User manual ROLAND BR-864

[. . . ] Owner's Manual Thank you, and congratulations on your choice of the BOSS BR-864 8-Track Digital Studio. Before using this unit, carefully read the sections entitled: · USING THE UNIT SAFELY (page 2­3) · IMPORTANT NOTES (page 4­5) These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner's manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. Printing Conventions in This Manual · Text or numerals enclosed in square brackets [ ] indicate buttons. [. . . ] The current velocity value is briefly indicated where the beat value normally appears. fig. 03-404d Time Signature Quantize 4. Use [CURSOR] and the TIME/VALUE dial to set the measure, beat, and click from which to start recording of the pattern. Measure This sets the number of measures in the pattern to be recorded. Use REC TRACK [1/5]­[4/8], [V-TRACK] and [TAP] to input the drum sounds. You can switch the UPPER and LOWER drum sounds by pressing [RHYTHM PAD]. REC TRACK [1/5] REC TRACK [2/6] REC TRACK [3/7] REC TRACK [4/8] [V-TRACK] [TAP] KICK SNARE CLOSED HH OPEN HH CRASH RIDE Section 3 Tempo When recording, this sets the tempo for confirming the pattern. Valid Settings: 25. 0­250. 0 * The tempo setting here is exclusively for confirmation of the pattern recording. This tempo is not stored in the pattern (you cannot make any individual tempo settings for the patterns themselves). Time Signature This sets the time signature (i. e. , the beat) for the pattern to be recorded. Valid Settings: 1/1­8/1, 1/2­8/2, 1/4­8/4, 1/8­8/8 [RHYTHM PAD] Flashing Enables input of the LOWER drum sounds. REC TRACK [1/5] REC TRACK [2/6] REC TRACK[3/7] REC TRACK [4/8] [V-TRACK] [TAP] CROSS STICK COWBELL TOM1 TOM2 TOM3 TOM4 Quantize This sets the recording quantization. Setting Quantize lets you to have the sounds being input conform to preset note lengths, thus eliminating discrepancies in the input timing. * Press "HI" you want to keep the timing used to input the sounds. Valid Settings: Quarter note Quarter-note triplet Eighth note Eighth-note triplet Sixteenth note 5. ] to move the cursor to "REC, " HI Sixteenth-note triplet Thirty-second note You can confirm the drum sound currently being input by checking the matrix at the bottom part of the display. Thirty-second-note triplet Indicated in the matrix You can confirm the timing at which each rhythm instrument sounds in the matrix display. * When a coarse Quantize setting is used, the mark may indicate half-note or quarter-note timing. The count-in is played, and then Realtime Recording starts. * You can also start Realtime Recording by pressing the [REC] button. 97 Creating original patterns fig. 03-405 Ex. ) Rehearsing recordings CLOSED HH SNARE KICK · Q (Quantize) = You can practice (rehearse) your performances along with the metronome before carrying out Realtime Recording. During rehearsals, the drum sounds are only played, and are not recorded to the pattern even if you press the track buttons. Press [ARRANGE/PATTERN/OFF] repeatedly until the indicator is flashing. fig. 03-406d · Q (Quantize) = fig. 03-405a Ex. ) CLOSED HH SNARE KICK · Q (Quantize) = 2. Press [PROGRAM]. fig. 03-407d When using high-resolution Quantize settings, you may be unable to view the entire pattern, from start to finish, in the display at one time. In such instances, a " " symbol appears, indicating that there is material not currently displayed. fig. 03-405b 3. Press [CURSOR] to move the cursor to "REAL, " and press [ENTER]. The Recording Standby screen appears. fig. 03-408d You can press [REC MODE] during Realtime Recording to switch to Step Recording. Using this option allows you to switch to Step Recording temporarily when you want to change the set velocity or input drum sounds input with the wrong timing in Realtime Recording (instructions for this procedure: p. [. . . ] 20, 26, 29, 31­32, 50, 52, 59, 68, 73­74, 76­ 86, 136, 141­142, 144, 146­153 Z ZERO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 V V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102, 121 Verse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]