current song (p. 70).
Bank Select and Program numbers correspond to the insert
effect patch banks and numbers as shown below.
3. Move the cursor to “Effects P.C.” and use the TIME/
VALUE dial to select whether or not Program Changes
are to be transmitted and received.
fig.50-50d
Program Changes are not transmitted or received.
PC ONLY:
Program
Number
1–120
1–50
1–50
1–50
1–120
1–50
1–50
1–50
1–120
1–50
1–50
1–50
Patch
Bank
GUITAR
MIC
STEREO
SIMUL
GUITAR
MIC
STEREO
SIMUL
GUITAR
MIC
STEREO
SIMUL
Number
P001–P120
P001–P050
P001–P050
P001–P050
U001–U120
U001–U050
U001–U050
U001–U050
S001–S120
S001–S050
S001–S050
S001–S050
Insert Effects patches are switched when a Program
Change is received at MIDI IN. In addition, when an
insert effects patch is selected with the BR-1200CD, that
patch number is transmitted from MIDI OUT as a
Program Change.
PC+BANK:
Bank Select and Program Change messages are received
at MIDI IN. Insert effects patches are switched when
Program Changes are received. Simultaneously, the
insert effects patch bank is switched according to the
Bank Select message received immediately before this.
In addition, when an insert effects patch is selected on
the BR-1200CD, the bank and number for that patch are
transmitted from MIDI OUT as Bank Select and Program
Change messages.
255
Section 6
OFF:
Bank Select
MSB LSB
0
1
0
3
4
0
1
1
3
4
0
1
2
3
4
256
Section 7 Using USB
Section 7
Using USB
257
Before Using USB (Overview)
The BR-1200CD is equipped with a USB connector, which
allows you to connect the BR-1200CD directly to a computer,
making it easy to back up your important song data and
exchange files between the BR-1200CD and the computer.
USB, short for “Universal Serial Bus,” is a type of interface
for connecting computers with a variety of peripheral
devices.
Using USB allows you to connect different peripherals using
a single USB cable, and also provides rapid data
transmission.
What’s more, you can connect and disconnect peripherals
with the power on, and the computer can automatically
recognize when devices are connected (you may need to
make settings when connecting certain devices).
Important
■
■
When you connect the BR-1200CD to your PC using a
USB cable, all folders and files on the BR-1200CD’s hard
disk will be displayed on the PC monitor, and you will
be able to freely modify, delete, or add to these files via
USB. In addition, you will be able to initialize the BR1200CD’s hard disk remotely using the PC.
Note, however, that if files and folders are modified,
deleted, or added using the PC, or if the hard disk is
initialized, the BR-1200CD may no longer be able to
function properly, and important data could be lost.
It is crucial, therefore, that no operations other than
those described below be carried out using USB.
Furthermore, BOSS/Roland will accept no responsibility
for the incorrect operation of the BR-1200CD or for the
loss of data resulting from the failure to observe this
precaution.
Do not perform the following actions when switching to
USB mode or transmitting data. These operations may
result in your computer not responding to the data.
Data on memory cards may also be corrupted.
Do not:
• Disconnect the USB cable
• Put the computer in suspended (standby) mode or
hibernation, restart, or quit
• Turn off the BR-1200CD’s power
On the BR-1200CD, USB is used for the following tasks:
●
Backing up the BR-1200CD’s data
●
Reading backup data back into the BR-1200CD from the
PC (Recover)
●
Saving BR-1200CD track data in WAV/AIFF format
(WAV/AIFF Export)
●
Loading WAV/AIFF files in BR-1200CD tracks (WAV/
AIFF Import)
Realtime audio signals and MIDI messages cannot be
handled via the BR-1200CD’s USB connector.
Compatible OS
Windows:
Windows Me/2000/XP
Macintosh:
Mac OS 9.1.x/9.2.x
Mac OS X
Driver:
The BR-1200CD uses a standard DRIVER that is found on
OS. The DRIVER will be installed automatically once
connected with Computer via USB.
Precautions when using Windows XP or Windows 2000
If using Windows XP/2000, log on to Windows as one of
the following users:
• Administrator or other user with the privileges of the
Administrators group
• A user whose account type is Computer Administrator
Note that you will not be able to properly quit the USB
connection if the user name is not one of those described
above.
For more details, consult the system administrator for
the computer you are using.
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Operations that can be
performed via USB
Before Using USB (Overview)
Connecting a computer
Use the USB cable to connect the BR-1200CD to your computer.
Purchase USB cables at computer stores or other retailers.
fig.52-01
USB connector
of your computer
When you double-click the BR-1200CD icon or the
“Removable Disk (*:)” icon in Windows, or double-click the
BR-1200CD icon in Mac OS, all of the files and folders
contained in the BR-1200CD’s hard disk will be displayed onscreen.
The structure of the files and folders on the hard disk is as
follows.
fig.52-03
Root directory
SONG0001 folder
USB cable
Song data folder
SONG0002 folder
The folders are created
each song
USERDATA folder
User data folder
If the BR-1200CD's hard disk has been initialized with a
number of different partitions, only the current partition
will be connected to the PC.
Structure of data on the BR1200CD’s hard disk
When you connect the BR-1200CD to a PC via USB and
perform USB menu operations, all of the folders and files on
the hard disk will be displayed on the PC monitor.
USB folder
USB data folder
USERLPH folder
Loop phrase folder
TEMP
Temporary work folder
TEMPLPH
Temporary work folder
SYSINFO.BR2
With certain versions of Windows OS, the “Removable
Disk (*:)” icon may be displayed.
System data files
fig.52-02
(Ex.) Windows XP
Section 7
BR-1200CD
BR-1200CD
(Ex.) Windows 2000
Removable disk (*:)
(Ex.) Macintosh
BR-1200CD
BR-1600CD
Rev0.02
259
With Windows
Backing up the BR-1200CD’s
data
fig.52-08
1. Connect your computer and the BR-1200CD with a USB
cable.
2. Confirm that the recorder is stopped, then press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
6. Select all of the files and folders and copy them to the
backup folder on the PC.
It is good practice to create a new folder for the storage
of backup data.
Extra care should be taken to ensure that each and
every file and folder is selected and copied. If files or
folders are missed, the backup will be incomplete
and subsequent recovery operations may not be
possible.
3. Move the cursor to the USB icon and press [ENTER/YES].
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
fig.52-05d
7. Quit the connection to the computer.
With Windows XP
4. Move the cursor to “BACKUP” and press [ENTER/YES].
In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
Alternatively, you can press [F1] (BACKUP).
“Waiting...” appears in the display, and then
“Connecting...” is displayed.
When connection with the PC has been established, the
message will change to “Copy Files From BR-1200CD.”
fig.52-06ed
If this procedure fails to eject the disk, use the procedure
below
1) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
fig.52-100
Task bar
The computer soon recognizes the BR-1200CD, and “My
Computer” opens on the computer.
The “BR-1200CD” icon (or “Removable Disk (*:)” icon)
appears in “My Computer.”
Task tray
2) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
fig.52-07
(Ex.)
BR-1200CD
Removable Disk (*:)
5. When the “BR-1200CD” icon (or “Removable Disk (*:)”
icon) is displayed, double-click this icon.
The files and folders from the BR-1200CD’s hard disk
will be displayed on the PC monitor.
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With Windows
With Windows 2000/Me
1) In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
2) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
Reading backup data back into the
BR-1200CD from the PC (Recover)
1. Initialize the BR-1200CD’s hard disk. (p. 285)
fig.52-100
Note that all of the data on the BR-1200CD’s hard disk
will be deleted as a result of this operation, and if
necessary, you should make a separate backup.
Task bar
Task tray
3) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
8. Press BR-1200CD’s [EXIT/NO].
The USB screen will be displayed once again.
• If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the USB menu
screen to the display.
• If you are using an OS other than Windows Me, the BR1200CD will automatically return to the USB screen
when “Remove Hardware” is carried out.
9. Press [EXIT/NO] to return to the Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
3. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
fig.12-12d
4. Move the cursor to the USB icon and press [ENTER/
YES].
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
fig.52-05d
5. Move the cursor to “RECOVER” and press [ENTER/
YES].
Alternatively, you can press [F2] (RECOVER).
“Waiting...” appears in the display, and then
“Connecting...” is displayed.
When connection with the PC has been established, the
message will change to “Copy Files To BR-1200CD.”
fig.52-11ed
Section 7
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the backup
procedure. If you want to save your song before
starting the backup, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
2. Connect your computer and the BR-1200CD with a USB
cable.
The computer soon recognizes the BR-1200CD, and “My
Computer” opens on the computer.
The “BR-1200CD” icon (or “Removable Disk (*:)” icon)
appears in “My Computer.”
fig.52-07
(Ex.)
Removable Disk (*:)
261
Rev0.02
BR-1200CD
With Windows
6. When the “BR-1200CD” icon (or “Removable Disk (*:)”
icon) is displayed, double-click this icon.
2) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
All of the backup files and folders will appear on-screen.
With Windows 2000/Me
7. Select all of the backup files and folders.
Extra care should be taken to ensure that each and
every file and folder is selected and copied. If files or
folders are missed, the recovery will be incomplete
and subsequent recovery operations may not be
possible.
1) In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
2) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
fig.52-100
Task bar
8. Copy them to the “BR-1200CD” (or “Removable Disk
(*:)”) icon on the computer.
All of the files and folders copied in Step 7 will be
returned to the BR-1200CD’s internal hard disk.
During the recovery operation you may encounter
messages asking whether it is all right to overwrite
certain files—you should select “YES” in every
instance. If “NO” is selected even once, the recovery
operation will be incomplete, and this may prevent
the BR-1200CD from operating correctly.
9. Quit the connection to the computer.
With Windows XP
In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
If this procedure fails to eject the disk, use the procedure
below
1) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
Task tray
3) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
10. Press BR-1200CD’s [EXIT/NO].
The message “Now Re-Loading...” will appear on the
BR-1200CD’s display, and the most recently selected
song will be reloaded.
When reloading has been completed, the display will
return to the USB screen.
• If you are using an OS other than Windows Me, the
message “Now Re-Loading...” will appear on the BR1200CD’s display immediately after “Remove
Hardware” is carried out, and the most recently selected
song will be reloaded. When reloading has been
completed, the display will return to the USB screen.
• If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the USB menu
screen to the display.
11. Press [EXIT/NO] to return to the Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
fig.52-100
Task bar
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262
Task tray
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the recovery
procedure. If you want to save your song before
starting the recover process, press [ENTER/YES];
if this will not be necessary, press [EXIT/NO].
Remember that if you do not save a modified song
at this time, all newly recorded audio data, edited
data, modified mixer settings, etc. will be lost.
With Windows
Saving BR-1200CD track
data in WAV/AIFF format
(WAV/AIFF Export)
You can convert the BR-1200CD’s track data into WAV or
AIFF files and save these on your computer. After converting
your mastered tracks to WAV or AIFF files, you can easily
use your computer to create audio CDs with the data, as well
as load the data into audio applications.
1. Connect your computer and the BR-1200CD with a USB
cable.
2. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
When saving in stereo
Select the track combination 1/2 –11/12.
fig.52-16d
6. Move the cursor to “TYPE” and use the TIME/VALUE
dial to select the file format.
WAV:
This is an audio format used primarily with
Windows.
AIFF:
This audio format is used primarily with
Macintosh.
7. Press [F3] (GO).
Conversion of the WAV or AIFF file begins.
fig.12-12d
The correspondence between tracks and converted file
names is as follows.
3. Move the cursor to the USB icon and press [ENTER/
YES].
(Mono)
(Stereo)
Track 1, V-Track 1
Track 1/2, V-Track 1
T01_ _ _01.WAV or
T0102 _01.WAV or
T01_ _ _01.AIF
T0102 _01.AIF
Track 1, V-Track 2
Track 1/2, V-Track 2
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
T01_ _ _02.WAV or
T0102 _02.WAV or
T01_ _ _02.AIF
T0102 _02.AIF
The USB screen will appear.
:
:
Track 8, V-Track 15
Track 11/12, V-Track 15
T08_ _ 15.WAV or
T1112_15.WAV or
fig.52-05d
T08_ _ 15.AIF
T1112_15.AIF
Track 8, V-Track 16
Track 11/12, V-Track 16
T08_ _ 16.WAV or
T1112_16.WAV or
T08_ _ 16.AIF
T1112_16.AIF
4. Move the cursor to “EXPORT” and press [ENTER/YES].
Alternatively, you can press [F1] (EXPORT).
The USB Export screen will appear.
The computer soon recognizes the BR-1200CD, and “My
Computer” opens on the computer.
The “BR-1200CD” icon (or “Removable Disk (*:)” icon)
appears in “My Computer.”
fig.52-07
Section 7
fig.52-15ad
When the conversion is complete, the message “Copy 1
Wave File From BR-1200CD’s USB Folder.” will appear.
(Ex.)
5. Use [CURSOR] and the TIME/VALUE dial to select the
track/V-track to be saved.
When saving in mono
Select the track 1–8.
fig.52-15d
BR-1200CD
Removable Disk (*:)
8. When the “BR-1200CD” icon (or “Removable Disk (*:)”
icon) is displayed, double-click this icon.
All of the files and folders from the BR-1200CD’s hard
disk will be displayed on the PC monitor.
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263
With Windows
12. Press the BR-1200CD’s [EXIT/NO].
fig.52-18
The file type selection screen will be displayed once
again.
WAV or AIFF files will be automatically deleted from
the BR-1200CD’s internal hard disk.
9. Click the USB folder.
fig.52-19
• If you are using an OS other than Windows Me, the BR1200CD will automatically return to the USB screen
when “Remove Hardware” is carried out.
10. Drag the WAV or AIFF file to the computer’s folder and
drop it in the folder.
11. Quit the connection to the computer.
With Windows XP
In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
• If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the file format
selection screen to the display.
13. When you have finished exporting the WAV or AIFF
file(s), press [EXIT/NO] several times to return to the
Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
If this procedure fails to eject the disk, use the procedure
below
1) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
fig.52-100
Task bar
Task tray
2) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the export
procedure. If you want to save your song before
starting the export, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
With Windows 2000/Me
1) In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
2) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
fig.52-100
Task bar
Task tray
3) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
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With Windows
Loading WAV/AIFF files in
BR-1200CD tracks
(WAV/AIFF Import)
4. Move the cursor to the IMPORT icon and press
[ENTER/YES].
Alternatively, you can press [F3] (IMPORT).
The USB Import screen will appear.
fig.52-22d
You can take WAV or AIFF files on your computer, such as
files created with audio software applications, and load them
to the BR-1200CD’s tracks.
●
Wave data in the following formats can be imported.
You cannot import wave data in other formats.
• WAV or AIFF format
• Mono or Stereo
• 8-bit or 16-bit
• Sampling Rate: 44.1 kHz
●
Add the extension “WAV” to imported WAV files and
the extension “AIF” to imported AIFF files.
●
Compressed WAV files or AIFF files cannot be loaded.
●
Extremely short waveform data (less than approximately
1 sec) cannot be loaded.
●
The loop point settings within an AIFF file will be
ignored.
5. Use [CURSOR] and the TIME/VALUE dial to select the
track and the V-Track to be loaded.
When loading to the tracks in mono
Select the track 1–8.
fig.52-23d
When loading to the tracks in stereo
Select the track combination 1/2–11/12.
fig.52-24d
1. Connect your computer and the BR-1200CD with a USB
cable.
2. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
fig.12-12d
6. Use [CURSOR] and the TIME/VALUE dial to specify
the measure or position in the track from which
loading is to start.
Pressing [F1] (DISP) at this time will allow you switch
among the specification methods for positions (i.e., by
bar, time, or marker).
fig.52-25d
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
fig.52-05d
7. Press [F3] (GO).
When the connection is complete, the message “Copy 1
Wave File To BR-1200CD’s USB Folder.” will appear.
Section 7
3. Move the cursor to the USB icon and press [ENTER/
YES].
The computer soon recognizes the BR-1200CD, and “My
Computer” opens on the computer.
The “BR-1200CD” icon (or “Removable Disk (*:)” icon)
appears in “My Computer.”
fig.52-07
(Ex.)
BR-1200CD
Removable Disk (*:)
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265
With Windows
8. When the “BR-1200CD” icon (or “Removable Disk (*:)”
icon) is displayed, double-click this icon.
The files and folders from the BR-1200CD’s hard disk
will be displayed on the PC monitor.
In some cases, a certain amount of time will pass before
the hard disk is displayed.
9. Double-click the USB folder.
The USB folder opens. Confirm that the USB folder is
empty. The presence of any files in the USB folder will
prevent proper importation of WAV and AIFF files, so
be sure to delete any such files.
10. Drag and drop the WAV or AIFF file to be imported on
the computer to the USB folder.
Only one file can be imported at a time in each import
operation. Do not drag and drop more than one file at a
time. The import procedure cannot be carried out
correctly when two or more files are present in the USB
folder.
3) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
12. Press BR-1200CD’s [EXIT/NO].
The WAV and/or AIFF files will be converted into audio
track data.
When this process has been completed, the USB Import
screen will be displayed once again. The WAV and/or
AIFF files will then be automatically deleted.
With certain OS, conversion will start automatically
without [EXIT/NO] having to be pressed.
13. Press BR-1200CD’S [EXIT/NO] several times to return
to the Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, press [ENTER/YES].
11. Quit the connection to the computer.
With Windows XP
In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
If this procedure fails to eject the disk, use the procedure
below
1) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the import
procedure. If you want to save your song before
starting the import, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
fig.52-100
Task bar
Task tray
2) Click [OK] in the “Safe To Remove Hardware” dialog
box that appears.
With Windows 2000/Me
1) In My Computer, right-click on the “BR-1200CD” icon
(or “Removable Disk (*:)” icon) to “Eject” the disk.
2) Click the
icon in the task tray, then click the
“Stop USB Disk-drive (*:)” message displayed there.
fig.52-100
Task bar
Rev0.02
266
Task tray
With Macintosh
Backing up the BR-1200CD’s
data
1. Connect your computer and the BR-1200CD with a USB
cable.
5. Double-click the “BR-1200CD.”
The files and folders from the BR-1200CD’s hard disk
will be displayed on the PC monitor.
fig.52-08
2. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
fig.12-12d
6. Select all of the files and folders and copy them to the
backup folder on the computer.
It is good practice to create a new folder for the storage
of backup data.
3. Move the cursor to the USB icon and press [ENTER/
YES].
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
fig.52-05d
Extra care should be taken to ensure that each and
every file and folder is selected and copied. If files or
folders are missed, the backup will be incomplete
and subsequent recovery operations may not be
possible.
7. Quit the connection to the computer.
Drug the “BR-1200CD” icon to the Trash.
4. Move the cursor to “BACKUP” and press [ENTER/
YES].
8. Press BR-1200CD’s [EXIT/NO].
The USB screen will be displayed once again.
Alternatively, you can press [F1] (BACKUP).
“Waiting...” appears in the display, and then
“Connecting...” is displayed.
When connection with the PC has been established, the
message will change to “Copy Files From BR-1200CD.”
fig.52-06ed
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the USB menu
screen to the display.
9. Press [EXIT/NO] to return to the Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
fig.52-07a
(Ex.)
BR-1200CD
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the backup
procedure. If you want to save your song before
starting the backup, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
Rev0.02
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Section 7
Shortly after the connection has been established, the BR1200CD icon will appear on-screen.
With Macintosh
Reading backup data back into the
BR-1200CD from the PC (Recover)
With Mac OS 9.1.x / 9.2.x
6. Open the folder on the PC where you have stored the
backup data.
All of the backup files and folders will appear on-screen.
1. Initialize the BR-1200CD’s hard disk. (p. 285)
Note that all of the data on the BR-1200CD’s hard disk
will be deleted as a result of this operation, and if
necessary, you should make a separate backup.
2. Connect your computer and the BR-1200CD with a USB
cable.
3. Confirm that the recorder is stopped, then press [UTILITY].
The Utility Menu screen will appear.
fig.12-12d
4. Move the cursor to the USB icon and press [ENTER/
YES].
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
7. Select all of the backup files and folders.
Extra care should be taken to ensure that each and
every file and folder is selected and copied. If files or
folders are missed, the recovery will be incomplete and
subsequent recovery operations may not be possible.
8. Copy them to the “BR-1200CD” icon on the computer.
All of the files and folders copied in Step 7 will be
returned to the BR-1200CD’s internal hard disk.
During the recovery operation you may encounter
messages asking whether it is all right to overwrite
certain files—you should select “YES” in every
instance. If “NO” is selected even once, the recovery
operation will be incomplete, and this may prevent
the BR-1200CD from operating correctly.
9. Quit the connection to the computer.
Drug the BR-1200CD icon to the Trash.
fig.52-05d
10. Press BR-1200CD’s [EXIT/NO].
The message “Now Re-Loading...” will appear on the
BR-1200CD’s display, and the most recently selected
song will be reloaded.
5. Move the cursor to “RECOVER” and press [ENTER/YES].
When reloading has been completed, the display will
return to the USB screen.
Alternatively, you can press [F2] (RECOVER).
“Waiting...” appears in the display, and then
“Connecting...” is displayed.
When connection with the PC has been established, the
message will change to “Copy Files To BR-1200CD.”
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the USB menu
screen to the display.
11. Press [EXIT/NO] to return to the Top screen.
fig.52-11ed
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
Shortly after the connection has been established, the BR1200CD icon will appear on-screen.
fig.52-07b
(Ex.)
BR-1200CD
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268
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the recovery
procedure. If you want to save your song before
starting the recover process, press [ENTER/YES];
if this will not be necessary, press [EXIT/NO].
Remember that if you do not save a modified song
at this time, all newly recorded audio data, edited
data, modified mixer settings, etc. will be lost.
With Macintosh
With Mac OS X
6. Double-click the BR-1200CD icon.
The files and folders from the BR-1200CD’s hard disk
will be displayed on the PC monitor.
fig.52-08ax
7. Open the folder on the PC where you have stored the
backup data.
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the recovery
procedure. If you want to save your song before
starting the recover process, press [ENTER/YES];
if this will not be necessary, press [EXIT/NO].
Remember that if you do not save a modified song
at this time, all newly recorded audio data, edited
data, modified mixer settings, etc. will be lost.
All of the backup files and folders will appear on-screen.
8. Select all of the backup files and folders.
Extra care should be taken to ensure that each and
every file and folder is selected and copied. If files or
folders are missed, the recovery will be incomplete and
subsequent recovery operations may not be possible.
9. Copy them to the USB folder on the computer.
All of the files and folders copied in Step 8 will be
returned to the BR-1200CD’s internal hard disk.
During the recovery operation you may encounter
messages asking whether it is all right to overwrite
certain files—you should select “YES” in every
instance. If “NO” is selected even once, the recovery
operation will be incomplete, and this may prevent
the BR-1200CD from operating correctly.
10. Quit the connection to the computer.
Drug the BR-1200CD icon to the Trash.
11. Press BR-1200CD’s [EXIT/NO].
Section 7
“Now Checking...” appears in the BR-1200CD’s display, then
“Now Copying...” is displayed, and the recovery begins.
When the recovery is finished, the message “Now ReLoading...” will appear in the display, and the most
recently selected song will be reloaded.
When reloading has been completed, the display will
return to the USB screen.
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the USB menu
screen to the display.
12. Press [EXIT/NO] to return to the Top screen.
269
Rev0.02
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
With Macintosh
Saving BR-1200CD track
data in WAV/AIFF format
(WAV/AIFF Export)
You can convert the BR-1200CD’s track data into WAV or
AIFF files and save these on your computer. After converting
your mastered tracks to WAV or AIFF files, you can easily
use your computer to create audio CDs with the data, as well
as load the data into audio applications.
1. Connect your computer and the BR-1200CD with a USB
cable.
2. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
fig.12-12d
When saving in stereo
Select the track combination 1/2 –11/12.
fig.52-16d
6. Move the cursor to “TYPE” and use the TIME/VALUE
dial to select the file format.
WAV:
This is an audio format used primarily with
Windows.
AIFF:
This audio format is used primarily with
Macintosh.
7. Press [F3] (GO).
Conversion of the WAV or AIFF file begins.
The correspondence between tracks and converted file
names is as follows.
(Mono)
3. Move the cursor to the USB icon and press [ENTER/
YES].
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
fig.52-05d
(Stereo)
Track 1, V-Track 1
Track 1/2, V-Track 1
T01_ _ _01.WAV or
T0102 _01.WAV or
T01_ _ _01.AIF
T0102 _01.AIF
Track 1, V-Track 2
Track 1/2, V-Track 2
T01_ _ _02.WAV or
T0102 _02.WAV or
T01_ _ _02.AIF
T0102 _02.AIF
:
:
Track 8, V-Track 15
Track 11/12, V-Track 15
T08_ _ 15.WAV or
T1112_15.WAV or
T08_ _ 15.AIF
T1112_15.AIF
Track 8, V-Track 16
Track 11/12, V-Track 16
T08_ _ 16.WAV or
T1112_16.WAV or
T08_ _ 16.AIF
T1112_16.AIF
4. Move the cursor to “EXPORT” and press [ENTER/YES].
Alternatively, you can press [F1] (EXPORT).
The USB Export screen will appear.
fig.52-15ad
When the conversion is complete, the message “Copy 1
Wave File From BR-1200CD’s USB Folder.” will appear.
Shortly after the “BR-1200CD” icon is added to the
computer.
fig.52-07a
(Ex.)
5. Use [CURSOR] and the TIME/VALUE dial to select the
track/V-track to be saved.
BR-1200CD
When saving in mono
Select the track 1–8.
fig.52-15d
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270
With Macintosh
8. Double-click the “BR-1200CD” icon.
All of the files and folders from the BR-1200CD’s hard
disk will be displayed on the PC monitor.
fig.52-08a
Loading WAV/AIFF files in
BR-1200CD tracks
(WAV/AIFF Import)
You can take WAV or AIFF files on your computer, such as
files created with audio software applications, and load them
to the BR-1200CD’s tracks.
9. Double-click the USB folder.
●
fig.52-19a
Wave data in the following formats can be imported.
You cannot import wave data in other formats.
• WAV or AIFF format
• Mono or Stereo
• 8-bit or 16-bit
10. Drag the WAV or AIFF file to the computer’s folder and
drop it in the folder.
• Sampling Rate: 44.1 kHz
●
Add the extension “WAV” to imported WAV files and
the extension “AIF” to imported AIFF files.
●
Compressed WAV files or AIFF files cannot be loaded.
●
Extremely short waveform data (less than approximately
1 sec) cannot be loaded.
●
The loop point settings within an AIFF file will be
ignored.
11. Quit the connection to the computer.
Drug the “BR-1200CD” icon to the Trash.
12. Press the BR-1200CD’s [EXIT/NO].
The file type selection screen will be displayed once
again.
WAV or AIFF files will be automatically deleted from
the BR-1200CD’s internal hard disk.
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, pressing [ENTER/YES] returns the file format
selection screen to the display.
13. When you have finished exporting the WAV or AIFF
file(s), press [EXIT/NO] several times to return to the
Top screen.
1. Connect your computer and the BR-1200CD with a USB
cable.
2. Confirm that the recorder is stopped, then press
[UTILITY].
The Utility Menu screen will appear.
fig.12-12d
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the export
procedure. If you want to save your song before
starting the export, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
Alternatively, you can press [F1] (USB) if the USB icon is
currently displayed.
The USB screen will appear.
Section 7
3. Move the cursor to the USB icon and press [ENTER/
YES].
fig.52-05d
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271
With Macintosh
4. Move the cursor to the IMPORT icon and press
[ENTER/YES].
Alternatively, you can press [F3] (IMPORT).
8. Double-click the BR-1200CD icon.
The files and folders from the BR-1200CD's hard disk
will be displayed on the PC monitor.
The USB Import screen will appear.
fig.52-22d
In some cases, a certain amount of time will pass before
the hard disk is displayed.
9. Double-click the USB folder.
The USB folder opens.
5. Use [CURSOR] and the TIME/VALUE dial to select the
track to be loaded.
When loading to the tracks in mono
Select the track 1–8.
fig.52-23d
When loading to the tracks in stereo
Select the track combination 1/2–11/12.
Confirm that the USB folder is empty. The presence of
any files in the USB folder will prevent proper
importation of WAV and AIFF files, so be sure to delete
any such files.
10. Drag and drop the WAV or AIFF file to be imported on
the computer to the USB folder.
Only one file can be imported at a time in each import
operation. Do not drag and drop more than one file at a
time. The import procedure cannot be carried out
correctly when two or more files are present in the USB
folder.
fig.52-24d
11. Quit the connection to the computer.
Drug the BR-1200CD icon to the Trash.
12. Press BR-1200CD’s [EXIT/NO].
6. Use [CURSOR] and the TIME/VALUE dial to specify
the measure or position in the track from which
loading is to start.
Pressing [F1] (DISP) at this time will allow you switch
among the specification methods for positions (i.e., by
bar, time, or marker).
When this process has been completed, the USB Import
screen will be displayed once again. The WAV and/or
AIFF files will then be automatically deleted.
13. Press BR-1200CD’S [EXIT/NO] several times to return
to the Top screen.
At this point, you can safely disconnect the USB cable
from the BR-1200CD and the computer.
fig.52-25d
7. Press [F3] (GO).
When the connection is complete, the message “Copy 1
Wave File To BR-1200CD’s USB Folder.” will appear.
After several moments, the BR-1200CD icon will appear
on the PC monitor.
fig.52-07a
(Ex.)
BR-1200CD
If you press [EXIT/NO] without quitting the connection
to the computer, “Disconnect USB, OK?” appear. In this
case, press [ENTER/YES].
If the current song contains newly recorded audio
data or newly modified settings, the message “Save
Current?” may be displayed during the import
procedure. If you want to save your song before
starting the import, press [ENTER/YES]; if this will
not be necessary, press [EXIT/NO]. Remember that
if you do not save a modified song at this time, all
newly recorded audio data, edited data, modified
mixer settings, etc. will be lost.
Rev0.02
272
The WAV and/or AIFF files will be converted into audio
track data.
Section 8 Other Convenient Functions
Section 8
Other
Convenient
Functions
273
Adjusting the display’s contrast
In certain locations, the BR-1200CD’s display may be difficult
to read. In such cases, use the following procedure to adjust
the display’s contrast.
fig.53-25
1
3
2
2
1. Press [UTILITY].
The Utility screen will appear.
fig.53-26d
2. Move the cursor to the LCD icon and press [ENTER/
YES].
Alternatively, press [F1] (LCD) if the LCD icon is
currently displayed.
The LCD Contrast screen will appear.
fig.53-27d
3. Turn the TIME/VALUE dial to adjust the contrast.
Setting range: 1 through 16
Higher values produce a darker display and vice-versa.
4. When you have finished adjusting the contrast, press
[EXIT/NO] several times to return to the top screen.
If you press and hold [UTILITY] while turning the
TIME/VALUE dial, you will be able to change the
contrast in real time. Choose the method that best
suits the BR-1200CD’s setup.
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274
Tuning instruments (Tuner)
The BR-1200CD features an integrated chromatic tuner and
this allows you to conveniently tune instruments.
4. If you wish to store the modified settings, save the
current song (p. 70).
Setting the reference pitch
Before you can use the tuner, you will first of all have to set
its reference pitch (or frequency).
This pitch is used to define the frequency for A4 (i.e., A above
middle C on a piano keyboard). At the time of purchase, a
frequency of 440 Hz is set for A4 in the BR-1200CD, and if this is
suitable, there will be no need to change the setting.
However, in situations where an ensemble is to be recorded,
it is often necessary to tune all instruments in the ensemble to
the instrument that is most difficult to tune (for example, the
piano), and the reference pitch of this instrument will not
necessarily be 440 Hz.
In order to accommodate this type of situation, the BR1200CD allows you to change the tuner’s reference pitch as
described below.
• The reference pitch setting will be saved to each
song.
• The reference pitch set for the tuner will also be used
as the reference pitch for rhythm arrangement bass
patterns (p. 171).
Tuning
The following describes the tuning procedure using the
example of a guitar or bass guitar.
1. Connect the guitar or bass to a BR-1200CD input source
and confirm that audio is being received.
See “Connecting other devices” (p. 34).
fig.53-01
2. Press [TUNER ON/OFF]
The Tuner screen will appear.
1,3
fig.53-02d
2
3
The name of the note is displayed on the left of the
screen, and the reference pitch is displayed on right of
the screen. Tuning guides are displayed on the left and
right of the meter showing the difference between the
correct note and the note being played.
1. Press [TUNER ON/OFF]
The Tuner screen will appear.
fig.53-02d
3. Play the string that you want to tune.
The closest note to that string’s pitch will be displayed.
4. If the displayed note is not correct for the string being
played, you will first of all have to carry out rough
tuning to have the correct note displayed.
Correct notes for standard tuning are as follows.
Setting range: 435 to 445 Hz
At the time of purchase, the reference pitch will be set to 440 Hz.
3. When you have made the required setting, press
[TUNER ON/OFF] once again or press [EXIT/NO].
The tuner will be turned off.
Guitar
Bass
6th
string
5th
string
4th
string
3rd
string
2nd
string
1st
string
B
E
A
B
D
E
G
A
B
D
E
G
5. While monitoring the tuning guides, fine-tune each
string in such a way that both of these guides turn on
when the string is played.
275
Rev0.02
When the difference between the played note and the
correct note is within ±50 cents, the tuning guides
indicate the magnitude of this difference.
Section 8
2. Turn the TIME/VALUE dial to modify the reference
pitch.
7th
string
Tuning instruments (Tuner)
For example, when the right tuning guide is lit, it
indicates that the string’s pitch is higher (or sharper)
than the correct pitch, and you should loosen the
corresponding peg. On the other hand, when the left
tuning guide is lit, it indicates that the string’s pitch is
lower (or flatter) than the correct pitch, and you should
tighten the corresponding peg.
When the pitch is higher than the displayed note
If you do not want the sound being tuned to be
routed to the LINE OUT or headphone jacks, either
turn down the INPUT LEVEL knob or lower the
MASTER fader. Note that it may not be possible to
perform tuning if the INPUT SENS knob is turned
down.
If you are tuning a guitar with a vibrato arm, tuning
of one string may cause the tuning of the other
strings to drift. In such a case, you should carry out
rough tuning in such a way that the correct note is
displayed for each string, and you should then
repeatedly fine-tune each string until all have been
tuned.
When the pitch matches the displayed note
When the pitch is lower than the displayed note
6. Repeat Steps 4 through 5 to tune all of the instrument’s
strings.
7. When you have tuned all of the strings, press [TUNER
ON/OFF] or press [EXIT/NO].
The tuner will be turned off.
Precautions for tuner usage
• Neither playback nor recording is possible while the
tuner is being used. Effects will also be inactive at
this time.
• Ensure that only the sound to be tuned is played. If
any other sounds are included in the audio input, it
will not be possible to use the tuner correctly.
• The tuner will not be able to correctly determine
pitches when the level of the input source is too high
or too low. If you are having trouble tuning an
instrument, try adjusting its input volume using the
corresponding INPUT SENS knob.
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276
Mixing audio-device output with the BR-1200CD’s output (Audio Sub Mix)
The Audio Sub Mix function allows LINE IN to be directly
mixed with the audio being output via the LINE OUT jacks.
1. Press [UTILITY].
Accordingly, you can use this function to mix the BR1200CD’s audio output with audio from an external audio
device without having to prepare a separate mixer.
fig.12-12d
The Utility screen will appear.
Audio Sub Mix is set up as described below.
fig.53-21
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
1
2,3
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
2,3
3. Move the cursor to “Sub Mixer” and select “ON” using
the TIME/VALUE dial.
fig.53-24d
Precautions for Audio Sub Mix usage
• The Audio Sub Mix setting is returned to “OFF”
whenever the BR-1200CD is turned on.
• When either LINE has been selected from INPUT
SELECT, LINE IN will give priority to track
recording; therefore, the Audio Sub Mix function
will remain inactive even if it is turned on.
Section 8
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277
Using condenser microphones (Phantom Power)
Most condenser microphones need a supply of power known
as phantom power in order to operate.
fig.53-17
1,5 1,5
Accordingly, the BR-1200CD can supply phantom power at
+48 V to condenser microphones connected to any of the
XLR-type connectors for MIC 1 and MIC 2.
2
4
3
Phantom power
Condenser microphones generally contain a pair of
thin opposing electrodes. When a voltage is applied
across these electrodes, any vibration resulting from
incoming audio will be output as electrical waves.
However, since these waves are very weak, they
must be boosted using amplification circuitry within
the microphone itself. Phantom power is used to
drive this amplification circuitry.
Certain types of condenser microphone use internal
batteries as a source of power; accordingly, there
will be no need to supply phantom power in such a
case.
3,4
1,5
1. Before proceeding, turn INPUT SENS knobs 1 and 2
fully counter-clockwise in order to reduce the input
volumes, and then move the MASTER fader and
INPUT LEVEL knobs all the way down.
If any of these volumes is not reduced, a loud click may
be output when the phantom power is turned on or off.
2. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
• Phantom power should always be turned off when
audio sources other than condenser microphones are
being connected to the BR-1200CD’s. In fact,
dynamic microphones, audio players, and the like
can be damaged by this power supply. Always refer
to the user’s manual for the microphone to be used
in order to confirm its phantom-power
specifications.
• The BR-1200CD’s MASTER fader, INPUT SENS 1/2
knobs, and INPUT LEVEL knobs must be moved all
the way down when phantom power is being turned
on or off. If this precaution is not observed, there is a
possibility that amplifiers, speakers, and the like
may be damaged by loud noises generated upon
switching.
3. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
4. Move the cursor to “Phantom” and select “ON” using
the TIME/VALUE dial.
fig.53-20d
Phantom power will be supplied.
Note that when turned on, phantom power
will be supplied to all XLR connectors for MIC
1 and 2.
OFF:
Phantom power will not be supplied.
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278
ON:
Using condenser microphones (Phantom Power)
5. Slowly raise the INPUT SENS knobs, the MASTER
fader and INPUT LEVEL knobs, and confirm that an
audio signal is being received from the condenser
microphone(s).
6. To turn off the phantom power, repeat Steps 1 through
3, and then set “Phantom” to “OFF” in Step 4.
Precautions for phantom power usage
• Phantom power cannot be turned on or off
individually for MIC 1 and 2.
• Phantom power is not supplied to the 1/4” phone
jacks for IMIC 1 and 2 or to the GUITAR/BASS jack.
• The phantom power setting reverts to “OFF”
whenever the BR-1200CD is turned on. Remember,
therefore, to turn on this power supply whenever it
is needed.
• A supply of phantom power is not needed for
certain types of condenser microphone (i.e.,
microphones featuring internal batteries, electric
condenser microphones, etc.). Ensure that phantom
power is set to “OFF” whenever one of these
microphones is connected.
• No supply of phantom power will be needed from
the BR-1200CD when using an external microphone
pre-amp or a dedicated, external phantom power
supply. Ensure that phantom power is set to “OFF”
in all such cases.
Section 8
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279
Creating a MD protected from digital copying
When you are digitally mixing-down audio from the BR1200CD to a MD recorder or another similar digital device,
you can use the following procedure to prohibit the creation
of digital copies from the mix-down tape.
4. Press [EXIT/NO] several times to return to the top
screen.
5. Mix down your song(s) from the BR-1200CD to a MD
recorder or another similar digital device.
fig.53-10
It will not be possible to use this master MD to create
digital copies on another similar digital recording
device.
1
3
2
4
2,3
Certain DAT recorders do not support SCMS or
digital connection with CD players. If you set
“D.CpProtect” to “ON,” you will not be able to
record your songs to this type of recorder via the BR1200CD’s digital output. Be sure to set
“D.CpProtect” to “OFF” in such a case.
1. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
What is SCMS?
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
An abbreviation of Serial Copy Management
System, SCMS is a function implemented on
consumer digital-audio devices such as DAT
recorders and MD recorders to prevent second- and
subsequent-generation copies being made by
repeated digital recording, thus protecting the
creator’s copyright. When a digital recording is
made on a recording device that features SCMS
functionality, SCMS flags will be recorded together
with the digital audio signals. It will then not be
possible to record digital audio signals containing
this type of flag using a digital connection.
3. Move the cursor to “D.CpProtect” and select “ON”
using the TIME/VALUE dial.
fig.53-12d
D.CpProtect (Digital Copy Protect)
This parameter specifies whether or not it will be
possible to create digital copies.
OFF:
Digital copies may be made.
ON:
Digital copies may not be made.
Rev0.02
280
Changing the content of the level meter display (Pre/Post Fader)
Normally, the level meters for the tracks, which are
displayed on the top screen, will indicate the levels that the
various signals have after they have passed through the
corresponding faders (i.e., the post-fader volumes).
1. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
You can, however, use the following procedure to have the
levels that the signals are at before they pass through the
faders (i.e., pre-fader volumes) be displayed.
fig.53-13
2. Move the cursor to the SYSTEM icon and press
[ENTER/YES].
1
3
Alternatively, you can press [F2] (SYSTEM) if the
SYSTEM icon is currently displayed.
The System Parameter screen will appear.
fig.10-03d
2
4
2,3
3. Move the cursor to “Level Disp.” and select “PRE
FADER” using the TIME/VALUE dial.
fig.53-16d
PRE FADER:
The levels that signals have prior to reaching the faders
are displayed.
PST FADER:
The levels that signals have after passing through the
faders are displayed. This is the setting on the BR1200CD at the time of purchase.
4. Press [EXIT/NO] several times to return to the top
screen.
Section 8
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281
Initializing all BR-1200CD settings (Initialize)
The Initialize function allows you to return all of the
following BR-1200CD parameters to their original settings.
fig.53-28
● Global Parameters
1
• Reference Pitch in Tuner parameters
• System parameters
2,3
4,5
• Sync parameters
• MIDI parameters
2,3
• Marker parameters
• Scene parameters
• Scrub and Preview parameters
● Mixer Parameters
• Track Compressor, EQ, Pan
• Loop Effects
• Input Select
1. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
• Recording Mode
● Effect Patch Data
• User patches from all insert effect banks
• Vocal Tool Box user patches
• Mastering Tool Kit user patches
• Speaker Modeling user patches
2. Move the cursor to the INITIALIZE icon and press
[ENTER/YES].
Icons representing the various things that can be
initialized will appear.
fig.53-30d
GLOBAL icon
fig.53-30d
When this icon is selected
•
Reference Pitch in Tuner parameters
•
System parameters
•
Sync parameters
•
MIDI parameters
•
Marker parameters
•
Scene parameters
•
Scrub and Preview parameters
will be initialized and returned to the values they had at
the time of purchase.
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282
Initializing all BR-1200CD settings (Initialize)
MIXER icon
fig.53-33d
3. Move the cursor to the icon for the parameters to be
initialized and press [ENTER/YES].
Alternatively, you can push the FUNCTION button
below the relevant icon.
The message “Initialize *** OK?” will appear.
Example:) When GLOBAL icon is selected
When this icon is selected,
•
Track Compressor, EQ, Pan
•
Loop Effects
•
Input Select
•
Recording Mode
fig.53-35d
will be returned to the values they normally have
immediately after Song New (p. 48) is performed.
4. Press [ENTER/YES].
EFFECTS icon
fig.53-36d
The message “Sure?” will appear.
fig.53-32d
5. Press [ENTER/YES] once again.
When this icon is selected,
•
User patches from all insert effect banks
•
Vocal Tool Box user patches
•
Mastering Tool Kit user patches
•
Speaker Modeling user patches
will be initialized and returned to their values at the time
of purchase (i.e., the values for preset patches).
ALL icon
fig.53-34d
When this icon is selected, all global parameters, effect
patches, and mixer parameters will be initialized.
In addition, all data for song markers, Tempo Maps,
Sync Tracks, scenes, and the like will be cleared. The
display contrast will also be returned to the factory
default contrast setting.
The BR-1200CD will start the initialization process.
When this process has finished, the message
“Complete!” will appear and you’ll automatically be
returned to the top screen.
Precautions for initialization
• Press [EXIT/NO] if you want to cancel an
initialization process.
• In certain cases, the message “Save Current?” will
appear during the initialization procedure, and this
indicates that the current song contains audio that
has been newly recorded or edited, or modified
parameters that have not yet been saved. If you
want to save your song before starting the
initialization process, press [ENTER/YES]; if this
will not be necessary, press [EXIT/NO]. If you
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283
Section 8
proceed without saving your song, all of the new
recordings, audio edits, and new parameter settings
will be permanently lost.
Performing hard disk operations
Viewing information about the
hard disk (Hard Disk Information)
3. Move the cursor to the INFO icon and press [ENTER/
YES].
The size of each partition appears.
fig.54-03d
To display the hard disk data use the following procedure.
fig.53-28
4
1
The capacity of the hard disk is displayed in units of 1
MB (i.e., 1,04,576 bytes).
2,3
2,3
4
1. Press [UTILITY].
The Utility screen will appear.
The currently selected partition is indicated by an
asterisk (“*”).
The BR-1200CD is set with one partition at the factory, so
only one partition will appear in the display.
4. If you want to switch the partition being used, move
the cursor to the partition you want to use, then press
[F3] (SELECT).
The message “Now Loading...” appears.
When “Complete!” appears, the switch is completed.
fig.12-12d
2. Move the cursor to the HDD icon and press [ENTER/
YES].
The Hard Disk screen will appear.
fig.54-02d
• In certain cases, the message “Save Current?” will
appear during the initialization procedure, and this
indicates that the current song contains audio that
has been newly recorded or edited, or modified
parameters that have not yet been saved. If you
want to save your song before switching the
partition, press [ENTER/YES]; if this will not be
necessary, press [EXIT/NO]. If you proceed without
saving your song, all of the new recordings, audio
edits, and new parameter settings will be
permanently lost.
• Drives can be switched only when multiple drives
have been created.
Rev0.02
284
Performing hard disk operations
Initializing the hard disk
(Disk Initialize)
3. Move the cursor to the INITIALIZE icon and press
[ENTER/YES].
The message “FORMAT MODE: NORMAL” appears.
fig.54-04d
The appropriate settings for the internal hard disk were
made before the BR-1200CD left the factory, so it is ready for
immediate use.
If for any reason the hard disk can no longer be written to or
read from, or if you immediately want to delete all data from
the disk, you can carry out Disk Initialize.
4. Use the TIME/VALUE dial to select the initialization
mode.
NORMAL
• Take care to note that all data on the hard disk is lost
when you execute Disk Initialize. The demo songs
programmed at the factory are also deleted.
• We recommend creating a backup of your data on a
CD-R/RW disc or other media as your situation
requires.
This is the usual format. The hard disk is formatted as a
single partition. The maximum partition size is 40 GB.
SURFACE SCAN
The entire hard disk is formatted as “NORMAL” after all
of the storage sectors of the hard disk are checked.
With a 40 GB hard disk, such checking takes roughly 2–3
hours to complete.
fig.53-28
If you press [EXIT/NO] while the check is still in
progress, the check is stopped at that point, and
formatting continues in “NORMAL” mode.
5
1
DIV 2 through 8
4
This separates the hard disk into drives (partitions) of
equal size. You cannot set the drives so that they are of
different sizes.
2,3,6
2,3
Example) When using “DIV 5” in formatting the
partitions on a 40 GB hard disk.
40GB / 5 = 8 GB
This creates five partitions, each containing 8 GB.
The maximum size for a single partition is 40 GB.
Initialization is set to “NORMAL” at the factory.
1. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
ONLY CUR. PARTITION (Only Current Partition)
This initializes only the currently selected partition when
the hard disk is divided into multiple partitions. If the
hard disk has not been divided into separate partitions,
the NORMAL setting is used to initialize the entire hard
disk.
5. Press [F3] (GO).
The message “Sure?” appears.
Section 8
2. Move the cursor to the HDD icon and press [ENTER/
YES].
fig.54-05d
The Hard Disk screen will appear.
fig.54-02d
Rev0.02
285
Performing hard disk operations
6. Press [ENTER/YES]. (If you wish to cancel the
initialization, press [EXIT/NO]).
3. Move the cursor to the HDD icon and press [ENTER/
YES].
“Now Initializing...” appears in the display, and
initialization begins.
The Hard Disk screen will appear.
fig.54-02d
After the initialization is completed properly, the
message “Complete!” will appear and the top screen
returns to the display.
A new song “SONG 001” will be created on the hard
disk.
4. Move the cursor to the INITIALIZE icon and press
[ENTER/YES].
The Hard disk Initialize screen will appears.
The state of progress of the initialization will be
shown on the display, and you should not turn off
the BR-1200CD until this procedure has been
completed. Failure to observe this precaution could
considerably reduce the life span of the hard disk or
could result in it being permanently damaged.
Initializing only one of
multiple partitions
fig.54-04d
5. Rotate the TIME/VALUE dial to set “Format Mode” to
“ONLY CUR. PARTITION.”
Take care to note that selecting anything other than
“ONLY CUR.PARTITION” will result in the entire hard
disk being initialized.
Now you can specify a single partition for initialization when
using multiple partitions.
6. Press [F3] (GO).
The message “Sure?” appears.
fig.53-28
7. Press [ENTER/YES].
6
2
5
“Now Initializing...” appears, and initialization of the
drive begins. The process is finished when “Complete!”
appears.
3,4,7
3,4
Use of this feature is not required if you are using the
default factory settings without any changes.
1. First, select the drive you want to initialize.
See the step 4 in the “Viewing information about the
hard disk (Hard Disk Information)” (p. 284).
2. Press [UTILITY].
The Utility screen will appear.
fig.12-12d
Rev0.02
286
Section 9 Appendices
Section 9
Appendices
287
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
“Insert Effect Patch List” (p. 327) and select a patch that uses
the desired algorithm.
For details on selecting banks and patches, refer to
“Modifying insert effect settings” (p. 119).
If you would like to know more about each effect, refer to
“Insert effect parameter functions” (p. 293).
BANK: GUITAR
1. COSM OD GUITAR AMP
This multi-effect is used with electric guitars. Utilizing COSM
Amplifier Modeling and COSM Overdrive/Distortion as
featured on the BOSS GT-6, this effect allows you to recreate a
host of distortion and guitar amplifier sounds. In addition, the
BR-1200CD also allows you to freely change the way in which
this algorithm's internal effect blocks are connected.
fig.31-12
2. ACOUSTIC SIM
This is a multi-effect designed for electric guitars. It allows
you to use an electric guitar to produce sounds similar to
those of an acoustic guitar.
fig.31-13
Acoustic Guitar Simulator
Compressor
4Band Equalizer
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
3. BASS SIM
288
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.
fig.31-14
Bass Simulator
Compressor/Defretter
- Compressor
- Defretter
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Rev0.02
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
- Uni-V
- Short Delay
- Humanizer
- Ring Modulator
- Sub Equalizer
Delay
Chorus
Insert effect algorithm list
4. COSM COMP GUITAR AMP
6. BASS MULTI
This is a multi-effect designed for electric guitars. In addition
to a COSM compressor/limiter, it uses a preamp and speaker
simulator to produce characteristic amp sounds.
This is a multi-effect designed for bass, and it is suitable for
creating standard bass sounds.
fig.31-17
fig.31-15
COSM Comp/Limiter
PreAmp
Speaker Simulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Delay
5. ACOUSTIC GUITAR
This is a multi-effect designed for acoustic guitars. Even
when an electric-acoustic is connected at line level, this
provides a warm sound similar to that obtained through a
microphone.
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
fig.31-16
7. COSM BASS AMP
This is a multi-effect designed for bass. It features an amp
sound created using a preamp and speaker simulator.
fig.31-18
Acoustic Processor
Compressor
4Band Equalizer
Noise Suppressor
Delay
Rev0.02
Compressor
PreAmp
Speaker Simulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
Section 9
289
Insert effect algorithm list
8. COSM OD BASS AMP
9. COSM COMP BASS AMP
This multi-effect is used with electric bass guitars. Utilizing
COSM Amplifier Modeling and COSM Overdrive/Distortion as
featured on the BOSS GT-6B, this effect allows you to recreate a
host of distortion and bass amplifier sounds. In addition, the
BR-1200CD also allows you to freely change the way in which
this algorithm's internal effect blocks are connected.
This is a multi-effect designed for bass.
In addition to a COSM compressor/limiter, it uses a preamp
and speaker simulator to produce characteristic amp sounds.
fig.31-19
fig.09-080
COSM Comp/Limiter
COSM Overdrive/Distortion
COSM PreAmp&Speaker
Equalizer/Wah
- 3Band Equalizer
- Wah
Noise Suppressor
Foot Volume
FX
- Octave
- Enhancer
- Slow Gear
- Defretter
- Ring Modulator
- Phaser
- Flanger
- Pitch Shifter
- 2x2 Chorus
- Short Delay
- Vibrato
- Humanizer
- Tremolo
- Pan
Chorus
Delay
BANK: MIC
10. VOCAL MULTI
This is a multi-effect designed for vocals. It provides the
basic effects needed for vocal parts.
fig.31-20
Compressor
De-esser
Enhancer
4Band Equalizer
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
Rev0.02
290
COSM Comp/Limiter
PreAmp
Speaker Simulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Delay
Insert effect algorithm list
11. VOICE TRANSFORMER
This is a multi-effect designed for vocals. It allows you to
produce unique effects using a voice transformer.
fig.31-21
BANK: STEREO
14. STEREO MULTI
This algorithm connects seven types of effects, all in full
stereo.
fig.31-24
Voice Transformer
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
12. COSM VOCAL COMP
This is a multi-effect designed for vocals. The COSM
compressor/limiter is perfect for creating basic sounds.
fig.31-22
COSM Comp/Limiter
De-esser
Enhancer
4Band Equalizer
Noise Suppressor
Foot Volume
Delay
13. MIC MODELING
15. LO-FI BOX
This allows you to simulate the sound of audio being played
on an AM radio, the sound of old records played on an oldfashioned gramophone, and even extreme sound
degradation produced by Lo-Fi digital.
fig.31-25
Lo-Fi Box
Noise Suppressor
Rev0.02
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.
Compressor
Ring Modulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
The mic simulator can also simulate proximity effects.
fig.31-23
Section 9
Mic Converter
Bass Cut Filter
Distance
Limiter
291
Insert effect algorithm list
BANK: SIMUL
16. 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.
18. 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 electricacoustic is connected using a direct line.
fig.31-28
fig.31-26
(MIC)
Compressor
4Band Equalizer
Noise Suppressor
Delay
(GUITAR)
Compressor
PreAmp
Speaker Simulator
Noise Suppressor
Delay
(MIC)
Compressor
Noise Suppressor
(GUITAR)
Acoustic Processor
Compressor
Noise Suppressor
17. 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.
fig.31-27
(GUITAR)
Acoustic Guitar Simulator
Compressor
Noise Suppressor
Delay
292
Rev0.02
(MIC)
Compressor
4Band Equalizer
Noise Suppressor
Delay
Insert effect parameter functions
PIEZO:
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 BR-1200CD. Their trademarks are
used solely to identify equipment whose sound is
simulated by the BR-1200CD.
Simulates the sound you would get from a pickup installed on an
electric-acoustic guitar. With this setting, a certain amount of
compression will be applied during the attack.
Top-Hi
Top-Mid
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.
On/Off
-100–+100
This adjusts the way in which the top plate affects the strings—in
other words, it adjusts the sense of attack.
Body
-100–+100
This adjusts the resonance generated by the body—in other words, it
adjusts the softness and fatness of the sound to simulate the typical
characteristics of acoustic guitars.
*
If Top-Hi, Top-Mid, and Body are all set to “-100,” there will be no
sound.
OFF, ON
This parameter turns the acoustic guitar simulator effect on and off.
Level
0–100
This adjusts the volume of the acoustic guitar simulator.
■ When “COSM OD GUITAR AMP”
algorithm is selected
Top
0–100
This adjusts the interference to the strings made by the top plate.
That is, it adjusts the attack sense or harmonic contents.
Body
0–100
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
Pickup Type
-100–+100
This adjusts the level of the direct sound from the strings—in other
words, it adjusts the harmonic content.
SINGLE, HUMBUCK
Acoustic Processor
This processor allows you to change the sound produced by
the pickup on an electric-acoustic guitar, creating a richer
sound similar to that obtained with a microphone placed
close to the guitar. Best results will be achieved when stereo
output is used.
On/Off
OFF, ON
This parameter turns the acoustic processor effect on or off.
Body
0–100
This adjusts the resonance generated by the body—in other words, it
adjusts the softness and fatness of the sound to simulate the typical
characteristics of acoustic guitars.
Mic Distance
0–100
This adjusts the simulated distance between the acoustic guitar and
the microphone used to capture its sound.
Set this to the type of pickup on the guitar being played.
Character
This selects one of four sound types.
Level
0–100
This adjusts the overall volume of the acoustic processor.
Rev0.02
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:
Section 9
An acoustic guitar with a more responsive attack. With this setting,
the guitar will retain a higher degree of presence in almost any
situation.
293
Insert effect parameter functions
3 Band Equalizer
Low-Mid Q
0.5–16
This parameter sets the range of change in gain for the frequency set
by “Low-Mid Freq” A larger value results in a narrower range of
change.
This is the 3-band equalizer.
High Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the highrange equalizer.
High Freq
1.0 –16 kHz
This parameter sets the frequency for the high range equalizer.
Low-Mid Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the lowmidrange equalizer.
Hi-Mid Freq
100 Hz–10.0 kHz
This parameter sets the frequency for the high-midrange equalizer.
High Q
0.5–16
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.
Mid Gain
-20–+20 dB
Hi-Mid Q
0.5–16
This parameter sets the range of change in gain for the frequency set by
“Hi-Mid Freq” A larger value results in a narrower range of change.
Hi-Mid Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the
midrange equalizer.
This parameter sets the gain (amount of boost or cut) for the highmidrange equalizer.
Mid Freq
High Gain
164 Hz–2.6 kHz
This parameter sets the central frequency for the midrange equalizer.
Mid Q
0.5–16
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.
Low Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the low
range equalizer.
Low Freq
31–500 Hz
This parameter sets the frequency for the low range equalizer.
Low Q
0.5–16
Level
-20–+20 dB
This sets the overall volume level after equalization.
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 sets the range of change in gain for the frequency set
by “Low Freq.” A larger value results in a narrower range of change.
On/Off
Level
Character
-20–+20 dB
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the highrange equalizer.
OFF, ON
This parameter turns the bass simulator effect on or off.
LOOSE, TIGHT
This sets the overall volume level after equalization.
This sets the bass tone characteristic. LOOSE produces the sound of a
thicker string gauge.
4 Band Equalizer
Level
0–100
This adjusts the overall volume of the bass simulator.
This is the 4-band equalizer.
OFF, ON
This parameter turns the equalizer on or off.
Low Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the low
range equalizer.
Low-Mid Freq
100 Hz–10.0 kHz
This parameter sets the central frequency for the low-midrange
equalizer.
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.
On/Off
OFF, ON
This setting turns the Bass Cut Filter on or off.
Cut Off Freq
THRU, 20–2000 Hz
Thru will generally be used; however, you can use this parameter to
adjust the frequency if the attack contains an unwanted low-band
component.
294
Rev0.02
On/Off
Insert effect parameter functions
Chorus
LowCutFilter
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.
On/Off
OFF, ON
This parameter turns the chorus effect on or off.
Rate
0–100
This adjusts the rate of the chorus.
Depth
0–100
This adjusts the depth of the chorus.
Effect Level
0–100
This parameter adjusts the overall volume of the effect sound.
■ When “COSM OD GUITAR AMP”
algorithm is selected
Mode
MONO, STEREO
Selection for the chorus mode.
FLAT, 55.0–800 Hz
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency.
When “FLAT” is selected, the high cut frequency will have no effect.
■ When algorithm other than “COSM OD GUITAR
AMP” and “COSM OD BASS AMP” is selected
Pre Delay
0.5–50.0 ms
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 lowfrequency and high-frequency ranges in order to create a
more natural chorus sound.
Xover Freq
100 Hz–4.00 kHz
This parameter sets the frequency at which the frequency components of
the direct sound are divided into bass and treble bands.
Low Rate
0–100
This adjusts the speed of the chorus effect for the low frequency range.
MONO:
This chorus effect outputs the same sound from both L and R.
Low Depth
STEREO:
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 is a stereo chorus effect that adds different chorus sounds to L and R.
Pre Delay
0.0–40.0 ms
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).
Hi Cut Freq
700 Hz–11.0 kHz, Flat
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency.
When “Flat” is selected, the high cut frequency will have no effect.
■ When “COSM OD BASS AMP” algorithm
is selected
Mode
MONO, STEREO
Low Pre-Dly
0–100
0.0–40.0 ms
This adjusts the time from when the low 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).
Low Level
0–100
This adjusts the volume of the low frequency range.
High Rate
0–100
This adjusts the speed of the chorus effect for the high frequency
range.
High Depth
0–100
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.”
High Pre-Dly
MONO:
0.0–40.0 ms
This is a stereo chorus effect that adds different chorus sounds to L and R.
This adjusts the time from when the high frequency range direct
sound is output until the effect sound is output. Extending the predelay will produce the sensation of multiple sounds (doubling
effect).
Pre Delay
High Level
This chorus effect outputs the same sound from both L and R.
STEREO:
0.0–40.0 ms
0–100
This adjusts the volume of the high frequency range.
Section 9
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).
Rev0.02
Selection for the chorus mode.
295
Insert effect parameter functions
Compressor
Type
Selects the compressor/limiter type.
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
On/Off
OFF, ON
BOSSCmp
D-Comp
Rack160
VtgRack
Models the BOSS CS-3 compact effects
processor.
Models the MXR dyna comp.
Models the dbx 160x.
Models the UREI 1178.
This parameter turns the compressor effect on or off.
Attack
Sustain
(When set to BOSSCmp or D-Comp)
0–100
This adjusts the range (or time) over which the low-level signals are
boosted. Larger values will produce a longer sustain.
Attack
0–100
This adjusts the strength of the attack. Larger values will result in a
sharper attack, creating a more clearly defined sound.
Tone
-50 –+50
Adjusts the tone.
Level
0–100
0–100
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.
Sustain
0–100
(When set to BOSSCmp or D-Comp)
Boosts low-level signals, adjusting the time over which sounds are
sustained. Higher values deepen the effect, resulting in a longer
sustain.
Threshold
0–100
Adjusts the overall volume of the effect.
(When set to Rack160)
■ When algorithm other than “COSM OD GUITAR AMP”
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.
On/Off
OFF, ON
This parameter turns the compressor effect on or off.
Sustain
0–100
This adjusts the range (or time) over which the low-level signals are
boosted. Larger values will produce a longer sustain.
Attack
0–100
This adjusts the strength of the attack. Larger values will result in a
sharper attack, creating a more clearly defined sound.
Level
0–100
This adjust the volume of the effect sound.
Input
0–100
(When set to VtgRack)
This parameter controls the input level. Increasing the value will
produce a deeper effect.
Ratio
(Rack160) 1:1–20:1, inf:1 (VtgRack) 4:1–20:1
(When set to Rack160 or VtgRack)
This adjusts the limiter compression ratio. Higher ratios produce a
stronger compression effect.
Attack Time
0–100
(When set to VtgRack)
COSM Comp/Limiter
(COSM Compressor/Limiter)
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 BR-1200CD uses COSM technology to model four types
of compressor/limiter effects, which combine the functions
of a compressor and a limiter.
On/Off
Sets the compressor/limiter to ON or OFF.
296
OFF, ON
Release Time
0–100
(When set to VtgRack)
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.
Tone
-50–+50
(When set to BOSSCmp)
This parameter adjusts the tone. Higher values cause the high
frequencies to be boosted more, and this results in a harder sound.
Level
Adjusts the overall volume of the effect.
0–100
Rev0.02
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.
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.
Insert effect parameter functions
COSM Overdrive/Distortion
COSM PreAmp&Speaker
This effect distorts the sound to create long sustain
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.”
On/Off
OFF, ON
Turns the Overdrive/Distortion effect on or off.
Type
Selects the type of distortion.
BLUESOD
TURBOOD
BASS OD
BOOSTER
DISTORT
AMERCAN
GUV DS
OD-1
TSCREAM
DST+
60S FUZ
OCT FUZ
MUF FUZ
MT-2
R-MAN
HVY MTL
On/Off
This is a crunch sound of the BOSS BD-2.
This is the high-gain overdrive sound of
the BOSS OD-2.
This is a wide-range overdrive much
like the BOSS ODB-3 which extends into
the low end.
(COSM OD BASS AMP only)
This is a booster that works very well
with COSM amps.
(COSM OD GUITAR AMP only)
This gives a basic, traditional distortion
sound.
This models a Proco RAT.
(COSM OD GUITAR AMP only)
This models an Marshall GUV’ NOR.
This is the sound of the BOSS OD-1.
(COSM OD GUITAR AMP only)
This models an Ibanez TS-808.
(COSM OD GUITAR AMP only)
This models an MXR DISTORTION+.
(COSM OD GUITAR AMP only)
This models a FUZZFACE.
This models an ACETONE FUZZ.
This models an Electro-Harmonix Big
Muff π.
This is the sound of the BOSS MT-2.
This models a ROCKMAN.
(COSM OD GUITAR AMP only)
This creates a heavier distortion sound.
(COSM OD GUITAR AMP only)
Drive
0–100
Adjusts the depth of distortion.
Bass
-50–+50
Adjusts the tone for the low frequency range.
Type
This sets the type of the guitar preamp. The distortion and tone
characteristics of each amp are as shown below:
JC-120
JAZZCMB
FULLRNG
CLEANTW
PROCRNC
TWEED
CRUNCH
BLUES
STKCRNC
VO DRV
VO LEAD
VOCLEAN
MCH DRV
MCHLEAD
FAT MCH
BG LEAD
BG DRV
BG RHY
-50–+50
Adjusts the tone for the high frequency range.
Level
■ When “COSM OD GUITAR AMP”
algorithm is selected
0–100
MS(1)
MS(1+2)
Adjusts the overall volume of the overdrive/distortion sound.
MS HI-G
Effect Level
Direct Level
RF RED
0–100 (COSM OD BASS AMP only)
0–100 (COSM OD BASS AMP only)
RF ORNG
RF VNTG
SLDN
DRV STK
LEADSTK
297
Section 9
This adjusts the volume level for the effect sound and for the direct
sound.
The sound of the Roland JC-120.
The sound suited to jazz.
This is a sound with flat response.
This models a Fender Twin Reverb.
This models a Fender Pro Reverb.
This models a Fender Bassman 4 x 10” Combo.
This is a crunch sound that can produce
natural distortion.
This is a sound suited to blues.
This is a crunch sound with high gain.
This models the drive sound of a VOX AC30TB.
This models the lead sound of the VOX AC30TB.
This models the clean sound of the VOX AC30TB.
This models the sound input to left input on a
Matchless D/C-30.
This models the sound input to right input on
a Matchless D/C-30.
This models the sound of a MATCHLESS with
a modified high gain.
This models the lead sound of the MESA/
Boogie combo amp.
This models a MESA/Boogie with TREBLE
SHIFT SW on.
This models the rhythm channel of a MESA/
Boogie.
This models the sound input to Input I on a
Marshall 1959.
This models the sound of a Marshall 1959 with
Inputs I and II connected in parallel.
This models the sound of a Marshall with a
modified midrange boost.
This models the lead channel of a MESA/
Boogie Dual Rectifier.
This models the rhythm channel of a MESA/
Boogie Dual Rectifier.
This models a MESA/Boogie Rectifier with
VINTAGE SW on.
This models a Soldano SLO-100.
This is a drive sound with high gain.
This is a lead sound with high gain.
Rev0.02
Treble
OFF, ON
Turns the Preamp/Speaker Simulator effect on or off.
Insert effect parameter functions
5150DRV
MTL STK
MTLLEAD
This models the lead channel of a Peavey EVH
5150.
This is a drive sound suited to metal.
This is a lead sound suited to metal.
Gain
0 –100
Adjusts the distortion of the amp.
1x10”
1x12”
2x12”
Bass
0 –100
Adjusts the tone for the low frequency range.
Middle
4x12”
0–100
Adjusts the tone for the middle frequency range.
Treble
0–100
Adjusts the tone for the high frequency range.
Presence
If you have selected “VO DRV,” “VO LEAD,” “VOCLEAN,” “MCH
DRV,” “MCHLEAD,” or “FAT MCH” as the type, raising the
presence will cut the high range (the value will change from 0 to -100).
Level
8x12”
ORG
This is a compact open-back speaker
cabinet with one 10-inch speaker.
This is a compact open-back speaker
cabinet with one 12-inch speaker.
This is a general open-back speaker cabinet with two 12-inch speakers.
This is an optimal speaker cabinet for a
large enclosed amp with four 12-inch
speakers.
This is a double stack of two cabinets,
each with four 12-inch speakers.
This is the built-in speaker of the amp
you selected with “Type.”
Mic Setting
0–100
Adjusts the tone for the ultra high frequency range.
*
Speaker Type
0 –100
CENTER, 1–10 cm
This simulates the microphone position. “CENTER” simulates the
condition that the microphone is set in the middle of the speaker
cone. “1-10 cm” means that the microphone is moved away from the
center of the speaker cone.
Mic Level
0–100
Adjusts the volume of the microphone.
Adjusts the overall volume of the entire preamp.
Direct Level
*
Adjusts the volume of the direct sound.
Be careful not to raise the Level setting too high.
Bright
OFF, ON
Turns the bright setting on or off.
0–100
Amb Pre-Dly
0.5–50.0 ms
This parameter adjusts the delay between the original sound and the
output of ambience (i.e., room reflections).
OFF:
No brightness is added.
Amb Size
ON:
This parameter adjusts the sound of the ambience by varying the
room size. Larger values produce longer ambience and increase the
sense of spaciousness.
Brightness is added to create a lighter, crisper tone.
*
This will not be displayed for certain Type settings.
Gain SW
LOW, MIDDLE, HIGH
5.0–15.0 m
Amb Density
0–10
Adjusts the distortion generated by the amp, with the level
increasing in sequence for LOW, MIDDLE, and HIGH.
This parameter adjusts the density of the ambience. Larger values
produce a denser sound.
*
Amb HF Damp
The sound of each type is created with the assumption that gain is set to
MIDDLE. It is normal, therefore, to use this setting.
Speaker SW
Turns the speaker simulator on or off.
OFF, ON
DARK, NORMAL, BRIGHT
This parameter adjusts the tone of the ambience.
DARK:
High frequencies decay relatively quickly, producing a darker
sounding ambience.
Rev0.02
NORMAL:
This setting produces ambience with a standard sound.
BRIGHT:
High frequencies decay relatively slowly, producing a brighter
sounding ambience.
Amb Level
Adjusts the volume of ambience.
298
0–100
Insert effect parameter functions
■ When “COSM OD BASS AMP” algorithm
is selected
Ultra Hi
Type
This controls the ultra high-frequency range lying beyond treble.
This sets the type of the bass guitar preamp. The distortion and tone
characteristics of each amp are as shown below:
Ultra Lo
FLIPTOP
B MAN
BASS360
T.E.
SESSION
CONCERT
Speaker SW
Speaker Type
0 –100
-50 –+50 (or 0–100)
Adjusts the tone for the low frequency range.
4x10”
While some amps do not feature a middle control, this control still
functions even when simulating such amps. If you want to recreate the
sound as output by the original amp, set Middle to “0.”
Middle Freq
1x18”
-50–+50
Adjusts the tone for the middle frequency range.
*
1x15”
2x15”
Middle
OFF, ON
Turns the speaker simulator on or off.
Adjusts the distortion of the amp.
Bass
-, 0, +
(When set to CONCERT)
This controls the character of the lower range.
Models the Ampeg B-15.
Models the Fender Bassman 100.
Models the acoustic 360.
Models the Trace Elliot AH600SMX.
Models the SWR SM-400.
Models the Ampeg SVT.
Gain
OFF, ON
(when set to CONCERT)
8x10”
ORG
220 Hz–3.0 kHz
This is a compact open-back speaker
cabinet with one 15-inch speaker.
This is a compact open-back speaker
cabinet with one 18-inch speaker.
This is a general open-back speaker cabinet with two 15-inch speakers.
This is an optimal speaker cabinet for a
large enclosed amp with four 10-inch
speakers.
This is a double stack of two cabinets,
each with four 10-inch speakers.
This is the built-in speaker of the amp
you selected with “Type.”
Adjusts the frequency for the middle frequency range.
Mic Setting
*
This simulates the microphone position. “CENTER” simulates the
condition that the microphone is set in the middle of the speaker
cone. “1-10 cm” means that the microphone is moved away from the
center of the speaker cone.
You cannot set this parameter when TYPE is set to “BASS360” (it is
not displayed).
Treble
-50–+50 (or 0–100)
CENTER, 1–10 cm
Adjusts the tone for the high frequency range.
Bright
OFF, ON
(When set to FLIPTOP, BASS360, or CONCERT)
Mic Level
0–100
Adjusts the volume of the microphone.
Turns the bright setting on or off.
Direct Level
OFF:
Adjusts the volume of the direct sound.
0–100
No brightness is added.
De-esser
ON:
Brightness is added to create a lighter, crisper tone.
Response
BASS, FLAT
(When set to FLIPTOP)
This controls the overall amp characteristics. Select the position
corresponding to the characteristics for one of the two types of sound.
OFF, ON
(When set to B MAN)
OFF,1, 2
(When set to T.E.)
This is a shape switch that adds a particular nuance to the midrange.
Sibilant Lvl
0–100
Level
0–100
Adjusts the overall volume of the effect.
0–100
Section 9
Enhancer
OFF, ON
This parameter turns the de-esser effect on or off.
This adjusts the sensitivity with respect to the input volume, and it
controls the way in which the effect is applied.
This switch changes the character of the lower range.
Pre Shape
On/Off
Rev0.02
Deep
This effect is useful for reducing sibilance (or harsh ‘S’
sounds) produced by vocalists.
(When set to SESSION)
This controls the clarity and presence of the sound.
299
Insert effect parameter functions
Defretter
Delay
This effect simulates the sound of a fretless bass.
This effect creates a thicker sound by applying a delayed
sound to the direct sound.
On/Off
OFF, ON
On/Off
This parameter turns the defretter effect on or off.
Sensitivity
0–100
This controls the input sensitivity of the defretter. Adjust this
parameter until your guitar’s harmonic changes sound natural.
Type
Attack
*
0–100
This parameter controls the attack of the defretter. Increasing the value
will cause the harmonics to change more slowly, thus producing a
relatively attack-less sound, similar to that of a fretless bass.
Depth
0–100
This controls the ratio of harmonics. Increasing the value will increase the
harmonic content and therefore will create a more unusual sound.
-50–+50
Adjusts the amount of blurring between the notes.
Resonance
This is not displayed when the algorithm is “VO+GT.AMP” or
“VO+AC.SIM.”
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.
0–100
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.
Effect Level
0–120
0–100
Adjusts the overall volume of the delay sound.
0–100
■ When “COSM OD GUITAR AMP” or
“COSM OD BASS AMP” algorithm is selected
Adds a characteristically resonant quality to the sound.
Effect Level
SINGLE, PAN
This parameter selects the type of delay to be used.
Feedback
■ When “COSM OD GUITAR AMP”
algorithm is selected
Tone
OFF, ON
This parameter turns the delay effect on or off.
Adjusts the volume of the defretter sound.
Delay Time
Direct Level
This parameter adjusts the delay time (i.e., the interval for which
sound is delayed).
0–100
Adjusts the volume of the direct sound.
■ When algorithm other than “COSM OD
GUITAR AMP” is selected
Level
Adjusts the volume of the defretter sound.
0–100
Tap Time
0–1800 ms
0–100% (Type = Pan)
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%).
Hi Cut Freq
700 Hz–11.0 kHz, Flat
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 highend component above the set frequency.
When it is set to “Flat,” the high cut frequency is off or has no effect.
Delay Time
SINGLE: 1–1400 ms, PAN: 1–700 ms
This parameter adjusts the delay time (i.e., the interval over which
sound is delayed).
300
Rev0.02
■ When algorithm other than “COSM OD GUITAR
AMP” and “COSM OD BASS AMP” is selected
Insert effect parameter functions
Distance
Enhancer
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.
By adding sounds that are out-of-phase with the direct
sound, this effect enhances the definition of the sound and
makes it more present in the mix.
The Distance effect is used to simulate this phenomenon.
On/Off
On/Off
This parameter turns the enhancer effect on or off.
OFF, ON
OFF, ON
This setting turns Distance on or off.
Sensitivity
Prox.Fx
Adjusts the manner in which the enhancer will be applied with
respect to input signals.
-12 dB–+12 dB
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 [-] direction, away from the sound source.
Time
0–3000 cm
This simulates the time difference occurring as a result of distance
from the sound source.
Doubling
By adding a slightly time-delayed sound to the direct sound,
a doubling effect gives the impression that multiple sources
are being played together. Best results will be achieved when
stereo output is used.
On/Off
OFF, ON
This parameter turns the doubling effect on or off.
Delay Time
0.5–50.0 ms
This parameter adjusts the delay time (i.e., the interval for which
sound is delayed).
Separation
-100–+100
This parameter adjusts the diffusion—in other words, the panning of
the direct sound and the effect sound to left and right. This will be
effective when stereo output is used.
Effect Level
0–120
Frequency
0–100
1.0–10.0 kHz
Adjusts the frequency at which the enhancer will begin to be applied.
The effect will be noticeable in frequencies above the frequency set here.
Mix Level
0–100
Adjusts the amount of phase-shifted sound of the range set by
“Frequency” that is to be mixed with the input.
■ When “COSM OD BASS AMP” algorithm
is selected
Frequency
800 Hz–4.00 kHz
Adjusts the frequency at which the enhancer will begin to be applied.
The effect will be noticeable in frequencies above the frequency set here.
■ When algorithm other than “COSM OD
BASS AMP” is selected
Frequency
1.0–10.0 kHz
Adjusts the frequency at which the enhancer will begin to be applied.
The effect will be noticeable in frequencies above the frequency set here.
LowMix Level
0–100
Adjusts the amount of phase-shifted sound in the low-frequency
range that is to be mixed with the input. The extent of this lowfrequency range is fixed.
Level
0–100
Adjusts the overall volume of the enhanced sound.
This adjusts the overall volume of the delay sound.
Rev0.02
Section 9
301
Insert effect parameter functions
Flanger
Humanizer
This algorithm produces a flanging effect, which makes a
sound seem as if it is twisting.
This can create human vowel-like sounds.
On/Off
OFF, ON
Vowel1
A, E, I, O, U
This selects the first vowel.
This parameter turns the flanger effect on or off.
Rate
0–100
Determines the rate of the flanging effect.
Depth
Rate
0–100
Depth
This parameter adjusts the center frequency at which the effect will
be applied.
Resonance
0–100
Determines the amount of resonance (or feedback). Increasing this
value will emphasize the flanging effect, producing a more unusual
sound.
Separation
0–100
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
Effect Level
0–100
This adjusts the cycle for changing the two vowels.
0–100
This adjusts the depth of the effect.
Manual
0–100
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.
Level
0–100
This adjusts the volume of the humanizer sound.
Limiter
0–100
This adjusts the volume of the flanger sound.
Direct Level
A, E, I, O, U
This selects the second vowel.
0–100
Determines the depth of the flanging effect.
Manual
Vowel2
0–100
A limiter is an effect that prevents distortion by suppressing
input signals in excess of a specific value (i.e., the threshold).
On/Off
OFF, ON
This adjusts the volume of the direct sound.
This parameter turns the limiter effect on or off.
■ When “COSM OD BASS AMP” algorithm
is selected
■ When “COSM OD GUITAR AMP”
algorithm is selected
Level
Threshold
0–100
This adjusts the volume of the flanger sound.
LowCutFilter
FLAT, 55.0–800 Hz
This allows you to get a mild effect sound by cutting the high-end
component above the set frequency.
When “Flat” is selected, the high cut frequency will have no effect.
Release
-50–+50
Level
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. 124).
OFF, ON
0–100
Adjusts the overall volume of the effect.
■ When algorithm other than “COSM OD
GUITAR AMP” is selected
Threshold
-60–0 dB
Adjust this parameter to match the input signal. Limiting will be
applied to input levels in excess of this level.
Attack
0–100
Adjusts the time it takes for the effect to become active once the
input level exceeds the threshold level.
302
Rev0.02
Adjusts the tone.
Foot Volume
Switches the foot volume on or off.
0–100
This adjusts the time it takes for limiting to be removed once the
signal level drops below the threshold.
Tone
On/Off
0–100
Adjust this parameter to match the input signal. Limiting will be
applied to input levels in excess of this level.
Insert effect parameter functions
Release
0–100
Bit
OFF, 15–1
This adjusts the time it takes for limiting to be removed once the
signal level drops below the threshold.
Modifies the number of data bits. When turned off, the number of
data bits will remain unchanged.
Detect HPF
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.
THRU, 20–2000 Hz
Adjusts the cutoff frequency for level detection. When “Thru” is
selected, this will operate as a conventional limiter.
Level
-60–+24 dB
Adjusts the overall volume of the effect.
Post Filter
OFF, ON
This filter reduces the amount of digital distortion produced by the
lo-fi. By turning this off, you can create an extremely lo-fi sound.
Effect Level
Lo-Fi Box
0–100
Adjusts the overall volume of the lo-fi sound.
Direct Level
This effect is used to produce a lo-fi sound.
On/Off
0–100
Adjusts the volume of the direct sound.
OFF, ON
This parameter turns the lo-fi box effect on or off.
Modify Filter
This parameter selects the filter type.
Effect Type
Select the operating mode for the lo-fi box.
RADIO:
The audio will sound as if it is being played on an AM radio.
OFF
LPF
BPF
HPF
No modify filter will be used.
A low-pass filter will be used.
A band-pass filter will be used.
A high-pass filter will be used.
By adjusting “Tuning,” you can simulate the transient sounds that
would occur as you adjust the radio’s tuning frequency.
Cutoff Freq
PLAYER:
Resonance
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.
This parameter adjusts the resonance.
DIGITAL:
This setting allows you to create a lo-fi sound by lowering the sample
rate and/or decreasing the number of bits. A bank of series-connected
real-time modify filters allow the sound to be freely reshaped.
0–100
This parameter adjusts the cutoff frequency.
Gain
0–100
0– +24 dB
Adjusts the volume level of the sound that has passed through the
modify filter.
■ When “RADIO” or “PLAYER” is selected
Tuning
0–100
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
Wow Flutter
0–100
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.
Noise
0–100
This parameter is used to simulate noise.
0–100
Rev0.02
Filter
This parameter adjusts the filter.
D:E Balance
100:0–0:100
This adjusts the balance of the direct and effect volumes.
■ When “DIGITAL” is selected
Pre Filter
OFF, ON
Section 9
This filter reduces the amount of digital distortion. When turned off, it
allows you to create an intense lo-fi sound that includes digital distortion.
Sample Rate
OFF, 1/2–1/32
This parameter allows you to modify the sampling rate.
303
Insert effect parameter functions
Mic Converter
Noise Suppressor
This effect can convert the characteristics of an inexpensive
general-purpose microphone into those of an expensive
studio microphone (i.e., Microphone Conversion).
Furthermore, when used with a part that has already been
recorded, it can reproduce the same tonal changes as would
occur if the microphone type or distance had been changed.
In doing so, it adds the sense of an acoustic space to an
instrumental that was recorded by direct line input, making
it seem as if it had been recorded with a microphone (i.e.,
Line → Microphone Conversion).
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.
On/Off
OFF, ON
This setting turns the Mic converter on or off.
Selects the type of microphone that was actually used to record the part.
Roland DR-20
Small dynamic microphone
Head-worn dynamic microphone
Miniature condenser microphone
Line input
AKG C3000B
Output
Specifies the microphone to be simulated.
Sml.Dy
Voc.Dy
Lrg.Dy
Sml.Cn
Lrg.Cn
Vnt.Cn
*
The low-range response will be extended when a condenser-type microphone
model is selected for “Output”, and this may boost any low-range noise that
is transmitted through the microphone stand. In such a case, either use a
bass cut filter to remove the unwanted low-range noise or use an isolation
mount* with your microphone stand while recording. (*: A microphone
holder that uses a material such as rubber to absorb vibrations.)
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
304
Threshold
0–100
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.
Release
0–100
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.
On/Off
OFF, ON
This parameter turns the octave effect on or off.
Octave Level
0–100
This adjusts the volume of the sound one octave below.
Direct Level
0–100
Adjusts the volume of the direct sound.
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.
Wave Shape
0–100
This adjusts changes in volume level.
Rate
0–100
Adjusts the frequency (speed) of the change.
Depth
Adjusts the depth of the effect.
0–100
Rev0.02
Flat
A general-purpose dynamic microphone
for use with instruments or vocals. This is
ideal for guitar amps or snare drums.
A popular dynamic microphone used for vocals and featuring an extended midrange.
A dynamic microphone with an extended low
end. This is effective when used with bass
drums, toms, and other similar sounds.
A small condenser microphone used with various
instruments and featuring a sparkling high end.
This is particularly effective when used with metal percussion instruments and acoustic guitars.
A flat-response condenser microphone that
is effective when used with vocals, narrated
parts, acoustic instruments, and the like.
VA vintage condenser microphone that is
effective when used with vocals, acoustic
instruments, and the like.
A microphone with a flat frequency response.
This can be selected to eliminate the characteristics of the microphone used for recording.
OFF, ON
This parameter turns the noise suppressor effect on or off.
*
Input
DR-20
Sml.Dy
Hed.Dy
Min.Cn
Flat
AKGC3K
On/Off
Insert effect parameter functions
Phaser
■ When algorithm other than “COSM OD GUITAR
AMP” and “COSM OD BASS AMP” is selected
By adding varied-phase portions to the direct sound, the
phaser effect gives a whooshing, swirling character to the
sound.
Rate
On/Off
OFF, ON
This parameter turns the phaser effect on or off.
■ When “COSM OD GUITAR AMP” or
“COSM OD BASS AMP” algorithm is selected
Type
Selects the number of stages that the phaser effect will use.
4 STAGE
8 STAGE
12STAGE
BIPHASE
This is a four-phase effect. A light phaser effect is obtained.
This is an eight-phase effect. It is a popular
phaser effect.
This is a twelve-phase effect. A deep phase
effect is obtained.
This is the phaser with two phase shift circuits connected in series.
Rate
0–100
0–100
This sets the rate of the Phaser effect.
Depth
0–100
Determines the depth of the Phaser effect.
Manual
0–100
Adjusts the center frequency of the phaser effect.
Resonance
0–100
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 humbucking-style sounds even with a
single-coil guitar.
Type
Select the pickup type.
Sets the rate of the phaser.
Depth
0–100
Sets the depth of the phaser.
S TO H
(Single to Hum)
Manual
H TO S
(Hum to Single)
0–100
Adjusts the center frequency of the phaser.
Resonance
0–100
This parameter sets the amount of resonance (or feedback).
Increasing the value will emphasize the effect, producing a more
unusual sound.
Step
OFF, ON
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.
Step Rate
H TO HF
(Hum to Half-tone)
Tone
This converts the sound of a single coil pickup to the sound of a humbucking pickup.
This converts the sound of a humbucking
pickup to the sound of a single coil pickup.
This converts the sound of a humbucking pickup to the half-tone sound of a
single-coil pickup.
-50–+50
Adjusts the tone.
Level
0–100
Adjusts the volume.
0–100
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.
0–100 (COSM OD GUITAR AMP only)
Rev0.02
Effect Level
This adjusts the volume of the phaser.
Direct Level
0–100 (COSM OD GUITAR AMP only)
This adjusts the volume of the direct sound.
Level
0–100 (COSM OD BASS AMP only)
Adjusts the volume.
Section 9
305
Insert effect parameter functions
Pitch Shifter
■ When algorithm other than “COSM OD GUITAR
AMP” and “COSM OD BASS AMP” is selected
This effect moves the pitch of the original sound up or down
within a range of two octaves.
P.Shift Type
On/Off
MANUAL:
OFF, ON
Selects either a manual or pedal-type pitch shifter.
This parameter turns the pitch shifter effect on or off.
A simple pitch shifter.
■ When “COSM OD GUITAR AMP” or “COSM
OD BASS AMP” algorithm is selected
PEDAL:
Voice
1-VOICE, 2-MONO, 2-ST, 1-PEDAL
This selects the number of voices for the pitch shift sound.
1-VOICE:
The effect of the pedal-type pitch shifter can be replicated by
operating an expression pedal. When the expression pedal is
depressed, the pitch can be varied by the amount of pitch shift set
using “Pitch.” For more detailed information, refer to “Using an
expression pedal” (p. 124).
One-voice pitch-shifted sound output in mono.
Pitch
2-MONO:
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 pitch-shifted sound to the input sound to produce a detune
effect. If the “PEDAL” is selected for the “P.Shift Type”, the pitch can
be varied by the amount of pitch shift set using this parameter when
the expression pedal is depressed.
Two-voice pitch-shifted sound (PS1, PS2) output in mono.
2-ST (2-stereo):
Two-voice pitch-shifted sound (PS1, PS2) output through left and
right channels.
1-PEDAL:
The pitch-shifted sound for a single source is output in mono. When
the expression pedal is depressed, the pitch can be varied by the
amount of pitch shift set using “Pitch.” For more detailed
information, refer to “Using an expression pedal” (p. 124).
Mode
FAST, MEDIUM, SLOW
Selection for the pitch shifter mode.
D:E Balance
-24–DETUNE–24
100:0–0:100
This adjusts the balance of the direct and effect volumes.
Separation
-100–+100
This parameter adjusts the diffusion—in other words, the panning of
the direct sound and the effect sound to left and right. This will be
effective when stereo output is used.
FAST, MEDIUM, SLOW:
The response is slower in the order of FAST, MEDIUM and SLOW,
but the modulation is lessened in the same order.
Pitch 1/2
-24–+24
Adjusts the amount of pitch shift (the amount of pitch change) in
semitone steps. If the “1-PEDAL” is selected for the “Voice”, the
pitch can be varied by the amount of pitch shift set using this
parameter when the expression pedal is depressed.
Fine 1/2
-50–+50
Make fine adjustments to the pitch shift.
*
The amount of the change in the Fine “100” is equivalent to that of the
Pitch “1.”
0 ms–300 ms
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.”
Feedback 1
0–100
This adjusts the feedback amount of the pitch shift sound.
Level 1/2
0–100
Adjusts the volume of the pitch shift sound.
Direct Level
This adjusts the volume of the direct sound.
306
0–100
Rev0.02
Pre Delay 1/2
Insert effect parameter functions
■ With “COSM BASS AMP” or “COSM
COMP BASS AMP” algorithms
Preamp
This effect is used to adjust the distortion and tone of guitar
sounds.
*
When Bass, Middle, and Treble are all set to 0, certain Amp Type
settings may result in no sound being output.
On/Off
OFF, ON
The vintage sound of an early transistor
amp.
The sound of a large double-stack, vacuumtube amp with ultra-lows and a crisp edge.
AC
AMG
Volume
0–100
Turns the preamp effect on or off.
Adjusts the volume and distortion of the amp.
Amp Type
Bass
This sets the type of preamp to be used. The distortion and tone
characteristics of each amp are as shown below:
Adjusts the tone for the low frequency range.
■ With “COSM COMP GUITAR AMP,” or
“VO+GT.AMP” algorithms
Adjusts the tone for the middle frequency range.
JC-120
CLEAN
CRUNCH
MATCH
VO DRV
BLUES
BG LEAD
MS
SLDN
METAL D
Middle
*
GUITAR AMP: 0–100, BASS AMP:-100–+100
If you have selected “MATCH” or “VO DRV” as the preamp type, the
middle control will have no effect.
Treble
GUITAR AMP: 0-100, BASS AMP: -100–+100
Adjusts the tone for the high frequency range.
Presence
0–100
Adjusts the tone of the ultra-high frequency range.
*
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 “-100”).
Master
0–100
Adjusts the overall volume of the preamp.
Bright
OFF, ON
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.
Gain
LOW, MIDDLE, HIGH
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.
Rev0.02
METAL
The sound of the Roland “JC-120,” a favorite of pro musicians around the world.
The sound of a conventional built-in tube
amp.
Allows you to reproduce a crunch effect
and recreate natural distortion.
The latest tube-amp sound widely used in
all styles from blues and rock.
The Liverpool sound of the 60’s.
A lead sound with a rich middle ideal for
blues.
The sound of a tube amp typical of the late
‘70s to ‘80s and characterized by a distinctive midrange.
The sound of a large tube-amp stack that
was indispensable to the British hard rock
of the 70’s and is still used today by many
hard rock guitarists.
A trebly sound created by using in1
put I of the guitar amp.
A trebly sound created by using in2
put II of the guitar amp.
The sound achieved by connecting
Inputs I and II on the guitar amp in
1+2 parallel, and giving a stronger low
end than can be achieved with Input
I alone.
A tube amp sound with versatile distortion,
usable in a wide range of styles.
The sound of a large tube amp, suitable for
heavy metal.
A powerful, high-gain metal sound.
GUITAR AMP: 0–100, BASS AMP: -100–+100
Section 9
307
Insert effect parameter functions
Ring Modulator
Speaker Simulator
This creates a bell-like sound by ring-modulating the guitar
sound with the signal from the internal oscillator. The sound
will be unmusical and lack distinctive pitches.
This effect simulates the characteristics of various types of
speakers. When the output from the BR-1200CD is connected
directly to a mixer or similar device, this effect can be used to
create the sound of your favorite speaker system.
On/Off
OFF, ON
This parameter turns the ring modulator effect on or off.
Frequency
On/Off
0–100
This adjusts the frequency of the internal oscillator.
Effect Level
0–100
Adjusts the volume of the effect sound.
Direct Level
0–100
Adjust the volume of the direct sound.
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
Short Delay
fig.S03-01
This is a delay with the maximum delay time of 400 ms. This
effect is useful for making the sound fatter.
On/Off
OFF, ON
This parameter turns the short delay effect on or off.
Delay Time
OFF, ON
This parameter turns the speaker simulator effect on or off.
0–400 ms (COSM OD GUITAR AMP)
0–400 ms (COSM OD BASS AMP)
Adjusts the delay time.
Feedback
0–100
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.
Effect Level
0–120
Adjusts the volume of delay sound.
SP Simulator
Type
SMALL
MIDDLE
JC-120
TWIN
twin
MATCH
match
VO DRV
vo drv
BG STK
bg stk
MS STK
ms stk
METAL
Cabinet
Speaker
Unit
Microphone
Setting
Small open-back enclosure
10 inch
On Mic
Open-back enclosure
12 inch
On Mic
Comments
Open-back enclosure 12 inch (two units)
On Mic
Roland JC-120 Simulation
Open-back enclosure 12 inch (two units)
On Mic
A setting suitable for Clean
Open-back enclosure 12 inch (two units)
Off Mic
A setting suitable for Clean
Open-back enclosure 12 inch (two units)
On Mic
A setting suitable for Match
Open-back enclosure 12 inch (two units)
Off Mic
A setting suitable for Match
Open-back enclosure 12 inch (two units)
On Mic
A setting suitable for Vo
Open-back enclosure 12 inch (two units)
Off Mic
A setting suitable for Vo
Large Sealed enclosure 12 inch (two units)
OnMic
A setting suitable for BG Lead
Large sealed enclosure 12 inch (two units)
Off Mic
A setting suitable for BG Lead
Large sealed enclosure 12 inch (four units)
On Mic
A setting suitable for MS
Large sealed enclosure 12 inch (four units)
Off Mic
A setting suitable for MS
12 inch (four units)
Off Mic
Large dual stack
■ With “COSM BASS AMP” or “COSM
COMP BASS AMP” algorithms
fig.S03-02
Slow Gear
This produces a volume-swell effect (“violin-like” sound).
On/Off
OFF, ON
This parameter turns the slow gear effect on or off.
0–100
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.
Cabinet
Speaker
Unit
Microphone
Setting
Comments
Large sealed enclosure 15 inch (two units)
On Mic
A setting suitable for AC
Large sealed enclosure 15 inch (two units)
Off Mic
A setting suitable for AC
Large sealed enclosure 10 inch (eight units)
On Mic
A setting suitable for AMG
Large sealed enclosure 10 inch (eight units)
Off Mic
A setting suitable for AMG
Mic Setting
CENTER, 1–10 cm
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.
Mic Level
0–100
Adjusts the volume of the microphone.
Rise Time
0–100
This adjusts the time needed for the volume to reach its maximum
from the moment you begin picking.
308
Direct Level
Adjust the volume of the direct sound.
0–100
Rev0.02
Sensitivity
SP Simulator
Type
AC
ac
AMG
amg
Insert effect parameter functions
Sub Equalizer
Tremolo/Pan
This adjusts the tone as a sub equalizer. A parametric type is
adopted for the high-middle and low-middle range.
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).
On/Off
OFF, ON
On/Off
This parameter turns the sub equalizer effect on or off.
Low Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the lowmidrange equalizer.
Low-Mid Freq
100 Hz–10.0 kHz
This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q
0.5–16
This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
Hi-Mid Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the highmidrange equalizer.
Hi-Mid Freq
100 Hz–10.0 kHz
This parameter sets the central frequency for the high-midrange equalizer.
OFF, ON
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.
TRM-TRI:
The volume will change cyclically and smooth changes will be
produced.
TRM-SQR:
The volume will change cyclically and abrupt changes will be
produced.
PAN-TRI:
The sound will be moved cyclically between the left and right.
Smooth changes will be produced.
PAN-SQR:
The sound will be moved cyclically between the left and right.
Abrupt changes will be produced.
Rate
0–100
Adjust the rate at which the effect will operate.
Hi-Mid Q
0.5–16
This parameter sets the range of change in gain for the frequency set by
“Hi-Mid Freq.” A larger value results in a narrower range of change.
High Gain
-20–+20 dB
This parameter sets the gain (amount of boost or cut) for the treble equalizer.
Level
-20–+20 dB
This parameter adjusts the volume after the equalizer stage.
Uni-V
Although this resembles a phaser effect, it also provides a
unique undulation that you can’t get with a regular phaser.
0–100
Adjusts the rate of the Uni-V effect.
Tremolo is an effect that creates a cyclic change in volume.
0–100
Depth
0–100
Adjusts the depth of the Uni-V effect.
Level
0–100
Adjusts the volume.
Adjusts the frequency (speed) of the change.
Depth
Rev0.02
0–100
This adjusts changes in volume level.
Rate
0–100
Adjusts the depth of the effect.
Rate
Tremolo
Wave Shape
Depth
0–100
Adjusts the depth of the effect.
Section 9
309
Insert effect parameter functions
Vibrato
Wah
This effect creates vibrato by slightly modulating the pitch.
The wah effect creates a unique tone by changing the
frequency response characteristics of a filter.
Type
MANUAL, PEDAL
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.
Rate
■ When “COSM OD GUITAR AMP” or “COSM
OD BASS AMP” algorithm is selected
OFF, ON
-100–+100
Adjust the formant of the voice character 1.
-100–+100
Adjust the formant of the voice character 2.
AW:
The effect will function as an auto wah.
TW (COSM OD BASS AMP only):
The effect will function as a touch wah.
● When “WAH” is selected
The expression pedal can be used to operate the wah effect.
Type
This selects the wah type.
CRY WAH
VO WAH
0–100
FAT
0–100
LIGHT
7STRING
(COSM OD GUITAR AMP only)
Wah featuring a broader range of variations
for the seven-string guitar.
Adjust the volume of the voice character 2.
0–100
Adjust the volume of the direct sound.
BASSWAH
(COSM OD GUITAR AMP only)
This is a wah used for bass guitar.
(COSM OD BASS AMP only)
Pedal Pos.
0–100
This adjusts the position of the wah pedal.
Level
0–100
Adjusts the volume.
● When “TW” is selected (COSM ODBASS AMP only)
The effect will be applied automatically based on the volume of the
performance.
310
Rev0.02
Direct Level
This models the sound of the CRY BABY
wah pedal popular in the `70s.
This models the sound of the VOX V846.
This a wah sound featuring a bold tone.
(COSM OD GUITAR AMP only)
This wah has a refined sound with no
unusual characteristics.
Adjust the volume of the voice character 1.
Effect Level2
WAH, TW (COSM OD BASS AMP only), AW
Selects either pedal wah “WAH” or auto wah “AW.”
The effect will function as a pedal wah.
This parameter turns the voice transformer effect on or off.
Effect Level1
Effect Type
WAH:
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.
Formant2
OFF, ON
0–100
Voice Transformer
Formant1
On/Off
Turns the touch wah effect on or off.
When “PEDAL” has been selected for “Type,” full application of the
expression pedal will produce vibrato at this depth.
On/Off
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 real-time control
of the wah effect.
0–100
This adjusts the rate of the vibrato.
Depth
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.
Insert effect parameter functions
Mode
LPF, BPF, HPF
Selection for the wah mode.
Polarity
LPF:
This creates a wah effect over a wide frequency range.
UP:
BPF:
The frequency of the filter will rise.
This creates a wah effect in a narrow frequency range.
DOWN:
HPF:
The frequency of the filter will fall.
This provides a distinctive wah effect when applied to the bass
guitar sound.
Sensitivity
Polarity
UP, DOWN
Selection for the direction in which the filter will change in response
to the input.
UP:
Frequency
Peak
DOWN:
The frequency of the filter will fall.
Sensitivity
0–100
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.
Frequency
0–100
0–100
*
With a value of “50” a standard wah sound will be produced.
Rate
Peak
Adjusts the depth of the auto wah effect.
0–100
With a value of “50” a standard wah sound will be produced.
Depth
0–100
Level
0–100
0–100
This parameter adjusts the volume.
■ When algorithm other than “COSM OD GUITAR
AMP” and “COSM OD BASS AMP” is selected
Wah Type
Selects either touch wah “TOUCH” or pedal wah “PEDAL.”
Adjusts the depth of the auto wah effect.
Level
0–100
Adjusts the frequency of the auto wah.
Depth
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.
0–100
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.
Adjusts the center frequency of the wah effect.
0–100
This parameter adjusts the volume.
● When “AW” is selected
LPF, BPF, HPF (COSM OD BASS AMP only)
Selection for the wah mode.
LPF:
This creates a wah effect over a wide frequency range.
BPF:
HPF:
This provides a distinctive wah effect when applied to the bass
guitar sound (COSM OD BASS AMP only).
The effect will function as a touch wah.
PEDAL:
The effect will function as a pedal wah.
Polarity
UP, DOWN
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.
Sensitivity
0–100
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.
311
Section 9
This creates a wah effect in a narrow frequency range.
TOUCH:
Rev0.02
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.
Mode
0–100
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.
The frequency of the filter will rise.
*
DOWN, UP
Selection for the direction in which the filter will change in response
to the input.
Insert effect parameter functions
Frequency
0–100
Adjusts the center frequency of the wah effect.
Peak
0–100
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.
Level
0–100
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.
124).
Peak
0–100
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.
Level
0–100
This parameter adjusts the volume.
Rev0.02
312
Speaker Modeling parameter functions
This effect simulates the response of a wide variety of
speakers, ranging from high-quality professional monitor
speakers used in studios around the world to speakers from
compact televisions or portable radios.
SP Modeling (speaker modeling)
On/Off
OFF, ON
Turns speaker modeling on or off.
fig.37-13d
Model
Selects the speaker whose characteristics you wish to simulate.
No modeling will be performed.
Modeling will be used to compensate
for the DS-90A, DS-50A, or DS-30A
monitors, giving the sound an even
wider range and flatter response.
A standard-model powered monitor
(two-way type, woofer diameter = 170
mm (or 6 1/2 inches)).
Powered monitors characterized by a
bright tone.
Powered monitors characterized by an
extended low range.
Small full-range speakers widely used
in recording studios.
A sealed two-way speaker widely used
in recording studios and characterized
by its white woofer.
A milder tone achieved by covering the
tweeters of Wh.CONE speakers with
tissue paper.
A small pocket-type radio.
The speakers of a 14-inch television.
A radio-cassette recorder.
A radio-cassette recorder with its Low
Boost function turned on.
Thru
SP Modeling
Bass Cut Filter
Low Freq Trimmer
High Freq Trimmer
Limiter
SprFlat
Pwd. BLK
Pwd. E-B
Pwd. MAC
SmlCUBE
Wh.CONE
WhTISUE
Radio
SmallTV
BoomBox
BoomLoB
Output Sp.
This parameter is used to specify the actual type of speaker
connected to the BR-1200CD.
DS-90/A:
DS-90A speakers are connected.
DS-50A:
DS-50A speakers are connected.
DS-30A:
DS-30A speakers are connected.
CM-30:
CM-30 speakers are connected.
Phase
Specifies the phase of the speakers.
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.
Rev0.02
NORMAL:
Section 9
313
Speaker Modeling parameter functions
Bass Cut Filter
Limiter
This filter cuts out vocal pop and other unwanted low-band
noise.
A limiter reduces loud input levels to prevent distortion.
On/Off
Switches the limiter on or off.
OFF, ON
This setting turns the Bass Cut Filter on or off.
Cut Off Freq
On/Off
Threshold
THRU, 20 –2000 Hz
This parameter sets the frequency below which vocal pop and other
undesirable lower-range noises will be filtered out.
OFF, ON
-60–0 dB
Adjust this parameter to match the input signal. Limiting will be
applied to input levels in excess of this level.
Release
0–100
This adjusts the time it takes for limiting to be removed once the
signal level drops below the threshold.
Low Freq Trimmer
Level
This trimmer is used to process low frequencies.
On/Off
-60–+24 dB
This parameter adjusts the overall volume.
OFF, ON
Switches the low frequency trimmer on or off.
Gain
-12–+12 dB
Adjusts the gain (i.e., the amount of boost or cut) for the low
frequency trimmer.
Frequency
20–2000 Hz
Specifies the center frequency for the low frequency trimmer.
High Freq Trimmer
This trimmer is used to process high frequencies.
On/Off
OFF, ON
Switches the high frequency trimmer on or off.
Gain
-12–+12 dB
Adjusts the gain (i.e., the amount of boost or cut) for the high
frequency trimmer.
Frequency
1.0–20.0 kHz
Specifies the center frequency for the high frequency trimmer.
Rev0.02
314
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 CD-R disks to create
your own original audio CDs.
Equalizer
On/Off
OFF, ON
This parameter turns the equalizer effect on or off.
Input Gain
-24–+12 dB
Sets the overall volume before passing through the equalizer.
LowType
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.
Low Gain
-12 –+12 dB
Sets the amount of boost or cut in the lower band.
Low Freq
20 Hz–2.0 kHz
Sets the center frequency for the lower band.
Low Q
0.3–16.0
Sets the steepness of the frequency response curve at the lower
band’s center frequency.
*
Dividing the signal into separate frequency ranges
To divide the sound into separate frequency ranges, set
the Low-Split Point (Split Freq L) and High-Split Point
(Split Freq H).
SHLV, PEAK
Sets the lower-band equalizer type to shelving or peak.
The Low Q setting is disabled when “SHLV” is selected for the Low Type.
Low-Mid Gain
-12–+12 dB
Sets the amount of boost or cut in the lower-middle band.
Low-Mid Freq
20 Hz–8.0 kHz
Sets the center frequency for the lower-middle band.
Low-Mid Q
0.3–16.0
Sets the steepness of the frequency response curve at the lowermiddle band’s center frequency.
Hi-Mid Gain
-12–+12 dB
Sets the amount of boost or cut in the upper-middle band.
Hi-Mid Freq
20 Hz–8.0 kHz
Sets the center frequency for the upper-middle band.
Hi-Mid Q
0.3–16.0
Sets the steepness of the frequency response curve at the uppermiddle band’s center frequency.
High Type
SHLV, PEAK
Sets the upper-band equalizer type to shelving or peak.
-12–+12 dB
Sets the amount of boost or cut in the upper band.
High Freq
1.4–20.0 kHz
Sets the center frequency for the upper band.
High Q
Rev0.02
High Gain
0.3–16.0
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.
Output Level
-24–+12 dB
Sets the overall volume level after equalization.
315
Section 9
*
Mastering Tool Kit parameter functions
Bass Cut Filter
Expander
This filter cuts out vocal pop and other unwanted low-band
noise.
This effect expands the dynamic range at a fixed ratio.
On/Off
This setting turns the expander on or off.
OFF, ON
This setting turns the Bass Cut Filter on or off.
Cut Off Freq
On/Off
ExpL: Thres
20 Hz–2.0 kHz
This parameter sets the frequency below which vocal pop and other
undesirable lower-range noises will be filtered out.
OFF, ON
-80–0 dB
This parameter sets the volume level at which the low-band
expander begins to affect the sound.
ExpL: Ratio
1:1.00–1:16.0, 1:INF
Sets the ratio for output increase in the low band when the input
level falls below the Lo threshold.
Enhancer
ExpL: Attack
This effect makes a sound livelier, and thus, more present in the mix.
On/Off
OFF, ON
0–100 ms
Sets the time it takes for the low-band expander to start affecting the
sound once the input level falls below the Lo threshold.
This parameter turns the enhancer on or off.
ExpL: Release
Sensitivity
Sets the time it takes for the low-band expander to stop affecting the
sound once the input level rises above the Lo threshold.
0–100
Sets the degree to which the enhancer is to be applied.
Frequency
1.0–10.0 kHz
Sets the frequency at which the enhancer will begin to affect the sound.
Mix Level
-24–+12 dB
Sets the volume of the effect sound.
ExpM: Thres
50–5000 ms
-80–0 dB
This sets the volume level at which the midrange expander goes into
effect.
ExpM: Ratio
1:1.00–1:16.0, 1:INF
This parameter sets the volume level at which the middle-band
expander begins to affect the sound.
Input
ExpM: Attack
0–100 ms
This effect divides the original sound into three frequency
bands—namely, low, middle, and high.
Sets the time it takes for the middle-band expander to start affecting
the sound once the input level falls below the Middle threshold.
Input Gain
ExpM: Release
-24–+12 dB
50–5000 ms
Sets the overall volume level before the signal passes through the
expander/compressor.
Sets the time it takes for the middle-band expander to stop affecting
the sound once the input level rises above the Middle threshold.
Delay Time
ExpH: Thres
0–10 ms
This parameter sets the amount of time by which the input sound is delayed.
Split Freq L
20–800 Hz
Sets the low-band frequency at which the source sound is split into
low and middle bands.
1.6–16.0 kHz
Sets the upper-band frequency at which the source sound is split into
middle and high bands.
ExpH: Ratio
1:1.00–1:16.0, 1:INF
Sets the ratio for output increase in the high band when the input
level falls below the Hi threshold.
ExpH: Attack
0–100 ms
Sets the time it takes for the high-band expander to start affecting the
sound once the input level falls below the Hi threshold.
ExpH: Release
50–5000 ms
Sets the time it takes for the high-band expander to stop affecting the
sound once the input level rises above the Hi threshold.
316
Rev0.02
Split Freq H
-80–0 dB
This parameter sets the volume level at which the high-band
expander begins to affect the sound.
Mastering Tool Kit parameter functions
Compressor
Mixer
This effect is used to compress the overall output signal
when the input level exceeds a set value.
The mixer is used to adjust the volume of each frequency
band.
On/Off
Low Level
OFF, ON
This setting turns the compressor on or off.
CmpL: Thres
-24–0 dB
This parameter sets the volume level at which the low-band
compressor begins to affect the sound.
CmpL: Ratio
1:1.00–1:16.0, 1:INF
-80–+6 dB
Sets the volume level for the low band after the signal has passed
through the expander and compressor.
Mid Level
-80–+6 dB
Sets the volume level for the middle band after the signal has passed
through the expander and compressor.
This parameter sets the ratio for suppression of the low-band output
when the input level exceeds the Lo threshold.
High Level
CmpL: Attack
Sets the volume level for the upper band after the signal has passed
through the expander and compressor.
0–100 ms
-80–+6 dB
Sets the time it takes for the low-band compressor to start affecting
the sound once the input level exceeds the Lo threshold.
CmpL: Release
50–5000 ms
Sets the time it takes for the low-band compressor to stop affecting
the sound once the input level falls below the Lo threshold.
CmpM: Thres
-24–0 dB
This parameter sets the volume level at which the middle-band
compressor begins to affect the sound.
CmpM: Ratio
1:1.00–1:16.0, 1:INF
This parameter sets the ratio for suppression of the middle-band
output when the input level exceeds the Middle threshold.
CmpM: Attack
0–100 ms
Limiter
This effect is used to suppress high-level signals so that
distortion can be prevented.
On/Off
OFF, ON
This setting turns the limiter on or off.
Threshold
-24–0 dB
Adjust this parameter to match the input signal.
Attack
0–100 ms
Sets the time it takes for the middle-band compressor to start affecting
the sound once the input level exceeds the Middle threshold.
Adjusts the time it takes for the limiter to become active once the
input level exceeds the threshold level.
CmpM: Release
Release
50–5000 ms
Sets the time it takes for the middle-band compressor to stop affecting
the sound once the input level falls below the Middle threshold.
CmpH: Thres
50–5000 ms
This adjusts the time it takes for limiting to be removed once the
signal level drops below the threshold.
-24–0 dB
This parameter sets the volume level at which the high-band
compressor begins to affect the sound.
Output
CmpH: Ratio
This component is used to control the overall output.
1:1.00–1:16.0, 1:INF
This parameter sets the ratio for suppression of the high-band output
when the input level exceeds the Hi threshold.
CmpH: Attack
0–100 ms
CmpH: Release
50–5000 ms
Sets the time it takes for the high-band compressor to stop affecting
the sound once the input level falls below the Hi threshold.
Soft Clip
OFF, ON
Soft clipping suppresses the noticeable distortion that may occur
through heavy use of compression and limiting.
Dither
OFF, 24–8 BIT
This setting is used to prevent the action of muting sounds from
becoming too noticeable.
317
Section 9
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 -6 dB is implemented. Adjust the mixer level
if so required to compensate for this.
-80–+6 dB
Sets the volume level of the overall sound after the signal has passed
through the limiter.
Rev0.02
Sets the time it takes for the high-band compressor to start affecting
the sound once the input level exceeds the Hi threshold.
Level
Effect parameters assigned to VALUE knobs
When the insert effect patch setting screen is displayed, you can assign parameters you wish to control to value knobs VALUE 1
through VALUE 3.
When the effect patch selection screen is displayed, you can assign parameters you wish to control to value knobs VALUE 1
through VALUE 3.
Algorithm: COSM OD GUITAR AMP
Effect Block
COSM Overdrive/Distortion
COSM Preamp & Speaker
Simulator
Equalizer/Wah
4Band Equalizer
Wah
Foot Volume
FX
Compressor
Limiter
318
Abbreviation
On/Off
Type
Drive
Bass
Treble
Level
On/Off
Type
Gain
Bass
Middle
Treble
Presence
Level
Bright
Gain SW
Speaker SW
Speaker Type
Mic Setting
Mic Level
Direct Level
Amb Pre-Dly
Amb Size
Amb Density
Amb HF Damp
Amb Level
On/Off
Effect Type
Low Gain
Low-Mid Freq
Low-Mid Q
Low-Mid Gain
Hi-Mid Freq
Hi-Mid Q
Hi-Mid Gain
High Gain
Level
Type
Pedal Pos.
Level
Mode
Polarity
Sensitivity
Frequency
Peak
Rate
Depth
Level
On/Off
Threshold
Release
On/Off
On/Off
FX Select
Sustain
Attack
Tone
Level
Threshold
Release
Tone
Level
OD/DS ON/OFF
OD/DS TYPE
OD/DS DRIVE
OD/DS BASS
OD/DS TREBLE
OD/DS LEVEL
AMP ON/OFF
AMP TYPE
AMP GAIN
AMP BASS
AMP MIDDLE
AMP TREBLE
AMP PRESNC
AMP LEVEL
AMP BRIGHT
AMP GAIN SW
SP.SIM SP SW
SP.SIM SP TYPE
SP.SIM MIC SET
SP.SIM MIC LVL
SP.SIM DIR.LVL
AMB PRE-DLY
AMB SIZE
AMB DENSITY
AMB HF DAMP
AMB LEVEL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID F
EQ L.MID Q
EQ L.MID G
EQ H.MID F
EQ H.MID Q
EQ H.MID G
EQ HIGH
EQ LEVEL
WAH TYPE
WAH PEDAL
WAH LEVEL
A.WAH MODE
A.WAH POLARTY
A.WAH SENS
A.WAH FREQ
A.WAH PEAK
A.WAH RATE
A.WAH DEPTH
A.WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD SELECT
COMP SUST
COMP ATTACK
COMP TONE
COMP LEVEL
LIMITER THRESH.
LIMITER REL.
LIMITER TONE
LIMITER LEVEL
Acoustic Guitar Simulator
Pickup Simulator
Tremolo
Slow Gear
Defretter
Phaser
Flanger
Pitch Shifter
2x2 Chorus
Pan
Vibrato
Parameter
Abbreviation
Top
Body
Level
Type
Tone
Level
Wave Shape
Rate
Depth
Sensitivity
Rise Time
Tone
Sensitivity
Attack
Depth
Resonance
Effect Level
Direct Level
Type
Rate
Depth
Manual
Resonance
Step
Step Rate
Effect Level
Direct Level
Rate
Depth
Manual
Resonance
Separation
Effect Level
Direct Level
Voice
Mode 1
Pitch 1
Fine 1
Pre Delay 1
Feedback 1
Level 1
Mode 2
Pitch 2
Fine 2
Pre Delay 2
Level 2
Direct Level
Xover Freq
Low Rate
Low Depth
Low Pre-Dly
Low Level
High Rate
High Depth
High Pre-Dly
High Level
Wave Shape
Rate
Depth
Type
Rate
Depth
ACOUSTC TOP
ACOUSTC BODY
ACOUSTC LEVEL
PICKUP TYPE
PICKUP TONE
PICKUP LEVEL
TREMOLO WAVE
TREMOLO RATE
TREMOLO DEPTH
SLOW.G SENS
SLOW.G TIME
DEFRET TONE
DEFRET SENS
DEFRET ATTACK
DEFRET DEPTH
DEFRET RESO
DEFRET FX.LVL
DEFRET DIR.LVL
PHASER TYPE
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
PHASER STEP
PHASER S.RATE
PHASER FX.LVL
PHASER DIR.LVL
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
FLANGER FX.LVL
FLANGER DIR.LVL
P.SHIFT VOICE
P.SHIFT MODE1
P.SHIFT PITCH1
P.SHIFT FINE1
P.SHIFT PREDL1
P.SHIFT FBK1
P.SHIFT LEVEL1
P.SHIFT MODE2
P.SHIFT PITCH2
P.SHIFT FINE2
P.SHIFT PREDL2
P.SHIFT LEVEL2
P.SHIFT DIR.LVL
2CHORUS XOVER
2CHORUS L.RATE
2CHORUS L.DEPTH
2CHORUS L.PREDLY
2CHORUS L.LEVEL
2CHORUS H.RATE
2CHORUS H.DEPTH
2CHORUS H.PREDLY
2CHORUS H.LEVEL
PAN WAVE
PAN RATE
PAN DEPTH
VIBRATO TYPE
VIBRATO RATE
VIBRATO DEPTH
Rev0.02
Noise Suppressor
Parameter
Effect Block
Effect parameters assigned to VALUE knobs
Effect Block
Uni-V
Short Delay
Humanizer
Ring Modulator
Sub Equalizer
Delay
Chorus
Parameter
Abbreviation
Rate
Depth
Level
Delay Time
Feedback
Effect Level
Vowel1
Vowel2
Rate
Depth
Manual
Level
Freqency
Effect Level
Direct Level
Low Gain
Low-Mid Freq
Low-Mid Q
Low-Mid Gain
Hi-Mid Freq
Hi-Mid Q
Hi-Mid Gain
High Gain
Level
On/Off
Type
Delay Time
Tap Time
Feedback
Hi Cut Freq
Effect Level
On/Off
Mode
Rate
Depth
Pre Delay
Hi Cut Freq
Effect Level
UNI.V RATE
UNI.V DEPTH
UNI.V LEVEL
SHT.DLY TIME
SHT.DLY FEEDBCK
SHT.DLY LEVEL
HUMAN VOWEL1
HUMAN VOWEL2
HUMAN RATE
HUMAN DEPTH
HUMAN MANUAL
HUMAN LEVEL
RING.M FREQ
RING.M FX.LVL
RING.M DIR.LVL
SUB EQ LOW
SUB EQ L.MID F
SUB EQ L.MID Q
SUB EQ L.MID G
SUB EQ H.MID F
SUB EQ H.MID Q
SUB EQ H.MID G
SUB EQ HIGH
SUB EQ LEVEL
DELAY ON/OFF
DELAY TYPE
DELAY TIME
DELAY T.TIME
DELAY FEEDBCK
DELAY HI CUT
DELAY LEVEL
CHORUS ON/OFF
CHORUS MODE
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS HI CUT
CHORUS LEVEL
Acoustic Guitar Simulator
Compressor
Foot Volume
Modulation
Phaser
Pitch Shifter
Doubling
Tremolo/Pan
Delay
Parameter
Abbreviation
On/Off
Pickup Type
Character
Top-Hi
Top-Mid
Body
Level
On/Off
Sustain
Attack
Level
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
ASIM ON/OFF
ASIM PICKUP
ASIM CHAR
ASIM TOP-HI
ASIM TOP-MID
ASIM BODY
ASIM LEVEL
COMP ON/OFF
COMP SUST
COMP ATTACK
COMP LEVEL
EQ ON/OFF
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
Abbreviation
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: BASS SIM
Effect Block
Bass Simulator
Compressor/Defretter
Defretter
Noise Suppressor
Foot Volume
Modulation
Flanger
Chorus
Phaser
Pitch Shifter
Doubling
Parameter
Abbreviation
On/Off
Character
Level
On/Off
Effect Type
Sustain
Attack
Level
Sensitivity
Attack
Depth
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
B.SIM ON/OFF
B.SIM CHAR
B.SIM LEVEL
CMP/DEF ON/OFF
CMP/DEF TYPE
COMP SUST
COMP ATTACK
COMP LEVEL
DEFRET SENS
DEFRET ATTACK
DEFRET DEPTH
DEFRET LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
319
Section 9
Noise Suppressor
Chorus
Parameter
Rev0.02
4Band Equalizer
Flanger
Compressor
Algorithm: ACOUSTIC SIM
Effect Block
Effect Block
Effect parameters assigned to VALUE knobs
Effect Block
Parameter
Abbreviation
Tremolo/Pan
Mode
Rate
Depth
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
Algorithm: COSM COMP GUITAR AMP
Effect Block
COSM Comp/Limiter
PreAmp
Speaker Simulator
Equalizer/Wah
4Band Equalizer
Wah
Noise Suppressor
Foot Volume
Abbreviation
On/Off
Type
Attack
Sustain
Threshold
Input
Ratio
Attack Time
Release Time
Tone
Level
On/Off
Amp Type
Volume
Bass
Middle
Treble
Presence
Master
Bright
Gain
On/Off
Speaker Type
Mic Setting
Mic Level
Direct Level
On/Off
Effect Type
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
Wah Type
Polarity
Sensitivity
Frequency
Peak
Level
On/Off
Threshold
Release
On/Off
On/Off
Type
Feedback
Effect Level
Delay Time
CMP/LM ON/OFF
CMP/LM TYPE
CMP/LM ATTACK
CMP/LM SUST
CMP/LM THRESH.
CMP/LM INPUT
CMP/LM RATIO
CMP/LM ATTACK
CMP/LM REL.
CMP/LM TONE
CMP/LM LEVEL
AMP ON/OFF
AMP TYPE
AMP VOLUME
AMP BASS
AMP MIDDLE
AMP TREBLE
AMP PRESNC
AMP MASTER
AMP BRIGHT
AMP GAIN
SP.SIM ON/OFF
SP.SIM TYPE
SP.SIM MIC SET
SP.SIM MIC LVL
SP.SIM DIR.LVL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
WAH TYPE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
WAH PEAK
WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: ACOUSTIC GUITAR
Effect Block
Acoustic Processor
Compressor
320
4Band Equalizer
Noise Suppressor
Delay
Abbreviation
On/Off
Body
Mic Distance
Level
On/Off
Sustain
Attack
Level
AC ON/OFF
AC BODY
AC MIC DIST
AC LEVEL
COMP ON/OFF
COMP SUST
COMP ATTACK
COMP LEVEL
Abbreviation
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
Type
Feedback
Effect Level
Delay Time
EQ ON/OFF
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
NS ON/OFF
NS THRESH.
NS REL.
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: BASS MULTI
Effect Block
Compressor/Defretter
Compressor
Defretter
Octave
Enhancer
Equalizer/Wah
4Band Equalizer
Wah
Noise Suppressor
Foot Volume
Parameter
Parameter
Modulation
Flanger
Parameter
Abbreviation
On/Off
Effect Type
Sustain
Attack
Level
Sensitivity
Attack
Depth
Level
On/Off
Octave Level
Direct Level
On/Off
Sensitivity
Frequency
Mix Level
LowMix Level
Level
On/Off
Effect Type
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
Wah Type
Polarity
Sensitivity
Frequency
Peak
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
Rate
Depth
Manual
Resonance
Separation
CMP/DEF ON/OFF
CMP/DEF TYPE
COMP SUST
COMP ATTACK
COMP LEVEL
DEFRET SENS
DEFRET ATTACK
DEFRET DEPTH
DEFRET LEVEL
OCTAVER ON/OFF
OCTAVER OCT.LVL
OCTAVER DIR.LVL
ENHANCE ON/OFF
ENHANCE SENS
ENHANCE FREQ
ENHANCE MIX
ENHANCE LO.MIX
ENHANCE LEVEL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
WAH TYPE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
WAH PEAK
WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
Rev0.02
Delay
Parameter
Effect Block
Effect parameters assigned to VALUE knobs
Effect Block
Chorus
Phaser
Pitch Shifter
Doubling
Tremolo/Pan
Delay
Parameter
Abbreviation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Effect Block
Flanger
Chorus
Phaser
Pitch Shifter
Doubling
Tremolo/Pan
Algorithm: COSM BASS AMP
Delay
Effect Block
Compressor
PreAmp
Speaker Simulator
Equalizer/Wah
4Band Equalizer
Noise Suppressor
Modulation
On/Off
Sustain
Attack
Level
On/Off
Amp Type
Volume
Bass
Middle
Treble
Master
Bright
Gain
On/Off
Speaker Type
Mic Setting
Mic Level
Direct Level
On/Off
Effect Type
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
Wah Type
Polarity
Sensitivity
Frequency
Peak
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
COMP ON/OFF
COMP SUST
COMP ATTACK
COMP LEVEL
AMP ON/OFF
AMP TYPE
AMP VOLUME
AMP BASS
AMP MIDDLE
AMP TREBLE
AMP MASTER
AMP BRIGHT
AMP GAIN
SP.SIM ON/OFF
SP.SIM TYPE
SP.SIM MIC SET
SP.SIM MIC LVL
SP.SIM DIR.LVL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
WAH TYPE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
WAH PEAK
WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: COSM OD BASS AMP
Effect Block
COSM Comp/Limiter
COSM Overdrive/Distortion
COSM Preamp &
Speaker Simulator
Parameter
Abbreviation
On/Off
Type
Attack
Sustain
Threshold
Input
Ratio
Ratio
Attack Time
Release Time
Tone
Level
On/Off
Type
Drive
Bass
Treble
Level
Level
On/Off
Type
Bright
Response
Deep
Pre Shape
Enhancer
Gain
Treble
Ultra Hi
Middle
Middle freq
Bass
Ultra Lo
Level
Speaker SW
Speaker Type
Mic Setting
Mic Level
Direct Level
CMP/LM ON/OFF
CMP/LM TYPE
CMP/LM ATTACK
CMP/LM SUST
CMP/LM THRESH.
CMP/LM INPUT
CMP/LM RATIO
CMP/LM RATIO
CMP/LM ATTACK
CMP/LM REL.
CMP/LM TONE
CMP/LM LEVEL
OD/DS ON/OFF
OD/DS TYPE
OD/DS DRIVE
OD/DS BASS
OD/DS TREBLE
OD/DS FX.LVL
OD/DS DIR.LVL
AMP ON/OFF
AMP TYPE
AMP BRIGHT
AMP RESPONS
AMP DEEP
AMP P.SHAPE
AMP ENHANCE
AMP GAIN
AMP TREBLE
AMP ULTRA HI
AMP MIDDLE
AMP M.FREQ
AMP BASS
AMP ULTRA LO
AMP LEVEL
SP.SIM SP SW
SP.SIM SP TYPE
SP.SIM MIC SET
SP.SIM MIC LVL
SP.SIM DIR.LVL
321
Section 9
Foot Volume
Abbreviation
Abbreviation
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
Rev0.02
Wah
Parameter
Parameter
Effect parameters assigned to VALUE knobs
Effect Block
Equalizer/Wah
3Band Equalizer
Wah
Noise Suppressor
Foot Volume
FX
Octave
Enhancer
Slow Gear
Defretter
Ring Modulator
Phaser
322
Abbreviation
On/Off
Effect Type
Low Gain
Low Freq
Low Q
Mid Gain
Mid Freq
Mid Q
High Gain
High Freq
High Q
Level
Type
Pedal Pos.
Level
TW Mode
TW Polarity
TW Sensitivity
TW Frequency
TW Peak
TW Depth
TW Level
AW Mode
AW Rate
AW Depth
AW Frequency
AW Peak
AW Polarity
AW Sensitivity
AW Level
On/Off
Threshold
Release
On/Off
On/Off
FX Select
Effect Level
Direct Level
Sensitivity
Frequency
Mix Level
Sensitivity
Rise Time
Sensitivity
Attack
Depth
Level
Freqency
Effect Level
Direct Level
Type
Rate
Depth
Manual
Resonance
Step
Step Rate
Level
Rate
Depth
Manual
Resonance
Separation
Low Cut
Level
FILTER ON/OFF
FILTER TYPE
EQ L.GAIN
EQ L.FREQ
EQ L.Q
EQ M.GAIN
EQ M.FREQ
EQ M.Q
EQ H.GAIN
EQ H.FREQ
EQ H.Q
EQ LEVEL
WAH TYPE
WAH PEDAL
WAH LEVEL
T.WAH MODE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
T.WAH PEAK
T.WAH DEPTH
T.WAH LEVEL
A.WAH MODE
A.WAH RATE
A.WAH DEPTH
A.WAH FREQ
A.WAH PEAK
A.WAH POLARTY
A.WAH SENS
A.WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD SELECT
OCT FX.LVL
OCT DIR.LVL
ENH SENS
ENH FREQ
ENH MIX.LVL
SLOW.G SENS
SLOW.G TIME
DEFRET SENS
DEFRET ATTACK
DEFRET DEPTH
DEFRET LEVEL
RING.M FREQ
RING.M FX.LVL
RING.M DIR.LVL
PHASER TYPE
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
PHASER STEP
PHASER S.RATE
PHASER LEVEL
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
FLANGER LO CUT
FLANGER LEVEL
Effect Block
Pitch Shifter
2x2 Chorus
Short Delay
Vibrato
Humanizer
Tremolo
Pan
Chorus
Delay
Parameter
Abbreviation
Voice
Mode 1
Pitch 1
Fine 1
Pre Delay 1
Feedback 1
Level 1
Mode 2
Pitch 2
Fine 2
Pre Delay 2
Level 2
Direct Level
Xover Freq
Low Rate
Low Depth
Low Pre-Dly
Low Level
High Rate
High Depth
High Pre-Dly
High Level
Delay Time
Feedback
Effect Level
Type
Rate
Depth
Vowel1
Vowel2
Rate
Depth
Manual
Level
Wave Shape
Rate
Depth
Wave Shape
Rate
Depth
On/Off
Mode
Rate
Depth
Pre Delay
Low Cut Freq
Effect Level
On/Off
Type
Delay Time
Tap Time
Feedback
Hi Cut Freq
Effect Level
P.SHIFT VOICE
P.SHIFT MODE1
P.SHIFT PITCH1
P.SHIFT FINE1
P.SHIFT PREDL1
P.SHIFT FBK1
P.SHIFT LEVEL1
P.SHIFT MODE2
P.SHIFT PITCH2
P.SHIFT FINE2
P.SHIFT PREDL2
P.SHIFT LEVEL2
P.SHIFT DIR.LVL
2CHORUS XOVER
2CHORUS L.RATE
2CHORUS L.DEPTH
2CHORUS L.PREDLY
2CHORUS L.LEVEL
2CHORUS H.RATE
2CHORUS H.DEPTH
2CHORUS H.PREDLY
2CHORUS H.LEVEL
SHT.DLY TIME
SHT.DLY FEEDBCK
SHT.DLY LEVEL
VIBRATO TYPE
VIBRATO RATE
VIBRATO DEPTH
HUMAN VOWEL1
HUMAN VOWEL2
HUMAN RATE
HUMAN DEPTH
HUMAN MANUAL
HUMAN LEVEL
TREMOLO WAVE
TREMOLO RATE
TREMOLO DEPTH
PAN WAVE
PAN RATE
PAN DEPTH
CHORUS ON/OFF
CHORUS MODE
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LO CUT
CHORUS LEVEL
DELAY ON/OFF
DELAY TYPE
DELAY TIME
DELAY T.TIME
DELAY FEEDBCK
DELAY HI CUT
DELAY LEVEL
Rev0.02
Flanger
Parameter
Effect parameters assigned to VALUE knobs
Algorithm: COSM COMP BASS AMP
Effect Block
COSM Compressor/Limiter
PreAmp
Speaker Simulator
Equalizer/Wah
4Band Equalizer
Wah
Noise Suppressor
Foot Volume
Delay
Parameter
Abbreviation
On/Off
Type
Attack
Sustain
Threshold
Input
Ratio
Ratio
Attack Time
Release Time
Tone
Level
On/Off
Amp Type
Volume
Bass
Middle
Treble
Master
Bright
Gain
On/Off
Speaker Type
Mic Setting
Mic Level
Direct Level
On/Off
Effect Type
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
Wah Type
Polarity
Sensitivity
Frequency
Peak
Level
On/Off
Threshold
Release
On/Off
On/Off
Type
Feedback
Effect Level
Delay Time
CMP/LM ON/OFF
CMP/LM TYPE
CMP/LM ATTACK
CMP/LM SUST
CMP/LM THRESH.
CMP/LM INPUT
CMP/LM RATIO
CMP/LM RATIO
CMP/LM ATTACK
CMP/LM REL.
CMP/LM TONE
CMP/LM LEVEL
AMP ON/OFF
AMP TYPE
AMP VOLUME
AMP BASS
AMP MIDDLE
AMP TREBLE
AMP MASTER
AMP BRIGHT
AMP GAIN
SP.SIM ON/OFF
SP.SIM TYPE
SP.SIM MIC SET
SP.SIM MIC LVL
SP.SIM DIR.LVL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
WAH TYPE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
WAH PEAK
WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Effect Block
Compressor
De-esser
Noise Suppressor
Foot Volume
Modulation
Flanger
Chorus
Phaser
Pitch Shifter
Doubling
Tremolo/Pan
Delay
Abbreviation
On/Off
Sustain
Attack
Level
On/Off
Sibilant Lvl
Level
On/Off
Sensitivity
Frequency
Mix Level
LowMix Level
Level
COMP ON/OFF
COMP SUST
COMP ATTACK
COMP LEVEL
DESSER ON/OFF
DESSER S.LVL
DESSER LEVEL
ENHANCE ON/OFF
ENHANCE SENS
ENHANCE FREQ
ENHANCE MIX
ENHANCE LO.MIX
ENHANCE LEVEL
EQ ON/OFF
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: VOICE TRANSFORMER
Effect Block
Voice Transformer
Noise Suppressor
Parameter
Abbreviation
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
Foot Volume
Modulation
Flanger
Chorus
Parameter
Abbreviation
On/Off
Formant1
Formant2
EffectLevel1
EffectLevel2
Direct Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
VOICE ON/OFF
VOICE FORM1
VOICE FORM2
VOICE FX1.LVL
VOICE FX2.LVL
VOICE DIR.LVL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
323
Section 9
Enhancer
4Band Equalizer
Parameter
Rev0.02
Algorithm: VOCAL MULTI
Effect Block
Effect parameters assigned to VALUE knobs
Effect Block
Phaser
Pitch Shifter
Doubling
Tremolo/Pan
Delay
Parameter
Abbreviation
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Algorithm: COSM VOCAL COMP
Effect Block
COSM Compressor/Limiter
De-esser
Enhancer
4Band Equalizer
Foot Volume
Delay
Abbreviation
On/Off
Type
Attack
Sustain
Threshold
Input
Ratio
Ratio
Attack Time
Release Time
Tone
Level
On/Off
Sibilant Lvl
Level
On/Off
Sensitivity
Frequency
Mix Level
LowMix Level
Level
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
On/Off
Type
Feedback
Effect Level
Delay Time
CMP/LM ON/OFF
CMP/LM TYPE
CMP/LM ATTACK
CMP/LM SUST
CMP/LM THRESH.
CMP/LM INPUT
CMP/LM RATIO
CMP/LM RATIO
CMP/LM ATTACK
CMP/LM REL.
CMP/LM TONE
CMP/LM LEVEL
DESSER ON/OFF
DESSER S.LVL
DESSER LEVEL
ENHANCE ON/OFF
ENHANCE SENS
ENHANCE FREQ
ENHANCE MIX
ENHANCE LOW MIX
ENHANCE LEVEL
EQ ON/OFF
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Effect Block
Mic Converter
Bass Cut Filter
Distance
Limiter
Abbreviation
On/Off
Input
Output
Phase
On/Off
Cut Off Freq
On/Off
Prox.Fx
Time
On/Off
Attack
Release
Detect HPF
Threshold
Level
MIC ON/OFF
MIC INPUT
MIC OUTPUT
MIC PHASE
BASS CUT ON/OFF
BASS CUT FREQ
DS ON/OFF
DS PROXFX
DS TIME
LIMITER ON/OFF
LIMITER ATTACK
LIMITER REL.
LIMITER D.HPF
LIMITER THRESH.
LIMITER LEVEL
Algorithm: STEREO MULTI
Effect Block
Compressor
Ring Modulator
Equalizer/Wah
4Band Equalizer
Wah
Noise Suppressor
Foot Volume
Modulation
Flanger
Chorus
Phaser
Pitch Shifter
Doubling
324
Parameter
Parameter
Abbreviation
On/Off
Sustain
Attack
Level
On/Off
Frequency
Effect Level
Direct Level
On/Off
Effect Type
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
Wah Type
Polarity
Sensitivity
Frequency
Peak
Level
On/Off
Threshold
Release
On/Off
On/Off
Effect Type
Rate
Depth
Manual
Resonance
Separation
Rate
Depth
Pre Delay
Effect Level
Rate
Depth
Manual
Resonance
P.Shift Type
Pitch
D:E Balance
Separation
Delay Time
Separation
Effect Level
COMP ON/OFF
COMP SUST
COMP ATTACK
COMP LEVEL
RING ON/OFF
RING FREQ
RING FX.LVL
RING DIR.LVL
FILTER ON/OFF
FILTER TYPE
EQ LOW
EQ L.MID G
EQ L.MID F
EQ L.MID Q
EQ H.MID G
EQ H.MID F
EQ H.MID Q
EQ HIGH
EQ LEVEL
WAH TYPE
T.WAH POLARTY
T.WAH SENS
T.WAH FREQ
WAH PEAK
WAH LEVEL
NS ON/OFF
NS THRESH.
NS REL.
FOOT ON/OFF
MOD ON/OFF
MOD TYPE
FLANGER RATE
FLANGER DEPTH
FLANGER MANUAL
FLANGER RESO
FLANGER SEP
CHORUS RATE
CHORUS DEPTH
CHORUS PREDLY
CHORUS LEVEL
PHASER RATE
PHASER DEPTH
PHASER MANUAL
PHASER RESO
P.SHIFT TYPE
P.SHIFT PITCH
P.SHIFT D:E
P.SHIFT SEP
DOUBL'N DELAY
DOUBL'N SEP
DOUBL'N LEVEL
Rev0.02
Noise Suppressor
Parameter
Algorithm: MIC MODELING
Effect parameters assigned to VALUE knobs
Effect Block
Tremolo/Pan
Delay
Parameter
Abbreviation
Mode
Rate
Depth
On/Off
Type
Feedback
Effect Level
Delay Time
TRM/PAN MODE
TRM/PAN RATE
TRM/PAN DEPTH
DELAY ON/OFF
DELAY TYPE
DELAY FEEDBCK
DELAY LEVEL
DELAY TIME
Effect Block
PreAmp
Algorithm: LO-FI BOX
Effect Block
Lo-Fi
Noise Suppressor
Parameter
Abbreviation
On/Off
Effect Type
Tuning
Noise
Filter
D:E Balance
Wow Flutter
Noise
Filter
D:E Balance
Pre Filter
Sample Rate
Bit
Post Filter
Effect Level
Direct Level
ModifyFilter
Cutoff Freq
Resonance
Gain
On/Off
Threshold
Release
LO-FI ON/OFF
LO-FI TYPE
LO-FI TUNING
LO-FI NOISE
LO-FI FILTER
LO-FI D:E
LO-FI WOW
LO-FI NOISE
LO-FI FILTER
LO-FI D:E
LO-FI PRE FLT
LO-FI SMPL.R
LO-FI BIT
LO-FI POST FLT
LO-FI FX.LVL
LO-FI DIR.LVL
LO-FI MOD FLT
LO-FI CUTOFF
LO-FI RESO
LO-FI GAIN
NS ON/OFF
NS THRESH.
NS REL.
Compressor (Mic)
4Band Equalizer
Delay (Mic)
Compressor (Guitar)
Delay (Guitar)
Parameter
Abbreviation
On/Off
Sustain
Attack
Level
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
Delay Time
Feedback
Effect Level
On/Off
Sustain
Attack
Level
M:COMP ON/OFF
M:COMP SUST
M:COMP ATTACK
M:COMP LEVEL
M:EQ ON/OFF
M:EQ LOW
M:EQ L.MID G
M:EQ L.MID F
M:EQ L.MID Q
M:EQ H.MID G
M:EQ H.MID F
M:EQ H.MID Q
M:EQ HIGH
M:EQ LEVEL
M:NS ON/OFF
M:NS THRESH.
M:NS REL.
M:DELAY ON/OFF
M:DELAY TIME
M:DELAY FEEDBCK
M:DELAY LEVEL
E:COMP ON/OFF
E:COMP SUST
E:COMP ATTACK
E:COMP LEVEL
Abbreviation
On/Off
Amp Type
Volume
Bass
Middle
Treble
Presence
Presence
Master
Bright
Gain
On/Off
Speaker Type
Mic Setting
Mic Level
Direct Level
On/Off
Threshold
Release
On/Off
Delay Time
Feedback
Effect Level
E:AMP ON/OFF
E:AMP TYPE
E:AMP VOLUME
E:AMP BASS
E:AMP MIDDLE
E:AMP TREBLE
E:AMP PRESNC
E:AMP PRESNC
E:AMP MASTER
E:AMP BRIGHT
E:AMP GAIN
E:SP.SIM ON/OFF
E:SP.SIM TYPE
E:SP.SIM MIC SET
E:SP.SIM MIC LVL
E:SP.SIM DIR.LVL
E:NS ON/OFF
E:NS THRESH.
E:NS REL.
E:DELAY ON/OFF
E:DELAY TIME
E:DELAY FEEDBCK
E:DELAY LEVEL
Algorithm: VO+AC.SIM
Effect Block
Compressor (Mic)
Noise Suppressor (Mic)
Delay (Mic)
Acoustic Guitar Simulator
(Guitar)
Compressor (Guitar)
Noise Suppressor (Guitar)
Delay (Guitar)
Abbreviation
On/Off
Sustain
Attack
Level
On/Off
Low Gain
Low-Mid Gain
Low-Mid Freq
Low-Mid Q
Hi-Mid Gain
Hi-Mid Freq
Hi-Mid Q
High Gain
Level
On/Off
Threshold
Release
On/Off
Delay Time
Feedback
Effect Level
On/Off
Pickup Type
Character
Top-Hi
Top-Mid
Body
Level
On/Off
Sustain
Attack
Level
On/Off
Threshold
Release
On/Off
Delay Time
Feedback
Effect Level
M:COMP ON/OFF
M:COMP SUST
M:COMP ATTACK
M:COMP LEVEL
M:EQ ON/OFF
M:EQ LOW
M:EQ L.MID G
M:EQ L.MID F
M:EQ L.MID Q
M:EQ H.MID G
M:EQ H.MID F
M:EQ H.MID Q
M:EQ HIGH
M:EQ LEVEL
M:NS ON/OFF
M:NS THRESH.
M:NS REL.
M:DLY ON/OFF
M:DLY TIME
M:DLY FEEDBCK
M:DLY LEVEL
E:ASIM ON/OFF
E:ASIM PICKUP
E:ASIM CHAR
E:ASIM TOP-HI
E:ASIM TOP-MID
E:ASIM BODY
E:ASIM LEVEL
E:COMP ON/OFF
E:COMP SUST
E:COMP ATTACK
E:COMP LEVEL
E:NS ON/OFF
E:NS THRESH.
E:NS REL.
E:DLY ON/OFF
E:DLY TIME
E:DLY FEEDBCK
E:DLY LEVEL
325
Section 9
Parameter
Rev0.02
Noise Suppressor (Mic)
Noise Suppressor (Guitar)
4Band Equalizer (Mic)
Algorithm: VO+GT.AMP
Effect Block
Speaker Simulator
Parameter
Effect parameters assigned to VALUE knobs
Algorithm: VO+ACOUSTIC
Effect Block
Compressor (Mic)
Noise Suppressor (Mic)
Acoustic Processor
Compressor (Guitar)
Noise Suppressor (Guitar)
Parameter
Abbreviation
On/Off
Sustain
Attack
Level
On/Off
Threshold
Release
On/Off
Body
Mic Distance
Level
On/Off
Sustain
Attack
Level
On/Off
Threshold
Release
M:COMP ON/OFF
M:COMP SUST
M:COMP ATTACK
M:COMP LEVEL
M:NS ON/OFF
M:NS THRESH.
M:NS REL.
A:AC ON/OFF
A:AC BODY
A:AC MIC.D
A:AC LEVEL
A:COMP ON/OFF
A:COMP SUST
A:COMP ATTACK
A:COMP LEVEL
A:NS ON/OFF
A:NS THRESH.
A:NS REL.
Rev0.02
326
Insert Effect Patch List
GUITAR
No.
Patch Name
Algorithm
No.
Patch Name
Algorithm
COSM OD GUITAR AMP
P051
OCT FUZZ
COSM OD GUITAR AMP
P002
JAZZ TONE AM
COSM OD GUITAR AMP
P052
WOMAN TONE
COSM OD GUITAR AMP
P003
CLASIC DIST
COSM OD GUITAR AMP
P053
SCREAM TWEED
COSM OD GUITAR AMP
P004
FAT CRNC AMB
COSM OD GUITAR AMP
P054
WAH LEAD
COSM OD GUITAR AMP
P005
FUZZ+MS1959
COSM OD GUITAR AMP
P055
BIG !
COSM OD GUITAR AMP
P006
R-FIER METAL
COSM OD GUITAR AMP
P056
PEDAL OCT UP
COSM OD GUITAR AMP
P007
HiGain BG
COSM OD GUITAR AMP
P057
Clean Lead
COSM COMP GUITAR AMP
P008
SOLID DRIVE
COSM OD GUITAR AMP
P058
FUNK CRY WAH
COSM OD GUITAR AMP
P009
VO CHORD!
COSM OD GUITAR AMP
P059
ANOTHER BRIC
COSM OD GUITAR AMP
P010
METAL LD AMB
COSM OD GUITAR AMP
P060
COOL CRUNCH
COSM OD GUITAR AMP
P011
WARM DRIVE
COSM OD GUITAR AMP
P061
Fat Clean
COSM COMP GUITAR AMP
P012
70s US ROCK
COSM OD GUITAR AMP
P062
R'BILLY CRUN
COSM OD GUITAR AMP
P013
Studio Amp M
COSM COMP GUITAR AMP
P063
TOUCH WAH
COSM OD GUITAR AMP
P014
DIRTY FUZZ
COSM OD GUITAR AMP
P064
AUSTIN BOOGI
COSM OD GUITAR AMP
P015
BG CLEAN AMB
COSM OD GUITAR AMP
P065
SPACE PHASER
COSM OD GUITAR AMP
P016
EARLY 60s UK
COSM OD GUITAR AMP
P066
DELAY GATE
COSM OD GUITAR AMP
P017
MATCH LEAD
COSM OD GUITAR AMP
P067
SLOW GEAR
COSM OD GUITAR AMP
P018
MsHigain AMB
COSM OD GUITAR AMP
P068
FRETLESS
COSM OD GUITAR AMP
P019
CRUNCH AMBI
COSM OD GUITAR AMP
P069
PEDAL OCT EC
COSM OD GUITAR AMP
P020
PRE FLANGER
COSM OD GUITAR AMP
P070
SPACE ECHO
COSM OD GUITAR AMP
P021
ST DETUNE CR
COSM OD GUITAR AMP
P071
ACOUSTY
ACOUSTIC SIM
P022
HEAVY!!
COSM OD GUITAR AMP
P072
Brite Acustc
ACOUSTIC SIM
P023
D-Comp Lead
COSM COMP GUITAR AMP
P073
ACO w/PZO
ACOUSTIC SIM
P024
SMOOTH LEAD
COSM OD GUITAR AMP
P074
AC Sim4Slide
ACOUSTIC SIM
P025
SLDN STACK
COSM OD GUITAR AMP
P075
Dream Acustc
ACOUSTIC SIM
P026
R&R DRIVE
COSM OD GUITAR AMP
P076
Tight Bass
BASS SIM
P027
FAT DRIVE
COSM OD GUITAR AMP
P077
Loose Bass
BASS SIM
P028
60s UK
COSM COMP GUITAR AMP
P078
BASS SIMw/Ch
BASS SIM
P029
HEAVY FLANGE
COSM OD GUITAR AMP
P079
UPRT PHSD!
BASS SIM
P030
OCT AW LEAD
COSM OD GUITAR AMP
P080
GT>FRETLESS!
BASS SIM
P031
CountryCOMP
COSM COMP GUITAR AMP
P081
Natural AG
ACOUSTIC GUITAR
P032
TREMOLO TWIN
COSM OD GUITAR AMP
P082
AcousticSolo
ACOUSTIC GUITAR
P033
PEDAL VIBRT
COSM OD GUITAR AMP
P083
MIC'D ACUSTC
ACOUSTIC GUITAR
P034
LFO FILTER
COSM OD GUITAR AMP
P084
NICE ACUSTC
ACOUSTIC GUITAR
P035
MS1959 LEAD
COSM OD GUITAR AMP
P085
WIDE ACUSTC
ACOUSTIC GUITAR
P036
SPACY CLEAN
COSM OD GUITAR AMP
P086
SLAP 'n POP
BASS MULTI
P037
BIG FUNK
COSM COMP GUITAR AMP
P087
Phase Bass
BASS MULTI
P038
UNI-V FUZZ
COSM OD GUITAR AMP
P088
FLIPTOP SOUL
COSM BASS AMP
P039
HiGain Boost
COSM OD GUITAR AMP
P089
SQUEEZ BASS
COSM COMP BASS AMP
P040
VO STACK
COSM OD GUITAR AMP
P090
C-StudioBASS
COSM COMP BASS AMP
P041
STACK DIST
COSM OD GUITAR AMP
P091
COSMBsTUBES
COSM BASS AMP
P042
DETUNE BG
COSM OD GUITAR AMP
P092
PUNK BASS
COSM BASS AMP
P043
UK StudioGTR
COSM COMP GUITAR AMP
P093
SUSTAIN BASS
COSM COMP BASS AMP
P044
FAT STRAT
COSM OD GUITAR AMP
P094
BIG 8-STG BS
BASS MULTI
P045
COMPRE-BILLY
COSM COMP GUITAR AMP
P095
MIAMI FRETLS
BASS MULTI
P046
HEAVY RECT
COSM OD GUITAR AMP
P096
STADIUM BASS
COSM COMP BASS AMP
P047
COOL AC DRIV
COSM OD GUITAR AMP
P097
OCTAVE BASS
BASS MULTI
P048
DS+MS HiGain
COSM OD GUITAR AMP
P098
NO FRET SOLO
BASS MULTI
P049
Scoop'dMetal
COSM OD GUITAR AMP
P099
DRIVIN' BASS
COSM BASS AMP
P050
WAH STACK
COSM OD GUITAR AMP
P100
GRUNGE BASS
COSM BASS AMP
Section 9
CLEAN JC-120
Rev0.02
P001
327
Insert Effect Patch List
MIC
No.
Patch Name
Algorithm
P101
Mtown LoDown
COSM OD BASS AMP
P102
Liverpool
COSM OD BASS AMP
P103
B-M Exprosed
COSM OD BASS AMP
P104
Geddy's
COSM OD BASS AMP
P105
No.1 Player
COSM OD BASS AMP
P106
Bare Bass360
COSM OD BASS AMP
P107
Brite Isle
COSM OD BASS AMP
P108
Roto Drive
COSM OD BASS AMP
P109
CloseSession
COSM OD BASS AMP
P110
Fieldy's
COSM OD BASS AMP
P111
Deep&Throaty
COSM OD BASS AMP
P112
Grunge GT-6B
COSM OD BASS AMP
P113
Anthony FLNG
COSM OD BASS AMP
P114
Pitch Double
COSM OD BASS AMP
P115
PseudoDefret
COSM OD BASS AMP
P116
Graham Slap
COSM OD BASS AMP
P117
Lowdown
COSM OD BASS AMP
P118
EnhancedSlap
COSM OD BASS AMP
P119
Demon Child
COSM OD BASS AMP
P120
Funkadelic
COSM OD BASS AMP
Patch Name
Algorithm
P001
VOCAL COMP 1
COSM VOCAL COMP
P002
VOCAL COMP 2
COSM VOCAL COMP
P003
KICK COMP
COSM VOCAL COMP
P004
SNARE COMP
COSM VOCAL COMP
P005
BRASS COMP
COSM VOCAL COMP
P006
VOCAL EFX 1
VOCAL MULTI
P007
VOCAL EFX 2
VOCAL MULTI
P008
VOCAL EFX 3
VOCAL MULTI
P009
VOCAL EFX 4
VOCAL MULTI
P010
NARRATION
VOCAL MULTI
P011
VOX DOUBLER
VOCAL MULTI
P012
VOX DETUNE
VOCAL MULTI
P013
KARAOKE VOX
VOCAL MULTI
P014
UNISON VOX
VOICE TRANSFORMER
P015
STUTTER VOX
VOICE TRANSFORMER
P016
D. VADER
VOICE TRANSFORMER
P017
ALIEN VOX...
VOICE TRANSFORMER
P018
BULL HORN
VOCAL MULTI
P019
SEAGULLS?
VOICE TRANSFORMER
P020
SOOO DEEP!!!
VOICE TRANSFORMER
P021
BRIGHT CHOIR
VOCAL MULTI
P022
RICH BRASS
VOCAL MULTI
P023
CM+DARK EQ
VOCAL MULTI
P024
CM+VOCAL EQ
VOCAL MULTI
P025
CM+BRIGHT EQ
VOCAL MULTI
P026
ENH+BASS CUT
VOCAL MULTI
P027
ST.AUTOPAN
VOCAL MULTI
P028
SLOW FLANGE
VOCAL MULTI
P029
FAST FLANGE
VOCAL MULTI
P030
SLOW CHORUS
VOCAL MULTI
P031
SLAPBACK DLY
VOCAL MULTI
P032
BIG EQ+S.DLY
VOCAL MULTI
P033
BALLAD EFX
VOCAL MULTI
P034
PTCH FIX-1/2
VOCAL MULTI
P035
PTCH FIX+1/2
VOCAL MULTI
P036
CMP+DES+ENH
VOCAL MULTI
P037
CMP+ENH+EQ
VOCAL MULTI
P038
CMP+DES+EQ
VOCAL MULTI
P039
CMP+EQ+DBL
VOCAL MULTI
P040
CMP+EQ+DTUNE
VOCAL MULTI
P041
57 to 58
MIC MODELING
P042
57 to 421
MIC MODELING
P043
57 to 451
MIC MODELING
P044
DR20 to 421
MIC MODELING
P045
DR20 to 451
MIC MODELING
P046
DR20 to 87
MIC MODELING
P047
C3KB to 57
MIC MODELING
P048
C3KB to 58
MIC MODELING
P049
C3KB to 421
MIC MODELING
P050
C3KB to 451
MIC MODELING
Rev0.02
328
No.
Insert Effect Patch List
STEREO
No.
SIMUL
Patch Name
Algorithm
No.
Patch Name
Algorithm
STEREO MULTI
P001
EQ + JC120
VO+GT.AMP
CMP+THIN EQ
STEREO MULTI
P002
DELAY+ JC120
VO+GT.AMP
P003
CMP+TIGHT EQ
STEREO MULTI
P003
COMP +CLN TW
VO+GT.AMP
P004
CMP+BIG EQ
STEREO MULTI
P004
EQ + DRV TW
VO+GT.AMP
P005
CMP+SMALL EQ
STEREO MULTI
P005
COMP +SM AMP
VO+GT.AMP
P006
T'WAH : UP
STEREO MULTI
P006
EQ + CRUNCH
VO+GT.AMP
P007
T'WAH : DOWN
STEREO MULTI
P007
EQ + MATCH
VO+GT.AMP
P008
RING MOD:LO
STEREO MULTI
P008
DELAY+ match
VO+GT.AMP
P009
RING MOD:HI
STEREO MULTI
P009
BRT. EQ + VO
VO+GT.AMP
P010
TOTAL RNGMOD
STEREO MULTI
P010
LITE CM + vo
VO+GT.AMP
P011
DEEP FLANGE
STEREO MULTI
P011
EQ&CMP+BLUES
VO+GT.AMP
P012
LO&SLOW FLNG
STEREO MULTI
P012
COMP&EQ + BG
VO+GT.AMP
P013
LO&FAST FLNG
STEREO MULTI
P013
EQ&DELAY +bg
VO+GT.AMP
P014
HI&SLOW FLNG
STEREO MULTI
P014
EQ&DL+ML (1)
VO+GT.AMP
P015
HI&FAST FLNG
STEREO MULTI
P015
CM&DL+ml (1)
VO+GT.AMP
P016
ST CHORUS
STEREO MULTI
P016
DELAY+ML 1+2
VO+GT.AMP
P017
SLOW CHORUS
STEREO MULTI
P017
CM&EQ+ml LD
VO+GT.AMP
P018
FAST CHORUS
STEREO MULTI
P018
CHRS&DL+SLDN
VO+GT.AMP
P019
PRE-DLY CHRS
STEREO MULTI
P019
HVY CM+MTLms
VO+GT.AMP
P020
VNTG PHASER
STEREO MULTI
P020
BIG EQ+METAL
VO+GT.AMP
P021
MDRN PHASER
STEREO MULTI
P021
DIRECT+H-STD
VO+AC.SIM
P022
DEEP PHASE
STEREO MULTI
P022
BRT.EQ+S-STD
VO+AC.SIM
P023
PHAT PHASE
STEREO MULTI
P023
CMP&EQ+H-JUM
VO+AC.SIM
P024
PS: DETUNE
STEREO MULTI
P024
CMP&EQ+S-JUM
VO+AC.SIM
P025
PS: -1 OCTV
STEREO MULTI
P025
LNG DL+H-ENH
VO+AC.SIM
P026
PS: +1 OCTV
STEREO MULTI
P026
BIG CM+S-ENH
VO+AC.SIM
P027
ST DOUBLER
STEREO MULTI
P027
BIG EQ+H-PZO
VO+AC.SIM
P028
MONO>>STEREO STEREO MULTI
P028
DL EFX+S-PZO
VO+AC.SIM
P029
SLOW PANNER
STEREO MULTI
P029
CMP&EQ+PZO 1
VO+AC.SIM
P030
FAST PANNER
STEREO MULTI
P030
DL EFX+PZO 2
VO+AC.SIM
P031
CHORUS+DELAY
STEREO MULTI
P031
DIRECT+SIM 1
VO+AC.SIM
P032
CHRS+TAP DLY
STEREO MULTI
P032
HVY CM+SIM 2
VO+AC.SIM
P033
PHS+SLAPBACK
STEREO MULTI
P033
HVY EQ+SIM 3
VO+AC.SIM
P034
FLNG+TAP DLY
STEREO MULTI
P034
50msDL+SIM 4
VO+AC.SIM
P035
LO COMB FLTR
STEREO MULTI
P035
CMP&EQ+SIM 5
VO+AC.SIM
P036
HI COMB FLTR
STEREO MULTI
P036
COMP +AC.MIC
VO+ACOUSTIC
P037
120BPM R-MOD
STEREO MULTI
P037
COMP+CLS.MIC
VO+ACOUSTIC
P038
ST PAN+DELAY
STEREO MULTI
P038
COMP+DIS.MIC
VO+ACOUSTIC
P039
ST TREMOLO
STEREO MULTI
P039
COMP+FAR MIC
VO+ACOUSTIC
P040
120BPM SLICE
STEREO MULTI
P040
COMP+DYN.MIC
VO+ACOUSTIC
P041
1920's RADIO
LO-FI BOX
P041
COMP+CDN.MIC
VO+ACOUSTIC
P042
1940's RADIO
LO-FI BOX
P042
COMP +DIRECT
VO+ACOUSTIC
P043
1960's RADIO
LO-FI BOX
P043
N.S.+VNT.CDN
VO+ACOUSTIC
P044
EARLY EDISON
LO-FI BOX
P044
COMP +COMP 1
VO+ACOUSTIC
P045
VINTAGE 45's
LO-FI BOX
P045
D.I. +COMP 2
VO+ACOUSTIC
P046
CLASSIC LP
LO-FI BOX
P046
COMP +COMP 3
VO+ACOUSTIC
P047
VNTG SAMPLER
LO-FI BOX
P047
N.SUP+COMP 4
VO+ACOUSTIC
P048
1985 SAMPLER
LO-FI BOX
P048
COMP +COMP 5
VO+ACOUSTIC
P049
R-MOD SAMPLE
LO-FI BOX
P049
COMP+SML.MIC
VO+ACOUSTIC
LO-FI BOX
P050
COMP+LRG.MIC
VO+ACOUSTIC
P050 2-BIT DISTOR
Section 9
CMP+FAT EQ
P002
Rev0.02
P001
329
Vocal Tool Box Patch List
No.
P001
P002
P003
Patch Name
Smooth Alto
No.
Algorithm
PITCH CORRECTION
Smooth Sop.
PITCH CORRECTION
Smooth Tenor
PITCH CORRECTION
P004
Smooth Bari.
PITCH CORRECTION
P005
Machine Tune
PITCH CORRECTION
Patch Name
Algorithm
P006
Clean Harmny
HARMONY SEQUENCE
P007
Natural Cho.
HARMONY SEQUENCE
P008
Wide Chorus
HARMONY SEQUENCE
P009
Spacy Chorus
HARMONY SEQUENCE
P010
Bad Harmony
HARMONY SEQUENCE
Speaker Modeling Patch List
No.
Patch Name
No.
Patch Name
No.
Patch Name
SuperFlt 90
P016
SmalCube 50
P031
SmallTV 30
P002
P.GenBlk 90
P017
WhiteCon 50
P032
BoomBox 30
P003
P.E-Bs
90
P018
W.C+tiss 50
P033
BB.LowBs 30
P004
P.Mack
90
P019
S.Radio 50
P034
SuperFlt CM
P005
SmalCube 90
P020
SmallTV 50
P035
P.GenBlk CM
P006
WhiteCon 90
P021
BoomBox 50
P036
P.E-Bs
CM
P007
W.C+tiss 90
P022
BB.LowBs 50
P037
P.Mack
CM
P008
S.Radio 90
P023
SuperFlt 30
P038
SmalCube CM
P009
SmallTV 90
P024
P.GenBlk 30
P039
WhiteCon CM
P010
BoomBox 90
P025
P.E-Bs
30
P040
W.C+tiss CM
P011
BB.LowBs 90
P026
P.Mack
30
P041
S.Radio CM
P012
SuperFlt 50
P027
SmalCube 30
P042
SmallTV CM
P013
P.GenBlk 50
P028
WhiteCon 30
P043
BoomBox CM
P014
P.E-Bs
50
P029
W.C+tiss 30
P044
BB.LowBs CM
P015
P.Mack
50
P030
S.Radio 30
P001
Mastering Tool Kit Patch List
P001
P002
Patch Name
Mix Down
Pre Master
P003
Live Mix
P004
Pop Mix
P005
Dance Mix
P006
Jingl Mix
P007
Hard Comp
P008
Soft Comp
P009
Clean Comp
P010
Dance Comp
330
No.
Patch Name
P011
Orch Comp
P012
Vocal Comp
P013
Acoustic
P014
Rock Band
P015
Orchestra
P016
Low Boost
P017
Brighten
P018
DJs Voice
P019
Phone Vox
Rev0.02
No.
Preset Rhythm Arrangement List
No.
Name
Tempo Beat
Kit
Bass
No.
Name
Tempo Beat
Kit
Bass
130
4/4
HEAVY
FINGERED
P051
ARG.BALAD 02
70
4/4
STD2
FINGERED
ARG.ROCK 02
88
4/4
ROOM
FINGERED
P052
ARG.BALAD 03
60
4/4
JAZZ
FINGERED
P003
ARG.ROCK 03
72
4/4
ROOM
PICK
P053
ARG.BALAD 04
58
4/4
STD2
FINGERED
P004
ARG.ROCK 04
92
4/4
ROOM
FINGERED
P054
ARG.BALAD 05
64
4/4
ROOM
FINGERED
P005
ARG.ROCK 05
184
4/4
ROOM
FINGERED
P055
ARG.BALAD 06
72
4/4
STD2
FRETLESS
P006
ARG.ROCK 06
120
4/4
HEAVY
PICK
P056
ARG.BALAD 07
89
6/8
STD2
FINGERED
P007
ARG.ROCK 07
236
4/4
HEAVY
PICK
P057
ARG.BALAD 08
50
6/8
ROOM
FINGERED
P008
ARG.ROCK 08
76
4/4
ROOM
FINGERED
P058
ARG.BALAD 09
89
4/4
STD2
PICK
P009
ARG.ROCK 09
150
4/4
ROOM
PICK
P059
ARG.BLUES 01
120
4/4
STD1
FINGERED
P010
ARG.ROCK 10
168
4/4
ROOM
FINGERED
P060
ARG.BLUES 02
55
4/4
STD2
FINGERED
P011
ARG.ROCK 11
210
4/4
HEAVY
PICK
P061
ARG.BLUES 03
148
4/4
JAZZ
ACOUSTIC
P012
ARG.ROCK 12
168
4/4
HEAVY
FINGERED
P062
ARG.BLUES 04
192
4/4
STD1
FINGERED
P013
ARG.ROCK 13
250
4/4
HEAVY
FINGERED
P063
ARG.BLUES 05
160
4/4
ROOM
PICK2
P014
ARG.ROCK 14
94
4/4
HEAVY
PICK
P064
ARG.BLUES 06
178
4/4
STD1
FINGERED
P015
ARG.ROCK 15
98
4/4
ROOM
SLAP
P065
ARG.BLUES 07
124
4/4
STD1
PICK
P016
ARG.ROCK 16
108
4/4
ROOM
FINGERED
P066
ARG.BLUES 08
124
4/4
ROOM
FINGERED
P017
ARG.ROCK 17
130
4/4
HEAVY
FINGERED
P067
ARG.R&B 01
100
4/4
ROOM
FINGERD2
P018
ARG.ROCK 18
98
4/4
ROOM
FINGERED
P068
ARG.R&B 02
131
4/4
STD1
SLAP
P019
ARG.ROCK 19
126
4/4
ROOM
FINGERD2
P069
ARG.R&B 03
92
4/4
STD1
FINGERED
P020
ARG.ROCK 20
113
4/4
ROOM
PICK
P070
ARG.R&B 04
145
4/4
STD1
FINGERED
P021
ARG.ROCK 21
126
4/4
ROOM
PICK
P071
ARG.R&B 05
108
4/4
JAZZ
FINGERD2
P022
ARG.ROCK 22
118
4/4
HEAVY
PICK
P072
ARG.R&B 06
92
4/4
ROOM
PICK
P023
ARG.ROCK 23
120
4/4
ROOM
FINGERED
P073
ARG.R&B 07
154
4/4
STD1
FINGERED
P024
ARG.ROCK 24
114
4/4
ROOM
FINGERED
P074
ARG.R&B 08
148
4/4
STD1
FINGERED
P025
ARG.ROCK 25
140
4/4
HEAVY
FINGERED
P075
ARG.R&B 09
96
4/4
STD1
FINGERED
P026
ARG.ROCK 26
98
4/4
ROOM
SLAP
P076
ARG.JAZZ 01
140
4/4
JAZZ
ACOUSTIC
P027
ARG.ROCK 27
110
4/4
ROOM
PICK2
P077
ARG.JAZZ 02
180
5/4
JAZZ
ACOUSTIC
P028
ARG.ROCK 28
130
4/4
STD1
FINGERED
P078
ARG.JAZZ 03
168
4/4
JAZZ
FINGERED
P029
ARG.ROCK 29
126
4/4
STD1
FINGERED
P079
ARG.JAZZ 04
192
4/4
JAZZ
ACOUSTIC
P030
ARG.ROCK 30
113
4/4
ROOM
FRETLESS
P080
ARG.JAZZ 05
150
4/4
JAZZ
ACOUSTIC
P031
ARG.ROCK 31
104
4/4
STD1
FINGERED
P081
ARG.JAZZ 06
93
6/8
JAZZ
ACOUSTIC
P032
ARG.ROCK 32
86
4/4
ROOM
PICK
P082
ARG.FUSON 01
126
4/4
ROOM
SLAP
P033
ARG.ROCK 33
137
5/4
HEAVY
FINGERED
P083
ARG.FUSON 02
148
4/4
ROOM
FINGERED
P034
ARG.ROCK 34
128
4/4
ROOM
FINGERED
P084
ARG.FUSON 03
116
4/4
ROOM
SLAP
P035
ARG.ROCK 35
102
4/4
ROOM
PICK
P085
ARG.FUSON 04
136
4/4
ROOM
SLAP
P036
ARG.ROCK 36
138
4/4
STD1
FINGERED
P086
ARG.FUSON 05
100
4/4
STD1
FINGERED
P037
ARG.POP 01
120
4/4
ROOM
PICK
P087
ARG.DANCE 01
102
4/4
808
SOLID
P038
ARG.POP 02
86
4/4
STD2
FINGERED
P088
ARG.DANCE 02
93
4/4
HIP-HOP SOLID
P039
ARG.POP 03
130
4/4
STD1
FINGERED
P089
ARG.DANCE 03
114
4/4
HOUSE
SOLID
P040
ARG.POP 04
215
4/4
JAZZ
FINGERD2
P090
ARG.DANCE 04
165
4/4
808
PLUCK
P041
ARG.POP 05
124
4/4
HEAVY
PICK
P091
ARG.DANCE 05
117
4/4
HOUSE
SOLID
P042
ARG.POP 06
92
4/4
ROOM
PICK
P092
ARG.LATIN 01
108
4/4
STD1
ACOUSTIC
P043
ARG.POP 07
185
4/4
JAZZ
ACOUSTIC
P093
ARG.LATIN 02
125
4/4
JAZZ
ACOUSTIC
P044
ARG.POP 08
100
4/4
JAZZ
FINGERED
P094
ARG.LATIN 03
146
4/4
JAZZ
FINGERED
P045
ARG.POP 09
96
4/4
STD1
ACOUSTIC
P095
ARG.LATIN 04
132
4/4
REGGAE FRETLESS
P046
ARG.POP 10
151
4/4
JAZZ
PICK
P096
ARG.CNTRY 01
94
4/4
ROOM
FINGERED
P047
ARG.POP 11
120
4/4
HEAVY
FINGERED
P097
ARG.CNTRY 02
100
4/4
JAZZ
FINGERED
P048
ARG.POP 12
112
4/4
STD2
MUTED
P098
ARG.CNTRY 03
72
4/4
STD1
FINGERED
P049
ARG.POP 13
110
4/4
ROOM
FINGERED
P099
ARG.CNTRY 04
100
4/4
JAZZ
FINGERED
P050
ARG.BALAD 01
66
4/4
808
FRETLESS
P100
ARG.CNTRY 05
144
4/4
JAZZ
FINGERED
331
Section 9
ARG.ROCK 01
P002
Rev0.02
P001
Preset Drum Pattern List
Pattern
Name
332
Beat
Number of measures
140
88
72
92
184
120
236
76
150
168
210
168
250
94
98
108
130
98
126
113
126
118
120
114
140
98
110
130
126
113
104
86
137
128
102
138
120
86
130
215
124
92
185
100
96
151
120
112
110
66
70
60
58
64
72
89
50
89
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
5/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
6/8
6/8
4/4
IN
4
4
2
4
4
2
4
4
5
4
8
4
8
4
4
4
4
4
4
4
4
5
4
4
4
4
4
6
4
4
4
1
2
4
4
4
2
4
2
2
6
5
2
4
2
4
2
4
2
4
4
9
4
2
4
9
4
3
V1
2
2
2
4
4
2
2
4
2
4
4
2
4
2
4
2
2
2
2
2
2
2
4
2
2
4
2
2
2
4
2
4
4
4
2
2
2
4
2
2
2
2
2
1
2
2
2
2
2
4
2
4
4
2
2
2
4
2
F1
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
V2
2
2
2
2
2
2
4
4
2
4
4
2
4
2
4
2
2
2
2
2
2
2
4
2
2
4
4
2
2
4
2
4
4
4
2
2
2
4
2
2
2
2
2
2
2
4
2
2
2
4
2
4
4
2
2
2
2
2
F2
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
END
4
4
2
1
5
2
4
5
6
5
4
3
3
4
4
3
5
3
6
2
5
3
2
6
4
3
5
5
4
5
6
2
6
6
2
4
4
7
4
4
6
4
4
3
3
4
4
6
4
8
5
8
6
2
5
5
5
3
Pattern
Name
BLUES 01
BLUES 02
BLUES 03
BLUES 04
BLUES 05
BLUES 06
BLUES 07
BLUES 08
R&B 01
R&B 02
R&B 03
R&B 04
R&B 05
R&B 06
R&B 07
R&B 08
R&B 09
JAZZ 01
JAZZ 02
JAZZ 03
JAZZ 04
JAZZ 05
JAZZ 06
FUSION01
FUSION02
FUSION03
FUSION04
FUSION05
DANCE 01
DANCE 02
DANCE 03
DANCE 04
DANCE 05
LATIN 01
LATIN 02
LATIN 03
LATIN 04
CNTRY 01
CNTRY 02
CNTRY 03
CNTRY 04
CNTRY 05
Recommended
Tempo
Beat
Number of measures
120
55
148
192
160
178
124
124
100
131
92
145
108
92
154
148
96
140
180
168
192
150
93
126
148
116
136
100
102
93
114
165
117
108
125
146
132
94
100
72
100
144
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
5/4
4/4
4/4
4/4
6/8
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
IN
5
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
4
4
4
9
9
4
4
4
6
5
4
4
2
1
4
4
4
4
6
1
1
5
1
4
5
11
V1
4
4
4
4
4
4
4
4
2
2
2
2
2
2
2
2
2
4
2
8
8
4
4
2
2
2
2
4
4
4
2
4
2
2
4
2
4
4
4
2
4
4
F1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
V2
4
4
4
4
4
4
4
4
2
2
2
2
2
2
2
2
2
4
2
8
8
4
4
2
2
2
2
4
4
4
2
4
2
2
4
2
4
4
4
2
4
4
F2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
END
6
4
7
6
5
6
5
5
2
5
4
5
5
4
5
5
3
5
8
6
7
4
6
4
6
3
2
5
2
1
4
4
4
2
5
3
3
7
4
5
5
7
Rev0.02
ROCK 01
ROCK 02
ROCK 03
ROCK 04
ROCK 05
ROCK 06
ROCK 07
ROCK 08
ROCK 09
ROCK 10
ROCK 11
ROCK 12
ROCK 13
ROCK 14
ROCK 15
ROCK 16
ROCK 17
ROCK 18
ROCK 19
ROCK 20
ROCK 21
ROCK 22
ROCK 23
ROCK 24
ROCK 25
ROCK 26
ROCK 27
ROCK 28
ROCK 29
ROCK 30
ROCK 31
ROCK 32
ROCK 33
ROCK 34
ROCK 35
ROCK 36
POP 01
POP 02
POP 03
POP 04
POP 05
POP 06
POP 07
POP 08
POP 09
POP 10
POP 11
POP 12
POP 13
BALLAD01
BALLAD02
BALLAD03
BALLAD04
BALLAD05
BALLAD06
BALLAD07
BALLAD08
BALLAD09
Recommended
Tempo
Preset Bass Pattern List
Pattern
Name
Number of measures
140
88
72
92
184
120
236
76
150
168
210
168
250
94
98
108
130
98
126
113
126
118
120
114
140
98
110
130
126
113
104
86
137
128
102
138
120
86
130
215
124
92
185
100
96
151
120
112
110
66
70
60
58
64
72
89
50
89
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
5/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
6/8
6/8
4/4
IN
4
4
2
4
4
2
4
4
5
4
8
4
8
4
4
4
4
4
4
5
4
4
4
4
6
4
4
4
1
4
4
4
4
2
6
5
2
4
4
4
4
9
4
2
4
9
4
3
V1
2
2
2
4
4
2
2
4
2
4
4
2
4
2
4
2
2
2
2
2
2
2
4
2
2
4
2
2
2
4
2
4
4
4
2
2
2
4
2
2
2
2
2
1
2
2
2
2
2
4
2
4
4
2
2
2
4
2
F1
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
V2
2
2
2
2
2
2
4
4
2
4
4
2
4
2
4
2
2
2
2
2
2
2
4
2
2
4
4
2
2
4
2
4
4
4
2
2
2
4
2
2
2
2
2
2
2
4
2
2
2
4
2
4
4
2
2
2
2
2
F2
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
END
4
4
2
1
5
2
4
5
6
5
4
3
3
4
4
3
5
3
6
2
5
3
2
6
4
3
5
5
4
5
6
2
6
6
2
4
4
7
4
4
6
4
4
3
3
4
4
6
4
8
5
8
6
2
5
5
5
3
Pattern
Name
BLUES 01
BLUES 02
BLUES 03
BLUES 04
BLUES 05
BLUES 06
BLUES 07
BLUES 08
R&B 01
R&B 02
R&B 03
R&B 04
R&B 05
R&B 06
R&B 07
R&B 08
R&B 09
JAZZ 01
JAZZ 02
JAZZ 03
JAZZ 04
JAZZ 05
JAZZ 06
FUSION01
FUSION02
FUSION03
FUSION04
FUSION05
DANCE 01
DANCE 02
DANCE 03
DANCE 04
DANCE 05
LATIN 01
LATIN 02
LATIN 03
LATIN 04
CNTRY 01
CNTRY 02
CNTRY 03
CNTRY 04
CNTRY 05
Recommended
Tempo
Beat
Number of measures
120
55
148
192
160
178
124
124
100
131
92
145
108
92
154
148
96
140
180
168
192
150
93
126
148
116
136
100
102
93
114
165
117
108
125
146
132
94
100
72
100
144
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
5/4
4/4
4/4
4/4
6/8
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
IN
5
4
4
4
4
4
4
4
4
4
4
4
4
2
4
4
4
4
9
9
4
4
4
6
5
4
4
2
4
4
6
1
5
1
4
5
11
V1
4
4
4
4
4
4
4
4
2
2
2
2
2
2
2
2
2
4
2
8
8
4
4
2
2
2
2
4
4
4
2
4
2
2
4
2
4
4
4
2
4
4
F1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
V2
4
4
4
4
4
4
4
4
2
2
2
2
2
2
2
2
2
4
2
8
8
4
4
2
2
2
2
4
4
4
2
4
2
2
4
2
4
4
4
2
4
4
F2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
END
6
4
7
6
5
6
5
5
2
5
4
5
5
4
5
5
3
5
8
6
7
4
6
4
6
3
2
5
2
1
4
4
2
5
3
3
7
4
5
5
7
Section 9
Beat
Rev0.02
ROCK 01
ROCK 02
ROCK 03
ROCK 04
ROCK 05
ROCK 06
ROCK 07
ROCK 08
ROCK 09
ROCK 10
ROCK 11
ROCK 12
ROCK 13
ROCK 14
ROCK 15
ROCK 16
ROCK 17
ROCK 18
ROCK 19
ROCK 20
ROCK 21
ROCK 22
ROCK 23
ROCK 24
ROCK 25
ROCK 26
ROCK 27
ROCK 28
ROCK 29
ROCK 30
ROCK 31
ROCK 32
ROCK 33
ROCK 34
ROCK 35
ROCK 36
POP 01
POP 02
POP 03
POP 04
POP 05
POP 06
POP 07
POP 08
POP 09
POP 10
POP 11
POP 12
POP 13
BALLAD01
BALLAD02
BALLAD03
BALLAD04
BALLAD05
BALLAD06
BALLAD07
BALLAD08
BALLAD09
Recommended
Tempo
333
User Loop Phrase List
No.
WAV File Name
No.
WAV File Name
\\AIRBRUSH\B NOHAT.WAV
B001
\\EASY GO\DRUMS\BREAK.WAV
A002
\\AIRBRUSH\BRSH BT.WAV
B002
\\EASY GO\DRUMS\BRIDGE.WAV
A003
\\AIRBRUSH\CRASH.WAV
B003
\\EASY GO\DRUMS\CHORUS.WAV
A004
\\AIRBRUSH\VERSE.WAV
B004
\\EASY GO\DRUMS\END CRSH.WAV
A005
\\AIRBRUSH\VERSE2.WAV
B005
\\EASY GO\DRUMS\INTRO.WAV
A006
\\BASH IT\BRIDGE.WAV
B006
\\EASY GO\DRUMS\SOLO.WAV
A007
\\BASH IT\BRIDGE2.WAV
B007
\\EASY GO\DRUMS\VERSE.WAV
A008
\\BASH IT\CHORFILL.WAV
B008
\\EASY GO\PERC\PERC END.WAV
A009
\\BASH IT\CHORUS.WAV
B009
\\EASY GO\PERC\PERC.WAV
A010
\\BASH IT\CRASH.WAV
B010
\\FAST ONE\DR & PERC\BREAK.WAV
A011
\\BASH IT\CRASH2.WAV
B011
\\FAST ONE\DR & PERC\BRIDGE.WAV
A012
\\BASH IT\VERSE.WAV
B012
\\FAST ONE\DR & PERC\CHORUS.WAV
A013
\\BASH IT\VERSE2.WAV
B013
\\FAST ONE\DR & PERC\END CRSH.WAV
A014
\\BIG STICK\BREAK1.WAV
B014
\\FAST ONE\DR & PERC\INTRO.WAV
A015
\\BIG STICK\BRIDGE1.WAV
B015
\\FAST ONE\DR & PERC\VERSE.WAV
A016
\\BIG STICK\CHORUS1.WAV
B016
\\FAST ONE\DRUMS\BREAK.WAV
A017
\\BIG STICK\END CRASH1.WAV
B017
\\FAST ONE\DRUMS\BRIDGE.WAV
A018
\\BIG STICK\INTRO1.WAV
B018
\\FAST ONE\DRUMS\CHORUS.WAV
A019
\\BIG STICK\VERSE1.WAV
B019
\\FAST ONE\DRUMS\END CRSH.WAV
A020
\\BIG STICK\VERSE2.WAV
B020
\\FAST ONE\DRUMS\INTRO.WAV
A021
\\BUBBLE\DR & PERC\BREAK1.WAV
B021
\\FAST ONE\DRUMS\VERSE.WAV
A022
\\BUBBLE\DR & PERC\CHORUS1.WAV
B022
\\FAST ONE\PERC\PERC END.WAV
A023
\\BUBBLE\DR & PERC\END CRASH1.WAV
B023
\\FAST ONE\PERC\PERC.WAV
A024
\\BUBBLE\DR & PERC\LIGHT.WAV
B024
\\FLY\DRUMS\ALT BEAT.WAV
A025
\\BUBBLE\DR & PERC\VERSE1.WAV
B025
\\FLY\DRUMS\CHORUS.WAV
A026
\\BUBBLE\DR & PERC\VERSE2.WAV
B026
\\FLY\DRUMS\END CRASH.WAV
A027
\\BUBBLE\DRUMS\BREAK1.WAV
B027
\\FLY\DRUMS\END CRASH2.WAV
A028
\\BUBBLE\DRUMS\CHORUS1.WAV
B028
\\FLY\DRUMS\FILL.WAV
A029
\\BUBBLE\DRUMS\END CRASH1.WAV
B029
\\FLY\DRUMS\FILL10.WAV
A030
\\BUBBLE\DRUMS\LIGHT.WAV
B030
\\FLY\DRUMS\FILL9.WAV
A031
\\BUBBLE\DRUMS\VERSE1.WAV
B031
\\FLY\DRUMS\HAT END.WAV
A032
\\BUBBLE\DRUMS\VERSE2.WAV
B032
\\FLY\DRUMS\INTRO5.WAV
A033
\\BUBBLE\PERC LOOP\FULL LOOP END.WAV
B033
\\FLY\DRUMS\LIGHT.WAV
A034
\\BUBBLE\PERC LOOP\FULL LOOP.WAV
B034
\\FLY\DRUMS\SIMPLE2.WAV
A035
\\BUBBLE\PERC LOOP\LOOP1 END.WAV
B035
\\FLY\DRUMS\TOM BEAT.WAV
A036
\\BUBBLE\PERC LOOP\LOOP1.WAV
B036
\\FLY\DRUMS\VERSE.WAV
A037
\\BUBBLE\PERC LOOP\LOOP2 END.WAV
B037
\\FLY\PERC LOOP\FULL LOOP END.WAV
A038
\\BUBBLE\PERC LOOP\LOOP2.WAV
B038
\\FLY\PERC LOOP\FULL LOOP.WAV
A039
\\BUBBLE\PERC LOOP\LOOP3.WAV
B039
\\FLY\PERC LOOP\LESLIE END.WAV
A040
\\BUBBLE\PERC LOOP\LOOP4 END.WAV
B040
\\FLY\PERC LOOP\LESLIE.WAV
A041
\\BUBBLE\PERC LOOP\LOOP4.WAV
B041
\\FLY\PERC LOOP\LOOP1 END.WAV
A042
\\BUBBLE\PERC LOOP\LOOP5 END.WAV
B042
\\FLY\PERC LOOP\LOOP1.WAV
A043
\\BUBBLE\PERC LOOP\LOOP5.WAV
B043
\\FLY\PERC LOOP\LOOP2 END.WAV
A044
\\EASY GO\DR & PERC\BREAK.WAV
B044
\\FLY\PERC LOOP\LOOP2.WAV
A045
\\EASY GO\DR & PERC\BRIDGE.WAV
B045
\\FLY\PERC LOOP\LOOP3 END.WAV
A046
\\EASY GO\DR & PERC\CHORUS.WAV
B046
\\FLY\PERC LOOP\LOOP3.WAV
A047
\\EASY GO\DR & PERC\END CRSH.WAV
B047
\\FLY\PERC LOOP\LOOP4 END.WAV
A048
\\EASY GO\DR & PERC\INTRO.WAV
B048
\\FLY\PERC LOOP\LOOP4.WAV
A049
\\EASY GO\DR & PERC\SOLO.WAV
B049
\\FLY\DR & PERC\ALT BEAT.WAV
A050
\\EASY GO\DR & PERC\VERSE.WAV
B050
\\FLY\DR & PERC\CHORUS.WAV
334
Rev0.02
A001
User Loop Phrase List
No.
WAV File Name
No.
WAV File Name
D001
\\ROCK HEAD\DRUMS\VERSE.WAV
C002
\\FLY\DR & PERC\END CRASH2.WAV
D002
\\ROCK HEAD\PERC\LOOP1 END.WAV
C003
\\FLY\DR & PERC\FILL.WAV
D003
\\ROCK HEAD\PERC\LOOP1.WAV
C004
\\FLY\DR & PERC\FILL10.WAV
D004
\\ROCK HEAD\PERC\LOOP2 END.WAV
C005
\\FLY\DR & PERC\FILL9.WAV
D005
\\ROCK HEAD\PERC\LOOP2.WAV
C006
\\FLY\DR & PERC\HAT END.WAV
D006
\\ROCK HEAD\PERC\LOOP3 END.WAV
C007
\\FLY\DR & PERC\INTRO5.WAV
D007
\\ROCK HEAD\PERC\LOOP3.WAV
C008
\\FLY\DR & PERC\LIGHT.WAV
D008
\\ROCK HEAD\PERC\PERC END.WAV
C009
\\FLY\DR & PERC\SAMPLE2.WAV
D009
\\ROCK HEAD\PERC\PERC.WAV
C010
\\FLY\DR & PERC\TOM BEAT.WAV
D010
\\STRAIGHT UP\BREAK.WAV
C011
\\FLY\DR & PERC\VERSE.WAV
D011
\\STRAIGHT UP\BRIDGE.WAV
C012
\\HAIRY\CHORUS 1.WAV
D012
\\STRAIGHT UP\CHORUS.WAV
C013
\\HAIRY\CHORUS 2.WAV
D013
\\STRAIGHT UP\END CRASH.WAV
C014
\\HAIRY\END CRSH.WAV
D014
\\STRAIGHT UP\INTRO.WAV
C015
\\HAIRY\INTRO.WAV
D015
\\STRAIGHT UP\SOLO.WAV
C016
\\HAIRY\VER FILL.WAV
D016
\\STRAIGHT UP\TOM BEAT.WAV
C017
\\HAIRY\VERSE.WAV
D017
\\STRAIGHT UP\TOM BEAT2.WAV
C018
\\HEAVY RAIN\BRIDGE.WAV
D018
\\STRAIGHT UP\VERSE.WAV
C019
\\HEAVY RAIN\CHORUS.WAV
D019
\\STRAIGHT UP\VERSE2.WAV
C020
\\HEAVY RAIN\CHORUS2.WAV
D020
\\TURBULENT FILTH\100_138.WAV
C021
\\HEAVY RAIN\END CRASH.WAV
D021
\\TURBULENT FILTH\100_224A.WAV
C022
\\HEAVY RAIN\FILL3.WAV
D022
\\TURBULENT FILTH\100_231A.WAV
C023
\\HEAVY RAIN\INTRO.WAV
D023
\\TURBULENT FILTH\100_421A.WAV
C024
\\HEAVY RAIN\VERSE.WAV
D024
\\TURBULENT FILTH\100_422C.WAV
C025
\\HIGH STEP\BRIDGE.WAV
D025
\\TURBULENT FILTH\120_138.WAV
C026
\\HIGH STEP\BRIDGE2.WAV
D026
\\TURBULENT FILTH\120_224A.WAV
C027
\\HIGH STEP\BRIDGE3.WAV
D027
\\TURBULENT FILTH\120_231A.WAV
C028
\\HIGH STEP\BRIDGE4.WAV
D028
\\TURBULENT FILTH\120_421A.WAV
C029
\\HIGH STEP\CHORUS.WAV
D029
\\TURBULENT FILTH\120_422C.WAV
C030
\\HIGH STEP\CHORUS2.WAV
D030
\\TURBULENT FILTH\140_138.WAV
C031
\\HIGH STEP\END CRASH.WAV
D031
\\TURBULENT FILTH\140_224A.WAV
C032
\\HIGH STEP\VERSE.WAV
D032
\\TURBULENT FILTH\140_231A.WAV
C033
\\HIGH STEP\VERSE2.WAV
D033
\\TURBULENT FILTH\140_421A.WAV
C034
\\ROCK HEAD\DR & PERC\ALT BEAT.WAV
D034
\\TURBULENT FILTH\140_422C.WAV
C035
\\ROCK HEAD\DR & PERC\BRIDGE.WAV
D035
\\YOUNG GUNS\BRIDGE.WAV
C036
\\ROCK HEAD\DR & PERC\CHORUS.WAV
D036
\\YOUNG GUNS\CRASH.WAV
C037
\\ROCK HEAD\DR & PERC\END CRSH.WAV
D037
\\YOUNG GUNS\ENDING.WAV
C038
\\ROCK HEAD\DR & PERC\FILL.WAV
D038
\\YOUNG GUNS\TOM BEAT.WAV
C039
\\ROCK HEAD\DR & PERC\FILL2.WAV
D039
\\YOUNG GUNS\VERSE.WAV
C040
\\ROCK HEAD\DR & PERC\INTRO.WAV
D040
\\YOUNG GUNS\VERSE2.WAV
C041
\\ROCK HEAD\DR & PERC\TOM BEAT.WAV
C042
\\ROCK HEAD\DR & PERC\VERSE.WAV
C043
\\ROCK HEAD\DRUMS\ALT BEAT.WAV
C044
\\ROCK HEAD\DRUMS\BRIDGE.WAV
C045
\\ROCK HEAD\DRUMS\CHORUS.WAV
C046
\\ROCK HEAD\DRUMS\END CRSH.WAV
C047
\\ROCK HEAD\DRUMS\FILL.WAV
C048
\\ROCK HEAD\DRUMS\FILL2.WAV
C049
\\ROCK HEAD\DRUMS\INTRO.WAV
C050
\\ROCK HEAD\DRUMS\TOM BEAT.WAV
Section 9
\\FLY\DR & PERC\END CRASH.WAV
Rev0.02
C001
335
Harmony Sequence Chord Note List
Chord types that enable chord conversion (26 types and N.C.) consist of the following notes.
The following shows chord types with the root C.
fig.Chprd Type
Maj
m
sus4
dim
M7
M9
add9
6
6(9)
7sus4
75
7(13)
–––
7
aug
(N.C)
* The 13th of the chord is not played.
79
79
m7
m7 5
m6
m6(9)
madd9
m9
mM9
aug7
mM7
* Chords are automatically inverted such that each of the notes comprising the chord falls within one octave of the original solo vocal pitch.
* As Harmony Sequence features three voices, it does not allow sounding of all of the original constituent notes in every chord.
336
Rev0.02
9
Troubleshooting
If the BR-1200CD does not function as you expect, please check
the following points before assuming that a malfunction has
occurred. If this does not resolve the problem, contact a nearby
Roland service center or your dealer.
The input cannot be heard
❍
Has the sound source been correctly connected to
either an input jack or connector?
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.
Problems with the sound
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.
No sound
❍
Is the power of the BR-1200CD and of the connected
equipment turned on?
❍
Is the audio cable connected correctly?
❍
Did you adjust the SENS knob?
❍
Are any audio cables broken?
❍
❍
Has the volume of the connected amp or mixer been
lowered?
Has INPUT SELECT been muted? (The INPUT
SELECT indicator will be dark.)
❍
Has the INPUT LEVEL knob been set to “MIN”?
❍
Has the master fader or headphone volume of the
BR-1200CD been lowered?
❍
If you are using a condenser microphone, is
phantom power turned on?
❍
Was the heel end of the expression pedal all the way
down?
❍
Is the BR-1200CD in Mastering mode?
❍
Are you attempting to play back a short phrase of
less than 0.5 seconds? (Phrases of 0.5 seconds or
less cannot be played.)
❍
Has the Mastering Tool Kit Auto Fade In/Out function
been set to ON while the BR-1200CD is being used in
Mastering mode?
When the Auto Fade In/Out function is set to ON,
sounds may not be played, depending on the location of
the playback.
The volume level of the instrument connected to
INPUT/MIC or GUITAR BASS jack is too low.
❍
❍
A specific track cannot be heard
Has the track volume been lowered?
❍
Is the minimum volume set to “0” or to an
appropriate value? (p. 124)
❍
Is the effect (Foot Volume, Pitch Shifter, Wah, Vibtaro)
that you wish to control from the expression pedal
turned on?
The expression pedal can control all of the above effects
simultaneously.
Is the V-Track setting for a different V-Track?
❍
Has the track type been set correctly?
❍
Has the track been muted? (The REC TRACK
indicator will be blinking in green.)
❍
Is the BR-1200CD in Mastering mode?
Is the type (P.Shift Type, Wah Type) of the effect you
wish to control set to “PEDAL” ?
Cannot record
❍
Does the hard disk have insufficient remaining
capacity?
❍
Has the recording mode (INPUT, BOUNCE,
MASTERING) been selected correctly?
❍
Has the Scrub Playback function been turned on?
Section 9
❍
❍
Rev0.02
In some cases the actual volume level may not match the
position of the fader, for example when the scene has
been switched. If so, move the fader up and down so that
the volume level will match the fader position.
Was the heel end of the expression pedal all the way
down?
Can’t use the expression pedal to
control an effect
Could you be using a connection cable that contains
a resistor?
Use a connection cable that does not contain a resistor.
❍
Input-source sounds are not output in Mastering mode.
Use with the BR-1200CD switched to Input mode.
In Mastering mode, sounds are output only from Tracks
11/12.
337
Troubleshooting
The recorded sound contains noise or distortion
❍
Is the input sensitivity set appropriately?
If the input sensitivity is too high, the recorded sound
will be distorted. If it is too low, the input sound will be
buried in noise. Adjust the SENS knob so that the level
meter moves as much as possible without causing the
PEAK indicator to light.
❍
Problems with the CD-R/RW drive
Are the effect settings appropriate?
Cannot remove the CD-R/RW disc
❍
The CD-R/RW disc cannot be removed unless the power
is turned on.
❍
Using overdrive, distortion, or compression with the
insert effects may increase noise and distortion.
❍
❍
Are the track output levels appropriate?
If you hear noise or distortion after bouncing tracks, the
output level of the tracks was too high.
❍
Is a mic with high output impedance connected
directly to the BR-1200CD?
The BR-1200CD is designed with a wide margin of
headroom. Also, since the MIC 1 and MIC 2 jacks are low
impedance inputs, the recording level may be too low,
depending on the response of some mics. In such cases,
connect the mic via a mic preamp to the BR-1200CD, so
that they can be boosted to line level before recording.
Problems with the hard disk
CIs a screen for reading from, or writing to CD-R/RW
discs showing in the display?
It is not possible to eject the disc when you’re in a screen
for reading/writing CD-R/RW discs. Press [EXIT]
several times to return to the top screen, then press the
EJECT button again.
Are the equalizer settings appropriate?
Some equalizer settings can cause the sound to distort
even though the PEAK indicator does not light. Readjust
the equalizer.
Is the power turned on?
Cannot read from/write to CD-R/RW
discs
❍
Is the BR-1200CD in a level position?
❍
Was a strong physical shock applied to the CD-R/RW
drive?
❍
Is the disc correctly placed in the CD-R/RW drive?
❍
Are you using the right type of CD-R/RW disc?
❍
Are you using a CD-R disc that has already been
written to, or a CD-RW disc that may be too old?
❍
Is the CD-R/RW drive being “force ejected?”
Pressing a straightened paper clip or similar object into
the “emergency eject hole” in the CD-R/RW drive’s
front side forces ejection of the CD-R/RW disc.
However, the CD-R/RW drive may not operate correctly
after this is done. Should this be the case, turn off the
power, then turn it back on again.
Hard disk data was damaged
If hard disk data has been damaged, the following causes are
possible. Please initialize the hard disk (using physical
formatting) once again. (p. 285)
Was the power turned off while the disk drive was
operating?
❍
Was a strong physical shock applied to the disk
drive?
Little available space remaining on the hard disk
❍
Do you have numerous recorded songs and/or loop
phrases stored on the hard disk?
❍
Is [SIMUL] or [LINE] selected for the INPUT SELECT, or are
stereo tracks selected for the recording tracks?
Recording with stereo tracks halves the remaining
recording time, and this is indicated in the display.
❍
Was the drive partitioned into multiple drives
(partitions) when it was initialized?
338
Rev0.02
❍
Troubleshooting
Synchronization problems
Problems with USB
Cannot synchronize
The message “Waiting...” does not
turn off
When using MTC to synchronize the BR-1200CD with a
MIDI sequencer, the BR-1200CD must be the master device.
❍
Is the MIDI cable connected correctly?
❍
Is the MIDI cable broken?
❍
Has the sync generator been set to the desired
synchronization method (MTC or MIDI Clock)?
(p. 246)
❍
If you are synchronizing with MTC, has the other
device been set to the same MTC type? (p. 246)
❍
Has the MIDI sequencer been set correctly?
❍
Is the MIDI sequencer ready to play back?
❍
Does the other device support the MMC commands
of the BR-1200CD?
Cannot record MIDI Clock
(cannot use the sync track)
❍
❍
Is the USB cable properly connected?
❍
Is your computer's operating system compatible with
the BR-1200CD?
Windows: Windows Me/2000 /XP
Macintosh: Mac OS 9.1.x, 9.2.x, OS X
Other problems
When the power is turned on, the previous
data has not been saved correctly
It is possible that the power of the BR-1200CD was turned off
without using the POWER switch. The lost data cannot be
recovered.
Is the external MIDI sequencer set to transmit MIDI
Clock/Start/Stop?
Cannot control faders using MIDI
❍
Is the MIDI cable connecting the external MIDI
sequencer connected correctly?
❍
Have you made the settings that enable the external
MIDI sequencer to record and play back the fader
information transmitted from the BR-1200CD?
Fader messages are transmitted and received using
Control Change #7 (Volume). The external MIDI
sequencer must be set so it is able to transmit and receive
such MIDI messages.
Rev0.02
Section 9
339
Error Messages
Blank Disc!
Data Too Large!
Cause:
Disc in the CD-R/RW drive contains no data.
Cause 1: You attempted to import an SMF exceeding 250 KB.
Action:
Load a CD-R/RW disc that has data written on it.
Action 1: Prepare the SMF to be loaded so that it is no more
than 250 KB.
Cannot Punch In for CD-R/RW!
Cause:
Action:
You attempted to press [REC] after you had already
pressed [PLAY] when directly bouncing tracks to a
CD-R/RW disc (p. 87).
To bounce tracks directly to a CD-R/RW disc, first
press [REC] and then [PLAY].
Cannot Select Same Track!
Cause:
Action:
You attempted to select the same track more than
once during Track Edit (p. 99–p. 109), WAV/AIFF
Export (p. 263, p. 270), or another procedure.
Select a different track.
CD Full!
Cause 1: The CD-R/RW disc is full, and no more data can be
written to it.
Action 1: Reduce the amount of data to be written, then try
again.
Cause 2: When creating an audio CD, the total time of the
tracks exceeds the capacity of the CD-R/RW disc.
Action 2: Reduce the number of songs to be written, then try
again.
CD Read Error!
Cause:
An error occurred while reading data from the CDR/RW disc.
Action 1: This may be due to a low-quality or dated disc. Try
using a new CD-R/RW disc.
Action 2: The CD-R/RW drive’s pickup may by dirty. Try
cleaning the pickup (p. 8).
CD Write Error!
Cause:
An error occurred while writing data to the CD-R/
RW disc.
Action 2: The CD-R/RW drive’s pickup may by dirty. Try
cleaning the pickup (p. 8).
Clock Error!
Cause:
Reception of the MIDI timing clock was interrupted
during recording of the Sync Track.
Action:
Make sure that the MIDI cable is connected
correctly and check whether the external MIDI
device was turned off during the recording
process.
340
Action 2: Use waveform data less than thirty minutes long.
Data Too Short!
Cause 1: You attempted to load a waveform file lasting 0.5
seconds or less.
Action 1: Prepare the waveform file so that it is longer than
0.5 seconds.
Cause 2: You attempted to write an audio CD with a track
that is less than four seconds in length.
Action 2: Prepare tracks being written to audio CDs so that
they are at least four seconds long.
Cause 3: You attempted to create a loop phrase using
waveform data less than 0.5 seconds in length.
Action 3: Use waveform data that is at least 0.5 seconds long.
Data Type Not Supported!
Cause:
You are attempting to load a file or disc in an
incompatible format.
Action:
Use a file in a compatible format.
Disc Not Ready!
Cause:
There is no CD-R/RW disc in the drive.
Action:
Place a CD-R/RW disc in the drive.
Drive Busy!
Cause:
The data on the hard disk has become fragmented,
causing delays in reading and writing data.
Action 1: Reduce the number of tracks that are played back
simultaneously. Use track bouncing (or other
means) to combine tracks, or erase or cut data from
tracks which you do not need to play back, and
then try the playback again.
Action 2: Reduce the number of tracks that are being
recorded simultaneously.
Action 3: If using the drum and bass patterns or loop
phrases, press the Track button, causing the
button’s indicator to go out.
Action 4: First, back up the data on the hard disk to a CD-R/
RW disc (p. 230), then after initializing the hard
disk (p. 285), recover the data from the CD-R/RW
disc (p. 231).
* In cases of unfavorable disk access conditions, such as when
track editing, punch-in recording, etc. is used to connect
phrases (musical data) of several seconds.
Rev0.02
Action 1: This may be due to a low-quality or dated disc. Try
using a new CD-R/RW disc.
Cause 2: You attempted to create a loop phrase using
waveform data thirty minutes or longer.
Error Messages
Event Memory Full!
Medium Error!
Cause:
The BR-1200CD has used up all the events that can
be handled by one song.
Cause:
Action:
Perform the Song Optimize operation. (p. 112)
There is a problem with the CD-R/RW disc or hard
disk. Alternatively, the disc on the CD-R/RW drive
is unreadable.
Finalized Disc!
Action 1: Confirm that the correct type of disc is placed in
the CD-R/RW drive.
Cause:
Data has already been written to the CD-R/RW disc,
and the data has been finalized.
Action 2: Use a new CD-R/RW disc.
Action:
Place a CD-R/RW disc that has not been finalized
in the drive.
HDD Damaged! Can't Access HDD.
Cause:
Data could not be read from or written to the hard
disk.
Action:
There is a possibility that the hard disk has been
damaged. Shut down the BR-1200CD as instructed
and send it for repair.
HDD Full!
Cause:
There is insufficient free space on the hard disk.
Action 1: Erase unneeded data.
Action 2: Perform the Song Optimize operation. (p. 112)
HDD Read Error!
Cause:
An error occurred while reading data from the hard
disk.
Action:
The hard disk must be initialized (p. 285).
HDD Write Error!
Cause:
An error occurred while writing data to the hard
disk.
Action:
The hard disk must be initialized. Also, the song
data you had been attempting to save will be lost.
Insert Disc #***!
During recovery of backup data located on multiple
CD-R/RW discs, the disc of the requested number
was not placed in the drive.
Action:
Place the disc with the requested number in the
drive.
Lack of Events!
Cause:
Action:
MIDI Error!
Cause 1: Active Sensing is on, and it has detected that no
MIDI message transmissions have taken place for
more than approximately 400 ms.
Action 1: Check the external MIDI device connected to MIDI
IN to make sure it is turned on, and that the
settings are correct. Also, confirm that the MIDI
cable has not been disconnected.
Cause 2: Processing has been overloaded due to high
volumes of MIDI messages received from the
external MIDI device.
Action 2: Reduce the amount of MIDI messages transmitted
by the external MIDI device.
No Data!
Cause 1: You attempted to modify marker or scene data when
none existed.
Cause 2: You attempted to create an audio CD with no data
in the tracks or songs, or you attempted to export a
WAV or AIFF file.
Action:
First create data.
Cause 3: You have attempted to undo the Song Optimize (p.
112) immediately after executing the procedure.
Action:
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.
No File!
Cause 1: During a USB import operation, no file was copied
from the PC to the USB folder.
It is not possible to execute Undo or Redo if fewer
than 200 events remain.
Action 1: Copy the file from the PC to the USB folder.
Perform the Song Optimize operation. (p. 112)
Action 2: Copy a file of WAV or AIFF format.
Cause 2: The copied file is not of WAV or AIFF format.
Not Blank Disc!
Cause:
Cause:
The CD-R/RW disc already has data written to it.
Action:
Place a CD-R/RW disc with no data written to it (a
blank disc) in the CD-R/RW drive.
If using a CD-RW disc, you can erase the data on
the disc in order to create a blank disc (p. 237).
Action:
Delete unneeded markers.
341
Section 9
Marker Memory Full!
The BR-1200CD has used up all the marker memory
(100 markers) that can be handled by one song.
Rev0.02
Cause:
Action 3: Use the following procedure to initialize the hard
disk.
Error Messages
Not CD-RW Disc!
Too Long Name!
Cause:
The disc is not a CD-R/RW disc, so the data cannot
be erased.
Cause:
The names of files and folders on the current CD-R/
RW disc are too long.
Action:
Use a CD-R/RW disc.
Action:
Add up the lengths of all file names and folder
names, and then modify these names to reduce the
total number of characters to 236 or less.
Pattern Memory Full!
Cause:
The total number of sounds in the drum and bass
patterns has exceeded 10,000.
Too Many Tracks!
Action:
Delete unneeded patterns (p. 169, p. 182).
Cause:
You attempted to write more than 99 tracks to the
audio CD being created.
Action:
Reduce the number of tracks you are writing to 99
or fewer tracks.
Protected Song!
Cause:
Since Song Protect is ON, the operation cannot be
executed.
Action:
Turn Song Protect Off. (p. 113)
Wrong Disc!
Cause:
A disc other than the required CD-R/RW disc is
placed in the drive.
Action:
Place a CD-R/RW disc in the drive.
Select Track!
Cause:
You attempted to execute a track editing operation
without specifying the track to which the operation
will apply.
Action:
Specify the track, and then execute the editing
operation.
Select Data!
Cause:
The data or files upon which the operation is to be
performed have not yet been specified.
Action:
Select data or files and repeat the operation.
Set Location!
Cause:
No target data or file has been selected yet.
Action:
Select the data before continuing.
Stop Recorder!
Cause:
The operation you attempted cannot be done while
the recorder is running (playing or recording).
Action:
Press [STOP] to stop playback or recording.
Sync Track Full!
All of the remaining memory was used up during
the Sync Track recording process.
Action:
No further recording will be possible. Reduce the
recording time and repeat the recording process.
Too Many Songs!
Cause 1: The song creation operation would result in the
number of songs exceeding 999.
Action 1: Erase unneeded songs (p. 111) and repeat the song
creation process.
Cause 2: The import operation would result in the number of
songs exceeding 999.
Action 2: Erase unneeded songs (p. 111) and repeat the song
import operation.
342
Rev0.02
Cause:
DIGITAL RECORDING STUDIO
Model: BR-1200CD
MIDI Implementation
■Channel Voice Messages
●Note off
2nd byte
kkH
n = MIDI channel number:
kk= Note number:
vv = Note off velocity:
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
●Note on
Status
9nH
2nd byte
kkH
n = MIDI channel number:
kk= Note number:
vv = Note on velocity:
*
*
*
3rd byte
vvH
●Control Change
❍Bank Select (Controller number 0, 32)
2nd byte
00H
20H
n = MIDI channel number:
mm,ll = Bank number:
Status
2nd byte
BnH
0BH
n = MIDI channel number:
vv = Expression:
*
3rd byte
00H
llH
0H - FH (ch.1 - ch.16)
00 00H - 7F 7FH (bank.1 - bank.16384)
When the MIDI parameter Effects P.C. is set to PC+BANK, this is transmitted via the
MIDI channel selected in the Effects Ch. setting when insert effects patches are switched.
Status
BnH
2nd byte
07H
n = MIDI channel number:
vv = Volume:
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (prog. 1 - prog. 128)
*
When the MIDI parameter Effects P.C. is set to PC ONLY or PC+BANK, this is received
via the MIDI channel selected in the Effects Channel setting and is used to switch the
insert effects.
*
Bank Select and Program numbers correspond to the insert effect patch banks and
numbers as shown below.
Bank Select
MSB
LSB
00H
01H
00H
03H
04H
00H
01H
01H
03H
04H
00H
01H
02H
03H
04H
Program
Number
00H–77H
00H–31H
00H–31H
00H–31H
00H–77H
00H–31H
00H–31H
00H–31H
00H–77H
00H–31H
00H–31H
00H–31H
Patch
Bank
GUITAR
MIC
STEREO
SIMUL
GUITAR
MIC
STEREO
SIMUL
GUITAR
MIC
STEREO
SIMUL
Number
P001–P120
P001–P050
P001–P050
P001–P050
U001–U120
U001–U050
U001–U050
U001–U050
S001–S120
S001–S050
S001–S050
S001–S050
■Channel Mode Messages
❍All Sound OFF (Controller number 120)
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
* Received via drums MIDI channel when the MIDI parameter “Drums Ch.” is set to 1–16;
mutes the playing drum sounds.
* Received via bass MIDI channel when the MIDI parameter “Bass Ch.” is set to 1–16;
mutes the playing drum sounds.
❍Reset All Controllers (Controller number 121)
Status
BnH
2nd byte
79H
n = MIDI channel number:
*
3rd byte
00H
0H - FH (ch.1 - ch.16)
Received via the MIDI channel set for the EXP PEDAL when the MIDI parameter “MIDI
Fader” is set to ON.
When this message is received, the EXP PEDAL is reset to 127.
❍All Note Off (Control number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
* Received via bass MIDI channel when the MIDI parameter “Bass Ch.” is set to 1–16;
turns the playing bass note off.
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Rev0.02
❍Volume (Controller number 7)
Received via the MIDI channel set for the EXP PEDAL when the MIDI parameter “MIDI
Fader” is set to ON; controls the effects in the same manner as operating the EXP
PEDAL.
Status
2nd byte
CnH
ppH
n = MIDI channel number:
pp = Program number:
*
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
●Program Change
0H - FH(ch.1 - ch.16)
00H - 7FH(0 - 127)
01H - 7FH(1 - 127)
Received via drums MIDI channel when the MIDI parameter “Drums Ch.” is set to 1–16;
plays drum sound.
Received via bass MIDI channel when the MIDI parameter “Bass Ch.” is set to 1–16;
plays bass sound.
Drum sounds correspond to note numbers as follows.
Drum name
Note number
Hi-Q
D#1 (27)
Stick
G 1 (31)
Metronome (click)
A 1 (33)
Metronome (bell)
A#1 (34)
Kick 2
B 1 (35)
Kick 1
C 2 (36)
Snare 1
D 2 (38)
Snare 2
E 2 (40)
Tom 1
F 2 (41)
Closed hi-hat
F#2 (42)
Tom 2
A 2 (45)
Open hi-hat
A#2 (46)
Tom 3
C3 (48)
Crash cymbal
C#3 (49)
Tom 4
D 3 (50)
Ride cymbal
D#3 (51)
Cow bell
G#3 (56)
Claves
D#5 (75)
Status
BnH
BnH
Version: 1.00
❍Expression (Controller number 11)
1. Receive data
Status
8nH
Date: Dec. 1, 2004
Received via each track’s MIDI channel when the MIDI parameter “MIDI Fader” is set to
ON; controls the track volume.
Section 9
343
MIDI Implementation
■System Realtime Message
2. Data Transmission
●Timing Clock
■Channel Voice Messages
Status
F8H
●Note off
*
Status
8nH
Received during creation of sync tracks in the Sync Track screen.
●Start
2nd byte
kkH
Status
FAH
n = MIDI channel number:
kk = Note number:
vv = Note off velocity:
*
●Note on
Received when creation of the sync track begins in the Sync Track screen.
●Stop
Status
FCH
*
Received when creation of the sync track is finished in the Sync Track screen.
Status
FEH
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds
approximately 400 ms, the same processing will be carried out as when Reset All
Controllers is received, and message interval monitoring will be halted.
*
*
■System Exclusive Message
Status
F0H
Data byte
iiH,ddH,......,eeH
F0H:
ii = ID number:
System Exclusive Message status
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
dd,...,ee = data:
F7H:
Status
F7H
2nd byte
kkH
●Identity Request Message
Status
F0H
Data byte
7EH,dev,06H,01H
*
Byte
F0H
7EH
dev
06H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
Only a device ID of 7FH or message matching the BR-1200CD’s device ID is received.
When this message is received, Identity Reply message (p. 346) will be transmitted.
About Device ID
Exclusive messages are not assigned to any particular MIDI channel. Instead, they have
their own special control parameter called device ID. The Roland exclusive messages use
device IDs to specify various devices.
How to set the device ID:
1.
Press [UTILITY], move the cursor to [MIDI], then press [ENTER/YES].
The MIDI settings screen appears.
2.
Move the cursor to “Device ID,” then rotate the TIME/VALUE dial to set the device
ID.
The Device ID can be set to any number from 17 to 32. It was set to 17 at the factory.
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Transmitted according to the content of the SMF during playback of SMFs.
●Control Change
*
Transmitted according to the content of the SMF during playback of SMFs.
❍Bank Select (Controller number 0, 32)
Status
BnH
BnH
2nd byte
00H
20H
n = MIDI channel number:
mm, ll = Bank number:
*
*
3rd byte
mmH
llH
0H - FH (ch.1 - ch.16)
00 00H - 7F 7FH (bank.1 - bank.16384)
When the MIDI parameter Effects P.C. is set to PC+BANK, this is transmitted via the
MIDI channel selected in the Effects Ch. setting when insert effects patches are switched.
For the correspondence between Bank Select/Program numbers and the insert effect
patch banks/numbers, see p. 343.
❍Volume (Controller number 7)
Status
BnH
2nd byte
07H
n = MIDI channel number:
vv = Volume:
*
344
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
When the MIDI parameter “MIDI Fader” is set to ON, this is transmitted via the MIDI
channel set for a track when the corresponding track fader is moved.
Rev0.02
*
*
3rd byte
vvH
●Polyphonic Key Pressure
n = MIDI channel number:
kk = note number:
vv = Polyphonic Key Pressure:
Status
F7H
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Transmitted by drum pattern using the selected MIDI channel number when the MIDI
parameter “Drums Ch.” is set to 1–16.
Transmitted by bass pattern using the selected MIDI channel number when the MIDI
parameter “Bass Ch.” is set to 1–16.
Transmitted according to the content of the SMF during playback of SMFs.
Notes sounded by the drum pattern correspond to note numbers as follows.
Rhythm Guide Tone Note Number
Hi-Q
D#1 (27)
Stick
G 1 (31)
Metronome (click)
A 1 (33)
Metronome (bell)
A#1 (34)
Kick 2
B 1 (35)
Kick 1
C 2 (36)
Snare 1
D 2 (38)
Snare 2
E 2 (40)
Tom 1
F 2 (41)
Closed hi-hat
F#2 (42)
Tom 2
A 2 (45)
Open hi-hat
A#2 (46)
Tom 3
C3 (48)
Crash cymbal
C#3 (49)
Tom 4
D 3 (50)
Ride cymbal
D#3 (51)
Cow bell
G#3 (56)
Claves
D#5 (75)
Status
AnH
■Universal Non-realtime System Exclusive Messages
2nd byte
kkH
n = MIDI channel number:
kk = Note number:
vv = Note on velocity:
*
●Active Sensing
*
Status
9nH
3rd byte
vvH
MIDI Implementation
❍Expression (Controller number 11)
Status
BnH
2nd byte
0BH
n = MIDI channel number:
vv = Expression:
*
3rd byte
vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
When the MIDI parameter “MIDI Fader” is set to ON, this is transmitted via the MIDI
channel set for the EXP PEDAL when the EXP PEDAL is operated.
●Mono (Controller number 126)
Status
BnH
2nd byte
7EH
n = MIDI channel number:
mm = mono number:
Status
BnH
Status
CnH
n = MIDI channel number:
n = MIDI channel number:
pp = Program number:
*
*
*
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
Transmitted according to the content of the SMF during playback of SMFs.
When the MIDI parameter Effects P.C. is set to PC ONLY or PC+BANK, this is
transmitted via the MIDI channel selected in the Effects Channel setting when insert
effects patches are switched.
For the correspondence between Bank Select/Program numbers and the insert effect
patch banks/numbers, see p. 343.
2nd byte
7FH
*
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Transmitted according to the content of the SMF during playback of SMFs.
Status
Second
F1H
mmH (= 0nnndddd)
nnn = Message type:
dddd = 4 bit nibble data:
*
●Pitch Bend Change
Status
EnH
2nd byte
llH
0H - FH (ch.1 - 16)
●Quarter Frame Messages
2nd byte
vvH
n = MIDI channel number:
vv = Channel Pressure:
3rd byte
00H
■System Common Messages
●Channel Pressure
Status
DnH
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
●Poly (Controller number 127)
●Program Change
2nd byte
ppH
3rd byte
mmH
3rd byte
mmH
0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble
0H - FH (0 - 15)
If the Sync parameter “Sync Gen.” is set to “MTC,” quarter frame messages of the time
code type specified by “MTC Type” will be transmitted when the BR-1200CD is running
(recording or playing). The transmitted time counts are summed to “SMPTE (MTC)
Offset Time” as the song top is “00:00:00:00”.
Bit Field is assigned as follows.
n = MIDI channel number:
mm, ll = Pitch Bend value:
*
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (- 8192 - 0 - +8191)
Transmitted according to the content of the SMF during playback of SMFs.
■Channel Mode Messages
*
Transmitted according to the content of the SMF during playback of SMFs.
●All Sound Off (Controller number 120)
Status
2nd byte
BnH
78H
n = MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
●Reset All Controllers (Controller number 121)
Status
BnH
2nd byte
79H
n = MIDI channel number:
3rd byte
00H
Frame Count
xxx
yyyyy
xxxyyyyy
Reserved (000)
Frame No. (0-29)
Seconds Count
xx
yyyyyy
xxyyyyyy
Reserved (00)
Seconds (0-59)
Minutes Count
xx
yyyyyy
xxyyyyyy
Reserved (00)
Minutes (0-59)
Hours Count
xyyzzzzz
x
Reserved (0)
yy
Time Code Type
* The time code types defined by the MIDI specification correspond to the BR-1200CD
Sync parameter “MTC Type” as follows.
●All Notes Off (Controller number 123)
Status
BnH
2nd byte
7BH
n = MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
●Omni Off (Controller number 124)
Status
BnH
2nd byte
7CH
n = MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
“MTC Type” setting
24
25
29D
29N or 30
Hours
Rev0.02
MIDI specification setting
0 = 24 Frames / Sec
1 = 25 Frames / Sec
2 = 30 Frames / Sec (Drop Frame)
3 = 30 Frames / Sec (Non Drop Frame
zzzzz
0H - FH (ch.1 - ch.16)
●Song Position Pointer
Status
F2H
2nd byte
mmH
mm, nn=Song position point:
*
3rd byte
nnH
00H 00H - 7FH 7FH
●Omni On (Controller number 125)
Status
BnH
2nd byte
7DH
n = MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
345
Section 9
The current position is transmitted by the Song Position Pointer Message when the BR1200CD is stopped, or the locate operation has been performed, if the SYNC parameter
“Sync Gen.” is set to “MIDI CLOCK.”
MIDI Implementation
■System Realtime Messages
❍STOP (MCS)
Status
F0H
●Timing Clock
Status
F8H
*
Transmitted when “Sync Gen.” is “MIDI CLOCK” in the SYNC parameter.
●Start
Status
FAH
*
Transmitted when “Sync Gen.” is “MIDI CLOCK” in the SYNC parameter.
●Continue
Status
FBH
*
Transmitted when “Sync Gen.” is “MIDI CLOCK” in the SYNC parameter.
●Stop
Status
FCH
*
Transmitted when “Sync Gen.” is “MIDI CLOCK” in the SYNC parameter.
●Active Sensing
Status
FEH
*
This is transmitted at intervals of approximately 200 msec.
■System Exclusive Messages
❍DEFERRED PLAY (MCS)
Status
F0H
Data byte
7FH, Dev, 06H, 03H
Status
F7H
Byte
Remarks
F0H
Exclusive status
7FH
Universal System Exclusive Realtime Header
Dev
Device ID (7FH)
06H
MMC command message
03H
DEFERRED PLAY (MCS)
F7H
EOX (End of Exclusive)
* If the transport switch [PLAY] was pressed, the BR-1200CD transmits this message.
❍RECORD STROBE
Status
F0H
Data byte
7FH, Dev, 06H, 06H
Status
F7H
Byte
F0H
7FH
Dev
06H
06H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID (7FH)
MMC command message
RECORD STROBE
EOX (End of Exclusive)
Transmitted when recording to the audio tracks begins.
❍RECORD EXIT
❍Identity Reply Message
*
Status
F7H
Byte
Remarks
F0H
Exclusive status
7FH
Universal System Exclusive Realtime Header
Dev
Device ID (7FH)
06H
MMC command message
01H
STOP (MCS)
F7H
EOX (End of Exclusive)
* If the transport switch [STOP] was pressed, the BR-1200CD transmits this message.
*
●Universal System Exclusive Message
Data byte
7FH, Dev, 06H, 01H
Status
F0H
Data byte
7FH, Dev, 06H, 07H
Status
F7H
Receiving Identity Request Message, the BR-1200CD send this message.
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 71H, 01H
00H, 00H, 00H, 00H, 00H, 00H
Status
F7H
Byte
F0H
7EH
dev
06H
02H
41H
0AH 02H
00H 00H
00H 00H 00H 00H
F7H
Remarks
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code
Device family number code
Software revision level
EOX (End of Exclusive)
For instructions on setting the device ID, refer to “How to set the device ID:” (p. 344).
Status
F0H
Data byte
7FH, Dev, 06H, aaH, ..., bbH
Byte
F0H
7FH
Dev
06H
aaH
:
bbH
F7H
Remarks
Exclusive Status
Universal System Exclusive Realtime Header
Device ID (7FH)
MMC command message
command
:
command
EOX (End of Exclusive)
346
Status
F7H
❍MMC RESET
Status
F0H
Data byte
7FH, Dev, 06H, 0DH
Status
F7H
Byte
Remarks
F0H
Exclusive status
7FH
Universal System Exclusive Realtime Header
Dev
Device ID (7FH)
06H
MMC command message
0DH
MMC RESET
F7H
EOX (End of Exclusive)
* When powered on the BR-1200CD transmits this message.
Rev0.02
❍MIDI Machine Control Command
Byte
Remarks
F0H
Exclusive status
7FH
Universal System Exclusive Realtime Header
Dev
Device ID (7FH)
06H
MMC command message
07H
RECORD EXIT
F7H
EOX (End of Exclusive)
* Transmitted when recording to the audio tracks ends.
MIDI Implementation
❍LOCATE [MCP]
Format2—LOCATE [TARGET]
Status
Data byte
F0H
7FH, Dev, 06H, 44H, 06H, 01H,
hrH, mnH, scH, frH, ffH
Byte
F0H
7FH
Dev
06H
44H
06H
01H
hrH, mnH, scH, frH, ffH
F7H
*
3. Supplementary material
Status
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID (7FH)
MMC command message
LOCATE (MCP)
Byte count
“TARGET” sub-Command
Standard Time Specification with subframes
EOX (End of Exclusive)
If the efficient Maker of the locate switch is pressed or when moved, the BR-1200CD
transmits this message.
●MIDI Time Code Command
❍Full Message
Basic operation of quarter frame messages will be handled.
Status
Data Byte
Status
F0H
7FH, Dev, 01H, 01H, hrH, mnH, scH, frH F7H
Byte
F0H
7FH
Dev
01H
01H
hrH
yy
zzzzz:
mnH
scH
frH
F7H
*
Remarks
Exclusive status
Realtime Universal System Exclusive Header
Device ID (7FH)
sub-ID #1 (MIDI Time code)
sub-ID #2 (Full message)
hours and type: 0 yy zzzzz
type:
00 = 24 Flame/sec
01 = 25 Flame/sec
10 = 30 Flame/sec (Drop Format)
11 = 30 Flame/sec (Non Drop Format)
Hours (00 - 23)
Minutes (00 - 59)
Seconds (00 - 59)
Frames (00 - 29)
EOX (End of Exclusive)
This message is transmitted when the song position moves.
●Decimal/Hexadecimal table
(hexadecimal values are indicated by a following “H”)
MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of
exclusive messages. The following table shows the correspondence between decimal and
hexadecimal numbers.
+——————+——————++——————+——————++——————+——————++——————+——————+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
0 | 00H ||
32 | 20H ||
64 | 40H ||
96 | 60H |
|
1 | 01H ||
33 | 21H ||
65 | 41H ||
97 | 61H |
|
2 | 02H ||
34 | 22H ||
66 | 42H ||
98 | 62H |
|
3 | 03H ||
35 | 23H ||
67 | 43H ||
99 | 63H |
|
4 | 04H ||
36 | 24H ||
68 | 44H || 100 | 64H |
|
5 | 05H ||
37 | 25H ||
69 | 45H || 101 | 65H |
|
6 | 06H ||
38 | 26H ||
70 | 46H || 102 | 66H |
|
7 | 07H ||
39 | 27H ||
71 | 47H || 103 | 67H |
|
8 | 08H ||
40 | 28H ||
72 | 48H || 104 | 68H |
|
9 | 09H ||
41 | 29H ||
73 | 49H || 105 | 69H |
|
10 | 0AH ||
42 | 2AH ||
74 | 4AH || 106 | 6AH |
|
11 | 0BH ||
43 | 2BH ||
75 | 4BH || 107 | 6BH |
|
12 | 0CH ||
44 | 2CH ||
76 | 4CH || 108 | 6CH |
|
13 | 0DH ||
45 | 2DH ||
77 | 4DH || 109 | 6DH |
|
14 | 0EH ||
46 | 2EH ||
78 | 4EH || 110 | 6EH |
|
15 | 0FH ||
47 | 2FH ||
79 | 4FH || 111 | 6FH |
|
16 | 10H ||
48 | 30H ||
80 | 50H || 112 | 70H |
|
17 | 11H ||
49 | 31H ||
81 | 51H || 113 | 71H |
|
18 | 12H ||
50 | 32H ||
82 | 52H || 114 | 72H |
|
19 | 13H ||
51 | 33H ||
83 | 53H || 115 | 73H |
|
20 | 14H ||
52 | 34H ||
84 | 54H || 116 | 74H |
|
21 | 15H ||
53 | 35H ||
85 | 55H || 117 | 75H |
|
22 | 16H ||
54 | 36H ||
86 | 56H || 118 | 76H |
|
23 | 17H ||
55 | 37H ||
87 | 57H || 119 | 77H |
|
24 | 18H ||
56 | 38H ||
88 | 58H || 120 | 78H |
|
25 | 19H ||
57 | 39H ||
89 | 59H || 121 | 79H |
|
26 | 1AH ||
58 | 3AH ||
90 | 5AH || 122 | 7AH |
|
27 | 1BH ||
59 | 3BH ||
91 | 5BH || 123 | 7BH |
|
28 | 1CH ||
60 | 3CH ||
92 | 5CH || 124 | 7CH |
|
29 | 1DH ||
61 | 3DH ||
93 | 5DH || 125 | 7DH |
|
30 | 1EH ||
62 | 3EH ||
94 | 5EH || 126 | 7EH |
|
31 | 1FH ||
63 | 3FH ||
95 | 5FH || 127 | 7FH |
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
Decimal expressions such as used for MIDI channel, Bank Select, and Program Change will
be the value 1 greater than the decimal value given in the above table.
Since each MIDI byte carries 7 significant data bits, each byte can express a maximum of 128
different values. Data for which higher resolution is required must be transmitted using two
or more bytes. For example a value indicated as a two-byte value of aa bb HH would have a
value of aa x 128 + bb.
For a signed number (+/-), 40H = -64, 00H = 0, and 3FH = +63. (i.e., the decimal equivalent
will be 64 less than the decimal value given in the above table.) For a two-byte signed
number, 40 00H = -8192, 00 00H = 0, and 3F 7FH = +8191.
Hexadecimal notation in two 4-bit units is used for data indicated as `nibbled’. The nibbled
two-byte value of 0a 0b H would be a x 16 + b.
<Example1>
What is the decimal equivalent of 5AH?
From the above table, 5AH = 90.
<Example2>
What is the decimal equivalent of the 7-bit hexadecimal values 12 34H?
From the above table, 12H = 18 and 34H = 52
Thus, 18 x 128 + 52 = 2356
<Example3>
Rev0.02
What is the decimal equivalent of the nibbled expression 0A 03 09 0DH?
From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example4>
What is the nibbled equivalent of the decimal number 1258?
16 ) 1258
16 )
78...10
16 )
4...14
0... 4
Section 9
From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH
Thus the result is 00 04 0E 0AH
347
MIDI Implementation Chart
DIGITAL RECORDING STUDIO
Date : Dec. 1, 2004
MIDI Implementation Chart
Model BR-1200CD
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
1–16
1–16
1–16
1–16
Mode
Default
Messages
Altered
X
X
X
X
X
**************
Note
Number : True Voice
Velocity
After
Touch
0–127
Note On
Note Off
Key's
Channel's
Pitch Bend
0, 32
0–119
7
11
Control
Change
Program
Change
Remarks
Memorized
**************
0–127
DRUMS: 27–75, BASS: 0–72
1–127
64
1–127
*1
1–127
X
X
O
O
*1
*1
X
X
O
*1
X
O
O
O
O
*1
*2
*2
O
X
O
O
O
0–127
: True Number
*1
*2
*2
O
0–119
*7
O
*3
System Exclusive
O
: Quarter Frame
System
: Song Position
Common
: Song Select
: Tune Request
O
O
X
X
*4
*5
X
X
X
X
: Clock
System
Start
Real Time
: Commands Continue
Stop
O
O
O
O
*5
*5
*5
*5
O
O
X
O
*6
*6
: All Sound Off
: Reset All Controllers
Aux
Messages : Local On/Off
: All Notes Off
: Omni On/Off
: Mono/Poly
: Active Sensing
: System Reset
O
O
O
O
O
O
O
X
*1
*1
*1
*1
*1
*1
O
O
X
O
X
X
O
X
*8
*2
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
348
*1
*2
*3
*4
*5
*6
*7
*8
Bank Select
Volume
Expression
*6
*8
Rev0.02
Notes
Version : 1.00
When SMF playbacked, transmit in case of SMF.
MIDI Folder = ON only
Identity Request only
Sync Gen. = MTC only
Sync Gen. = MIDI CLOCK only
Sync Track Recording only
Effects Ch., Drums Ch., or Note Ch only
Bass = ON and Bass Ch. only
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
Specifications
BR-1200CD: Digital Recording Studio
● Tracks
Track: 12
V-Track: 192 (16 V-Tracks per each Track)
* Up to 2 tracks can be recorded simultaneously, and up to 12
tracks can be played back simultaneously.
● Input Impedance
GUITAR/BASS jack:
1 MΩ
MIC 1, 2 jacks:
12.5 kΩ (HOT-COLD)
(TRS balanced/XLR)
6.5 kΩ (HOT-GND, COLD-GND)
LINE IN jack:
22 kΩ
● Nominal Output Level
● Maximum Useful Capacity/Recording Time
LINE OUT jacks:
Internal Hard Disk:
40 G bytes (recording time; 120 hours) (conversion in one track)
● Output Impedance
-10 dBu
* The above-listed recording time is approximate. Times may be
slightly shorter depending on the number of songs and size of
imported loop phrase that were created.
LINE OUT jack:
2 kΩ
PHONES jack:
100 Ω
* The above-listed recording time is the total for all the tracks
that are used. If each of the twelve tracks contain an equal
amount of data, the length of the resulting song will be
approximately 1/12 of the above.
● Recommended Load Impedance
20 kΩ or greater
PHONES jack:
8–50 Ω
● Residual Noise Level
● Signal Processing
AD Conversion:
LINE OUT jack:
24 bit, AF Method (Guitar/Bass)
24 bit, ∆∑ Modulation (VOCAL)
LINE OUT jack:
-87 dBu or less
(INPUT SELECT: GUITAR/BASS, input terminated with 1 kΩ,
INPUT SENS: CENTER, IHF-A, typ.)
24 bit, ∆∑ Modulation (SIMUL)
DA Conversion:
24 bit, ∆∑ Modulation (LINE)
● Interface
24 bit, ∆∑ Modulation
DIGITAL OUT:
Internal Processing: 24 bit (digital mixer section)
Recording Data:
16 bit linear
S/PDIF 16–24 bit (optical type)
USB connector (B type)
● Display
64 x 40 mm (Backlit LCD)
● Sample Rate
44.1 kHz
● Connectors
● Frequency Response
20 Hz–20 kHz (+1/-3 dB)
MIDI IN connector
MIDI OUT connector
USB connector
● Total Distortion
DIGITAL OUT connector (optical type)
0.05% or less
FOOT SW jack (1/4 inch phone type)
(INPUT SENS: CENTER, 1 kHz at nominal output level)
EXP PEDAL jack (TRS 1/4 inch phone type)
● Nominal Input Level (Variable)
LINE IN jacks (RCA pin type)
GUITAR/BASS jack:
-20 dBu
MIC 1, 2 jacks (TRS balanced/XLR)
MIC 1, 2 jacks:
-40 dBu
PHONES jack (Stereo 1/4 inch phone type)
(TRS balanced/XLR)
LINE IN jacks:
Rev0.02
LINE OUT jacks (RCA pin type)
GUITAR/BASS jack (1/4 inch phone type)
-10 dBu
Section 9
349
Specifications
● Power Supply
DC 12 V; Supply AC Adaptor
(PSB-7U)
● Power Consumption
3.0 A
● Dimensions
478 (W) x 297 (D) x 95 (H) mm
18-7/8 (W) x 11-3/4 (D) x 3-3/4 (H) inches
● Weight
4.1 kg / 9 lbs 1 oz (Excluding AC Adaptor)
● Accessories
AC Adaptor (PSB-7U)
Owner’s Manual
Roland Service (information sheet)
CD-ROM “DISCRETE DRUMS”
● Options
Expression Pedal:
EV-5 (Roland)
Foot Volume/Expression:
FV-500L/FV-500H
Foot Switch:
FS-5U
Pedal Switch:
DP-2 (Roland)
* 0 dBu = 0.775 Vrms
In the interest of product improvement, the
specifications and/or appearance of this unit are subject
to change without prior notice.
350
Index
Symbols
*TMP ..................... 119, 138, 144, 150, 160, 174, 188, 199
*TMP(CURRENT) ............... 122–123, 140, 144–145, 150
+ ............................................. 100, 102, 105, 108, 205, 233
=>CHORD .................................................................... 214
=>COPY ........................................................ 168, 182, 208
=>DELETE ................................................... 169, 182, 208
=>FILL IN ..................................................................... 214
=>PRM. ......................................... 119, 133, 137, 143, 149
Numerics
12 AUDIO TRACKS ...................................................... 49
12STAGE ...................................................................... 305
1-PEDAL ....................................................................... 306
1-VOICE ........................................................................ 306
1x10” .............................................................................. 298
1x12” .............................................................................. 298
1x15” .............................................................................. 299
1x18” .............................................................................. 299
2-MONO ....................................................................... 306
2-ST (2-stereo) .............................................................. 306
2x12” .............................................................................. 298
2x15” .............................................................................. 299
2x2 Chorus .................................................... 288, 290, 295
3 Band Equalizer ................................................. 290, 294
4 Band Equalizer ......................................... 288–292, 294
4 Band Equalizer/Wah ....................................... 289–291
4 STAGE ....................................................................... 305
4x10” .............................................................................. 299
4x12” .............................................................................. 298
5150DRV ....................................................................... 298
60S FUZ ......................................................................... 297
7STRING ....................................................................... 310
8 STAGE ....................................................................... 305
8x10” .............................................................................. 299
8x12” .............................................................................. 298
A
Rev0.02
B
B MAN .......................................................................... 299
BACK ............................................................................ 178
Back up .............................................................................. 6
Backing chorus ............................................................. 136
BACKUP ....................................................................... 260
BACKUP icon ............................................... 226, 228, 230
351
Section 9
A<=>a ........................................... 122, 168, 181, 193, 207
ABSOLUTE TIME ....................................................... 248
AC .......................................................................... 307–308
ac .................................................................................... 308
AC adaptor ..................................................................... 36
ACC ............................................................... 165, 178–179
Accent ........................................................................... 178
Access indicator ............................................................. 26
ACOUSTIC GUITAR .................................................. 289
Acoustic Guitar Simulator ......................... 288, 292–293
Acoustic Processor ...................................... 289, 292–293
ACOUSTIC SIM .......................................................... 288
Adjusting reverb .......................................................... 126
AF method ...................................................................... 20
AIFF ....................................................... 190, 234, 263, 270
AIFF file ........................................................................ 233
AKGC3K ....................................................................... 304
Algorithm ............................................................. 118, 288
ALL ........ 100, 102, 108–109, 189, 191, 195, 205, 229, 233
ALL icon ....................................................................... 283
Amb Density ................................................................ 298
Amb HF Damp ............................................................ 298
Amb Level .................................................................... 298
Amb Pre-Dly ................................................................ 298
Amb Size ....................................................................... 298
Ambience ...................................................................... 298
AMERCAN .................................................................. 297
AMG ...................................................................... 307–308
amg ................................................................................ 308
Amp Type ..................................................................... 307
ARR EDIT ..................................................................... 202
ARR.MOD icon ............................................................ 206
ARRANGEMENT ....................................................... 229
Arrangement mode ..................................................... 156
ARRANGEMENT/PATTERN .......................... 156, 197
[ARRANGEMENT/PATTERN] ............... 55–56, 58, 60
ARRANGEMENT/PATTERN button ....................... 23
AT.FADE .............................................................. 151–152
ATK ................................................................................. 83
ATTACK ....................................................................... 128
Attack .................................................... 296, 300, 302, 317
Attack Time .................................................................. 296
AUDIO .................................................... 23, 157, 171, 185
Audio CD import screen ............................................ 239
Audio CD Menu screen .............................................. 239
Audio CD Player screen ............................................. 239
Audio CD screen ......................................................... 218
Audio CD Write screen .............................. 218–220, 223
AUDIO CD WRITE/PLAY ........................................ 218
[AUDIO CD WRITE/PLAY] ............. 219–220, 223–224
AUDIO CD WRITE/PLAY button ............................. 25
Audio sub mix ............................................................. 277
AUDIO TRACK MIXER faders ................................... 23
AUTO FADE IN .......................................................... 151
Auto Fade In setting screen ....................................... 151
Auto Fade Out setting screen .................................... 152
AUTO PUNCH [ON/OFF] .......................................... 77
AUTO PUNCH IN/OUT ............................................. 21
Auto punch in/out ........................................................ 76
AUTO PUNCH IN/OUT [IN] ..................................... 76
AUTO PUNCH IN/OUT [OUT] ................................. 76
Auto Scene .......................................................... 92, 94–95
Auto wah ...................................................................... 310
AW ......................................................................... 310–311
Index
352
C
CANCEL ....................................................................... 121
CD hold time ................................................................ 238
CD HoldTime ............................................................... 238
CD player ...................................................................... 218
CD TRACK ..................................................................... 91
CD Track Marker ......................................................... 222
CD-R disc .......................................................................... 8
CD-R/RW ....................................................... 25, 217, 223
CD-R/RW disc ......................................................... 8, 223
Compatibility ............................................................. 9
Inserting ...................................................................... 9
Precautions ................................................................. 8
Removing .................................................................... 9
CD-R/RW drive .................... 26, 219–220, 223–224, 338
CD-R/RW drive’s internal motor ............................. 238
CD-RW disc ...................................................................... 8
CD-RW Erase ............................................................... 237
CENTER ........................................................ 298–299, 308
CHANNEL EDIT ..................................................... 63, 82
Character .............................................................. 293–294
CHORD ......................................................................... 200
Chord ............................................................................ 173
Deleting ................................................................... 201
Inputting ................................................................. 200
Inserting .................................................................. 202
Chord Map screen ....................................................... 200
Chord progression ...................................................... 156
Chord specifications .................................................... 173
Chord type .................................................................... 200
CHORUS ................................................................. 85, 125
Chorus ............................. 85, 116, 125, 288, 290–291, 295
Chorus Send ................................................................. 138
[CHORUS/DELAY] ...................................................... 85
CHORUS/DELAY button ............................................ 22
CLEAN .......................................................................... 307
CLEANTW ................................................................... 297
CLEAR button .......................................................... 21, 90
CLICK ........................................................................... 212
CM-30 .................................................................... 142, 313
CmpH Attack ............................................................... 317
CmpH Ratio ................................................................. 317
CmpH Release ............................................................. 317
CmpH Thres ................................................................. 317
CmpL Attack ................................................................ 317
CmpL Ratio .................................................................. 317
CmpL Release .............................................................. 317
CmpL Thres .................................................................. 317
CmpM Attack ............................................................... 317
CmpM Ratio ................................................................. 317
CmpM Release ............................................................. 317
CmpM Thres ................................................................ 317
COMMON .................................................................... 137
[COMP] ........................................................................... 82
COMP button ......................................................... 22, 128
Rev0.02
Backup Menu screen ................................... 226, 228, 230
Balance .......................................................................... 138
BANK
GUITAR .................................................................. 288
MIC .......................................................................... 290
SIMUL ..................................................................... 292
Bank ....................................................................... 118–119
BASS ...................................................................... 171, 198
Bass ........................................ 154, 171–172, 297–299, 307
Bass Ch. ......................................................................... 243
Bass Cut Filter ...................................... 291, 294, 314, 316
BASS MULTI ................................................................ 289
BASS OD ....................................................................... 297
Bass pattern .......................................................... 154, 172
BASS SIM ...................................................................... 288
Bass Simulator ..................................................... 288, 294
Bass sound .................................................................... 172
BASS360 ........................................................................ 299
BASSWAH ................................................................... 310
BD-2 ............................................................................... 297
BEAT ..................................................................... 193, 210
Beat ................................................................ 196, 209–210
Beat map ............................................................... 209–210
Beat Map screen ........................................................... 210
BEEP .............................................................................. 212
BG DRV ........................................................................ 297
BG LEAD .............................................................. 297, 307
BG RHY ........................................................................ 297
BG STK .......................................................................... 308
bg stk ............................................................................. 308
BIPHASE ...................................................................... 305
Bit ................................................................................... 303
BLOCK .......................................................... 134, 138, 143
BLOCK<= ..................................................... 119, 143, 149
BLUES ................................................................... 297, 307
BLUESOD ..................................................................... 297
Body .............................................................................. 293
BoomBox ....................................................................... 313
BoomLoB ...................................................................... 313
BOSSCmp ..................................................................... 296
BOTTOM ...................................................................... 203
BOUNCE ........................................................................ 21
Bounce ....................................................................... 82, 86
BOUNCE indicator ....................................................... 86
BPF ......................................................................... 303, 311
BPM ......................................... 58, 158, 161, 175, 187, 197
BR-1600CD icon ........................................................... 259
BRIGHT ................................................................ 127, 298
Bright ............................................................. 298–299, 307
BUTTON ....................................................................... 194
BY MARK ..................................................................... 223
BY SONG ...................................................................... 220
BY TRACK .................................................................... 188
Index
Compatible OS ............................................................. 258
Compressor .................... 82, 116, 288, 291–292, 296, 317
Compressor Edit screen ............................................. 128
Compressor/Defretter ........................................ 288–289
CONCERT .................................................................... 299
Condenser microphone .............................................. 278
Connecting ..................................................................... 34
Contrast ........................................................................ 274
Control Surface .............................................................. 20
Copy
Bass pattern ............................................................ 182
Drum pattern .......................................................... 168
Loop phrase ............................................................ 194
Rhythm arrangement ............................................ 208
COPY icon ...................................................... 99, 110, 194
COPY INS icon ............................................................ 100
Copying .................................................................. 99, 123
Copyright ..................................................................... 239
Cord hook ....................................................................... 28
COSM ............................................................................ 116
COSM BASS AMP ....................................................... 289
COSM COMP BASS AMP .......................................... 290
COSM COMP GUITAR AMP .................................... 289
COSM Comp/Limiter ................................ 289–290, 296
COSM OD BASS AMP ............................................... 290
COSM OD GUITAR AMP ......................................... 288
COSM Overdrive/Distortion .................... 288, 290, 297
COSM PreAmp&Speaker ........................... 288, 290, 297
COSM VOCAL COMP ............................................... 291
Create By Track screen ............................................... 188
CRUNCH .............................................................. 297, 307
CRY WAH .................................................................... 310
Current position ............................................................ 30
Cursor ............................................................................. 31
CURSOR buttons ........................................................... 25
CURVE .......................................................................... 152
CUT icon ....................................................................... 107
Cut Off Freq ................................................. 294, 314, 316
Cutoff Freq ................................................................... 303
D
Section 9
353
Rev0.02
D E Balance .......................................................... 303, 306
D.CpProtect .................................................................. 280
DARK .................................................................... 127, 298
Data CD screen ............................................................ 226
DATA SAVE/LOAD .................................................. 226
DATA SAVE/LOAD button ....................................... 25
DC IN (AC adaptor) jack .............................................. 28
D-Comp ........................................................................ 296
De-esser ................................................................ 290, 299
DEFAULT ..................................................................... 127
Defretter ........................................................ 288–290, 300
DELAY ............................................................................ 85
Delay ....................................... 85, 116, 125, 288–292, 300
Delay Time ................................................... 300, 308, 316
Delay time .................................................................... 126
DELAY TYPE ............................................................... 126
DELETE ............... 122, 166, 168, 179, 181, 193, 199, 201, 203, 207
Delete
Bass pattern ............................................................ 182
Drum pattern .......................................................... 169
DELETE button ........................................................ 21, 76
Delete screen for drum patterns ................................ 169
Deleting ......................................................................... 107
Demo songs .................................................................... 38
DENSITY ...................................................................... 127
DEPTH .......................................................................... 125
Depth ............................. 295, 300, 302, 304–305, 309–312
Detect HPF .................................................................... 303
DIGITAL ....................................................................... 303
Digital copy .................................................................. 280
DIGITAL OUT connector ............................................. 28
Direct Level .......................... 297–299, 302–306, 308, 310
DISC ...................................................................... 220, 223
Disc At Once By Marker ....................................... 91, 219
Disc At Once By Song ......................................... 219–220
Disc tray .......................................................................... 26
Disk Initialize ............................................................... 285
Disk memory used for the song ................................ 110
DISP ............... 100, 102, 104, 107, 109, 189, 205, 233, 265
Display ............................................................................ 27
Display's contrast ........................................................ 274
Distance ................................................................. 291, 301
DISTORT ....................................................................... 297
Dither ............................................................................ 317
DIV ................................................................................ 285
DOUBLING .................................................................... 85
Doubling ......................... 85, 117, 125, 288, 290–291, 301
Doubling effect ............................................................ 301
DOWN .......................................................................... 311
DR-20 ............................................................................. 304
Drive .............................................................................. 297
Drive Busy! ................................................................... 203
Driver ............................................................................ 258
Drop format .................................................................. 247
DRUM ........................................................................... 198
Drum ....................................................................... 60, 159
Drum Kit ............................................................... 159, 164
Drum pattern ......................................... 56, 154, 158, 160
Drum sounds ................................................................. 60
DRUM&BASS PATTERN .......................................... 229
Drums ............................................................. 54, 154, 157
Drums Ch. .................................................................... 243
DRUMS&LP ......................................................... 157, 185
DRV STK ....................................................................... 297
DS-30A .................................................................. 142, 313
DS-50A .................................................................. 142, 313
DS-90A .................................................................. 142, 313
DST+ .............................................................................. 297
Dynamic microphone ................................................. 278
Index
E
354
F
F1–F3 ............................................................................... 25
Fade in ........................................................................... 151
FADE OUT ................................................................... 152
Fade-out ........................................................................ 151
FADER icon .................................................................. 253
Fader position .............................................................. 253
FAST .............................................................................. 306
FAT ................................................................................ 310
FAT MCH ..................................................................... 297
FEEDBACK .................................................................. 126
Feedback ............................................................... 300, 308
Feedback 1 .................................................................... 306
[FF] ................................................................................... 41
FF button ......................................................................... 22
Filter .............................................................................. 303
Final Mastering Track ............................................. 79–80
FINALIZE ..................................................................... 225
Finalize .......................................................................... 225
Fine 1/2 ......................................................................... 306
Flanger .................................................. 288, 290–291, 302
Flanging effect .............................................................. 302
Flashing green ................................................................ 23
Flashing orange ............................................................. 23
Flashing orange and green ........................................... 23
Flashing red .................................................................... 23
Flat ......................................................................... 300, 304
FLIPTOP ....................................................................... 299
FOOT SW jack ................................................................ 28
FOOT Switch .................................................................. 39
Foot switch ............................................................... 39, 76
Foot Volume ......................................................... 288–291
Formant ......................................................................... 310
Formant1 ....................................................................... 310
Formant2 ....................................................................... 310
Frame ....................................................................... 27, 247
Frequency ............................. 301, 308, 311–312, 314, 316
Fretless bass .................................................................. 300
FROM (From point) ............................................ 100, 102
FULLRNG ..................................................................... 297
FUNCTION buttons ...................................................... 30
FX ........................................................................... 288, 290
Rev0.02
EDIT .............................................................................. 119
[EDIT] .............................................................................. 60
EDIT button .................................................................... 23
EDITED ......................................................................... 110
Editing ............................................................................. 99
Effect block ................................................... 118, 142, 149
Effect block connection ............................................... 121
Effect Level ................... 295, 297, 300, 302–303, 305, 308
Effect Level1 ................................................................. 310
Effect Level2 ................................................................. 310
Effect Patch ................................................................... 118
Effect Type .................................................................... 310
EFFECTS ....................................................................... 229
Effects ...................................................................... 52, 116
[EFFECTS] ...................................................................... 52
EFFECTS button .................................................... 20, 119
Effects Ch. ..................................................................... 255
Effects Edit screen ....................................................... 119
EFFECTS icon .............................................................. 283
Effects Location screen ............................................... 123
Effects P.C. .................................................................... 255
Effects Patch screen ..................................................... 119
Effects Patch Write/Copy screen .............................. 122
Effects Program Change ............................................. 255
Effects/Rhythm ........................................................... 228
Eject ....................................................... 260, 262, 264, 266
EJECT button ......................................... 26, 220–221, 223
Electric condenser microphone ................................. 279
Emergency eject hole .................................................... 26
END (End point) .......... 100, 102, 107, 109, 189, 205, 233
ENHANCE ................................................................... 293
Enhancer ............................................... 289–290, 301, 316
ENTER/YES button ...................................................... 25
[EQ] ................................................................................. 83
EQ button ............................................................... 22, 130
Equalizer ................................................................. 83, 315
Equalizer Edit screen .................................................. 130
Equalizer screen ........................................................... 130
Equalizer/Wah .................................................... 288, 290
ERASE ................................................... 161, 175, 199, 203
Erase
CD-RW disc ............................................................ 237
Loop phrase ............................................................ 195
ERASE icon .......................................... 108, 111, 195, 237
Erasing .......................................................................... 108
Error message .............................................................. 340
EV-5 ............................................................................... 124
Exchanging ................................................................... 103
EXIT/NO button ........................................................... 25
EXP Pedal Ch. .............................................................. 253
EXP PEDAL jack .................................................... 28, 124
Expander ...................................................................... 316
ExpH Attack ................................................................. 316
ExpH Ratio ................................................................... 316
ExpH Release ............................................................... 316
ExpH Thres ................................................................... 316
ExpL Attack .................................................................. 316
ExpL Ratio .................................................................... 316
ExpL Release ................................................................ 316
ExpL Thres ................................................................... 316
ExpM Attack ................................................................ 316
ExpM Ratio ................................................................... 316
ExpM Release ............................................................... 316
ExpM Thres .................................................................. 316
Expression pedal ................................................. 124, 337
Extension .............................................................. 265, 271
Index
G
Gain ....................................................... 298, 303, 307, 314
Gain SW ........................................................................ 298
GATE ..................................................................... 178–179
Gate time ...................................................................... 178
GLOBAL icon ............................................................... 282
GM ................................................................. 170, 183, 243
Ground terminal ............................................................ 29
GS .................................................................. 170, 183, 243
[GUITAR/BASS] ........................................................... 50
Guitar bank .................................................................. 118
GUITAR/BASS .............................................................. 20
GUITAR/BASS effects ............................................... 116
GUITAR/BASS jack ...................................................... 26
GUV DS ........................................................................ 297
H
I
IMPORT ................................................ 170, 183, 232, 239
IMPORT icon ................................................ 190, 265, 272
IN button ........................................................................ 21
INFO icon ............................................................. 110, 284
Information .................................................................... 27
Initialize ........................................................................ 282
INITIALIZE icon ......................................................... 282
INPUT ............................................................................. 21
Input .............................................................. 296, 304, 316
Input Gain ............................................................ 315–316
INPUT LEVEL knob ................................................ 21, 62
Input Pan ........................................................................ 63
Input Select ............................................................... 50, 67
INPUT SELECT buttons ............................................... 20
INPUT SENS knob ........................................................ 51
INPUT SENS knobs ....................................................... 20
Input Sensitivity ............................................................ 51
Input Type .................................................................... 137
Input/Track level meters ............................................. 27
INSERT ................ 121–122, 166, 168, 179, 181, 193, 200, 207, 221
Insert
Loop phrase ............................................................ 204
Insert effect ................................................................... 118
Insert effect algorithm list .................................. 128, 288
Insert effect connection ............................................... 123
Insert effects ........................................................... 52, 116
INSERT icon ................................................................. 104
Inserting ........................................................................ 104
INVERSE ............................................................... 304, 313
ISO9660 ................................................. 169, 183, 190, 235
J
JAZZCMB ..................................................................... 297
JC-120 ............................................................ 297, 307–308
JUMBO .......................................................................... 293
K
Rev0.02
KEY SHIFT ................................................................... 198
KNEE ............................................................................. 128
L
LCD CONTRAST ........................................................ 274
LEADSTK ..................................................................... 297
LEN ................................................................................ 203
LENGTH ....................................................... 104, 152, 199
Length in measures ..................................................... 193
355
Section 9
H TO HF ....................................................................... 305
H TO S ........................................................................... 305
HALL ............................................................................ 126
HARD ........................................................................... 128
Hard disk .................................................................. 6, 338
Emergency .................................................................. 6
Precaution ................................................................... 6
Setup ............................................................................ 6
Hard disk capacity ...................................................... 112
Hard Disk Information ............................................... 284
Hard Disk screen ......................................................... 284
Harmony Sequence ..................................... 117, 131, 136
Harmony Sequence edit screen ................................. 137
HD ACCESS indicator .................................................. 25
HDD .............................................................................. 231
HDD backup ................................................................ 230
HDD icon ...................................................................... 284
HDD recover ................................................................ 231
Hed.Dy .......................................................................... 304
HF DAMP ............................................................. 126–127
Hi Cut Freq ........................................................... 295, 300
HI FREQ ....................................................................... 130
HI GAIN ....................................................................... 130
HI.FEML ............................................................... 133, 138
HI.MALE .............................................................. 133, 138
HIGH ....................................................................... 83, 307
High Depth ................................................................... 295
High Freq .............................................................. 294, 315
High Freq Trimmer ..................................................... 314
High Gain ..................................................... 294, 309, 315
High Level ............................................................ 295, 317
High Pre-Dly ................................................................ 295
High Q .................................................................. 294, 315
High Rate ...................................................................... 295
High Type ..................................................................... 315
Hi-Mid Freq ................................................. 294, 309, 315
Hi-Mid Gain ................................................. 294, 309, 315
Hi-Mid Q ...................................................... 294, 309, 315
HPF ........................................................................ 303, 311
Hum to Half-tone ........................................................ 305
Hum to Single .............................................................. 305
Human Feel .................................................................. 137
Humanizer .................................................... 288, 290, 302
Humbucking-style ....................................................... 305
HVY MTL ..................................................................... 297
Index
356
M
M.SCOPE ...................................................................... 179
Macintosh ............................................................. 258, 267
MANUAL ............................................................. 306, 310
Manual .................................................................. 302, 305
Manual punch in/out ................................................... 75
MAP EDIT .................................................... 134, 200, 210
MARK button ........................................................... 21, 90
MARKER ........................................................................ 21
Marker ................................................................. 27, 43, 90
Marker Name ................................................................. 91
Marker screen .......................................................... 91–92
Marker Stop .................................................................... 92
Mas.Fader Ch. .............................................................. 253
MASTER ....................................................................... 251
Master ........................................................................... 307
MASTER fader ......................................................... 25, 40
Master level meter ......................................................... 27
Master sync .................................................................. 245
MASTERING ................................................................. 21
MASTERING indicator ............................................... 146
MASTERING TOOL KIT ............................................ 229
Mastering Tool Kit ...................................................... 117
Patch copy ............................................................... 151
Patch write .............................................................. 150
MASTERING TOOL KIT button ................................. 23
Mastering Tool Kit edit screen .................................. 149
Mastering Tool Kit parameter ................................... 315
Mastering Tool Kit Patch Write/Copy screen ........ 150
MATCH ................................................................ 307–308
match ............................................................................. 308
MAX .............................................................................. 126
Maximum useful Capacity ......................................... 349
MCH DRV .................................................................... 297
MCHLEAD ................................................................... 297
MEAS .................................................... 193, 199, 202, 210
MEASURE .................................................................... 209
Measure .................................................. 27, 164, 209–210
MEDIUM .............................................................. 128, 306
METAL .................................................................. 307–308
METAL D ..................................................................... 307
METRO ......................................................... 161, 175, 212
METRO&LP ......................................................... 185, 211
METRONOME ..................................................... 157, 198
Metronome ................................................................... 211
Sound ....................................................................... 212
MIC .................................................................................. 29
MIC bank ...................................................................... 118
Mic Converter ...................................................... 291, 304
Mic Distance ................................................................. 293
MIC effects .................................................................... 116
Mic Level ...................................................... 298–299, 308
MIC MODELING ........................................................ 291
Mic Setting .................................................... 298–299, 308
Microphone pre-amp .................................................. 279
Rev0.02
LEVEL ........................................................................... 126
Level ............... 293–294, 296–297, 299, 301–302, 305, 309–312, 314
Level 1/2 ....................................................................... 306
Level Disp. .................................................................... 281
LEVEL DR ............................................................ 186, 212
LEVEL LP ............................................................. 186, 212
LIGHT ........................................................................... 310
Limiter ................................... 288, 291, 296, 302, 314, 317
LINE .......................................................................... 20, 50
LINE IN .......................................................................... 29
LINE OUT jacks ............................................................. 29
LINK ON .............................................................. 129–130
LO.FEML .............................................................. 133, 138
LO.MALE ............................................................. 133, 137
LOC ............................................................................... 189
LOCATION .......................................................... 123, 136
Location .......................................................................... 91
LO-FI BOX .................................................................... 291
Lo-Fi Box ............................................................... 291, 303
LOOP EFFECTS ................................................. 64, 84–85
Loop effects .................................................... 84, 116, 125
Loop Phrase ................................................. 155, 185, 228
LOOP PHRASE A–H .................................................. 229
LOOP PHRASE ALL .................................................. 229
Loop phrase creation .................................................. 188
Loop Phrase Edit screen ............................................. 193
Loop Phrase Erase screen ........................................... 195
LOOP PHRASE IMPORT ........................................... 188
Loop phrase import .................................................... 190
LOOP PHRASE IMPORT button ................................ 25
Loop Phrase screen ..................................................... 188
Loop Recording ............................................................. 78
LOW ........................................................................ 84, 307
LOW CUT ............................................................. 125, 127
Low Depth .................................................................... 295
LOW FREQ ................................................................... 130
Low Freq ............................................................... 294, 315
Low Freq Trimmer ...................................................... 314
LOW GAIN .................................................................. 130
Low Gain ...................................................... 294, 309, 315
Low Level ............................................................. 295, 317
Low Pre-Dly ................................................................. 295
Low Q .................................................................... 294, 315
Low Rate ....................................................................... 295
LowCutFilter ........................................................ 295, 302
Low-Mid Freq .............................................. 294, 309, 315
Low-Mid Gain ............................................. 294, 309, 315
Low-Mid Q ................................................... 294, 309, 315
LowMix Level .............................................................. 301
LowType ....................................................................... 315
LPF ......................................................................... 303, 311
Lrg.Cn ........................................................................... 304
Lrg.Dy ........................................................................... 304
Index
MTC ....................................................................... 246–247
MTC Type ..................................................................... 247
MTL STK ....................................................................... 298
MTLLEAD .................................................................... 298
MUF FUZ ...................................................................... 297
N
N.C. ................................................................................ 201
NAME ........................... 122, 144, 150, 168, 181, 193, 207
Name
Bass pattern ............................................................ 181
Drum pattern .......................................................... 168
Rhythm arrangement ............................................ 207
NAME icon ................................................................... 114
NEW ........................................................................ 48, 202
NO. ................................................................ 199, 202, 204
No. ................................................................................... 91
Noise ............................................................................. 303
Noise Suppressor ......................................... 288–292, 304
Non-chord .................................................................... 137
Non-chord (- - -) ........................................................... 201
Non-drop format ......................................................... 247
NORMAL ..................................... 127, 285, 298, 304, 313
Normalize ..................................................................... 105
NORMALIZE icon ...................................................... 106
Normalize screen ......................................................... 106
NOTE ............................................................................ 179
O
OCT FUZ ...................................................................... 297
Octave ........................................................... 289–290, 304
Octave Level ................................................................. 304
OD-1 .............................................................................. 297
OD-2 .............................................................................. 297
ODB-3 ............................................................................ 297
On/Off .......... 137, 293–297, 299–302, 304–310, 313–317
ON/OFF button ............................................................. 21
ONLY CUR. PARTITION .................................. 285–286
OPTIMIZE icon ............................................................ 112
ORG ....................................................................... 298–299
OUT button .................................................................... 21
Output ................................................................... 304, 317
Output Level ................................................................ 315
Output Sp. .................................................................... 313
Overdubbing .................................................................. 68
P
357
Section 9
P.Shift Type .................................................................. 306
PAGE SCROLL buttons ................................................ 31
Pan ..................................... 63, 82, 137, 288, 290, 300, 304
[PAN] ........................................................................ 63, 82
PAN button .................................................................... 22
Panel Descriptions ......................................................... 20
PAN-SQR ...................................................................... 309
PAN-TRI ....................................................................... 309
Rev0.02
Microscope ........................................................... 165, 179
MID ................................................................................. 83
MID FREQ .................................................................... 130
Mid Freq ....................................................................... 294
MID GAIN .................................................................... 130
Mid Gain ....................................................................... 294
Mid Level ...................................................................... 317
MID Q ........................................................................... 130
Mid Q ............................................................................ 294
MIDDLE ............................................................... 307–308
Middle ........................................................... 298–299, 307
Middle Freq .................................................................. 299
MIDI .............................................................................. 242
MIDI cable .................................................................... 242
MIDI channel ............................................................... 242
MIDI CLK ..................................................................... 246
MIDI connector ............................................................ 242
MIDI Fader ................................................................... 252
MIDI icon .............................................................. 243, 251
MIDI Implementation Chart ...................................... 242
MIDI IN ........................................................................ 242
MIDI IN connector ........................................................ 28
MIDI indicator ............................................................... 25
MIDI keyboard ............................................................ 254
MIDI OUT .................................................................... 242
MIDI OUT connector .................................................... 28
MIDI screen .......................................................... 243, 251
MIDI sequencer ........................................................... 245
MIDI sound module ................................................... 243
MIDI THRU ................................................................. 242
MIDI time code ............................................................ 246
MIDI timing clock ....................................................... 245
MIN ............................................................................... 126
Min.Cn .......................................................................... 304
Mix Level .............................................................. 301, 316
Mixer ............................................................................. 317
MIXER icon .................................................................. 283
MMC ............................................................................. 251
MMC Mode .................................................................. 251
Mode ..................................................... 295, 306, 309, 311
Model ............................................................................ 313
Modify Filter ................................................................ 303
Modulation ........................................................... 290–291
MONO .......................................................................... 295
MOVE ........................................................... 121, 166, 179
MOVE icon ................................................................... 101
MOVE INS icon ........................................................... 101
Moving .......................................................................... 101
MS .................................................................................. 307
MS HI-G ........................................................................ 297
MS STK ......................................................................... 308
ms stk ............................................................................ 308
MS(1) ............................................................................. 297
MS(1+2) ......................................................................... 297
MT-2 .............................................................................. 297
Index
358
PRE-DELAY ......................................................... 125, 127
Pre-fader ....................................................................... 281
Pre-gap .......................................................................... 218
Pre-gap setting screen ................................................. 218
Presence ................................................................ 298, 307
Preset bass patterns ..................................................... 154
Preset drum pattern .................................................... 154
Preset patch .......................................................... 118, 132
Preset rhythm arrangement ............................... 156, 197
PREVIEW .............................................. 190, 193–195, 233
Preview ........................................................................... 97
Preview SW .................................................................... 98
PROCRNC .................................................................... 297
PROGRAMMABLE RHYTHM ................................. 197
Programmable rhythm ............................................... 154
PROTECTED ................................................................ 110
Protecting ...................................................................... 113
Prox.Fx .......................................................................... 301
Proximity effect ............................................................ 301
Punch in .......................................................................... 75
Punch In/Out ................................................................. 75
Punch out ........................................................................ 75
Pwd. BLK ...................................................................... 313
Pwd. E-B ....................................................................... 313
Pwd. MAC .................................................................... 313
Q
QTZ ........................................................................ 162, 176
Quantize ................................................................ 162, 176
R
Rack160 ......................................................................... 296
RADIO .......................................................................... 303
Radio ............................................................................. 313
Range ............................................................................. 254
Range of note numbers ............................................... 254
RATE ............................................................. 125, 167, 180
Rate ........................................ 295, 302, 304–305, 309–311
RATIO ........................................................................... 128
Ratio .............................................................................. 296
Real-time recording ............................. 160–161, 174–175
Rear Panel ....................................................................... 28
[REC] ......................................................................... 66, 68
REC button ..................................................................... 22
[REC MODE] .......................................................... 86, 146
REC MODE button ........................................................ 21
REC MODE indicators .................................................. 21
Recording ....................................................................... 66
Recording level .............................................................. 62
Recording time ............................................................. 349
Recording Track ............................................................ 66
RECOVER ............................................. 227, 229, 231, 261
Recover screen ............................................. 227, 229, 231
Reference pitch ............................................................ 275
REHEARSAL ....................................................... 162, 176
Rev0.02
Parametric .................................................................... 309
Partition ........................................................................ 286
Patch name ................................................... 122, 140, 150
Patch number ............................................................... 119
Pattern mode ................................................................ 156
Pattern Selection screen ...................... 159, 172, 186–187
Pattern setup ........................................................ 159, 172
PC ONLY ...................................................................... 255
PC+BANK .................................................................... 255
PEAK ............................................................................. 315
Peak ....................................................................... 311–312
PEAK indicator ........................................................ 20, 51
PEDAL .......................................................... 306, 310–311
Pedal Pos. ..................................................................... 310
Pedal wah ..................................................................... 310
Pedal-type pitch shifter .............................................. 306
PERCENT ..................................................................... 106
Phantom ........................................................................ 278
Phantom power ..................................................... 35, 278
Phase ..................................................................... 304, 313
Phaser .................................................... 288, 290–291, 305
PHONES ......................................................................... 26
PHONES VOLUME ...................................................... 26
Pickup Simulator ................................................. 288, 305
Pickup Type ................................................................. 293
PIEZO ............................................................................ 293
Pitch 1/2 ....................................................................... 306
PITCH CORRECTION ............................................... 132
Pitch Correction ........................................... 117, 131–132
Pitch Correction Edit screen .............................. 133–134
Pitch Correction Parameter screen ........................... 133
Pitch shift ...................................................................... 306
Pitch Shifter .......................................... 288, 290–291, 306
Pitch Shifter pedal ....................................................... 124
PLATE ........................................................................... 127
[PLAY] ............................................................................ 39
PLAY ..................................................................... 236, 239
PLAY button .................................................................. 22
PLAYER ................................................................ 236, 303
Playing ............................................................................ 39
Playing SMFs ............................................................... 236
Polarity .......................................................................... 311
POS ................................................................................ 203
Position ......................................................................... 203
POST FADER ............................................................... 281
Post Filter ...................................................................... 303
Post-fader ..................................................................... 281
POWER switch .................................................. 28, 36–37
Pre Delay .............................................................. 137, 295
Pre Delay 1/2 ............................................................... 306
PRE FADER .................................................................. 281
Pre Filter ....................................................................... 303
PRE GAP ....................................................................... 218
PreAmp ......................................................... 289–290, 292
Preamp .......................................................................... 307
Index
Rehearsal .............................................................. 162, 176
REL .................................................................................. 83
RELATIVE TIME ......................................................... 248
RELEASE ...................................................................... 128
Release .......................................................... 304, 314, 317
Release Time ................................................................ 296
Removable Disk ........................................................... 259
Removing song protection ......................................... 113
Repeat ............................................................................. 78
REPEAT button ............................................................. 22
RES ........................................................................ 163, 177
Resonance ............................................. 300, 302–303, 305
REST .............................................................................. 178
Rest ................................................................................ 137
REV SEND .................................................................... 126
Reverb ....................................................... 64, 84, 116, 125
[REVERB] ................................................................. 64, 84
REVERB button ..................................................... 23, 126
Reverb Edit screen ....................................................... 126
Reverb Send ................................................................. 138
Reverb send level .......................................................... 64
Reverb Send screen ..................................................... 126
[REW] .............................................................................. 41
REW button .................................................................... 22
RF ORNG ...................................................................... 297
RF RED .......................................................................... 297
RF VNTG ...................................................................... 297
RHYTHM ..................................................................... 229
Rhythm arrangement .......................................... 156, 197
Rhythm machine ......................................................... 245
Ring Modulator ................................... 288, 290–291, 308
Rise Time ...................................................................... 308
R-MAN ......................................................................... 297
ROOM ........................................................................... 126
ROTECT icon ............................................................... 113
S
Section 9
359
Rev0.02
S TO H ........................................................................... 305
Safe To Remove Hardware ................ 260, 262, 264, 266
Sample Rate .................................................................. 303
Sampling CD ........................................................ 155, 190
Save ................................................................................. 70
Saving ...................................................................... 71, 122
Saving a song ............................................................... 114
Saving songs .................................................................. 37
Scene .......................................................................... 92–93
SCENE icon .................................................................... 93
Scene screen ................................................................... 93
SCMS ..................................................................... 239, 280
Scroll Bar ......................................................................... 31
SCRUB ............................................................................ 98
Scrub ................................................................................ 97
Scrub FROM/TO
FROM ........................................................................ 98
TO .............................................................................. 98
Scrub/Preview screen .................................................. 98
[SEARCH] ....................................................................... 43
SEARCH button ....................................................... 21, 90
Security Slot (SECURITY LOCK) ................................ 29
SELECT ........................................................................... 38
Sensitivity ..................................... 300–301, 308, 311, 316
Separation ..................................................... 301–302, 306
SESSION ....................................................................... 299
SETUP ................................................................... 164, 172
SHLV ............................................................................. 315
Short Delay ........................................... 126, 288, 290, 308
Sibilant Lvl ................................................................... 299
SIMUL ....................................................................... 20, 50
Simul bank .................................................................... 118
SIMUL effects ............................................................... 116
SINGLE ......................................................................... 300
Single to Hum .............................................................. 305
Single-coil ..................................................................... 305
Size of each partition ................................................... 284
SLDN ..................................................................... 297, 307
SLOW ............................................................................ 306
Slow Gear ..................................................... 288, 290, 308
SMALL .......................................................................... 308
SmallTV ........................................................................ 313
SMF ................................................................ 169, 183, 236
SMF icon ............................................................... 169, 183
SMF import ........................................................... 169, 183
SMF Import screen .............................................. 170, 183
SMF player ................................................................... 236
Sml.Cn ........................................................................... 304
Sml.Dy ........................................................................... 304
SmlCUBE ...................................................................... 313
Smooth .......................................................................... 134
SOFT .............................................................................. 128
Soft Clip ........................................................................ 317
Song backup ................................................................. 226
Song Backup screen .................................................... 226
Song bass pattern ......................................................... 154
Song Copy .................................................................... 110
Song drum pattern ...................................................... 154
Song Erase .................................................................... 111
SONG icon .................................................................... 110
Song Information ......................................................... 110
Song Information screen ............................................ 110
Song loop phrase ................................................. 155, 186
Song Menu screen ....................................................... 110
Song Name ........................................................... 110, 114
Song Name screen ....................................................... 114
Song New ....................................................................... 48
Song number ................................................................ 110
Song Optimize ............................................................. 112
Song patch ............................................................ 118, 132
Song Protect ................................................................. 113
Song protection ............................................................ 110
Song recover ................................................................. 227
Index
360
T
T.E. ................................................................................. 299
TAP ................................................................ 158, 187, 198
[TAP] ............................................................................... 59
TAP button ..................................................................... 24
Tap tempo ..................................................... 158, 187, 198
Tap Time ....................................................................... 300
TEMPO ............................................ 58, 158, 187, 203, 209
Tempo ............................................................. 58, 164, 209
Bass pattern ............................................................ 173
Drum pattern .......................................................... 158
Loop phrase ............................................................ 187
Rhythm arrangement ............................................ 197
Tempo map .................................................................. 209
Tempo Map screen ...................................................... 209
THR ................................................................................. 83
Three-band compressor .............................................. 149
THRESHOLD ............................................................... 128
Threshold ...................................... 296, 302, 304, 314, 317
THRU ............................................................................ 303
TIME ...................................................................... 126–127
Time ......................................................................... 27, 301
Time Disp. .................................................................... 248
Time Offset ................................................................... 248
TIME/VALUE dial ............................................ 25, 32, 42
TIMES (copy time) ...................................................... 100
TMP ............................................................................... 119
TO .................................................................................. 122
TO (To point) ........................................................ 100, 102
TO TRACK icon ........................................................... 204
TONE ............................................................................ 127
Tone ....................................................... 296, 300, 302, 305
TOP ................................................................................ 203
Top ................................................................................. 293
Top screen ....................................................................... 30
Top-Hi ........................................................................... 293
Top-Mid ........................................................................ 293
TOUCH ......................................................................... 311
Touch wah .................................................................... 310
[TRACK MUTE] ............................................................ 46
Track At Once .............................................................. 219
Track button ................................................................... 67
Track buttons ................................................................. 23
Track Compressor screen ........................................... 128
Track Copy ..................................................................... 99
Track Copy screen ....................................................... 100
Track Cut ...................................................................... 107
Track Cut screen .......................................................... 107
Track Edit ....................................................................... 99
Track Erase ................................................................... 108
Track Erase screen ....................................................... 108
Track Exchange ............................................................ 103
Track Exchange screen ............................................... 103
Track faders .............................................................. 23, 40
TRACK icon ................................................................... 99
Rev0.02
Song rhythm arrangement ................................. 156, 197
Song Save ................................................................ 70, 114
Song Select ...................................................................... 38
SP Modeling ................................................................. 313
SPEAKER MODELING .............................................. 229
Speaker Modeling ............................................... 117, 142
Patch copy ............................................................... 145
Patch write .............................................................. 144
SPEAKER MODELING button ................................... 23
Speaker Modeling edit screen ................................... 143
Speaker Modeling parameter .................................... 313
Speaker Modeling patch ............................................ 143
Speaker Modeling patch screen ................................ 143
Speaker Modeling Patch Write/Copy screen ......... 145
Speaker Simulator ............................... 289–290, 292, 308
Speaker SW .......................................................... 298–299
Speaker Type ............................................... 298–299, 308
Split Freq H .................................................................. 316
Split Freq L ................................................................... 316
SprFlat ........................................................................... 313
START ................................................................... 151–152
START (Start point) ......... 100, 102, 104, 107, 109, 189, 205, 233
STD ................................................................................ 293
Steady green ................................................................... 23
Steady red ....................................................................... 23
STEP ...................................................................... 163, 177
Step ................................................................................ 305
Step Rate ....................................................................... 305
Step recording ...................................... 160, 163, 174, 177
STEREO ........................................................................ 295
Stereo bank ................................................................... 118
STEREO effects ............................................................ 116
Stereo Link ........................................................... 129–130
STEREO MULTI .......................................................... 291
STKCRNC ..................................................................... 297
STOP ................................................................................ 41
[STOP] ............................................................................. 39
STOP button ................................................................... 22
Stopping .......................................................................... 39
STORE ............................................................................. 71
Sub Equalizer ....................................................... 288, 309
Sub Mixer ..................................................................... 277
Supported combinations of effects ........................... 117
SURFACE SCAN ......................................................... 285
Sustain ........................................................................... 296
Swing .................................................................... 167, 180
SWING POS ......................................................... 167, 180
Sync Gen. ...................................................................... 246
SYNC icon ............................................................ 245–246
Sync Offset ................................................................... 250
Sync Source .................................................................. 249
Sync track ..................................................................... 248
SYNC TRK .................................................................... 249
SYNC TRK icon ........................................................... 249
Synchronization setting screen .................................. 246
Synchronize .......................................................... 245, 339
Index
U
V
VALUE knobs ........................................................ 25, 120
Vibrato .......................................................... 288, 290, 310
Vibrato pedal ................................................................ 124
VIEW ............................................................................. 200
Vnt.Cn ........................................................................... 304
VO DRV ........................................................ 297, 307–308
vo drv ............................................................................ 308
VO LEAD ...................................................................... 297
VO WAH ...................................................................... 310
VO+AC.SIM ................................................................. 292
VO+ACOUSTIC .......................................................... 292
VO+GT.AMP ................................................................ 292
Voc.Dy ........................................................................... 304
VOCAL ........................................................................... 20
[VOCAL] ......................................................................... 50
VOCAL MULTI ........................................................... 290
VOCAL TOOL BOX .................................................... 229
Vocal Tool Box ..................................................... 117, 131
Patch copy ............................................................... 141
Patch write .............................................................. 140
VOCAL TOOL BOX button ......................... 23, 132, 136
Vocal Tool Box Write/Copy screen .................. 140–141
VOCLEAN .................................................................... 297
Voice .............................................................................. 306
Voice character ............................................................. 310
VOICE TRANSFORMER ............................................ 291
Voice Transformer ............................................... 291, 310
VOICE1 ......................................................................... 137
VOL ............................................................................... 203
Volume .................................................................... 40, 307
Volume pedal ............................................................... 124
Volume-swell effect ..................................................... 308
Vowel ............................................................................ 302
Vowel1 .......................................................................... 302
Vowel2 .......................................................................... 302
VtgRack ......................................................................... 296
V-Track ............................................................................ 79
[V-TRACK] ..................................................................... 44
361
Section 9
UNDO/REDO button .................................................. 25
Uni-V ..................................................................... 288, 309
Universal serial bus ..................................................... 258
Unneeded data ............................................................ 112
UP .................................................................................. 311
USB ........................................................................ 258, 339
USB connector ................................................................ 28
USB icon ........................................................................ 260
USB screen .................................................................... 260
USE BASS ....................................................................... 49
USE DRUMS + BASS + LOOP ..................................... 49
USE DRUMS + LOOP ................................................... 49
User Backup ................................................................. 228
User Backup screen ..................................................... 228
User bass pattern ......................................................... 154
User drum pattern ....................................................... 154
User loop phrase .................................................. 155, 186
User patch ............................................................. 118, 132
User recover ................................................................. 229
User rhythm arrangement ................................. 156, 197
UTILITY button ............................................................. 25
Rev0.02
Track Insert .................................................................. 104
Track Insert screen ...................................................... 104
Track Level ..................................................................... 93
FADER ...................................................................... 93
SCENE ....................................................................... 93
Track Menu screen ........................................................ 99
Track Move .................................................................. 101
Track Move screen ...................................................... 101
Track Mute ..................................................................... 46
TRACK MUTE button .................................................. 24
Track Name .................................................................... 80
Track status .................................................................... 23
Track Type ...................................................................... 49
Track type ..................................................... 171, 185, 211
TRACK TYPE indicators .............................................. 24
TRACK TYPE SELECT ....... 157, 171, 185–186, 211–212
Track Type Select .......................................................... 54
[TRACK TYPE SELECT] .............................................. 54
TRACK TYPE SELECT button .................................... 24
Track Type Select screen .... 157, 171, 185–186, 211–212
Track types ..................................................................... 24
Transport buttons .......................................................... 41
Treble ............................................................ 297, 299, 307
Tremolo ......................................................... 288, 290, 309
Tremolo/Pan ....................................... 288, 290–291, 309
Trk 1 Ch. ....................................................................... 253
Trk 11&12 Ch. .............................................................. 253
TRM-SQR ..................................................................... 309
TRM-TRI ....................................................................... 309
Troubleshooting .......................................................... 337
TRS .................................................................................. 34
TSCREAM .................................................................... 297
Tuner ............................................................................. 275
TUNER ON/OFF ........................................................ 275
TUNER ON/OFF button ............................................. 21
Tuner screen ................................................................. 275
Tuning ................................................................... 274, 303
TURBOOD .................................................................... 297
Turning off ..................................................................... 37
Turning on ...................................................................... 36
Turntable ...................................................................... 303
TW ................................................................................. 310
TWEED ......................................................................... 297
TWIN ............................................................................. 308
twin ............................................................................... 308
TYPE ................................................................ 85, 125–126
Type ....................................... 133, 296–297, 300, 305, 310
Index
V-TRACK button ........................................................... 24
V-Tracks .......................................................................... 44
W
WAH ............................................................................. 310
Wah ............................................................... 288–291, 310
Wah pedal .................................................................... 124
Wah Type ..................................................................... 311
WAV ...................................................... 190, 234, 263, 270
WAV file ....................................................................... 233
WAV/AIFF export ...................................... 233, 263, 270
WAV/AIFF import ..................................... 232, 265, 271
WAV/AIFF screen .............................................. 232, 234
WAVE ................................................................... 232, 234
Wave Shape .......................................................... 304, 309
Waveform Data Export screen .................................. 234
Wh.CONE ..................................................................... 313
WhTISUE ...................................................................... 313
Windows .............................................................. 258, 260
Wow Flutter ................................................................. 303
WR•CPY•DEL .................................... 161, 176, 178, 207
WRITE ........................................................... 218–220, 223
Write screen for drum patterns ................................. 161
WRITE•COPY ............. 122–123, 140–141, 144–145, 150
X
XCHANGE icon .......................................................... 103
XG .......................................................................... 170, 183
XLR ............................................................................ 34–35
Xover Freq .................................................................... 295
Z
[ZERO] ............................................................................ 41
ZERO button .................................................................. 22
Rev0.02
362
USING THE UNIT SAFELY
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.
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
other adverse effects
respect to the home
furnishings, as well
animals or pets.
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.
to damage or
caused with
and all its
to domestic
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 powercord plug must be unplugged from the outlet.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
For EU Countries
This product complies with the requirements of European Directive 89/336/EEC.
001
008c
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• 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.
..........................................................................................................
..........................................................................................................
001-50
• Connect mains plug of this model to a mains
socket outlet with a protective earthing
connection.
..........................................................................................................
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” sheet.
..........................................................................................................
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 heat-generating equipment); or
are
• 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.
..........................................................................................................
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.
..........................................................................................................
2
008e
• Use only the attached power-supply cord. Also,
the supplied power cord must not be used with
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!
..........................................................................................................
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
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.
..........................................................................................................
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
For the USA
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.
..........................................................................................................
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Address :
Telephone :
BR-1200CD
Digital Recording Studio
Roland Corporation U.S.
5100 S.Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
Section 1
Editing
Section 2
Using
Effects
Section 3
Using
Rhythm
Section 4
Using the
CD-R/RW Drive
Section 5
Using
MIDI
Section 6
Using
USB
Section 7
Other
Convenient
Functions
Section 8
Appendices
Section 9
Before using this unit, carefully read the sections entitled:
Recording
and Playback
Thank you, and congratulations on your choice of the BOSS BR-1200CD
Digital Recording Studio.
“USING THE UNIT SAFELY”(page 2–3)
“IMPORTANT NOTES” (page 4–5)
These sections provide important information concerning the proper
operation of the unit. Additionally, in order to feel assured that you have
gained a good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety.
The manual should be saved and kept on hand as a convenient reference.
■ Printing conventions in this manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[PLAY]
PLAY button
[CURSOR]
CURSOR button
• Reference such as (p. **) indicate pages in this manual to which you can
refer.
Copyright © 2004 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of BOSS CORPORATION.
03890501
’06-04-4N
Basic
Operation
Owner’s Manual