Boss br 600 мануал

Introduction to the BR-600

The BR-600 digital multitrack recorder has been designed to provide the intuitive feel of a conventional music recorder, making it simple to operate, even for beginners.

No matter what your experience, the BR-600 brings you the excitement of digital recording, from recording of the performance to the final mixdown, right from the day you take it home.

With portability a priority in its design, the BR-600 features a smaller than Letter size (183 x 257 mm (10-1/8 x 7-1/4 inches)) and is only 27 mm (1-1/8 inches) thick. It can also run on six AA-size batteries(alkaline batteries recommended), meaning you can put it into a guitar case pocket and take it with you, enabling you to record wherever you go.

All processes are fully digital In addition to a digital mixer and digital recorder, the BR- 600 contains five digital effects processors.

It is possible to perform all steps needed for recording, including editing, bouncing tracks, using effects, and mixing down, entirely within the digital realm, so there is no deterioration in the signal quality.

Using the USB connector also allows you to save the song data you create to a computer.

Rhythm function The Rhythm function makes it easy to capture phrases or musical ideas that come to mind. Simply select an appropriate Rhythm pattern, and set the tempo.

In addition to the internal preset Rhythm patterns already provided, you can also create your own original Rhythm patterns. By recording using the Rhythm function, editing one measure at a time is greatly simplified.

Section 4 Using The Rhythm (p. 131)

Equipped with V-Tracks The BR-600 has eight audio recording tracks, which provides for simultaneous recording on two tracks, or simultaneous playback from eight tracks.

Moreover, each track incorporates eight virtual tracks, called V-Tracks, for a total recording capability of 8 x 8 = 64 tracks! This increased versatility allows you to do things such as record numerous takes of a guitar solo, which you can later choose from when putting it all together. Also, while playing back eight tracks, you can use the bounce mode to bounce to a V-Track and perform stereo bouncing without needing to erase any data.

Features

Simple operation

Slender shape for easy portability

Digital audio workstation

What are V-Tracks?

Each track consists of eight virtual tracks, and you can choose any one of these tracks for recording or playback. This means that you can record to up to a maximum of 64 tracks, and then select any eight of them to play back. These virtual tracks that make up the actual tracks are called V-Tracks.

A Track Sheet is provided at the rear of this manual (p. 226), which you make copies of, and fill in when recording music to V-Tracks.

V-Track2 V-Track1

V-Track3 V-Track4 V-Track5 V-Track6 V-Track7 V-Track8

Introduction to the BR-600

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Versatile digital effects processors The BR-600 comes with five different types of effects processors. These systems, including recording effects (Insert effects), send/return (Loop Effects), tone adjustment (Track EQ), vocal pitch correction (Pitch Correction), and mastering effects (Mastering Tool Kit) can be used independently for each application as needed. This enables high-quality song production in a single device, with no need to connect any external effects.

The BR-600 has many built-in simulations and effects, including amp modeling with COSM for a wide variety of insert effects. Many effects for vocal, keyboard, and guitar tracks are also included for a vast array of applications.

The loop effects include spatial effects such as chorus and reverb, which are vital for proper stereo mixdown.

The Track EQ is a built-in, two-band EQ whose utility is most fully exhibited in making tone adjustments during mixdown.

The Pitch Correction feature allows you to freely adjust the pitch of vocals, assuring that you can obtain reliable, high- quality performances.

The Mastering Tool Kit allows you add compression to songs that have been mixed down and provides a variety of other effects.

Using the Insert Effects (p. 92) Using the Loop Effects (p. 118) Using the Track EQ (p. 121) Fixing the Pitch of Vocals (Pitch Correction) (p. 123) Mastering (p. 111)

Editing functions With the BR-600, you can copy, move, and erase audio, and perform many other editing operations that are only possible with digital recorders. This means operations such as copying and repeating a multiple-bar phrase, moving a multiple-bar phrase to another track, and erasing the data of a track, whole or in part, can be performed with ease.

Non-destructive editing Being a digital recorder, the BR-600 offers non-destructive editing. With non-destructive editing, after performing any editing and recording operations, you can still return your data to its previous state (undo and redo functions).

Canceling an Operation (Undo/Redo) (p. 64)

Quick movement to a point You can assign a marker to any point in a track that you wish (locator function). If you assign markers to locations such as the end of the opening or the beginning of a solo, you will be able to move instantly to the point where you wish to begin listening.

Registering Time (Locator) (p. 72)

Equipped with chromatic tuner (C1 to B6 sound range) Your BR-600 is also equipped with a chromatic tuner so that you can tune your guitar or bass while it is still connected to the BR-600.

Tuning an Instrument (Tuner) (p. 192)

When you play back a song you have recorded from the CD player, you can slow down the tempo without changing the pitch. Also, you can remove the sound you hear at the center (such as vocals and guitar solo) from the song.

Practicing Difficult Phrases (Phrase Trainer) (p. 195)

Connecting your computer here allows you to exchange data between the BR-600 and a computer.

What is COSM (Composite Object Sound Modeling)?

Technology that virtually reconstructs an actually existing structure or material using a different means is called modeling technology. COSM is proprietary Roland technology that creates new sounds by combining various sound modeling technologies.

Phrase Trainer function

Includes USB port

Introduction to the BR-600

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Your BR-600 is equipped with the input jacks shown below.

GUITAR/BASS :

This high-impedance input jack allows you to directly connect your guitar or bass (accepts 1/4 phone plugs).

MIC1 :

This jack allow a mic to be connected. This is TRS-type microphone input connector. Connect your mic here if recording vocals or narration.

MIC2 :

This jack allow a mic to be connected. This is TRS-type microphone input connector. If recording using two mics, with one mic connected to the MIC 1 input, connect the second mic here.

LINE IN :

These jacks accept stereo input from keyboards, CD players, and other devices at line level (Stereo miniature phone type).

The BR-600 features an onboard stereo microphone, perfect for situations such as when you want to quickly make an impromptu recording of something your band is practicing.

* Connecting an external mic disables the onboard mic (p. 36).

* This mic is not a speaker. If you want to listen to sounds

from the BR-600, use headphones or connect LINE OUT to

an appropriate audio device.

You can use the BR-600 powered by batteries (six size AA dry cells x 6, alkaline batteries recommended) or with the AC adaptor.

And, thanks to its an onboard stereo microphone, you can make recordings anywhere and anytime you desire.

Full complement of input connectors (jacks)

Onboard stereo mic

Two-way power supply allows you to record anywhere

Introduction to the BR-600

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The BR-600 uses CompactFlash cards as the storage media for recording and playback.

The BR-600 uses 32 MB to 1 GB CompactFlash cards with a 3.3 V power supply.

For more on supported memory cards (CompactFlash) for the BR-600, refer to About Memory Cards (separate sheet).

CompactFlash cards bought at a computer shop, or ones previously used with a digital camera cannot be used as is with the BR-600.

These CompactFlash cards must first be initialized for use with the BR-600. For more details regarding initializing, see p. 199.

To prevent theft of the memory card (CompactFlash), the BR-600 is shipped from the factory with a card cover.

To remove the card cover, use the following procedure.

1 Turn over the BR-600.

2 Use a Phillips head screwdriver to remove the screws

on the bottom panel.

fig.00-020

3 Grasp the top and bottom of the card cover with your fingers and pull the cover off in the direction indicated in the figure.

fig.00-030

4 Attach the previously removed screws in the positions shown in the figure to prevent loss.

5 Turn the BR-600 over, so its in its normal position.

Memory Cards Supported by Your BR-600

Formatting the memory card (CompactFlash)

How to remove the card cover

CompactFlash Type II cards are not compatible. CompactFlash cards are available at your nearest

computer or digital camera shop. When turning the unit upside-down, get a bunch

of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

Should you remove the screws, make sure to put them in a safe place out of childrens reach, so there is no chance of them being swallowed accidentally.

CompactFlash and are trademarks of

SanDisk Corporation and licensed by CompactFlash association.

BOSS Corporation is an authorized licensee of the

CompactFlash and CF logo ( ) trademarks.

Panel Descriptions

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INPUT SELECT buttons Use these buttons to select the input source (input jack) that you wish to record. The selected button will light. You can mute (silence) the input sound by pressing a button that is lit.

Selecting the Input (p. 36)

[GUITAR] For selecting either guitar or bass use of the GUITAR/BASS jack, or the MIC2 jack.

[MIC] This is used to select the MIC1 jack, used for external mics, or the onboard stereo mic.

Connecting a mic to the MIC1 jack or MIC2 jack switches off the onboard stereo mic.

[LINE] This selects the LINE IN jack, used for CD players or other portable audio players or other line-level devices.

SIMUL By pressing [GUITAR] and [MIC] simultaneously, you can record from both inputs at the same time.

* If the INPUT SELECT setting is changed, the insert effect

bank (p. 92) changes automatically.

[REC MODE (Recording Mode)]

This button is used for selecting the recording mode.

Recording (p. 44, p. 54) Putting multiple tracks together (Bounce) (p. 49, p. 65) Mastering (p. 111)

[EXIT] Press this button to return to the previous screen or cancel the last entry.

[ENTER] Press this button to confirm a selection or a value being entered.

CURSOR buttons Press these buttons to move the cursor within the screen.

TIME/VALUE dial

You can use this dial to shift the current position within a song (e.g., fast forwarding and rewinding). It is also used to change the values of the various function settings.

[PAD]

This enables the buttons used for playing the drum sounds (the drum pads).

Section 4 Using The Rhythm (p. 131)

[EFFECTS]

Use this button to turn on and off the insert effects (p. 92) or call up the screen for editing the various settings.

This button is used to make settings for the Mastering Tool Kit.

[PITCH CORRECTION]

Use this button to turn on and off the Pitch Correction. This function adjusts the pitch of recorded vocals.

Fixing the Pitch of Vocals (Pitch Correction) (p. 123)

[PAN/EQ/LOOP FX]

PAN

This calls up the screen for setting the panning (position) of the sounds to be played back in each track and the input sounds.(p. 49, p. 56)

EQ

This calls up the screen for editing the tone (low/high) for each track (equalizer).(p. 50)

LOOP FX

This calls up the screen for setting the send level of each track respective to the loop effects (p. 50, p. 118), setting the various parameters, and more.(p. 120)

Using the Loop Effects (p. 118) Using the Track EQ (p. 121)

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3

4

Panel Descriptions

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[TUNER]

Use this button to turn on and off the tuner.

Tuning an Instrument (Tuner) (p. 192)

[RHYTHM ON/OFF]

This switches the Rhythm function on and off.

[ARRANGE]

This switches the Rhythm function to Arrange mode.

Playing Rhythm Arrangements (p. 143) Creating Original Arrangements (p. 154)

[PATTERN]

This switches the Rhythm function to Pattern mode.

Playing Rhythm Patterns (p. 142) Creating Original Patterns (p. 144)

[RHYTHM EDIT]

This calls up the screen for programming arrangements and patterns.

Creating Patterns by Tapping the Drum Pads (Realtime Recording) (p. 145) Inputting Sounds One by One While Confirming the Input Visually (Step Recording) (p. 148)

[PHRASE TRAINER]

Use this button to perform the settings for the phrase trainer function.

When using the phrase trainer, you can turn on or off the center cancel function (for removing vocals at the center), or the time stretch function (for slowing down playback).

Slowing Down the Speed (Time Stretch) (p. 195) Canceling the Center Sound (Center Cancel) (p. 196)

[V-TRACK]

Use this button to call up the screen for selecting a V-Track.

What are V-Tracks? (p. 12) Changing V-Tracks (p. 56)

[UTILITY]

This button calls up various functions offered by your BR- 600, such as track editing, song management, and memory card operations.

[UNDO/REDO]

For undoing the last-performed recording or editing operation and returning the data to its previous state. By pressing this button once again, you can bring back the canceled recording or re-execute the editing operation.

Canceling an Operation (Undo/Redo) (p. 64).

Panel Descriptions

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REC/PLAY section

AUTO PUNCH This button is used to make settings for the automatic punch in/out function.

[ON/OFF] This turns the auto punch-in/out function on/off. When this is on, the button will light.

Specifying the area for auto punching in/out (p. 61)

[IN] For setting the auto punch-in location. Press this button to set the punch-in point. When set, the button will light. After the punch-in location is set, you can press this button to automatically move to the punch-in location.

* Press this button while holding down [ON/OFF] to clear the set punch-in location.

Erasing a registered auto punch in/out location (p. 62)

[OUT] For setting the auto punch-out location. Press this button to set the punch-out location at the current location in the track. When set, the button will light. After the punch-out location is set, you can press this button to automatically move to the punch-out location.

* Press this button while holding down [ON/OFF] to clear the

set punch-out location.

Erasing a registered auto punch in/out location (p. 62)

[LOCATOR] Use this button to store any location that you desire. Then, by pressing this button, you can automatically move to that location.

When a location is set, the button will light and you will jump to the location each time this button is pressed.

* Press this button while holding down AUTO PUNCH [ON/

OFF] to clear the set location.

Registering Time (Locator) (p. 72)

[ZERO] Moves you to the time location 00:00:00-00.0.

Moving the current position (p. 33)

[REW]

The song will rewind while you hold down the button.

Moving the current position (p. 33)

[FF]

The song will fast-forward while you hold down the button.

Moving the current position (p. 33)

[REPEAT]

You can specify a region that you wish to hear, and hear it repeatedly

This is convenient for making recordings involving repeated punch- ins and punch-outs(p. 60) and for practicing and copying phrases.

Repeating Playback (Repeat) (p. 58)

[STOP]

Stops recording or playback of the song.

Recording Operations (p. 57)

[PLAY]

Plays back songs. When [REC] is pressed and flashing, press [PLAY] to start recording. During recording or playback, the indicator on the button lights in green.

Listening to a Demo Song (p. 32) Recording Operations (p. 57)

[REC (Recording)]

This is the Recording button. In addition to the Recording operation, it is also used for manual punch-in/out. While in recording standby, the button flashes in red, and during recording, it lights in red.

Recording Operations (p. 57) Manually Punching In/Out (p. 60)

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Panel Descriptions

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Track/Fader section TRACK MIXER fader 14, 5/67/8

For controlling the volumes of each track during playback.

RHYTHM fader

Adjusts the volume of the Rhythm.

Playing Arrangements (p. 41) Playing Patterns (p. 41)

MASTER fader

Controls the overall volume of the BR-600.

Listening to a Demo Song (p. 32)

REC TRACK (Recording Track) buttons 14, 5/67/8

Use these buttons to select to which track you will record. The button of the track selected will flash in red and then light in red when recording begins. When recording is finished, the button of the selected track will light alternately in orange and green.

The relationship between the indicator and the track conditions is given below.

Off :

This track contains no recorded data.

Green :

An audio track that contains recorded data.

Flashing in red :

The track is selected as the recording destination, and is in recording standby.

Red :

This track currently being recorded.

Lighting alternately in orange and green :

This track contains recorded data and is selected for recording.

Recording (p. 54)

[TAP (TEMPO)]

By tapping this button, you can set the tempo for the Rhythm.

Tapping to change the tempo of the arrangements or patterns (p. 43)

[DELETE/MUTE]

You can mute the sound on a track by holding down this button and pressing the REC TRACK button for that track. Performing this same operation again cancels the mute.

While the sound is muted, the REC TRACK button for the track flashes orange or green.

* If a recording track was muted, muting will be defeated

when recording ends.

Silencing the sound of specific tracks (Track Mute) (p. 47)

During creation of Rhythm patterns, you can delete rhythm sounds you have input by holding down this button and pressing the Drum Pads.

Deleting Unneeded Drum Sounds (p. 147)

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Panel Descriptions

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Display fig.00-051

Information about items for which settings are available in volume level and menu screens, parameter settings screens, and other screens are displayed here.

If the screen is difficult to view, see Adjusting the Display Contrast (p. 190).

1. MEASURE

Displays the current position within the song. Indicated from left to right are the measure, beat, and clock.

2. TEMPO

The Rhythm tempo is indicated here.

3. TIME

Displays the time of the current position of the song (hours-minutes-seconds).

4. FRAME

This indicates the frame number showing the current position in the song.

This is set to 30 frames per second (non-drop). This is one type of what is called MTC (MIDI Time Codes).

MEMORY CARD slot

fig.00-052

This slot is where memory cards (CompactFlash) are inserted when you want to save data. You cannot record unless you have a memory card inserted here.

Eject button

Press this button to eject the memory card.

Inserting the Memory Card (p. 30)

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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.

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Eject button

Panel Descriptions

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1. MIC2 jack (TRS 1/4 phone type)

These jack allows a mic to be connected (p. 34).

* If the connection has been made to the GUITAR/BASS and

the MIC2 jacks, the MIC2 jack is given priority.

* Connecting a mic to MIC2 switches off the onboard stereo mic.

2. MIC1 jack (TRS 1/4 phone type)

These jacks allow a mic to be connected (p. 34).

* Connecting a mic to MIC1 switches off the onboard stereo mic.

The pin assignment for the MIC1 and the MIC2 jack is as shown below.

3. LINE IN jack (Stereo mini type)

This input jack accepts analog audio signals (p. 34). Connect the output of CD players or other portable audio players or other audio equipment.

4. LINE OUT jack (RCA Pin type)

These jacks output analog audio signals. You can connect external audio equipment (e.g. a stereo amp) to this jack, or connect an CD recorder or other such device to this jack for analog recording of the BR-600s output (p. 90).

5. USB connector

This is the connector for connecting your computer to the BR-600 with a USB cable (p. 162).

6. FOOT SW/EXP PEDAL jack

This is an input jack for connecting a separately sold foot switch (BOSS FS-5U, Roland DP-2) or expression pedal (Roland EV-5, BOSS FV-500L/FV-500H).

When the foot switch is used, you can start/stop playback, punch in/out, and more.

When an expression pedal is used, you can control the depth of insert effects with your foot.

Using a Foot Switch or Expression Pedal (p. 191)

7. POWER switch

This is the power switch. It turns the power of the BR-600 on/off (p. 31).

8. DC IN (AC Adaptor) jack

Connect an AC adaptor (PSA series; sold separately) to this jack.

You must use only the PSA series AC adaptor (p. 28).

You can purchase a PSA adaptor at musical instrument retailers.

9. Cord Hook

Wrap the cable around this hook so that the AC adaptor cable is not pulled out accidentally (p. 29).

10. Security Slot ( )

http://www.kensington.com/

Rear Panel

10

456789 23 1

You must use only the PSA series AC adaptor. Use of any other adaptor may cause overheating or malfunctions.

If the AC adaptor is disconnected during operation, your important recorded data may be lost.

Panel Descriptions

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fig.00-090

1. GUITAR / BASS jack

High-impedance input jack to directly connect your guitar or bass.(p. 34)

2. MIC1 L / R (onboard stereo microphone L / R)

This microphone can be used for recording with the BR-600.

Selecting the Input (p. 36) Turning on the onboard stereo microphone (p. 36)

* This mic is not a speaker. If you want to listen to sounds

from the BR-600, use headphones or connect LINE OUT to

an appropriate audio device.

3. Headphones jack

Headphones (sold separately) are connected here. When headphones are connected, the same output as that from LINE OUT can be heard from the headphones.

Front Panel

2

3 1

The headphone volume is adjusted with the MASTER fader.

Panel Descriptions

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1 Make sure that the power of the BR-600 is turned off.

2 Turn over the BR-600.

3 Slide the battery cover in the direction indicated by

the arrow and remove.

4 Being careful not to reverse the polarity (+/-), insert

six AA dry-cell batteries into the battery

compartment.

fig.00-100

5 Replace the battery cover.

Inserting Batteries

When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

BOSS recommends using longer-life alkaline batteries.

Do not mix new batteries with partially used batteries, and do not mix batteries of differing types.

Do not use rechargeable batteries.

When the battery power becomes low, Battery Low! appears in the display. When this message appears, replace the existing batteries with new ones as soon as possible.

Continuous battery life varies according to usage conditions and the type of battery used. It is also affected by the CompactFlash type and capacity.

Panel Descriptions

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The Play screen is the most fundamental screen of the BR- 600, and is the first screen that appears when the BR-600 is turned on (see below). fig.00-242

Unless special note is made otherwise, the screen content referred to in the procedures described in this manual is that of the Play screen.

About the Play Screen

Play Screen

Connecting Peripheral Devices

Make connections as shown in the diagram below. When making any connections, make sure that all devices are turned off. fig.00-110

Front Panel

Rear Panel

CD Player etc.

Foot Switch (FS-5U etc.)

Electric Guitar or

Electric Bass

Audio Set etc. MicExpression Pedal

(Roland EV-5 etc.)

AC Adaptor (PSA series)

Stereo Headphone

Computer

Connecting Peripheral Devices

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Q u ick

Sta rt

The bottom of the BR-600 features a groove (cord hook) for securing the AC adaptor (PSA series) cord.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook.

Cord thickness and shape may differ according to the AC adaptor used. Set the cord as shown in Figure A or B below to secure the cord.

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

Feedback could be produced depending on the location of microphones relative to speakers. This can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance from speakers.

3. Lower the volume.

The MIC1 and MIC2 jack are TRS phone type jacks that are compatible with balanced input. The pin assignment for the MIC1 and MIC2 jack are as shown below. Before making any connections, make sure that this pin assignment is compatible with that of all your other devices.

fig.00-120

When using the FS-5U foot switch (sold separately), set the polarity switch as shown below. If the polarity switch is not set correctly, the foot switch may not operate properly.

fig.00-130

You can also use an FS-6 (sold separately) for the foot switch. If using an FS-6, connect to only one of the FS-6s jacks, either the A or B jack. Additionally, set the polarity switch to FS-5U. The A&B jack cannot be used.

If using an expression pedal (Roland EV-5, BOSS FV-500L/FV-500H), set the MIN volume level to 0.

Polarity Switch

How to Use the Cord Hook

Cord Hook

A)

B)

Do not use undue force to insert the cord in the groove. Doing so may cause the cord to break.

Turning the BR-600 over upon a desktop or table may cause scratching of the BR-600 or the surface of the desk or table. Be sure to carry out this procedure on a soft surface or with a cloth or other soft material laid on top of the desk or table.

Connecting Peripheral Devices

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If your mic cable has an XLR connector, you can connect the mic using the converter cable included with the BR-600. The following describes how to connect the mic using this cable. fig.00-111

Insert the memory card (CompactFlash) with the card label facing upward. fig.00-112

Using a Mic Converter Cable

Mic

Converter Cable

The pin assignment for the XLR connector is shown below. Before making any connections, make sure that this pin assignment is compatible with that of all your other devices.

fig.00-120

As the BR-600 does not feature any phantom power supply, note that no sound will be produced with condenser mics and other mics requiring phantom power.

Inserting the Memory Card

Carefully insert the memory card all the way in-until it is firmly in place. Also, do not use undue force to insert the memory card.

Do not touch the contacts of the memory card or allow them to become dirty.

Before inserting the memory card, be sure to first turn off the BR-600. If a memory card is inserted when the power is turned on, the data in the memory card may be destroyed, or the memory card may become unusable.

Turning On / Off the BR-600

Be sure to use the following steps to turn on the power. Making a mistake in this procedure may result in malfunction or cause damage to your speakers.

1 Before you turn the power on, make sure of the

following points.

Are all external devices connected properly?

Is the volume on the BR-600 and all other devices completely lowered?

Is the memory card inserted?

2 Lower the MASTER fader on the BR-600.

fig.00-140

3 Turn on the devices connected to the input jacks (i.e.,

GUITAR/BASS, MIC 1, MIC 2, or LINE IN).

4 Turn on the POWER switch located on the rear panel.

fig.00-150

5 Turn on the device connected to the output jack (i.e.,

LINE OUT).

1 Make sure that playback of the song is stopped.

2 Turn off the power to each device in the reverse order

used for powering up.

3 Confirm that «Keep power on!» is not indicated in the

display.

4 Turn the BR-600s POWER switch off.

Turning On the Power Turning Off the Power

Always make sure that the recorder is stopped before turning off the power to the BR-600. Turning off the power while recording or playback is in progress may result in the deletion of (song) data, mixer settings, and/or effect patch data.

If you are using the AC adaptor, make sure that the AC adaptor does not become unplugged during operation. If the AC adaptor becomes unplugged accidentally, the recorded data may become damaged.

Turning off the power while the message «Keep power on!» is displayed may result in corruption of the data. Be careful not to turn off the power while this message is displayed.

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

The BR-600 is shipped with a memory card already inserted in the slot.

Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear some sound when the power is switched on, but this is normal, and does not indicate a malfunction.

Moving the current position

You can use the following method to move the current position.

The song fast forwards as long as the [FF] is held down, and rewinds (reverses) while the [REW] button is held down.

To move to the time where the first sound of a song is recorded, press and hold [STOP] and press [REW].

Each V-Track of the selected track is checked and you move to the time of the first recorded sound for the song.

Press [ZERO] to move to the time location 00:00:00-00.0.

To move to the time where the last sound of a song is recorded, press and hold [STOP] and press [FF].

Each V-Track of the selected track is checked and you move to the time of the last recorded sound for the song. fig.00-210

Press [ ] [ ] to move the cursor to hours, minutes, seconds, frames, or sub-frames display, and turn the TIME/ VALUE dial to change the current time in the song.

The current position in the song is indicated at the left of the upper row as «measure-beat-clock.»

* For the demo songs, an Arrangement (p. 134) has already

been created and it is set so that measure, beat, clock, and

song is properly synchronized.

Press[ ] [ ] to move the cursor to measure or beat display, and turn the TIME/VALUE dial to change the current measure or beat in the song.

* You cannot move the cursor to Clock (cannot be altered).

Fast Forwarding and Rewinding

Moving to the start of a play

Moving to the end of a play

Moving through a song using hours, minutes, seconds, frames, or sub frames

TIME 23:59:59-29.900:00:00-00.0

[ZERO] [STOP] + [REW] [STOP] + [FF]

Section of the song recorded

Moving through a song in measures or beats

BEATMEASURE CLOCK

TIME

Elapsed time display

The current time shown in the lower row of the display is in MTC (MIDI time codes), indicated as » hours-minutes-seconds-frames-sub frames.»

Preparing Songs For Recording

When the memory card contains more than one song, the song that was recorded last is automatically selected.

To record a new song, follow the procedure given below.

fig.00-250

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

NEW, and press [ENTER].

Type appears in the display. fig.00-260

3 Turn the TIME/VALUE dial to select the desired data type.

Ordinarily, you should select the data type that meets your needs for a particular recording situation, while considering the desired quality and recording time. However, for our purposes here, you can select HiFi (MT2).

For more about data types, refer toRecording (p. 54).

4 Press [ENTER].

Are you sure? appears in the display. fig.00-270

5 Press [ENTER].

When the new song is ready, you are returned to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Recording a new song (Song New)

12,4,5

3

2

The BR-600 uses a sample rate of 44.1 kHz. It is not possible to change the sample rate.

You can create up to a maximum of 99 songs with the BR-600.

Selecting the Input

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Adjust the volume of the input source for recording.

1 Lower the MASTER fader.

2 Turn the REC LEVEL dial to its center position and then slowly increase the MASTER fader.

fig.00-330

3 Adjust the recording level with the REC LEVEL dial.

You should adjust the level so that the INPUT level meter fluctuates within the range from -12 (between — 24 and -6) to 0 dB. Setting the level too high can cause distortion, while setting it too low may result in noise or reduced sound quality.

4 Use the MASTER fader to adjust the volume to the

appropriate level for monitoring.

This meter indicates the level for each track.

1 In the Play screen, press CURSOR [ ].

* To return to the Play screen, press CURSOR [ ]. fig.00-340

INPUT :

The level meter shows the input from INPUT.

18 :

The level meter shows the output of Tracks 18.

RHYTHM :

The level meter shows the output of Rhythm.

L R :

The Level meter shows the post-MASTER fader output level. When monitoring the sound with headphones, use the MASTER fader to adjust the volume to the level you desire.

Adjusting the recording level

When connection cables with resistors are used, the volume level of equipment connected to the inputs (GUITAR/BASS jack, LINE IN jack) may be low. If this happens, use connection cables that do not contain resistors, such as those from the Roland PCS series.

Displaying the Level Meter

Using Insert Effects

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2 Press CURSOR [ ] [ ] to align the cursor up with

the effect patch, and turn the TIME/VALUE dial to

change the effect patch.

Preset patches (P)

The preset patches contain preset data. Their settings can be changed, but you cannot create a new preset patch.

User patches (U)

User patches can be rewritten, and are stored in internal memory. If you have created a patch that you would like to use for other songs as well, it is convenient to store it as a user patch.

Song patches (S)

Like user patches, song patches can be written; however, the data for song patches are stored along with the song data to the memory card. This is convenient when you have created a patch for a specific recorded performance, and would like to store that patch together with the song.

fig.00-360

3 Press CURSOR [ ] [ ] to align the cursor up with

the patch number, and turn the TIME/VALUE dial to

change the patch number.

4 Press [EXIT] to return to the Play screen.

For more details regarding the use of insert effects, refer to Using the Insert Effects (p. 92).

1 Confirm that [PAD] is not lit, then press [EFFECTS]

to display the currently selected effect patch.

The BR-600 is set to output sound without the insert effects applied, allowing you to record sounds without the insert effects.

Selecting INPUT as the point to which the insert effects are connected allows you to record the sounds without the insert effects while listening to the sounds with the insert effects applied.

Changing the destination Insert Effects are Connected (p. 95)

Memory CardBR-600

User Patch

Song

Song Patch

Preset Patch

Recording without insert effects

Some effect patches are particularly effective for stereo recording.

For recording in stereo, refer to Selecting the Recording Track (p. 55).

Effect Patch List (p. 204) Algorithm List (p. 96)

Using the Rhythm

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1 Confirm that [PAD] is not lit, then press [ARRANGE]

so that the button lights up (indicating the BR-600 is

in Arrangement mode).

[RHYTHM ON/OFF] simultaneously lights, confirm that the rhythms are enabled.

2 Press [PLAY].

The arrangement plays with the start of playback or recording.

The arrangement automatically stops when [STOP] is pressed to stop playback or recording.

* When you adjust the volume of the arrangement, use the

Rhythm fader.

1 Confirm that [PAD] is not lit, then press [PATTERN]

so that the button lights up (indicating the BR-600 is

in Pattern mode).

[RHYTHM ON/OFF] simultaneously lights, confirm that the rhythms are enabled.

2 Press [PLAY].

The pattern plays with the start of playback or recording. When [STOP] is pressed to stop playback or recording, the pattern also stops automatically. The pattern does not play when set to «BREAK» (p. 209).

* When you adjust the volume of the pattern, use the Rhythm

fader.

Playing Arrangements Playing Patterns

Using the Rhythm

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1 Confirm that [PAD] is not lit, then press [ARRANGE]

so that the button lights up.

fig.00-400

[RHYTHM ON/OFF] simultaneously lights, confirm that the rhythms are enabled.

2 Select an arrangement.

Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the Preset/Song and number.

fig.00-410

Preset Arrangements (P) The preset arrangements contain preset data.

Their settings cannot be changed, and you cannot create a new preset arrangement.

Song Arrangements (S) Song arrangements can be written; however, the data for song arrangements are stored along with the song data to the memory card.

fig.00-420

3 Press [EXIT] to return to the Play screen.

1 Confirm that [PAD] is not lit, then press [PATTERN]

so that the button lights up.

fig.00-430

[RHYTHM ON/OFF] simultaneously lights, confirm that the rhythms are enabled.

2 Select a pattern.

Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the Preset/Song and number. fig.00-440

Preset Patterns (P) The preset patterns contain preset data.

Their settings cannot be changed, and you cannot create a new preset pattern.

Song Patterns (S) Song patterns can be written; however, the data for song patterns are stored along with the song data to the memory card.

fig.00-450

3 Press [EXIT] to return to the Play screen.

Changing arrangements

P:Preset / S:Song Number Arrangement Name

Memory CardBR-600 Song

Song Arrangement

Preset Arrangement

Changing patterns

P:Preset / S:Song

Number Pattern Name

Memory CardBR-600 Song

Song Pattern

Preset Pattern

Using the Rhythm

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You can temporarily change the tempo of the arrangement or pattern being played by carrying out the following procedure while the Play screen is displayed.

1 Use [CURSOR] and align the cursor up with

TEMPO in the display.

2 Rotate the VALUE dial to adjust the tempo.

fig.00-460

You can temporarily change the tempo of the arrangement or pattern by the timing with which you press [TAP].

Tap on [TAP] four or more times to change the tempo of the arrangement or pattern. The tempo becomes that in which you tapped. fig.00-470

Changing the tempo of the arrangements or patterns

Tempo

Tapping to change the tempo of the arrangements or patterns

The arrangements tempo setting is temporarily disabled.

The change in tempo is only temporary. If you want to change the arrangements actual tempo, refer to Changing the Tempo of an Arrangement (p. 143).

Tempos cannot be saved to patterns.

Recording

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Recording on the BR-600 is separated into three main modes.

Use whichever mode is suitable in the course of bringing your song to completion. fig.00-520

INPUT :

Only the instrument sounds or other input sources are

recorded to the tracks. Sounds played back from other

tracks are not recorded.

BOUNCE :

As the sounds on different tracks are played back, they are recorded together onto another track. In Bounce mode, you can play back eight tracks simultaneously and record them all to a single, separate V-Track.

When the input source is selected with INPUT SELECT, you can also include those sounds in the recording.

You can further include the sounds from the Rhythm in the recording as well.

MASTERING :

Here, you apply the Mastering Tool Kit to the two tracks to which other tracks have been bounced to finish up with a song with levels (volume) optimized.

The Rhythm cannot be used in this mode.

About the recording (REC) modes

Guitar1

2

3 . . .

8

Bass

L7

8 R

Vocal

Keyboard

INPUT BOUNCE MASTERING

Mixing down to two tracks

L7

8 R

Finishing the song with levels optimized

TRACK TRACKTRACK What is a Mastering Tool Kit?

When creating an audio CD from your recorded songs, or recording to a similar media, the overall volume needs to be restrained, so that even the loudest portions of the songs are handled appropriately on the CD. However, this often results in an overall lowering of the volume, resulting in a CD that lacks excitement and impact.

Moreover, in the low-frequency range, to which the human ear is not very sensitive, the sound actually produced might be perceived as being somewhat low in volume, even though the meter shows that its at the maximum level. This also makes it difficult to create powerful sounds.

With the Mastering Tool Kit, however, you can smooth out the differences in volume that occur over the course of a song, while also correcting the balance in the low end.

We recommend mastering with the Mastering Tool Kit in the final stage of creating songs.

Mastering (p. 111) Mastering Tool Kit Patch List (p. 207)

Playing Back Recorded Music

fig.00-561

1 Press [ZERO] to move to the time location 00:00:00-

00.0.

2 Press [PLAY].

[PLAY] lights in green, and playback begins.

Use the TRACK faders to adjust the volume separately for each track.

During playback, hold down [DELETE/MUTE] and press a REC TRACK button that is lit in green and orange alternating or green.

The REC TRACK button will change to blinking in orange or green, and the sound of that track will be muted (silenced).

If you repeat the same operation, the button will return to its previous lit state and the sound of that track will once again be heard. fig.00-570

1 2

Silencing the sound of specific tracks (Track Mute)

Recording an additional performance while listening to an existing performance Overdubbing Recording an additional performance while listening to an existing performance (Overdubbing)

The tracks for which the REC TRACK button is lit in green (or alternately in orange and green) are tracks that already have data recorded on them.

The process of listening to a previously recorded performance while you record additional material on another track is called overdubbing. By recording the bass, guitar, and vocals on different tracks, you can then adjust the volumes of each instrument with respect to one another, change the left-right sound balance, exchange data, and perform other operations. fig.00-580

1 Press one of REC TRACK [1][7/8] to select the track to which to record.

The status of each track can be determined from the indicator on the button.

Off : No recorded data exists on the track.

Green : Recorded data exists on the track.

Red : The track is selected for recording.

If a track with existing data is selected for recording, the indicator will light alternately in orange and green.

2 Adjust the faders so the tracks being played back are at a suitable level.

3 Press [REC].

[REC] flashes in red and the BR-600 enters the recording standby state.

4 Press [PLAY].

The [REC] and REC TRACK button indicators change from flashing in red to being continually lit and recording begins. [PLAY] lights up.

Only what you are currently playing is recorded to the new track. The music that is being played back is not recorded.

* If you use the REC LEVEL dial to turn down the volume of the input source during recording, the sound will be recorded in the audio track at a low volume, so that noise will be more apparent when you raise the volume of the audio track for playback.

If you want to lower the sound of the input source that you are monitoring, lower the volume with the MASTER fader. To change the volume of the music being played back, use the TRACK fader for the respective tracks.

5 When you finish recording, press [STOP].

1 2 345

Note that recording sounds to a track that already contains recorded material erases the previous recording.

You cannot play back sounds recorded for less than one second.

Some tips for overdubbing

When you record new material while listening to a recorded performance, your playing may tend to be buried in the existing performances, making it difficult for you to play. In this case, you can slightly lower the faders of the playback tracks, or pan the playback tracks to left (or right) and the sound you are playing to right (or left) to make it easier to hear yourself.

Adjusting the Perception of Stereo in the Input Sounds (Pan) (p. 56)

Putting multiple tracks together (Bounce)

You can adjust the tone, panning, and volume balance for each track individually.

1 Confirm that [PAD] is not lit, then press [PAN/EQ/

LOOP FX]. fig.00-590

2 Press CURSOR [ ] [ ] to move the cursor to

PAN, and press [ENTER].

The Pan settings screen appears in the display. fig.00-600

3 Press CURSOR [ ] [ ] and turn the TIME/

VALUE dial to change each track pan settings.

* Pressing a REC TRACK button moves the cursor to the

track corresponding to the button pressed.

* Pressing [ENTER] sets this to C00 (Center).

4 Press [EXIT] (or [PAN/EQ/LOOP FX]) to return to the

Play screen.

Adjusting the Sound for Each Track

Adjusting the Perception of Stereo for the Sound (Pan)

Tracks 5/6 and 7/8 are stereo tracks, and any pan settings that are made apply to both of the tracks as a pair.

When set to C00 : Track 5 (7) is panned left, and Track 6 (8) is panned right.

When set to L50 : Both Track 5 (7) and Track 6 (8) are panned left.

When set to R50 : Both Track 5 (7) and Track 6 (8) are panned right.

Putting multiple tracks together (Bounce)

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Track EQ is an independent two-band equalizer featured on each track that allows you to adjust the high- and low- frequency tonal qualities separately.

These are just like the tone control on a stereo.

1 Confirm that [PAD] is not lit, then press [PAN/EQ/

LOOP FX]. fig.00-590

2 Press CURSOR [ ] [ ] to move the cursor to EQ, and press [ENTER].

The EQ settings screen appears in the display. fig.00-620

3 Press CURSOR [ ] [ ] and turn the TIME/ VALUE dial to turn each Track EQ on or off.

* Pressing a REC TRACK button moves the cursor to the track corresponding to the button pressed.

4 When changing the EQ settings, press CURSOR [ ] repeatedly to display the parameter screen, then use the [CURSOR] and the TIME/VALUE dial to change the settings value.

fig.00-630

For more on the settings content, refer to Track EQ Parameter Functions (p. 122).

5 When you have finished making the settings, press [EXIT] (or [PAN/EQ/LOOP FX]) to return to the Play screen.

The BR-600 features chorus, delay, and doubling (any one of these three can be selected at any one time) as loop effects, and includes reverb as well. Effective use of these allows you to add greater breadth to the sound.

1 Confirm that [PAD] is not lit, then press [PAN/EQ/

LOOP FX]. fig.00-640

2 Press CURSOR [ ] [ ] to move the cursor to

CHO/DLY or REV, and press [ENTER].

fig.00-650

Adjusting the tone (Track EQ) Adding Richness and Breadth to the Sound (Loop Effect)

What is a loop effect?

Effects connected to the send and return of mixer effects are called loop effects. You can adjust the depth of the effect by changing the send level of each mixer channel (equivalent to the tracks of the BR-600).

Since the send levels for each track are separate, you can change the depth individually. This allows you to, for example, have a deep reverb on the vocals and slight reverb on the drums, or any such combination.

Opposed to insert effects (p. 92), which are applied to specific sounds, loop effects are applied to the complete track.

Putting multiple tracks together (Bounce)

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3 Press CURSOR [ ] [ ] until FX Type or Type

is displayed, then turn the TIME/VALUE dial to

select the loop effect.

When using CHO/DLY

Select from CHORUS, DELAY, or DBLN (doubling).

fig.00-660

When using REV

Select from HALL or ROOM. fig.00-670

4 If you want to change the settings for the selected

effect, press CURSOR [ ] [ ] to select the

parameter, then change the settings value with the

TIME/VALUE dial.

fig.00-680

For more on the settings content, refer to Loop Effect Parameter Functions (p. 120).

5 Press CURSOR [ ] [ ] to display the Send Level settings screen.

When using CHO/DLY fig.00-690

When using REV fig.00-700

6 Press CURSOR [ ] [ ] and the TIME/VALUE dial to adjust each tracks send level.

* Pressing a REC TRACK button moves the cursor to the track corresponding to the button pressed.

7 After you have completed adjusting the send level, press [EXIT] repeatedly to return to the Play screen

You cannot use chorus, delay, and doubling simultaneously. Any one may be selected while loop effects are in use.

The send level is the volume level of the signal sent from each respective track to each effect, and you can change the amount of effect applied by adjusting the send level.

Putting multiple tracks together (Bounce)

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fig.00-720

1 Press [REC MODE] repeatedly until BOUNCE is

indicated for REC MODE at the left of the screen.

The BR-600 will now enter BOUNCE mode. fig.00-730

What are V-Tracks? (p. 12)

2 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-track to which you want to

record.

3 Press [REC].

[REC] flashes in red and the BR-600 enters the recording standby state.

fig.00-740

4 Press [PLAY].

[PLAY] lights in green, the [REC] and REC TRACK buttons now light solidly instead of flashing in red, and recording begins.

fig.00-560

5 When you finish recording, press [STOP].

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Bouncing

1

2

345

Recording Destination

V-Tracks with recorded data. V-Tracks without data.

Flash

Lit

To prepare for further recording after the bouncing has been completed, the BR-600 automatically switches to an empty V-Track at the bounce destination.

After bouncing down to two tracks, you can use the Mastering Tool Kit to eliminate discrepancies in volume levels through out the song and to achieve the proper low-end balance. Refer to Mastering (p. 111).

Recording

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1 Press either [1][7/8] at REC TRACK to select the recording track.

If the button flashes in red, that track is ready for recording.

fig.00-480

The status of each track can be determined from the indicator on the button.

Off : No recorded data exists on the track.

Green : Recorded data exists on track.

Red : The track is selected for recording.

If a track with existing data is selected for recording, the indicator will light alternately in orange and green.

If INPUT SELECT [GUITAR] is lit fig.00-490

Since the input is mono, the recording is normally performed as a mono recording onto one track. Press one of TRACK [1][4] at REC TRACK to select the one track to which to record.

However, if you want to record in stereo to increase the effect of insert effects, you can simultaneously press the [1] and [2] or [3] and [4], REC TRACK buttons for stereo recording onto two tracks. fig.00-500

In addition, Tracks 5/6 and 7/8 are stereo tracks, so they always produce stereo recordings.

If INPUT SELECT [MIC] is lit fig.00-490

If a mic is connected either to the MIC1 or MIC2 jack (not both), the input will be mono, and you can select tracks using the same procedure as that described in If INPUT SELECT [GUITAR] is Lit.

If you have mics connected to both the MIC1 and MIC2 jacks, or if nothing is connected to either of these jacks and the internal stereo mic is switched on, you can select tracks using the same procedure as that described in If INPUT SELECT [LINE] or [SIMUL] are Lit.

* When mics are connected to both the MIC1 and MIC2 jacks,

Track 1 is selected as the recording destination for MIC1,

and Track 2 is selected as the recording destination for

MIC2.

If INPUT SELECT [LINE] or [SIMUL] are lit fig.00-510

Since the input is stereo, the recording is normally performed on two tracks. Press either REC TRACK [1] or [2] to select tracks 1 and 2, or [3] or [4] to select tracks 3 and 4.

However, if you want to mix together the left and right channels being input onto one track, with tracks 1 and 2 selected, press REC TRACK [1] again to select track 1. Using the same procedure, you can select any track 1 to 4 to be the track to which to record.

In addition, Tracks 5/6 and 7/8 are stereo tracks, so they always produce stereo recordings.

Selecting the Recording Track

(Recording Mono)

(Recording Stereo)

or

Recording

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1 Press [REC MODE] repeatedly until INPUT indicator

lights up.

fig.00-540

2 Press [REC].

[REC] flashes in red and the BR-600 enters the recording standby state.

fig.00-550

3 Press [PLAY].

[PLAY] lights in green, the [REC] and REC TRACK buttons now light solidly instead of flashing in red, and recording begins.

fig.00-560

4 When you finish recording, press [STOP].

The REC TRACK button lights alternately in orange and green, indicating that track contains recorded data.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Recording Operations

Flash

Lit

You cannot play back sounds recorded for less than one second.

The following operations cannot be used, or are disabled, while the recorder is in use (during recording and playback).

Recording patterns

Editing arrangements

Selecting drum kits

Switching to the USB screen

Switching to the Tone Load screen

Switching to the Song Selection screen

Switching to the Song New screen

Switching to the Song Information screen

Switching to the Edit Song screen

Track Editing

Switching to the Initialize screen

Tuner

Repeating Playback (Repeat)

By using the Repeat function you can repeatedly play back a specified part. Repeating playback allows you to check the mixing balance or perform loop recordings (p. 63) with the punch in/out functions.

Playback repeats in the portion set with Repeat as shown below. fig.01-570

1 Press [REPEAT] at the point where you want the

repeat to begin (A).

fig.01-202

The [REPEAT] begins to flash, telling you that the repeat start point (A) has been registered.

2 Press [REPEAT] at the point where you want the

repeat to end (B).

fig.01-580

The [REPEAT] lights up, indicating that the repeat portion has been registered.

3 If you want to cancel the repeat, press [REPEAT] once

more.

The repeat is cancelled, and the [REPEAT] goes out.

4 If you want to save the registration for this repeating

segment, save the song.

Saving the Current Settings to the Song (Song Save) (p. 89)

Repeat

Repeat Start (A)

Repeat End (B)

Time

There must be at least one second between repeat start point (A) and repeat end point (B). It is not possible to set the end point less than one second away from the start point.

If you press [REPEAT] at a position before the repeat start point (A), that earlier position is then set as the repeat start point (A).

Repeating Playback (Repeat)

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Normally, the repeat start and end points are registered at the exact position where [REPEAT] is pressed. This may make it difficult for you to set the repeat portion exactly as you desire.

If this is the case, you can use the quantize function to have the time [REPEAT] is pressed be adjusted to the timing of the song. The quantize function allows you to set the timing in one-measure units.

Perform the procedure given below to use the quantize function.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SYS, and press [ENTER]. fig.01-150

3 Press CURSOR [ ] [ ] to select AB Qtz, and

turn the TIME/VALUE dial to turn the setting on.

When off, the quantize function will not work. fig.01-160

4 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper line of the display, while the lower line shows what is being processed.

Setting the Repeat Portion with Accurate Timing Changing the tempo after having made the quantize

function settings in a repeated portion will result in timing discrepancies between the repeat start and end points and the beginnings and ends of measures.

You can set the repeat portion to one measure by pressing [REPEAT] twice at the same position.

When the repeat portion is set, you can use the following functions to edit your recorded track data.

— Copying the repeated portion (AB) (p. 77)

— Moving the repeated portion (AB) (p. 80)

— Erasing the repeated portion (AB) (p. 83)

Before using these functions, you can use the quantize function to set the repeat portion with accurate timing.

Re-recording Only a Mistake (Punch-in/out)

You may occasionally make a mistake while recording, or the performance may not turn out as you expect. In this case, you can punch in/out to re-record only the portion that is mistaken.

Changing to recording during the playback of a song is referred to as punching in, and changing from recording to playback is referred to as punching out.

Therefore, punch in at the location where you want to begin the re-recording, and punch out at the location where you want the re-recording to end. fig.01-170

With your BR-600, you can choose from manual or automatic punching in/out.

You can use the [REC] or a foot switch to punch in or out. * When using manual punch-in/out, you need to allow for an

interval of at least one second between the punch-in and punch-out points.

As an example of use, the explanation below assumes you are manually punching in and out to re-record a portion of track 1, which is a track to which you have already recorded.

1 Press REC TRACK [1].

REC TRACK [1] lights alternately in orange and green.

2 Place the fader for track 1 at the location shown below.

fig.01-180

3 Start playback and adjust the volume of the input

source using the REC LEVEL dial.

Listen to the track you will be re-recording and the input source and adjust the volume of the input source using the REC LEVEL dial so that it is the same level as the track.

4 Move to a position before where you want to start

re-recording and press [PLAY] to start playback.

5 Press [REC] to punch in at the location where you

want to start recording.

The BR-600 starts recording.

6 To punch out, press [REC] (or [PLAY]) again.

Each time you press [REC], you punch in and punch out, so if there is another location that you want to redo, then you can punch in again at that location using the same procedure.

7 Press [STOP] to stop recording.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

8 Listen to the re-recorded results.

Return the song to a point earlier than you re-recorded, and play it back. Adjust the volume of track 1 using the TRACK fader.

Manually Punching In/Out

Manually punching in and out using [REC]

Time

Punch-In StopStart [PLAY] [REC] [REC] [STOP]

Punch-Out

Playback PlaybackRecording

You can use the Undo function (p. 64) to revert to the condition before re-recording.

The data prior to punch-in/out will remain on the memory card without being erased. If this data is no longer needed, in order to use the memory card effectively, use the song optimize function (p. 87) to delete unneeded data from the memory card.

Re-recording Only a Mistake (Punch-in/out)

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It can be difficult sometimes to punch in and out with the [REC] button when both playing an instrument and recording by yourself. In such situations, you may find it convenient to connect a sold separately foot switch (such as a BOSS FS-5U or Roland DP-2) and use the foot switch to punch in and out.

In order to use a foot switch When you are using a sold separately foot switch to punch in and out, connect the foot switch to the FOOT SW jack on the BR-600 and change the function of the FOOT SW jack by following the procedure given below.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to SYS, and press [ENTER].

fig.01-190

3 Press CURSOR [ ] [ ] and select Foot SW.

fig.01-200

4 Turn the TIME/VALUE dial and select PUNCH (PUNCH IN/OUT).

5 Press [UTILITY] (or press [EXIT] repeatedly) to return to the Play screen.

* During updating, Keep power on! appears in the upper line of the display, while the lower line shows what is being processed.

Automatically punching in and out at predetermined locations (or times) in the song is referred to as auto punching in/out.

When you want to punch in and out at accurate times or when you want to concentrate on playing rather than punching in and out manually, the auto punch in/out function is very useful.

* When using auto punch-in/out, you need to allow for an interval of at least one second between the punch-in and punch-out points.

Before you begin recording, you must register the locations at which punch-in and punch-out will occur automatically.

1 Register the location where you want to punch in.

Move the location where you want to punch in and press AUTO PUNCH [IN] to register that location for automatic punch in.

At this time, the AUTO PUNCH [IN] lights, telling you that the punch-in position is registered.

fig.01-210

* If the AUTO PUNCH [IN] is lit, you will automatically move to the registered punch-in time when this button is pressed.

2 Register the location where you want to punch out.

Move the location where you want to punch out and press AUTO PUNCH [OUT] to register that location for automatic punch out.

At this time, the AUTO PUNCH [OUT] lights, telling you that the punch-out position is registered.

fig.01-220

* If the AUTO PUNCH [OUT] is lit, you will automatically move to the registered punch-out time when this button is pressed.

Manually punching in and out using a foot switch

In operating the foot switch during playback of a song (manual patch in and out), press the foot switch once to punch in, then press it again to punch out.

Auto Punching In and Out

Specifying the area for auto punching in/out

Re-recording Only a Mistake (Punch-in/out)

R ev0.10

To erase an auto punch-in location, press and hold AUTO PUNCH [ON/OFF] and then press [IN].

To erase an auto punch-out location, press and hold AUTO PUNCH [ON/OFF] and then press [OUT].

When the settings are erased, the AUTO PUNCH [ON/OFF], [IN], and [OUT] go out.

If you want to save the auto punch in/out settings in the currently selected song, hold down [STOP], and press [REC].

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

As an example of use, the explanation below assumes you are using the auto punch in/out to re-record a portion of track 1, which is a track to which you have already recorded.

1 Press REC TRACK [1].

REC TRACK [1] lights alternately in orange and green.

2 Place the fader for track 1 at the location shown

below.

fig.01-180

3 Start playback and adjust the volume of the input

source using the REC LEVEL dial.

Listen to the track you will be re-recording and the input source and adjust the volume of the input source using the REC LEVEL dial so that it is the same level as the track.

4 Move to a position before where you want to start re-

recording and press AUTO PUNCH [ON/OFF].

The button lights up, showing that the auto punch in and out have been set.

5 Press [REC] to place the BR-600 in recording standby

and then press [PLAY].

Recording automatically starts at the auto punch-in location, so start playing what you want to record.

At the point you specified for punch-out, the track will automatically change back to play mode.

6 Press [STOP] to stop recording.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

7 Listen to the re-recorded results.

Return the song to a point earlier than you re-recorded, and play it back.

Adjust the volume of track 1 using the TRACK fader.

Erasing a registered auto punch in/out location

How to record

If you want to punch in/out at a previously set locator point, press [LOCATOR] to move to the locator point (p. 72), and press AUTO PUNCH [IN] or AUTO PUNCH [OUT].

Re-recording Only a Mistake (Punch-in/out)

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Sectio n 1

The repeat function (p. 58) allows you to play a certain portion of a song (the loop portion) over and over again.

If you used auto punch in/out together with the repeat function, the portion will be repeated so the result of the recording can be heard right away.

If the recording did not sound as you wished, simply press [REC] and redo the recording.

Using the repeat function and auto punch in/out together in this manner to repeatedly perform recording is known as loop recording.

* For details on how to set the portion where recording will

occur (the portion between the punch-in and punch-out

positions), refer to Auto punching in and out above.

Before you begin recording, you will need to set the starting and ending position of the portion to be repeated.

* The portion to be repeated should contain the portion that

you wish to re-record (the portion between the punch-in and

punch-out points). fig.01-240

If the portion to be re-recorded is not fully contained in the repeat portion, the recording may not start or end as desired.

As an example of use, the explanation below assumes you are using the auto punch in/out to re-record a portion of track 1, which is a track to which you have already recorded.

1 Press REC TRACK [1].

REC TRACK [1] lights alternately in orange and green.

2 Place the fader for track 1 at the location shown below.

fig.01-180

3 Use the repeat function (p. 58) to repeat the playback

of the song and adjust the volume of the input source

using the REC LEVEL dial.

Listen to the track you will be re-recording and the input source and adjust the volume of the input source so that it is the same level as the track.

4 Press [STOP].

5 Press AUTO PUNCH [ON/OFF].

The button lights, showing that the auto punch in and out have been set.

6 When you are ready to record, press [REC], then press

[PLAY] to begin recording.

After you press [PLAY], you can record from the time the first punch-in is reached until the time the punch- out is reached. Re-record the portion as desired.

When the song is repeated, you can check the result of what you just recorded. If the recording is not satisfactory, press [REC] and perform the recording again.

7 Press [STOP] to stop recording.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

8 Press [REPEAT] to make the button go dark.

9 Press AUTO PUNCH [ON/OFF] to make the button

go dark.

Repeatedly Recording Over the Same Location (Loop Recording)

Setting the portion to be repeated

How to record

PlaybackPlayback

Repeat

Repeat Start (A)

Punch-In Punch-Out Repeat End (B)

Time

Recording

Canceling an Operation (Undo/Redo)

Occasionally when the recording you make may not turn out as you wish, or the settings you make for an editing operation are incorrect, and you want to reverse what you have done. At these times, you can use the Undo function.

The Undo function reverses the action you have just performed and returns you to the status you were in beforehand. To reverse an Undo, you must use the Redo function.

For example, suppose you are punching in to loop record and record over the same location twice. To undo the recording you just performed and return to the first recording, you would use the Undo function.

To then reverse the Undo and return to the condition that you were in immediately after the second recording, you would use the Redo function.

fig.**

1 Confirm that [PAD] is not lit, then press [UNDO/ REDO].

UNDO? appears in the display. fig.01-260

2 To execute Undo, press [ENTER].

Press [ENTER] to reverse the last performed recording or editing operation. If you decide not to Undo, press [EXIT].

To reverse the Undo you just executed, perform a Redo.

1 Confirm that [PAD] is not lit, then press [UNDO/ REDO].

REDO? appears in the display. fig.01-27

2 To execute Redo, press [ENTER].

The Undo you just performed is reversed. If you decide not to Redo, press [EXIT].

After you have performed an Undo, you can only perform a Redo (you cannot perform an Undo again).

If you record something, or carry out Track Edit after performing an Undo, it will no longer be possible to perform a Redo.

The Undo applies to audio data recorded to the tracks.

Keep in mind that the history of all operations youve carried out with respect to the recorded data will be cleared as soon as you carry out a Song Optimize (p. 87). This means that once you execute Song Optimize, youll no longer be able to perform an undo.

Reversing the Last Operation (Undo)

Canceling the Undo (Redo)

12

Putting Multiple Tracks Together (Bounce)

Although the BR-600 allows the simultaneous playback of eight tracks, when you run out of tracks, the BR-600 also lets you copy the recordings of multiple tracks together onto one track (V-Track). This is called bounce (also known as bounce recording or ping-pong recording).

By combining multiple tracks in this way, you can free up other tracks in order to record additional performances.

The explanation below uses an example of mixing the monaural recording on tracks 1 and 2 and the stereo recording on tracks 3 and 4, and bouncing them to V-Track 2 of tracks 7/8.

1 Set the pan for tracks 1 and 2 to the locations you

desire, set the pan for track 3 all the way to the left

(L50), and the pan for track 4 all the way to the right

(R50).

Adjusting the Perception of Stereo for the Sound (Pan) (p. 49)

2 Play back the song and adjust the volumes for the

tracks 1 to 4 using the REC TRACK faders.

The overall volume is adjusted by the MASTER fader. At this time, raise the volume as high as possible without allowing the sound to distort.

Lower the faders for the tracks that you do not want to mix.

3 Press [STOP].

4 Press [REC MODE] repeatedly until BOUNCE

indicator lights up.

The input source is automatically muted. This prevents the input source from being mixed in and recorded during bounce recording.

In bounce mode, you can play back eight tracks simultaneously and record them all to a single, separate V-Track.

When input sources are selected with INPUT SELECT, you can have those sounds recorded together.

Furthermore, you can include the sounds from the Rhythm in the recording.

TRACK 8-V1 TRACK 7-V1

TRACK 6-V1 TRACK 5-V1

TRACK 4-V1 TRACK 3-V1

TRACK 2-V1 TRACK 1-V1 RHYTHM

Track 18

TRACK 8-V2 TRACK 7-V2

Separate V-Track

INPUT Rhythm

2,9 3,8,10

4

5

6

7,10

7,9

7

Putting Multiple Tracks Together (Bounce)

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5 If you want to mix in the sound of the Rhythm as

well, increase the Rhythm fader.

If you do not want to record the Rhythm, lower the fader.

6 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the recording-destination track/V-Track.

Here, set this to 78V2 (V-Track 2 of Tracks 7/8). fig.01-290

(When bouncing while recording in mono)

If you turn the TIME/VALUE dial at this time, the screen for specifying the track for mono recording is displayed.

fig.01-300

7 After pressing [ZERO] to return to the time location

00:00:00-00.0, press [REC] and then press [PLAY] to

start bounce recording.

8 When you are finished recording, press [STOP].

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

9 Lower all TRACK faders except those for Tracks 7

and 8, press [PLAY], and then check the sounds

bounced to Tracks 7 and 8.

* The pan for tracks 7 and 8, where the music was bounced, is

set all the way to the left and right respectively.

10 If you want to save the settings in the currently

selected song, hold down [STOP], and press [REC].

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Recording Destination

V-Tracks with recorded data. V-Tracks without data.

When using bounce recording, you can record the sounds with insert effects (p. 92), loop effects (p. 118), Track EQ (p. 121), or Pitch Correction (p. 123) applied. When using the insert effects, refer to Changing the destination Insert Effects are Connected (p. 95).

If you wish to mix an input source as part of the bounce recording, press [INPUT SELECT] to select the desired input source. At this time, you can apply loop effects (p. 118) to the sound of the input source.

Loading Songs Created with the BR-900CD/BR-864/BR-532

You can load songs created with the BR-900CD, BR-864, or BR-532 into the BR-600 via memory cards.

First, save the song data created with the BR-900CD or BR- 864 to a memory card, then insert the memory card into the BR-600.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SEL, and press [ENTER].

The Song Select screen is appeared. fig.01-330

3 Rotate the TIME/VALUE dial to select the song to be

loaded.

4 Press [ENTER].

The song data is loaded.

The song protect icon ( ) is indicated for the BR-

900CD/BR-864 songs.

Loading Songs Created with the BR-900CD/BR-864

Once you record, edit, or set parameters for imported BR-864 song data, that particular song data can no longer be used by the BR-864. (The data can be used with the BR-900CD.) To protect against accidental recording or editing, song protect (p. 88) is automatically switched on for imported BR-864 song data.

If you can accept the fact that you will no longer be able to use the song data with the BR-864, you can switch song protect off, then carry out recording or editing.

When you turn off song protect, Overwrite OK? appears in the display; press [ENTER] (YES). Song protect is switched off, and the data is simultaneously converted to BR-600 format.

When the Guitar Synth algorithm is used with the BR-864, an asterisk (*) is added before the patch name, and the patch’s algorithm and parameter values will be the same as those in P01: JC Clean in the GUITAR bank.

In addition, if Harmonist is used for the effect, the Flanger effect is substituted for it. The patch name is not changed.

Loading Songs Created with the BR-900CD/BR-864/BR-532

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When copying song data created with the BR-532 from SmartMedia to a BR-600 memory card, you can load the data as a BR-600 song.

Fist, insert the memory card containing the copy of the desired data into the BR-600.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SEL, and press [ENTER].

The Song Select screen is appeared. fig.01-340

3 Rotate the TIME/VALUE dial to select the song to be

loaded.

4 Press [ENTER].

The song data is loaded.

The song protect icon ( ) is indicated for the BR-532

songs.

Loading Songs Created with the BR-532

Reading BR-532 data requires a PC with a SmartMedia reader and CompactFlash writer connected. First, copy the data on the BR-532 memory card (SmartMedia) to the PC with the SmartMedia reader, and use the CompactFlash writer to copy that data from the PC to a BR-600 memory card.

The data remains in BR-532 format immediately after loading. Once the loaded song is saved, the data is converted (p. 89) to BR-600 format.

Displaying the Song Information

Follow the procedure below to either display the elapsed recording time in the recording standby and recording screens.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SYS, and press [ENTER].

fig.01-350

3 Press CURSOR [ ] [ ] to select Remain Inf,

and turn the TIME/VALUE dial to select ON.

fig.01-360

ON : Displays the remaining available recording time in minutes: seconds.

OFF : Doesnt display the remaining available recording time.

4 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

* When [REC] is pressed in the Play screen, putting the BR-

600 into record standby ([REC] flashes), the remaining

recording time is displayed in the TIME area. fig.01-370

Follow the procedure below to display the current condition of the memory card being used.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to INF, and press [ENTER].

fig.01-380

3 Press CURSOR [ ] [ ] to select the parameter to be displayed.

Name of the currently selected song

Songs data type and memory used (Size : MB)

Data Type

HiFi (MT2) High-quality recording type

STD (LV1) Standard recording type

LONG (LV2) Long recording type

Remaining memory

* The song sizes are displayed in units of 1MB = 1,048,576 bytes. The size displayed is an approximation.

4 Press [UTILITY] (or press [EXIT] repeatedly) to return to the Play screen.

Displaying the Remaining Available Recording Time

Displaying the Memory Card Usage

Registering Time (Locator)

Using the locator function, you can register any desired time in a song as a locator point so that you can jump to that point later with just the press of a button.

This function is quite useful during editing.

1 At the Play screen, move to the location where you

want to register the locator point.

2 Press [LOCATOR].

When the [LOCATOR] lights up, registration is complete.

fig.02-010

1 Press [LOCATOR].

This moves you to the time in the song registered as a locator point.

1 Press and hold AUTO PUNCH [ON/OFF], then press

[LOCATOR].

The locator point is deleted.

Registering a Locator Point

Moving to the Locator Point

Deleting a Locator Point

Search for the Musics Start and End (Scrub/Preview)

Scrub function When editing a sound, some times you need to know exactly where the sound starts, or exactly where the recording with an auto punch in starts.

To enable you to find these points accurately, the BR-600 is equipped with the Scrub function.

When you use the Scrub function during playback (called scrubbing), the portion from your before or after the current position (approximately 45 msec) is played back and repeated.

Preview function With the Preview function, you can playback the one- second portion of the song before or after your current position.

By using this together with the Scrub function, at the same time slowly moving your current position in the song, it becomes easy to find the exact transition point from one phrase to the next. fig.02-020

1 Hold down [STOP] and press [PLAY].

The [PLAY] begins flashing and scrubbing starts.

The (SCRUB FROM) and (SCRUB TO) displayed at the TEMPO position in the screen are the scrub points with respect to the current position.

When the cursor is set under the scrub point, it is possible to change scrub point by TIME/VALUE dial.

fig.02-030

2 Slowly turn the TIME/VALUE dial to move the current position and search for the starting point of the phrase (e.g., where sound is first emitted).

3 After you find the exact point where the music starts, press [STOP] to stop scrubbing.

SCRUB TO

Time

Now Time

PREVIEW TO

PREVIEW FROM

Sound Data

SCRUB FROM

Approx. 45 msec

Approx. 1.0 msec Approx. 1.0 msec

Scrubbing to Find the Music Starting/Ending Point

You can press [PLAY] to preview the material to or from the currently selected scrub point.

PREVIEW FROM

PREVIEW TO

To mute the sound of a particular track, hold down [DELETE/MUTE] and press the relevant REC TRACK button so it starts blinking.

You can now press [LOCATOR] to register a locator point so that you can find the point easily later.

Search for the Musics Start and End (Scrub/Preview)

R ev0.10

Besides switching the scrub point in the Play screen (p. 73), you can also use the following method to switch the scrub point.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SCR, and press [ENTER]. fig.02-040

3 Press CURSOR [ ] [ ] to select FROM/TO, and

turn the TIME/VALUE dial to change scrub points. fig.02-050

TO : Scrubs to your current position.

FROM : Scrubs from your current position.

4 After completing the setting, press [UTILITY] (or

press [EXIT] repeatedly) to return to the Play screen.

Besides using [PLAY] for the Preview function (p. 73), you can also set the unit so that [REW] and [FF] can be used with the Preview function.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

SCR, and press [ENTER]. fig.02-060

3 Press CURSOR [ ] to select Preview SW, and

turn the TIME/VALUE dial to set ON. fig.02-070

This enables use of the Preview function.

4 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

Changing the Scrub Points Enabling Use of the Preview Function with [REW] and [FF]

You can temporarily switch to Preview during scrub with the following operations.

Press [REW] : PREVIEW TO

Press [FF] : PREVIEW FROM

Editing the Performance on a Track (Track Edit)

The BR-600 allows you to edit your songs by performing editing functions such as copying and moving data recorded on the tracks.

Track Copy allows you to copy a specific part of data and then place it in a different location.

You can perform editing operations such as copying the data on a track all at once, or copying the data from a specified part as many times as you wish.

If, for example, you want to use a phrase from a certain track, or have the same phrase repeated again and again, the copy function will help save you time.

Perform the procedure given below to copy the portion between specific times.

Ex. 1 : Copying twice to the same track fig.02-160

Ex. 2 : Copying twice to another track fig.02-170

About the Measure/ Time Specification screen Measures and time are specified in the S (Start), E (End), and T (To) screens in Track Edit as shown below. fig.02-080

BeatMeasure

S (Start) / E (End) / T (To)

Frame Hours

Minutes Seconds Sub Frame

(Ex.)

The material edited with Track Edit is saved to the song when you return to the Play screen. The message «Keep power on!» appears in the lower row of the display while the data is being updated.

To copy, move, or erase repeated portions, you first need to set the portion to be repeated, using the procedure described on p. 58.

Copying Data (Track Copy)

Copying by specifying the time (TME/MES)

If data exists at the position being copied to, that data will be overwritten.

The portion being copied must be longer than 1.0 seconds long. If the copied portion is 1.0 seconds or less, no sound will be heard even if the copy is carried out.

START END TO Time

TimeSTART END TO

Editing the Performance on a Track (Track Edit)

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1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER]. fig.02-180

3 Press CURSOR [ ] [ ] to move the cursor to CPY, and press [ENTER].

fig.02-190

4 Turn the TIME/VALUE dial to select TME/MES and press [ENTER].

fig.02-200

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the track/V-Track to copy from, and track/V- Track to copy to.

6 Press [ENTER].

fig.02-210

7 Use [CURSOR] and the TIME/VALUE dial to specify the beginning of the portion S (Start) of data you want to copy.

8 Press [ENTER].

fig.02-220

9 Use [CURSOR] and the TIME/VALUE dial to specify the

ending of the portion E (End) of data you want to copy.

10 Press [ENTER].

fig.02-230

11 Use [CURSOR] and the TIME/VALUE dial to specify

the time of the beginning of the location T (To)

where you want the copied data to be placed.

12 Press [ENTER].

fig.02-240

13 Turn the TIME/VALUE dial to select the number of

copies you want to be placed.

14 When you are ready to execute the copy, press [ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

15 Press [ENTER].

The copy is executed.

16 Press [UTILITY] (or press [EXIT] repeatedly) to

return to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Copy Source Copy Destination

Editing the Performance on a Track (Track Edit)

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Sectio n 2

Perform the procedure given below to copy the portion from the repeat start (A) to the repeat end (B).

Ex. 1 : Copying twice to the same track fig.02-090

Ex. 2 : Copying twice to another track fig.02-100

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to TRK, and press [ENTER].

fig.02-110

3 Press CURSOR [ ] [ ] to move the cursor to CPY, and press [ENTER].

fig.02-120

4 Turn the TIME/VALUE dial to select AB and press [ENTER].

fig.02-130

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the track/V-Track to copy from, and track/V- Track to copy to.

6 Press [ENTER].

fig.02-140

7 Use [CURSOR] and turn the TIME/VALUE dial to specify the time of the beginning of the location T (To) where you want the copied data to be placed.

Copying the repeated portion (AB)

After specifying the time in the procedure above, a + may appear to show that there is a discrepancy between the actual current position and the position displayed. If you specify the locations using measures, specify the locations at each screen using the TIME/VALUE dial to eliminate the discrepancy.

You can also enter the time using [LOCATOR], [ZERO], [STOP] + [REW], [STOP] + [FF], and AUTO PUNCH [IN/OUT].

Repeat Start (A)

Repeat End (B)

TO Time

Repeat Start (A)

Repeat End (B)

TO Time

Copy Source Copy Destination

Editing the Performance on a Track (Track Edit)

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8 Press [ENTER].

fig.02-150

9 Turn the TIME/VALUE dial to select the number of

copies you want to be placed.

10 When you are ready to execute the copy, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

11 Press [ENTER].

The copy is executed.

12 Press [UTILITY] (or press [EXIT] repeatedly) to

return to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Perform the procedure given below to copy the complete recorded data from one track to another.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER]. fig.02-250

3 Press CURSOR [ ] [ ] to move the cursor to

CPY, and press [ENTER]. fig.02-260

4 Turn the TIME/VALUE dial to select ALL and press

[ENTER]. fig.02-270

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to copy from, and track/V-

Track to copy to.

6 When you are ready to execute the copy, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

7 Press [ENTER].

The copy is executed.

8 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Copying a complete track (ALL)

Copy Source Copy Destination

Editing the Performance on a Track (Track Edit)

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Sectio n 2

Track Move allows you to move a specific portion of data to a different location.

Perform the procedure given below to move the portion between specific times.

Ex. 1 : Moving to the same track fig.02-340

Ex. 2 : Moving to another track fig.02-350

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to TRK, and press [ENTER].

fig.02-360

3 Press CURSOR [ ] [ ] to move the cursor to

MOV, and press [ENTER]. fig.02-370

4 Turn the TIME/VALUE dial to select TME/MES

and press [ENTER]. fig.02-380

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to move from, and track/V-

Track to move to.

6 Press [ENTER].

fig.02-390

7 Use [CURSOR] and the TIME/VALUE dial to specify

the beginning of the portion S (Start) of data you

want to move.

8 Press [ENTER].

fig.02-400

9 Use [CURSOR] and the TIME/VALUE dial to specify

the ending of the portion E (End) of data you want

to move.

Moving Data (Track Move)

Moving by specifying the time (TME/MES)

After the data is moved, the location it was in will be left empty.

Repeat Start (A)

Repeat End (B)

TO Time

Repeat Start (A)

Repeat Start (B)

TO Time

Move Source Move Destination

Editing the Performance on a Track (Track Edit)

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10 Press [ENTER].

fig.02-410

11 Use [CURSOR] and the TIME/VALUE dial to specify

the time of the beginning of the location T (To)

where you want the data moved.

12 When you are ready to execute the move, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

13 Press [ENTER].

Move Event is executed.

14 Press [UTILITY] (or press [EXIT] repeatedly) to

return to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Perform the procedure given below to move the portion from the repeat start (A) to the repeat end (B).

Ex. 1 : Moving to the same track fig.02-280

Ex. 2 : Moving to another track fig.02-290

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER]. fig.02-300

3 Press CURSOR [ ] [ ] to move the cursor to

MOV, and press [ENTER]. fig.02-310

After specifying the time in the procedure above, a + may appear to show that there is a discrepancy between the actual current position and the position displayed. If you specify the locations using measures, specify the locations at each screen using the TIME/VALUE dial to eliminate the discrepancy.

You can also enter the time using [LOCATOR], [ZERO], [STOP] + [REW], [STOP] + [FF], and AUTO PUNCH [IN/OUT].

Moving the repeated portion (AB)

Repeat Start (A)

Repeat End (B)

TO Time

Repeat Start (A)

Repeat Start (B)

TO Time

Editing the Performance on a Track (Track Edit)

R ev0.10

Sectio n 2

4 Turn the TIME/VALUE dial to select AB and press

[ENTER]. fig.02-320

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to move from, and track/V-

Track to move to.

6 Press [ENTER].

fig.02-330

7 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to specify the time of the beginning of the location

T (To) where you want the data to be moved.

8 When you are ready to execute the move, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

9 Press [ENTER].

Move Event is executed.

10 Press [UTILITY] (or press [EXIT] repeatedly) to

return to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Perform the procedure given below to move the complete data from one track to another.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER]. fig.02-420

3 Press CURSOR [ ] [ ] to move the cursor to

MOV, and press [ENTER]. fig.02-430

4 Turn the TIME/VALUE dial to select ALL and press

[ENTER]. fig.02-440

5 Press CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to move from, and track/V-

Track to move to.

Move Source Move Destination

Moving a complete track (ALL)

Move Source Move Destination

Editing the Performance on a Track (Track Edit)

R ev0.10

6 Press [ENTER].

fig.02-450

7 Use [CURSOR] and the TIME/VALUE dial to specify

the time of the beginning of the location T (To)

where you want the data to be moved.

8 When you are ready to execute the move, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

9 Press [ENTER].

Move Event is executed.

10 Press [UTILITY] (or press [EXIT] repeatedly) to

return to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Track Erase allows you to erase a specific part of data. Even if data exists after the specified part, it will not be moved forward to fill the gap left by the erasure. Like a normal tape recorder, erasing can be considered covering unwanted data by recording emptiness.

Perform the procedure given below to erase the portion between specific times. fig.02-500

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to TRK, and press [ENTER].

fig.02-510

Erasing Data (Track Erase)

Erasing by specifying the time (TME/MES)

Do not leave a portion of less than 1.0 seconds in length after the erased portion. If a portion that short does remain, it will end up being silent.

START END Time

Editing the Performance on a Track (Track Edit)

R ev0.10

Sectio n 2

3 Press CURSOR [ ] [ ] to move the cursor to ERS, and press [ENTER].

fig.02-520

4 Turn the TIME/VALUE dial to select TME/MES and press [ENTER].

fig.02-530

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the track/V-Track to erase from.

6 Press [ENTER].

fig.02-540

7 Use [CURSOR] and the TIME/VALUE dial to specify the beginning of the portion S (Start) of data you want to erase.

8 Press [ENTER].

fig.02-348d4

9 Use [CURSOR] and the TIME/VALUE dial to specify the ending of the portion E (End) of data you want to erase.

10 When you are ready to execute the erasure, press [ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

11 Press [ENTER]. The erasure is executed.

12 Press [UTILITY] (or press [EXIT] repeatedly) to return to the Play screen.

* During updating, Keep power on! appears in the upper line of the display, while the lower line shows what is being processed.

Perform the procedure given below to erase the portion from the repeat start (A) to the repeat end (B). fig.02-460

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to TRK, and press [ENTER].

fig.02-470

Erasing the repeated portion (AB)

After specifying the time in the procedure above, a + may appear to show that there is a discrepancy between the actual current position and the position displayed. If you specify the locations using measures, specify the locations at each screen using the TIME/VALUE dial to eliminate the discrepancy.

You can also enter the time using [LOCATOR], [ZERO], [STOP] + [REW], [STOP] + [FF], and AUTO PUNCH [IN/OUT].

Repeat Start (A)

Repeat End (B)

Time

Editing the Performance on a Track (Track Edit)

R ev0.10

3 Press CURSOR [ ] [ ] to move the cursor to

ERS, and press [ENTER]. fig.02-480

4 Turn the TIME/VALUE dial to select AB and press

[ENTER]. fig.02-490

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to erase from.

6 When you are ready to execute the erasure, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

7 Press [ENTER].

The erasure is executed.

8 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER].

fig.02-560

3 Press CURSOR [ ] [ ] to move the cursor to

ERS, and press [ENTER]. fig.02-570

4 Turn the TIME/VALUE dial to select ALL and press

[ENTER]. fig.02-580

5 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the track/V-Track to erase.

6 When you are ready to execute the erasure, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

7 Press [ENTER].

The erasure is executed.

8 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Erasing a complete track (ALL)

Editing the Performance on a Track (Track Edit)

R ev0.10

Sectio n 2

Perform the procedure given below to exchange the data between two tracks.

Ex. : exchanging all the data on track 1 with all the data on track 2

fig.02-590

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

TRK, and press [ENTER]. fig.02-600

3 Press CURSOR [ ] [ ] to move the cursor to

XCG, and press [ENTER]. fig.02-610

4 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to select the two tracks/V-Tracks to exchange data.

5 When you are ready to execute the exchange, press

[ENTER].

The display will ask Are you sure?, so that you can confirm the operation.

6 Press [ENTER].

The exchange is executed.

7 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Exchanging Data (Track Exchange)

Track 1

Track 2

Track 1

Track 2

A

A

B

B

C

C

D

D

E

E

Time

Organizing the Songs Youve Recorded

Follow the procedure below to copy the currently selected song.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

EDT, and press [ENTER]. fig.02-620

3 Press CURSOR [ ] [ ] to move the cursor to

CPY, and press [ENTER].

The Copy Song screen appears in the display. fig.02-630

4 Press [ENTER].

The copy is executed. When the copy has been completed, Completed! appears in the display, and you are returned to the Play screen.

Follow the procedure below to erase a song from the memory card.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to EDT, and press [ENTER].

fig.02-640

3 Press CURSOR [ ] [ ] to move the cursor to ERS, and press [ENTER]. The Erase Song screen appears in the display.

fig.02-650

4 Turn the TIME/VALUE dial and select the song to be erased.

5 After selecting the song to erase, press [ENTER]. Are you sure? appears in the display.

6 To continue with the erasure, press [ENTER]. To cancel the operation press the [EXIT] (or [UTILITY]).

7 Press [UTILITY] (or press [EXIT] repeatedly) repeatedly to return to the Play screen.

Copying a Song (Song Copy)

If Card Full! appears

If this message appears before the copy, it means that there is insufficient space on the memory card to complete the copy. Delete any unnecessary recording from the memory card.

Erasing Songs (Song Erase)

If you erase a song currently being used, the song on the memory card with the lowest number is selected. If there are no other songs on the card, a new song is created.

Organizing the Songs Youve Recorded

R ev0.10

Sectio n 2

When you perform overdubbing or punch-in/out, the data that you rewrite (replace) actually remains on the memory card. In some cases, this unwanted data may occupy a significant amount of space on the memory card. This will cause the time available for recording to be less than it should be.

By performing a Song Optimize, you can have the BR-600 erase any unnecessary data on the memory card and increase the unused space.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

EDT, and press [ENTER]. fig.02-660

3 Press CURSOR [ ] [ ] to move the cursor to

OPT, and press [ENTER].

Are you sure? appears in the display. fig.02-670

4 To continue with the optimization, press [ENTER].

The Song Optimize function is carried out. When completed, Completed! appears in the display, and you are returned to the Play screen.

To cancel the operation press the [EXIT] (or [UTILITY]).

Saving Memory on the Memory Card (Song Optimize)

Depending on the situation, an appreciable length of time may be required for Optimize to be completed. This is not a malfunction. Do not turn off the power until Optimize has completed.

After you execute Optimize, it is not possible to undo/redo to revert to the state before executing

Optimize.

Organizing the Songs Youve Recorded

R ev0.10

When a new song is created, it is automatically given a name such as SONG 0001. With your 600, you can use Song Name to give each song a name, which helps you manage and organize your songs.

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

EDT, and press [ENTER]. fig.02-680

3 Press CURSOR [ ] [ ] to move the cursor to

NAM, and press [ENTER].

The name of the song (Song Name) appears in the display.

fig.02-690

4 Press CURSOR [ ] [ ] to move the cursor to the

character you want to change.

5 Rotate TIME/VALUE dial to select the character.

* You can switch between upper case and lower case

characters by pressing [ENTER].

6 After the name is properly entered, press [UTILITY]

(or press [EXIT] repeatedly) to return to the Play

screen.

You can imagine situations where, after taking care to create a song, you accidentally overwrite it with a recording, deleting the performance itself.

To prevent such accidents, you can protect song data so that it cannot be rewritten accidentally (Song Protect).

* The following operations are not available when a song is

protected.

Recording

Track Edit

Editing a song name

Erasing a song

Song Optimize

Initializing and Editing the Rhythm (arrangements/patterns/drum kits)

Initializing effects (song patches)

Initialize All

Tone Load

Importing SMFs

USB Import

Writing effects to song patches

Undo/Redo

1 Confirm that [PAD] is not lit, then press [UTILITY].

2 Press CURSOR [ ] [ ] to move the cursor to

EDT, and press [ENTER]. fig.02-700

Naming a Song (Song Name) Protecting a Song (Song Protect)

Organizing the Songs Youve Recorded

R ev0.10

Sectio n 2

3 Press CURSOR [ ] [ ] to move the cursor to

PRT, and press [ENTER].

The Song Protect screen appears in the display. fig.02-710

4 Rotate TIME/VALUE dial to select the ON.

5 Press [UTILITY] (or press [EXIT] repeatedly) to return

to the Play screen.

When a song is protected, the display will show the song protect symbol.

fig.02-720

The BR-600 can save the following contents as song data.

Recorded data

Mixer settings (Pan, Track EQ, etc.)

Insert Effect song patches

Mastering Tool Kit song patches

Pitch Correction Song Patches and

Correction Event Maps

Rhythm Arrangements / Rhythm Patterns

Loop Effects

Tones from the Song Kit and imported with

Tone Load

Utility (For a detailed explanation, refer to

Parameter List (p. 210).)

These recorded data or mixer settings are not saved immediately after recording, but are saved when songs are saved, and when the screens are switched.

Ordinarily, if a situation calls for it, a message appears in the display prompting you to confirm that you want to save the data, so you need not pay particular attention to this, but if you want to save the settings to the song in its current state, use the following procedure.

1 Hold down [STOP] and press [REC].

Saving the Current Settings to the Song (Song Save)

Creating a Master Tape/ Disc

This process involves recording the finished song to your recorder (cassette tape recorder, CD recorder, etc.) and making a master tape or a master disc.

1 Connect the BR-600 LINE OUT jacks to the cassette

tape recorder’s input jacks.

2 Put the cassette tape recorder in record mode.

3 Press [PLAY] on the BR-600 and start the playback of

the recorded data.

4 When playback is finished, stop recording with the

recorder and then press [STOP] on the BR-600.

CD Recorder etc.

Using the Insert Effects

R ev0.10

Sectio n 3

If you wish to create a new effect sound, you should first select an existing patch that is closest to the sound you want, and then edit its settings. If you wish to save the effect settings that you edited, save them as a user patch or song patch.

1 Confirm that [PAD] is not lit, then press [EFFECTS].

The Effect screen appears in the display. fig.03-030

2 Select an effect patch.

Use CURSOR [ ] [ ] and the TIME/VALUE dial to select the bank, Preset/Song/User, and patch number.

3 Press CURSOR [ ] to move the cursor to EDIT, and press [ENTER].

The Edit Effect screen appears and the algorithm (the connection sequence for the effects being used) is displayed.

fig.03-040

When effect patches in the SIMUL bank are selected, GTR and MIC appear. Move the cursor to GTR to modify a guitar-use effect, or to MIC to modify an effect for use with a mic, then press [ENTER].

fig.03-050

4 Press CURSOR [ ] [ ] to move the cursor to each effect and turn the TIME/VALUE dial to turn each effect on or off.

Blocks that are turned on are shown in uppercase letters, while blocks that are turned off are shown in lowercase letters. Turn on the effects that you want to use.

fig.03-060

5 Press CURSOR [ ] [ ] to move the cursor to the effect with the parameter that you want to change and press [ENTER].

The Parameter Setting screen for each effect appears in the display.

fig.03-070

6 Use CURSOR [ ] [ ] to select a parameter, and turn the TIME/VALUE dial to edit the value.

7 If you would like to edit another effect, press [EXIT] to return to the previous screen, and repeat steps 56.

8 If you wish to save the current effect settings, perform the procedure described in Saving insert effect settings, next.

Editing Insert Effect Settings

P: Preset / S: Song / U: User

NumberBank Patch Name

Algorithm Name

By pressing [ENTER] while the cursor is at a Bank Number, you can display the Edit Effect screen directly.

Edited effect settings are temporary. If you exit the Edit Effect screen without saving the effect patch you changed, TMP appears next to the indication of the bank. Be aware that if you select a new effect patch while TMP is displayed, the altered effect patch is returned to its original settings and the changes are lost.

Using the Insert Effects

R ev0.10

Follow the procedure below to enter a name (patch name) for an effect that youve modified, and save it as a new effect patch.

* If you do not need to change the patch name, go to Step 4

after entering the Effect screen.

1 At the Effect screen, press CURSOR [ ] to move the

cursor to NAME, and press [ENTER].

The Patch Name Setting screen appears in the display. fig.03-080

2 Use CURSOR [ ] [ ] and the TIME/VALUE dial

to enter the patch name.

* Press [ENTER] to switch between uppercase and lowercase.

3 After you have completed entering the effect settings

and patch name as desired, press [EXIT] to return to

the Effect screen.

4 Press CURSOR [ ] [ ] to move the cursor to

WRITE, and press [ENTER].

The Write screen appears in the display. fig.03-090

5 Turn the TIME/VALUE dial to select the number to

which to write the new effect patch.

6 After youve selected the destination, press [ENTER].

After the save has been completed, you are returned to the Effect screen.

* During updating, Keep power on! appears in the upper

line of the display, while the lower line shows what is being

processed.

Saving Insert Effects Settings (Write)

You cannot save an effect patch during the recording or playback of a song.

Using the Insert Effects

R ev0.10

Sectio n 3

By default, the insert effect is inserted immediately after the input source. The reason for this is to allow for the effects- processed (wet) sound to be recorded and monitored. However, sometimes you want to change the connection order.

On the BR-600, you can accommodate a wide variety of situations by changing the point to which the insert effects are connected.

Follow the procedure below to change where insert effects are connected.

1 Confirm that [PAD] is not lit, then press [EFFECTS].

2 Press CURSOR [ ] [ ] to move the cursor to

LOCAT, and press [ENTER]. fig.03-100

3 Turn the TIME/VALUE dial to switch the point to

which the insert effects are connected.

The sound is monitored and recorded after it passes through the insert effect. Normally you will use the BR-600 with this setting. fig.03-110

The sound is monitored through the insert effect but is recorded without the effect (dry). Use this when you wish to try out various effects after recording. fig.03-120

The insert effect can be applied to the playback of a track (or pair of tracks). Use this when you wish to try out effects after recording the dry sound, or when you wish to apply effects only to a specific track. fig.03-130

The insert effect can be applied to the playback of a Rhythm. fig.03-140

Use this when you wish to apply effects to the entire song, such as when adjusting the tone or applying a special effect during mixdown. fig.03-150

4 Press [EXIT] to return to the Play screen.

* During updating, Keep power on! appears in the upper line of the display, while the lower line shows what is being processed.

Changing the destination Insert Effects are Connected

INPUT :

TRACK 1 (REC)

INPUT :

TRACK 18, 1 2, 3 4, 5 6, 7 8 :

RHYTHM :

MASTER :

TRACK 1 (REC)

TRACK 1 (PLAY)

RHYTHM

TRACK 1 (PLAY)

TRACK 8 (PLAY)

RHYTHM

Insert Effect Parameter Functions

The algorithms (the available effects and their connection order) that can be used as an insert effect are shown below.

The algorithms that can be selected will differ for each bank. To select the algorithm that you wish to use, first select the effect bank that includes that algorithm, and then refer to the Effect Patch List (p. 204) and select a patch that uses the desired algorithm.

The line or lines connecting the algorithm indicate whether the effect features mono output (single line) or stereo output

(two lines).

(Ex.) fig.03-160

This is a multi-effect designed for electric guitar. This provides an amp sound using a preamp and speaker simulator.

* In case of Phaser, output will become monaural. fig.03-170

Compressor

Preamp

Speaker Simulator

4Band Equalizer/Wah

— 4Band Equalizer

— Wah

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

— Slow Attack

Delay

This is a multi-effect designed for electric guitar. It allows you to use an electric guitar to produce sounds similar to those of an acoustic guitar. fig.03-180

Acoustic Guitar Simulator

Compressor

4Band Equalizer

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

Delay

Algorithm List

[COMP][PAMP] [MOD]=[DLY]=

Output: StereoOutput: Mono

BANK : GUITAR

1. COSM GTR AMP

[COMP][PAMP][SP][EQ/WAH]

[NS][FV][MOD]=[DLY]=

2. ACOUSTIC SIM

[ASIM][COMP][EQ][NS]

[FV][MOD]=[DLY]=

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

Simulates the sound of a bass guitar. Obtain the sound of a bass guitar while playing an electric guitar.

* You should avoid playing chords when using the Bass

Simulator. fig.03-190

Bass Simulator

Compressor/Defretter

— Compressor

— Defretter

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

This is a multi-effect designed for electric guitar. In addition to a COSM compressor/limiter, it uses a preamp and speaker simulator for a characteristic amp sound. fig.03-200

COSM Comp/Limiter

Preamp

Speaker Simulator

4Band Equalizer/Wah

— 4Band Equalizer

— Wah

Noise Suppressor

Foot Volume

Delay

This is a multi-effect designed for acoustic guitar. Even when an electric-acoustic is connected at line level, this provides a warm sound similar to what is obtained through a microphone. fig.03-210

Acoustic Processor

Compressor

4Band Equalizer

Noise Suppressor

Delay

This is a multi-effect designed for bass guitar. Appropriate for creating standard bass sound. fig.03-220

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

3. BASS SIM

4. COSM COMP GTR

[BSIM][COMP/DEF][NS][FV][MOD]=

[COMP][PAMP][SP][EQ/WAH]

[NS][FV][DLY]=

5. ACOUSTIC GTR

6. BASS MULTI

[ACP]=[COMP]=[EQ]=[NS]=[DLY]=

[COMP/DEF][OCT][ENH][EQ/WAH]

[NS][FV][MOD]=[DLY]=

Insert Effect Parameter Functions

R ev0.10

This is a multi-effect designed for bass guitar. This features an amp sound that uses a preamp and speaker simulator. fig.03-230

Compressor

Preamp

Speaker Simulator

4Band Equalizer/Wah — 4Band Equalizer

— Wah

Noise Suppressor Foot Volume Modulation

— Flanger — Chorus — Phaser — Pitch Shifter — Doubling — Tremolo/Pan

Delay

This is a multi-effect designed for bass guitar.

In addition to a COSM compressor/limiter, it uses a preamp and speaker simulator for a characteristic amp sound. fig.03-240

COSM Comp/Limiter

Preamp

Speaker Simulator

4Band Equalizer/Wah

— 4Band Equalizer

— Wah

Noise Suppressor

Foot Volume

Delay

This is a multi-effect designed for vocals. It provides the basic effects needed for vocals.

Compressor De-esser Enhancer 4Band Equalizer

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

Delay

This is a multi-effect designed for vocals.

This allows you to produce a unique effect using a voice transformer. fig.03-260

Voice Transformer

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

Delay

7. COSM BASS AMP

[COMP][PAMP][SP][EQ/WAH]

[NS][FV][MOD]=[DLY]=

8. COSM COMP BSS

[COMP/LIM][PAMP][SP]

[EQ/WAH][NS][FV][DLY]=

BANK : MIC

9. VOCAL MULTI

[COMP][DES][ENH][EQ]

[NS][FV][MOD]=[DLY]=

10. VOICE TRANS

[VT][NS][FV][MOD]=[DLY]=

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

This is a multi-effect designed for vocals.

The COSM compressor/limiter is perfect for creating a basic sound. fig.03-270

COSM Comp/Limiter

De-esser

Enhancer

4Band Equalizer

Noise Suppressor

Foot Volume

Delay

This algorithm connects seven types of effect, all in full stereo. fig.03-280

Compressor

Ring Modulator

4Band Equalizer/Wah

— 4Band Equalizer

— Wah

Noise Suppressor

Foot Volume

Modulation

— Flanger

— Chorus

— Phaser

— Pitch Shifter

— Doubling

— Tremolo/Pan

Delay

This allows you to simulate sounds that appear to be playing on an AM radio, the sounds of old records played on an old-fashioned gramophone, and even extreme deformations of the sound produced by a Lo-Fi Digital. fig.03-290

Lo-Fi Box

Noise Suppressor

11. COSM COMP VCL

[COMP/LIM][DES][ENH]

[EQ][NS][FV][DLY]=

BANK : LINE

12. STEREO MULTI

=[COMP]=[RNG]=[EQ/WAH]

[NS]=[FV]=[MOD]=[DLY]=

13. LO-FI BOX

=[LOFI]=[NS]=

Insert Effect Parameter Functions

R ev0.10

This algorithm is for use when simultaneously recording a vocal and electric guitar.

For the guitar, you can produce an amp sound using a preamp and speaker simulator.

(GUITAR)

(MIC)

(GUITAR) Compressor PreAmp Speaker Simulator Noise Suppressor Delay

(MIC) Compressor 4Band Equalizer Noise Suppressor Delay

This algorithm is for use when simultaneously recording a vocal and electric guitar.

For the guitar, you can make the electric guitar sound like an acoustic guitar.

(GUITAR)

(MIC)

(GUITAR) Acoustic Guitar Simulator Compressor Noise Suppressor Delay

(MIC) Compressor 4Band Equalizer Noise Suppressor Delay

This algorithm is for use when simultaneously recording a vocal and acoustic guitar.

For the guitar, you can produce a warm sound as though a mic were being used, even when an electric-acoustic is connected by a direct line.

(GUITAR)

(MIC)

(GUITAR) Acoustic Processor Compressor Noise Suppressor

(MIC) Compressor Noise Suppressor

BANK : SIMUL

14. VO+GT AMP

[COMP][PAMP][SP][NS][DLY]

[COMP][EQ][NS][DLY]

15. VO+AC.SIM

16. VO+ACOUSTIC

[ASIM][COMP][NS][DLY]

[COMP][EQ][NS][DLY]

[ACP][COMP][NS]

[COMP][NS]

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

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.

* If you set the pickup selector of your guitar to the front position, the desired effect will be easier to achieve.

On/Off OFF, ON This parameter turns the acoustic guitar simulator effect on/off.

PickUp SINGLE, HUMBUCK Set this to the type of pickup on the connected guitar.

Charct This selects one of the four types of sounds.

STD (standard) : This is a normal acoustic guitar.

JUMBO : This is an acoustic guitar with a body that is bigger than STANDARD. The bass sound is powerful.

ENHANCE : This is an acoustic guitar that with a more responsive attack, so the guitar will retain more of its prominence in almost any situation.

PIEZO : This simulates the sound you would get from a pickup installed on an electric-acoustic guitar. During the attack, a certain amount of compression will be applied.

Top-Hi -100 +100 Adjust the level of the direct sound from the strings. That is, it adjusts the harmonic contents.

Top-Mid -100 +100 This adjusts the interference to the strings made by the top plate. That is, it adjusts the attack sense.

Body -100 +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.

Level 0 100 This adjusts the volume of the acoustic guitar simulator.

* If Top-Hi, Top-Mid, and Body are all set to -100, there will be no sound.

With this feature, you can change the sound from a pickup on an electric-acoustic guitar into a richer sound, similar to that obtained by a microphone placed near a guitar. Best results will be achieved when stereo recording.

On/Off OFF, ON This parameter turns the acoustic processor effect on/off.

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.

Mic Dist 0 100 This simulates the distance between the microphone capturing the sound of an acoustic guitar and the guitar itself.

Level 0 100 This adjusts the volume of the acoustic processor.

Simulates the sound of a bass guitar. Obtain the sound of a bass guitar while playing an electric guitar. You should avoid playing chords when using the Bass Simulator.

On/Off OFF, ON This parameter turns the bass simulator effect on/off.

Charct LOOSE, TIGHT Bass tone characteristic is set. When LOOSE is selected, as if the string gauge was getting thicker.

Level 0 100 This adjusts the volume of the bass simulator.

Parameter List

The trademarks listed in this document are trademarks of their respective owners, which are separate companies from BOSS. Those companies are not affiliated with BOSS and have not licensed or authorized BOSSs BR-600. Their marks are used solely to identify the equipment whose sound is simulated by BOSSs BR-600.

Acoustic Guitar Simulator Acoustic Processor

Bass Simulator

Insert Effect Parameter Functions

R ev0.10

A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker and broader. Best results will be achieved when stereo recording.

* This effect can be used when the MODULATION Type

parameter is set to CHORUS.

On/Off OFF, ON This parameter turns the chorus effect on/off.

Rate 0 100 Adjusts the rate of the Chorus effect.

Depth 0 100 Adjusts the depth of the Chorus effect.

Pre Dly 0.5 50.0 ms Adjusts the time needed for the effect sound to be output after the direct sound has been output.

E.Level 0 100 Adjusts the volume of the effect sound.

This corrects differences in input to create a steadier, more even volume balance. This is used to extend the sustain of input sounds and, conversely, to shorten sustain and emphasize the attack portion of sounds.

Another use of compression is as a limiter, which prevents distortion by suppressing only volume peaks.

On/Off OFF, ON This parameter turns the compressor effect on/off.

Sustain 0 100 This adjusts the depth of the effect. Higher settings values result in longer sustain times. Set this to a lower value when using compression for the limiter effect.

Attack 0 100 Adjusts the strength of the attack. Larger values will result in a sharper attack, creating a more clearly defined sound.

Level 0 100 Adjusts the volume.

The compressor corrects differences in input to create a steadier, more even volume balance. It is used to extend the sustain of input sounds and, conversely, to shorten sustain and emphasize the attack portion of sounds.

The limiter is an effect that prevents distortion by suppressing input signals that exceed a set value (threshold). You can get the same effect achieved with the compressor by setting the threshold at a low value.

The BR-600 uses COSM technology to model four types of compressor/limiter in which the compressor and limiter functions are combined.

On/Off OFF, ON Sets the compressor/limiter to ON or OFF.

Type Selects the compressor/limiter type.

BOSS-Cmp : Models the BOSS CS-3 compact effects processor.

D-Comp : Models the MXR dyna comp.

Rack160 : Models the dbx 160.

VtgRack : Models the UREI 1178.

Attack (with BOSS-Cmp, D-Comp) 0 100 Adjusts the strength of the picking attack when the strings are played. Larger values will result in a sharper attack, creating a more clearly defined sound.

Sustain (with BOSS-Cmp, D-Comp) 0 100 Boosts low-level signals, adjusting the time over which sounds are sustained. Higher values deepen the effect, resulting in a longer sustain.

Threshold (with Rack160) 0 100 Adjust this as appropriate for the input signal from your bass. The compression effect is applied to input above the level set here. The smaller the value set here, the lower the level at which the limiter effect kicks in.

Input (with VtgRack) 0 100 Controls the input level. Increasing the value will produce a deeper effect.

Ratio (with Rack160) 1:1 20:1, INF:1 (with VtgRack) 4:1 20:1 Adjusts the limiter compression ratio. Higher ratio create a stronger compression effect.

Chorus

Compressor

COSM Comp (compressor)/Limiter

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

Attack Time (with VtgRack) 0 100 This adjusts the amount of time it takes for the compression ratio set in Ratio to be reached once compression begins, as the input level exceeds the set threshold level. The larger the value set here, the more rapidly compression is applied.

Release Time (with VtgRack) 0 100 This adjusts the time from when the signal level drops below the threshold until when the compression is removed. The lower the values set, the more rapidly the compression is released, and the more clearly the sound from the next string played is heard.

Tone (with BOSS-Cmp) -50 +50 Adjusts the tone. The higher the value set, the more the high frequencies are boosted, resulting in a harder sound.

Level 0 100 Adjusts the volume.

Useful for reducing sibilant or S sounds produced by a vocalist.

On/Off OFF, ON This parameter turns the de-esser effect on/off.

Sibilant 0 100 Adjusts the sensitivity relative to the input volume, which controls how the effect is applied.

Level 0 100 Adjusts the volume.

This simulates a fretless bass.

On/Off OFF, ON This parameter turns the defretter effect on/off.

Sens 0 100 This controls the input sensitivity of the Defretter. It should be adjusted for the bass guitar you have until you get the harmonic changes to sound natural.

Attack 0 100 This 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 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.

Level 0 100 Adjusts the volume of the defretter sound.

This creates a thicker sound by applying a delayed sound to the direct sound.

On/Off OFF, ON This parameter turns the delay effect on/off.

Type This Parameter selects the type of delay.

* This parameter cannot be selected with the «VO+GT AMP»

and «VO+AC.SIM» algorithms.

SINGLE : This is a simple delay.

TAP : The delayed sound is panned across the left and right channels. This will be effective when stereo recording.

Dly Tme SINGLE : 1 1400 ms, TAP : 1 700 ms

This parameter adjusts the delay time (i.e., the interval for which sound is delayed).

Feedback 0 100 This parameter adjusts the amount of feedback. Changing the amount of feedback causes the number of time the delayed sound is repeated to change as well.

E.Level 0 120 Adjusts the volume of the delay sound.

By adding a slightly time-delayed sound to the direct sound, this produces the impression that multiple sources are sounding together (a doubling effect). Best results will be achieved when stereo recording.

* This effect can be used when the MODULATION Type

parameter is set to DOUBLING.

On/Off OFF, ON This parameter turns the doubling effect on/off.

Dly Tme 0.5 50.0 ms This parameter adjusts the delay time (i.e., the interval for which sound is delayed).

Separation -50 +50 Adjusts the diffusion. The panning of the direct sound and effect sound can be spread to left and right.

* This effect is obtained with stereo recording (using two tracks).

E.Level 0 120 This adjusts the volume of the delay sound.

De-esser

Defretter

Delay

Doubling

Insert Effect Parameter Functions

R ev0.10

By adding sounds which are out-of-phase with the direct sound, this effect enhances the definition of the sound, and pushes it to the forefront.

On/Off OFF, ON This parameter turns the enhancer effect on/off.

Sens 0 100 Adjusts the manner in which the enhancer will be applied relative to the input signals.

Freq 1.0 10.0 kHz Adjusts the frequency at which the enhancer effect will begin to be applied. The effect will be made apparent in the 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.

Lo Mix Lvl 0 100 Adjusts the amount of phase-shifted sound of the lower range that is to be mixed with the input. The frequency range in which the effect is applied is fixed.

Level 0 100 Adjusts the volume of the enhanced sound.

A 4-band equalizer. * You can use this effect with the following algorithms when 4BAND

EQ is selected for the 4BAND EQ/WAH Type setting.

COSM GTR AMP COSM BASS AMP

COSM COMP GTR COSM COMP BSS

BASS MULTI STEREO MULTI

On/Off OFF, ON This parameter turns the equalizer effect on/off.

Low Gain -20 +20 dB This parameter sets the gain (amount of boost or cut) for the bass equalizer.

Lo-M Gin -20 +20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange equalizer.

Lo-M F 100 Hz 10.0 kHz This parameter sets the central frequency for the low- midrange equalizer.

Lo-M Q 0.5 16 This parameter sets the range of change in gain for the frequency set by Lo-M F. A larger value results in a narrower range of change.

Hi-M Gin -20 +20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange equalizer.

Hi-M F 100 Hz 10.0 kHz This parameter sets the central frequency for the high- midrange equalizer.

Hi-M Q 0.5 16 This parameter sets the range of change in gain for the frequency set by Hi-M F. A larger value results in a narrower range of change.

Hi 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.

This produces a flanging effect that gives a sort of twisting character to the sound.

* This effect can be used when the MODULATION Type

parameter is set to FLANGER.

On/Off OFF, ON This parameter turns the flanger effect on/off.

Rate 0 100 Determines the rate of the flanging effect.

Depth 0 100 Determines the depth of the flanging effect.

Manual 0 100 Adjusts the center frequency at which to apply the effect.

Resonance 0 100 Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound.

Separation 0 100 Adjusts the diffusion. The diffusion increases as the value increases. This will be effective when stereo output is used.

* This effect is obtained with stereo recording (using two tracks).

This is a volume control effect.

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 When Using an Expression Pedal (p. 191).

On/Off OFF, ON Switches the foot volume on/off.

Enhancer

Equalizer

Flanger

Foot Volume

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

Produces a lo-fi sound.

On/Off OFF, ON This parameter turns the lo-fi box effect on/off.

Type Select the mode of the lo-fi box.

RADIO : The sound will appear to be heard from an AM radio.

* By adjusting Tuning, you can simulate the sounds that

occur when you adjust the tuning frequency of the radio.

PLAYER : The sound will appear to be heard from a gramophone. The noise caused by scratches and dust on the record are is simulated.

DIGITAL : This allows you to create a lo-fi sound by lowering the sample rate and/or decreasing the number of bits. Realtime modify filters connected in series allow you to reshape the sound freely.

When RADIO or PLAYER is selected

Tuning 0 100 This is a parameter for RADIO. It simulates the sounds that occur when you adjust the tuning frequency of an AM radio.

Wow Flt 0 100 This is a parameter for PLAYER. It simulates the wow and flutter which occur when the speed of the turntable is not constant.

Noise 0 100 This simulates noise.

Filter 0 100 Adjusts the filter.

D:E 100:0 0:100 This adjusts the volume balance of the direct and effect sounds.

When DIGITAL is selected

Pre Filter OFF, ON This filter decreases digital distortion. When turned off, you can create an intense lo-fi sound incorporating digital distortion.

Smpl Rate OFF, 1/2 1/32 Modify the sample rate.

Bit OFF, 15 1 Modify the number of data bits. If this is turned off, the number of data bits will be unchanged. If an extremely low number of bits is selected, loud noise may appear even when there is no sound, depending on the input source. In such cases, raise the threshold of the noise suppressor.

Post Fltr OFF, ON This filter decreases the digital distortion produced by lo-fi.

By turning this off, you can create an extremely lo-fi sound.

Fx Level 0 100 Adjust the volume of the lo-fi sound.

Dir Level 0 100 Adjusts the volume of the direct sound.

Modify Fil This is a filter featuring a wide range of possible settings (modifiable filter). Select different types to get a variety of different filter effects.

OFF : The modify filter will not be used.

LPF : The effect will function as a low pass filter.

BPF : The effect will function as a band pass filter.

HPF : The effect will function as a high pass filter.

Cutoff F 0 100 Adjust the cutoff frequency.

Resonance 0 100 Adjust the resonance.

Gain 0 24 dB Adjust the volume level of the sound that has passed through the modify filter.

Lo-Fi Box

Insert Effect Parameter Functions

R ev0.10

This effect reduces the noise and hum. Since it suppresses the noise in synchronization with the envelope of the sound (the way in which the sound decays over time), it has very little effect on the sound, and does not harm the natural character of the sound.

On/Off OFF, ON This parameter turns the noise suppressor effect on/off.

Threshold 0 100 Adjust this parameter as appropriate for the volume of the noise. If the noise level is high, a higher setting is appropriate. If the noise level is low, a lower setting is appropriate. Adjust this value until the decay of the sound is as natural as possible.

* High settings for the Threshold parameter may result in

there being no sound when you play with your instruments

volume turned down.

Release 0 100 Adjusts the time from when the noise suppressor begins to function until volume reaches 0.

This adds a note one octave lower, creating a richer sound.

On/Off OFF, ON This parameter turns the octave effect on/off.

Oct Level 0 100 This adjusts the volume of the sound one octave below.

Dir Level 0 100 Adjusts the volume of the direct sound.

By adding varied-phase portions to the direct sound, the phaser effect gives a whooshing, swirling character to the sound.

* This effect can be used when the MODULATION Type

parameter is set to PHASER.

On/Off OFF, ON This parameter turns the phaser effect on/off.

Rate 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.

This effect changes the pitch of the original sound (up or down) within a range of two octaves.

* This effect can be used when the MODULATION Type

parameter is set to PITCH SFT.

On/Off OFF, ON This parameter turns the pitch shifter effect on/off.

Type Selects either manual pitch shifter MANUAL or pedal pitch shifter PEDAL.

MANUAL : This is a simple pitch shifter.

PEDAL : The effect will function as a pedal pitch shifter. The effect of the wah pedal can be obtained by operating the Expression pedal.

For a detailed explanation, see When Using an Expression Pedal (p. 191).

Pitch -24 DETUNE +24 Adjusts the amount of pitch shift (the amount of pitch change) in semitone steps. By selecting DETUNE, you can add a slightly pitch-shifted sound to the input sound, producing a detune effect.

* This effect can be used when the P.Shift Type parameter is

set to MANUAL.

D:E 100:0 0:100 This adjusts the volume balance of the direct and effect sounds.

Separation -50 +50 Adjusts the diffusion. The panning of the direct sound and effect sound can be spread to left and right. This will be effective when stereo output is used.

* This effect is obtained with stereo recording (using two

tracks).

Noise Suppressor

Octave

Phaser

Pitch Shifter

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

Adjust the distortion and tone of the guitar sound.

* When all Bass, Middle and Treble are set to 0, no sound

may be produced depending on the Type setting.

On/Off OFF, ON Turns the preamp effect on/off.

Type This sets the type of the preamp. The distortion and tone characteristics of each amp are as shown below:

With COSM GTR AMP, COSM COMP GTR, or VO+GT AMP algorithms

With COSM BASS AMP or COSM COMP BSS algorithms

Volume 0 100 Adjusts the volume and distortion of the amp.

Bass GUITAR AMP: 0 100, BASS AMP:-100 +100 Adjusts the tone for the low frequency range.

Middle GUITAR AMP: 0 100, BASS AMP:-100 +100 Adjusts the tone for the middle frequency range.

* If you have selected MATCH or VO DRV as the 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 This can be selected in the COSM GTR AMP, COSM COMP GTR, or the VO+GT.AMP algorithm.

Adjusts the tone for the ultra high frequency range.

* If you have selected MATCH or VO DRV as the type,

raising presence will cut the high range (the value will

change from 0 to -100).

Master 0 100 Adjusts the volume of the entire preamp.

Bright OFF, ON (with JC-120, CLEAN, CRUNCH, BLUES, BG LEAD, AC, AMG)

Turns the bright setting on/off.

OFF : Bright is not used.

ON : Bright is switched on to create a lighter and crisper tone.

Gain LOW, MIDDLE, HIGH Adjusts the distortion of the amp. Distortion will successively increase for settings of LOW, MIDDLE and HIGH.

* The sound of each Type is created on the basis that the Gain

is set to MIDDLE. So, normally set it to MIDDLE.

Preamp

JC-120 The sound of the Roland JC-120, a favorite of pro musicians around the world.

CLEAN The sound of a conventional built-in tube amp.

CRUNCH Allows you to obtain a crunch effect that creates a natural distortion.

MATCH A simulation of the latest tube amp widely used in styles from blues and rock.

VO DRV Allows you to obtain the Liverpool sound of the 60s.

BLUES A lead sound with a rich middle ideal for Blues.

BG LEAD The sound of a tube amp typical of the late 70s to 80s, characterized by a distinctive mid-range.

MS (1, 2, 1+2)

1

2

1 + 2

The sound of a large tube amp stack that was indispensable to the British hard rock of the 70s, and is used to this day by many hard rock guitar- ists. A trebly sound created by using in- put I of the guitar amp. A mild sound created by using in- put II of the guitar amp. The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

SLDN A tube amp sound with versatile distortion, usable in a wide range of styles.

METAL The sound of a large tube amp, suit- able for heavy metal.

METAL D A high gain and powerful metal sound.

AC It produces the vintage sound of an early transistor amp.

AMG It produces the sound of a large double-stack vacuum tube amp with ultra-lows and a crisp edge.

Insert Effect Parameter Functions

R ev0.10

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.

On/Off OFF, ON This parameter turns the ring modulator effect on/off.

Frequency 0 100 This adjusts the frequency of the internal oscillator.

Fx Level 0 100 Adjusts the volume of the effect sound.

Dir Level 0 100 Adjust the volume of the direct sound.

This produces a volume-swell effect (violin-like sound).

* This effect can be used in the COSM GTR AMP

algorithm when the MODULATION Type parameter is

set to SLOW ATCK.

On/Off OFF, ON This parameter turns the slow attack effect on/off.

RiseTme 10 2000 ms This adjusts the time needed for the volume to reach its maximum from the moment you begin picking.

Level 0 100 Adjust the volume of the slow attack sound.

This simulates the characteristics of various types of speakers. When the output of the BR-600 is connected directly to a mixer, etc., this can be used to create the sound of your favorite speakers system.

On/Off OFF, ON This parameter turns the speaker simulator effect on/off.

Type Selects the type of speaker that will be simulated.

On Mic simulates the sound when a dynamic microphone is used, and Off Mic simulates the sound when a condenser microphone is used.

With COSM GTR AMP, COSM COMP GTR, or VO+GT AMP algorithms

fig.03-360

With COSM BASS AMP or COSM COMP BSS algorithms

fig.03-370

Mic Set 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. 110 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.

Dir Level 0 100 Adjust the volume of the direct sound.

Ring Modulator

Slow Attack

Speaker Simulator

CommentsCabinet

A setting suitable for CLEAN

On Mic

Roland JC-120 Simulation

10 inch

12 inch

12 inch (two units)

12 inch (four units)

Small open-back enclosure

Open-back enclosure

Large Sealed enclosure

Large sealed enclosure

Large dual stack

On Mic

On Mic

On Mic

Off Mic

On Mic

Off Mic

OnMic

Off Mic

On Mic

Off Mic

Off Mic

Open-back enclosure

Open-back enclosure

Open-back enclosure

Open-back enclosure

Open-back enclosure

Large sealed enclosure

Large sealed enclosure

12 inch (two units)

12 inch (two units)

12 inch (two units)

12 inch (two units)

12 inch (two units)

12 inch (two units)

12 inch (four units)

12 inch (four units)

A setting suitable for CLEAN

A setting suitable for MATCH

A setting suitable for MATCH

A setting suitable for BG LEAD

A setting suitable for BG LEAD

SMALL MIDDLE JC-120 TWIN twin MATCH match

BG STK bg stk MS STK ms stk METAL

A setting suitable for MS

A setting suitable for MS

On Mic

Off Mic

Open-back enclosure

Open-back enclosure

12 inch (two units)

12 inch (two units)

A setting suitable for VO DRV

A setting suitable for VO DRV

VO DRV vo drv

Microphone Setting

Speaker Unit

SP Simulator Type

CommentsMicrophone Setting

Speaker Unit

SP Simulator Type Cabinet

A setting suitable for AMG

A setting suitable for AMG

On Mic15 inch (two units)

15 inch (two units)

10 inch (eight units)

Large sealed enclosure

Large sealed enclosure Off Mic

On Mic

Off Mic

Large sealed enclosure

Large sealed enclosure 10 inch (eight units)

A setting suitable for AC

A setting suitable for AC

AC ac AMG amg

Insert Effect Parameter Functions

R ev0.10

Sectio n 3

Tremolo is an effect that creates a cyclic change in volume. Pan cyclically moves the stereo position between left and right (when stereo output is used).

* This effect can be used when the MODULATION Type

parameter is set to TRM/PAN.

On/Off OFF, ON This parameter turns the tremolo/pan effect on/off.

Mode Selects tremolo or pan; also selects how the effect is applied

TRM-TRI : The volume will change cyclically. Smooth change will be produced.

TRM-SQR : The volume will change cyclically. Abrupt change will be produced.

PAN-TRI : The sound will be moved cyclically between left and right. Smooth change will be produced.

PAN-SQR : The sound will be moved cyclically between left and right. Abrupt change will be produced.

* PAN-TRI and PAN-SQR are obtained with stereo

recording (using two tracks).

Rate 0 100 Adjust the rate at which the effect will operate.

Depth 0 100 Adjusts the depth of the effect.

This controls the formants, allowing a variety of voice characters to be created.

This adds two voice characters with differing formants to the direct sound.

On/Off OFF, ON This parameter turns the voice transformer effect on/off.

Formant1 -100 +100 Adjust the formant of the voice character 1.

Formant2 -100 +100 Adjust the formant of the voice character 2.

FX1 Level 0 100 Adjust the volume of the voice character 1.

FX2 Level 0 100 Adjust the volume of the voice character 2.

Dir Level 0 100 Adjust the volume of the direct sound.

Tremolo/Pan Voice Transformer

Insert Effect Parameter Functions

R ev0.10

The wah effect creates a unique tone by changing the frequency response characteristics of a filter.

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.

* You can use this effect with the following algorithms when

WAH is selected for the 4BAND EQ/WAH Type

setting.

COSM GTR AMP COSM BASS AMP

COSM COMP GTR COSM COMP BSS

BASS MULTI STEREO MULTI

On/Off OFF, ON Turns the touch wah/pedal wah effect on/off.

Type Selects either touch wah TOUCH or pedal wah PEDAL.

TOUCH : The effect will function as a touch wah.

PEDAL : The effect will function as a pedal wah.

When TOUCH is selected

Polarity 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.

Sens 0 100 This adjusts the sensitivity at which the filter will change in the direction determined by the polarity setting. Higher values will result in a stronger response. With a setting of 0, the strength of picking will have no effect.

Frequency 0 100 This adjusts the center frequency of the Wah effect.

Peak 0 100 This adjusts the amount of wah effect applied. Lower values provide a mild wah effect, while higher values result in a sharper wah sound.

With a value of 50 a standard wah sound will be produced.

Level 0 100 Adjusts the volume.

When PEDAL is selected The effect of the wah pedal can be obtained by operating the Expression pedal.

For a detailed explanation, refer to When Using an Expression Pedal (p. 191).

Peak 0 100 This adjusts the amount of wah effect applied. Lower values provide a mild wah effect, while higher values result in a sharper wah sound.

With a value of 50 a standard wah sound will be produced.

Level 0 100 Adjusts the volume.

Wah

Mastering

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Sectio n 3

To create a new patch, select the patch that most closely resembles the sound you have in mind from the effects patches already stored in the unit, then edit its settings.

If you wish to save the effect settings that you edited, save them as a user patch or song patch.

1 Carry out Steps 13 from p. 111, and switch to Mastering mode.

2 Press [EFFECTS] (MASTERING TOOL KIT).

The Mastering Tool Kit selection screen appears in the display.

fig.03-440

3 Use the TIME/VALUE dial to select the Preset/Song/ User and number.

4 Press CURSOR [ ] to move the cursor to EDIT, and press [ENTER]. The display switches to the Mastering Tool Kit Edit screen, which shows the algorithm (the effects used, shown in the sequence they are connected).

fig.03-450

5 Press CURSOR [ ] [ ] to move the cursor to each

effect and turn the TIME/VALUE dial to turn each

effect on or off.

Blocks that are turned on are shown in uppercase letters, while blocks that are turned off are shown in lowercase letters. Turn on the effects that you want to use.

6 Press CURSOR [ ] [ ] to move the cursor to the

effect with the parameter that you want to change and

press [ENTER].

The Parameter Setting screen for each effect appears in the display.

fig.03-460

7 Use CURSOR [ ] [ ] to select a parameter, and

turn the TIME/VALUE dial to edit the value.

8 If you would like to edit another effect, press [EXIT]

to return to the previous screen, and repeat steps 5-6.

9 If you wish to save the current effect settings,

perform the procedure described in Saving

Mastering Tool Kit Settings, below.

Editing the Mastering Tool Kit Settings

P: Preset / S: Song / U: User NumberBank Patch Name

Algorithm Name

You can also display this screen directly by pressing [ENTER] while the cursor is positioned at the Preset/ Song/User or number.

Edited effect settings are temporary. If you exit the Edit Effect screen without saving the effect patch you changed, TMP appears next to the indication of the bank. Be aware that if you select a new effect patch while TMP is displayed, the altered effect patch is returned to its original settings and the changes are lost.

Mastering Tool Kit Parameter Functions

The Mastering Tool Kit’s algorithms are composed from the following effects.

Equalizer Bass Cut Filter Enhancer Input Expander Compressor Mixer Limiter Output

On/Off OFF, ON This parameter turns the equalizer effect on/off.

Input Gain -24 +12 dB Sets the overall volume before passing through the equalizer.

Low Type SHELVG, PEAK Sets the equalizer type (shelving, peaking) for the lower range.

Low Gain -12 +12 dB Sets the amount of boost or cut in the lower range.

Low Freq 20 Hz 2.0 kHz Sets the center frequency for the lower range.

Low Q 0.3 16.0 Sets the steepness of the frequency response curve for the lower ranges center frequency. (*1)

Low Mid Gain -12 +12 dB Sets the amount of boost or cut in the mid-low range.

Low Mid Freq 20 Hz 8.0 kHz Sets the center frequency for the mid-low range.

Low Mid Q 0.3 16.0 Sets the steepness of the frequency response curve for the mid-low ranges center frequency.

High Mid Gain -12 +12 dB Sets the amount of boost or cut in the upper-low range.

High Mid Freq 20 Hz 8.0 kHz Sets the center frequency for the upper-midrange.

High Mid Q 0.3 16.0 Sets the steepness of the frequency response curve for the upper-low ranges center frequency.

High Type SHELVG, PEAK Sets the equalizer type (shelving, peaking) for the upper range.

High Gain -12 +12 dB Sets the amount of boost or cut in the upper range.

High Freq 1.4 20.0 kHz Sets the center frequency for the upper range.

High Q 0.3 16.0 Sets the frequency response curve steepness for the upper ranges center frequency. (*1)

Output Gain -24 +12 dB Sets the overall volume level after equalization.

(*1)The Low Q/Hi Q setting is disabled when SHELVG (shelving type equalization) is selected for the Low Type or High Type.

Algorithm

=[EQ]=[BCUT]=[ENH]=[IN]=[EXP]

[COMP]=[MIX]=[LIM]=[OUT]

Parameter List

Equalizer

Mastering Tool Kit Parameter Functions

R ev0.10

This is a filter that cuts unwanted low range noise, such as pops.

On/Off OFF, ON This setting turns the Bass Cut Filter on/off.

Freq 20 Hz 2.0 kHz This sets the frequency containing popping or other undesirable lower-range noises that you want to cut.

This adds more liveliness to the sound, putting sounds at the forefront.

On/Off OFF, ON This parameter turns the enhancer effect on/off.

Sens 0 100 This sets the amount of Enhancer that is applied.

Freq 1.0 10.0 kHz Sets the frequency at which the enhancer effect will begin to be applied.

Mix Lvl -24 +12 dB Sets the volume of the effect sound.

This divides the original sound into three frequency ranges: low, mid, and high.

Gain -24 +12 dB Sets the overall volume level before the signal passes through the expander/compressor.

Dly Time 010 ms This sets the amount of time by which the source input sound is delayed.

SplitL 20 800 Hz This sets the frequency (in the lower range) at which the source sound is split into three separate ranges.

SplitH 1.6 16.0 kHz This sets the frequency (in the upper range) at which the source sound is split into three separate ranges.

This expands the dynamic range at a fixed ratio.

On/Off OFF, ON This setting turns the expander on/off.

Lo Thres -80 0 dB This sets the volume level at which the lower-range expander goes into effect.

Lo Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of increase in output of the lower range when the input level falls below the Lo threshold level.

Lo Attack 0 100 ms This sets the time it takes for the lower-range expander to go into effect once the input level falls below the Lo threshold level.

Lo Release 50 5000 ms This sets the time it takes for the lower-range expander effect to stop once the input level exceeds the Lo threshold level.

Mid Thres -80 0 dB This sets the volume level at which the midrange expander goes into effect.

Mid Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of increase in output of the midrange when the input level falls below the Middle threshold level.

Mid Attack 0 100 ms This sets the time it takes for the midrange expander to go into effect once the input level falls below the Middle threshold level.

Mid Release 50 5000 ms This sets the time it takes for the midrange expander effect to stop once the input level exceeds the Middle threshold level.

Hi Thres -80 0 dB This sets the volume level at which the upper-range expander goes into effect.

Hi Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of increase in output of the upper range when the input level falls below the Hi threshold level.

Hi Attack 0 100 ms This sets the time it takes for the upper-range expander to go into effect once the input level falls below the Hi threshold level.

Hi Release 50 5000 ms This sets the time it takes for the upper-range expander effect to stop once the input level exceeds the Hi threshold level.

Bass Cut Filter

Enhancer

Input

Expander

Mastering Tool Kit Parameter Functions

R ev0.10

Sectio n 3

This compresses the overall output signal when the input volume level exceeds a set value.

On/Off OFF, ON This parameter turns the compressor effect on/off.

Lo Thres -24 0 dB This sets the volume level at which the lower-range compressor goes into effect.

Lo Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of suppression of the lower-range output when the input level exceeds the Lo threshold level.

Lo Attack 0 100 ms This sets the time it takes for the lower-range compressor to go into effect once the input level exceeds the Lo threshold level.

Lo Release 50 5000 ms This sets the time it takes for the lower-range compressor effect to stop once the input level falls below the Lo threshold level.

Mid Thres -24 0 dB This sets the volume level at which the midrange compressor goes into effect.

Mid Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of suppression of the midrange output when the input level exceeds the Middle threshold level.

Mid Attack 0 100 ms This sets the time it takes for the midrange compressor to go into effect once the input level exceeds the Middle threshold level.

Mid Release 50 5000 ms This sets the time it takes for the midrange compressor effect to stop once the input level falls below the Middle threshold level.

Hi Thres -24 0 dB This sets the volume level at which the upper-range compressor goes into effect.

Hi Ratio 1:1.00 1:16.0, 1:INF This sets the ratio of suppression of the upper-range output when the input level exceeds the Hi threshold level.

Hi Attack 0 100 ms This sets the time it takes for the upper-range compressor to go into effect once the input level exceeds the Hi threshold level.

Hi Release 50 5000 ms This sets the time it takes for the upper-range compressor effect to stop once the input level falls below the Hi threshold level.

* With the compressor, the level is automatically adjusted to the

optimum setting according to the threshold (Thres) and ratio

(Ratio) settings. In addition, since lengthening the attack

(Attack) setting may result in distortion, a buffer (margin) of

-6 dB is provided. Adjust the Mixer level as needed.

Adjusts the volume of each frequency band.

Lo Level -80 +6 dB Sets the volume level of the lower range after the signal passes through the expander and compressor.

Mid Level -80 +6 dB Sets the volume level of the midrange after the signal passes through the expander and compressor.

Hi Level -80 +6 dB Sets the volume level of the upper range after the signal passes through the expander and compressor.

This suppresses high-level signals to prevent distortion.

On/Off OFF, ON Sets the limiter to ON or OFF.

Thres -24 0 dB Adjust this as appropriate for the input signal from your bass.

Attack 0 100 ms This sets the time it takes for the limiter to go into effect once the input level exceeds the threshold level.

Release 50 5000 ms Adjusts the time until when the limiter will turn off after the input level falls below the threshold level.