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 2–3)
• IMPORTANT NOTES (page 4–5)
These sections provide important information concerning
the proper operation of the unit.
Additionally, in order to feel assured that you have gained a
good grasp of every feature provided by your new unit,
Owner’s manual should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
■ Prin tin g Co n ve n tio n s in Th is Ma n u a l
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[PLAY]
[REC]
PLAY button
REC button
• Reference such as (p. **) indicate pages in this manual to which
you can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of BOSS CORPORATION.
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013
107d
•
In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
•
Never handle the AC adaptor body, or its output
plugs, with wet hands when plugging into, or
unplugging from, an outlet or this unit.
..........................................................................................................
108b
•
..........................................................................................................
014
• Protect the unit from strong impact.
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
(Do not drop it!)
..........................................................................................................
109b
•
..........................................................................................................
015
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet.
•
Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/ amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
111: Selection
•
If used improperly, batteries may explode or leak
and cause damage or injury. In the interest of
safety, please read and observe the following
..........................................................................................................
016
•
Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” sheet.
1
2
• Carefully follow the installation instructions for
batteries, and make sure you observe the correct
polarity.
..........................................................................................................
019
•
Batteries must never be recharged, heated, taken
apart, or thrown into fire or water.
• Avoid using new batteries together with used
ones. In addition, avoid mixing different types
of batteries.
3
5
• Remove the batteries whenever the unit is to
remain unused for an extended period of time.
..........................................................................................................
• If a battery has leaked, use a soft piece of cloth
or paper towel to wipe all remnants of the
discharge from the battery compartment. Then
install new batteries. To avoid inflammation of
the skin, make sure that none of the battery
discharge gets onto your hands or skin. Exercise
the utmost caution so that none of the discharge
gets near your eyes. Immediately rinse the
affected area with running water if any of the
discharge has entered the eyes.
101b
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102d
•
Always grasp only the output plug or the body of
the AC adaptor when plugging into, or
unplugging from, this unit or an outlet.
6
• Never keep batteries together with metallic
objects such as ballpoint pens, necklaces,
hairpins, etc.
..........................................................................................................
103b
•
Any accumulation of dust between the AC
adaptor and the power outlet can result in poor
insulation and lead to fire. Periodically wipe away
such dust with a dry cloth. Also, disconnect the
power plug from the power outlet whenever the
unit is to remain unused for an extended period of
time.
..........................................................................................................
112
•
Used batteries must be disposed of in compliance
with whatever regulations for their safe disposal
that may be observed in the region in which you
live.
..........................................................................................................
..........................................................................................................
104
118
•
Should you remove screws, make sure to put them
in a safe place out of children’s reach, so there is
no chance of them being swallowed accidentally.
•
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
..........................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
3
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IMPO RTAN T N O TES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Po w e r Su p p ly : Use o f Ba tte rie s
Ma in te n a n ce
401a
301
•
Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
•
For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
302
•
The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
402
•
Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/ or
deformation.
303a
•
The use of an AC adaptor is recommended as the unit’s
power consumption is relatively high. Should you prefer
to use batteries, please use the alkaline type.
304a
Re p a irs a n d Da ta
•
When installing or replacing batteries, always turn off the
452
power on this unit and disconnect any other devices you
may have connected. This way, you can prevent
malfunction and/ or damage to speakers or other devices.
•
Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up on a memory
card/ computer, or written down on paper (when
possible). During repairs, due care is taken to avoid the
loss of data. However, in certain cases (such as when
circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.
306b
•
Batteries are supplied with the unit. The life of these
batteries may be limited, however, since their primary
purpose was to enable testing.
307
•
Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/ or damage to speakers or other devices.
Ad d itio n a l Pre ca u tio n s
Pla ce m e n t
551
351
•
Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory on a memory card /
computer.
•
Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
352a
•
This device may interfere with radio and television
552
reception. Do not use this device in the vicinity of such
receivers.
•
Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory or a memory
card once it has been lost. Roland Corporation assumes no
liability concerning such loss of data.
352b
•
Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
553
•
Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
•
Never strike or apply strong pressure to the display.
556
354a
•
When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
•
Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
558a
355b
•
To avoid disturbing your neighbors, try to keep the unit’s
•
When moved from one location to another where the
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
temperature and/ or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
559a
•
When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
4
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IMPO RTAN T N O TES
561
USB
•
Use only the specified expression pedal (Roland EV-5 or
BOSS FV-300L; sold separately). By connecting any other
expression pedals, you risk causing malfunction and/ or
damage to the unit.
Co m p a tib le O S
W in d o w s: W in d o w s Me / 2 0 0 0 o r la te r
Ma cin to sh : Ma c O S 9 .1 o r la te r
562
•
Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
Drive r
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
The BR-864 uses a standard DRIVER that is found on OS.
The DRIVER will be installed automatically once connected
with Computer via USB.
Co p y rig h t
Be fo re Usin g Me m o ry Ca rd s
(Co m p a ctFla sh )
851
•
Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part,
of a work (musical composition, video, broadcast, public
performance, or the like) whose copyright is held by a
third party is prohibited by law.
Usin g Me m o ry Ca rd s
704
852a
•
Carefully insert the Memory card all the way in—until it is
firmly in place.
•
When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subject to the restrictions
of the Serial Copy Management System (SCMS). This is
because the unit is intended solely for musical production,
and is designed not to be subject to restrictions as long as
it is used to record works (such as your own composi-
tions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and
later copying through a digital connection. It is built into
MD recorders and other consumer digital-audio
equipment as a copyright-protection feature.)
853
•
Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsi-
bility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
705
•
Never touch the terminals of the Memory card. Also,
avoid getting the terminals dirty.
707
•
This unit’s memory card slot accepts CompactFlash
memory cards. Microdrive storage media by IBM are not
compatible.
708
•
CompactFlash cards are constructed using precision
components; handle the cards carefully, paying particular
note to the following.
• To prevent damage to the cards from static electricity,
be sure to discharge any static electricity from your
own body before handling the cards.
204
* Microsoft and Windows are registered trademarks of
Microsoft Corporation.
206e
• Do not touch or allow metal to come into contact with
the contact portion of the cards.
* Screen shots in this documents are reprinted with
permission from Microsoft Corporation.
• Do not bend, drop, or subject cards to strong shock or
vibration.
206j
*
Windows® is known officially as: “Microsoft® Windows®
operating system.”
• Do not keep cards in direct sunlight, in closed vehicles,
207
or other such locations (storage temperature: -25 to 85°
C).
* Apple and Macintosh are registered trademark of Apple
Computer, Inc.
209
• Do not allow cards to become wet.
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trade-
• Do not disassemble or modify the cards.
marks or registered trademarks of their respective owners.
5
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Co n te n ts
USIN G THE UN IT SAFELY ...................................................................... 2
In tro d u ctio n to th e BR-8 6 4 ................................................................. 1 4
Pa n e l De scrip tio n s ............................................................................. 1 7
Front Panel................................................................................................................................ 17
Display....................................................................................................................................... 21
Liste n in g to th e d e m o so n g s .............................................................. 2 4
(1) Connecting peripheral devices.......................................................................................... 24
Adjusting the Display Contrast .................................................................................................. 26
(3) Listening to a demo song................................................................................................... 26
Playing Back a Song...................................................................................................................... 27
Re co rd in g / p la y in g b a ck a so n g ......................................................... 2 9
Turn on the power ........................................................................................................................ 29
Formatting the memory card (initialize) ................................................................................... 29
Recording a new song .................................................................................................................. 30
(3) Connecting instruments..................................................................................................... 31
Choose which jack you will use to connect your instrument................................................. 31
Turning off the internal microphone.......................................................................................... 32
Adjusting the input sensitivity.................................................................................................... 32
Adjusting the input level ............................................................................................................. 33
(4) Using insert effects............................................................................................................. 33
Switch effect patches..................................................................................................................... 33
Changing arrangements............................................................................................................... 35
Changing patterns......................................................................................................................... 36
6
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Co n te n ts
(8) Overdubbing (Recording an additional performance while listening to an existing performance)........ 39
(9) Adjusting the sound for each track................................................................................... 40
Adjusting the tone (Track EQ) .................................................................................................... 40
Adding width to the sound (Loop Effect) ................................................................................. 41
(13) Removing the memory card............................................................................................. 44
Re co rd in g .......................................................................................... 4 6
Changing V-Tracks................................................................................................................... 47
Recording Operations.............................................................................................................. 48
Re p e a tin g Pla y b a ck (Re p e a t)............................................................. 4 9
Setting the repeat portion........................................................................................................ 49
Re -re co rd in g o n ly a m ista k e (Pu n ch -in / o u t) ....................................... 5 1
Manually punching in and out using [REC]............................................................................. 51
Manually punching in and out using a foot switch ................................................................. 52
Specifying the area for auto punching in/ out .......................................................................... 52
Erasing a registered auto punch in/ out location ..................................................................... 53
How to Record ............................................................................................................................... 53
Repeatedly Recording Over the Same Location (Loop Recording)..................................... 54
Setting the portion to be repeated .............................................................................................. 54
How to Record ............................................................................................................................... 54
Ca n ce lin g a n O p e ra tio n (Un d o / Re d o ) ................................................ 5 5
Reversing the last operation (Undo)....................................................................................... 55
Usin g th e in se rt e ffe cts ...................................................................... 5 6
7
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Co n te n ts
Changing how the insert effects are used according to the mode...................................... 59
Pu ttin g m u ltip le tra ck s to g e th e r (Bo u n ce )........................................... 6 0
Usin g th e lo o p e ffe cts/ Tra ck EQ ......................................................... 6 2
Adjusting how the loop effect is applied................................................................................ 63
Ma ste rin g .......................................................................................... 6 5
Editing the Mastering Tool Kit settings.................................................................................. 66
Saving the Mastering Tool Kit settings (Write)...................................................................... 67
Disp la y in g th e so n g in fo rm a tio n ........................................................ 6 8
Re g iste rin g tim e (Lo ca to r Fu n ctio n )..................................................... 7 0
Copying data (Track Copy)...................................................................................................... 73
Copying the repeated portion (AB)............................................................................................ 73
Copying by specifying the time (TME/ MES)........................................................................... 74
Copying a complete track (ALL)................................................................................................. 75
Moving the repeated portion (AB) ............................................................................................. 76
Moving a complete track (ALL).................................................................................................. 78
Erasing the repeated portion (AB).............................................................................................. 79
Erasing by specifying the time (TME/ MES)............................................................................. 80
Exchanging data (Track Exchange)........................................................................................ 82
8
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Co n te n ts
O rg a n izin g th e so n g s y o u ’ve re co rd e d .............................................. 8 3
Copying a Song (Song Copy).................................................................................................. 83
Saving memory on the memory card (Song Optimize)......................................................... 84
Saving the current settings to the song................................................................................. 85
Cre a tin g a m a ste r ta p e ...................................................................... 8 6
Recording to a cassette tape recorder (analog connection)................................................ 86
Ab o u t th e Rh y th m Gu id e ................................................................... 9 0
Performing arrangements ............................................................................................................ 91
Performing patterns...................................................................................................................... 92
Cre a tin g o rig in a l a rra n g e m e n ts ......................................................... 9 3
Cre a tin g o rig in a l p a tte rn s .................................................................. 9 6
Creating patterns in Realtime Recording............................................................................... 96
Rehearsing recordings.................................................................................................................. 98
Deleting unneeded drum sounds ............................................................................................... 99
Changing the velocity................................................................................................................. 102
Deleting unneeded drum sounds ............................................................................................. 102
9
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Co n te n ts
Ab o u t th e d ru m k its ........................................................................ 1 0 4
Copying drum sounds from other drum kits ......................................................................... 107
In se rt Effe ct Pa ra m e te r Fu n ctio n s ..................................................... 1 1 0
3. BASS SIM.................................................................................................................................. 112
5. GTR SYNTH............................................................................................................................. 112
10. VOCAL MULTI..................................................................................................................... 114
BANK: LINE............................................................................................................................. 115
BANK: SIMUL.......................................................................................................................... 115
Bass Simulator ............................................................................................................................. 117
COSM Comp (compressor)/ Limiter ........................................................................................ 118
De-esser ........................................................................................................................................ 118
1 0
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Co n te n ts
Foot Volume................................................................................................................................. 120
Harmonist .................................................................................................................................... 122
Pitch Shifter .................................................................................................................................. 123
Slow Attack .................................................................................................................................. 125
Speaker Simulator ....................................................................................................................... 125
Tremolo/ Pan ............................................................................................................................... 125
Ma ste rin g To o l Kit Pa ra m e te r Fu n ctio n s ........................................... 1 2 7
Bass Cut Filter .............................................................................................................................. 128
Expander ...................................................................................................................................... 129
Limiter........................................................................................................................................... 130
Lo o p Effe ct Pa ra m e te r Fu n ctio n s ...................................................... 1 3 1
CHORUS/ DELAY/ DBLN (Doubling).................................................................................... 132
Tra ck EQ Pa ra m e te r Fu n ctio n s ......................................................... 1 3 3
1 1
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Co n te n ts
Usin g a fo o t sw itch o r e x p re ssio n p e d a l .......................................... 1 3 6
Tu n in g a n in stru m e n t (Tu n e r) ........................................................... 1 3 7
Explanation of the indications that appear while tuning...................................................... 137
Co p y in g d ifficu lt so n g s (Ph ra se Tra in e r) ........................................... 1 3 9
Canceling the center sound (Center Cancel function)........................................................ 139
Sy n ch ro n izin g w ith MIDI d e vice s ...................................................... 1 4 1
Using the rhythm guide to play an external MIDI sound module....................................... 141
Synchronized playback with the BR-864 as the master ......................................................... 142
Setting the MTC offset................................................................................................................ 144
Operating MMC-compatible devices with the BR-864.......................................................... 144
Mix in g th e o u tp u t fro m a n e x te rn a l MIDI d e vice
In itia lizin g th e BR-8 6 4 ’s se ttin g s ...................................................... 1 4 7
Co n se rvin g b a tte ry p o w e r (Po w e r Sa ve ).......................................... 1 5 0
Deactivating the power save function ..................................................................................... 150
Utility p a ra m e te r list........................................................................ 1 5 1
About the Sync parameters................................................................................................... 151
About the effects Insert mode............................................................................................... 153
1 2
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Co n te n ts
Compatible OS........................................................................................................................ 156
Composition of data on memory cards................................................................................ 156
Ba ck in g u p th e BR-8 6 4 ’s d a ta ......................................................... 1 5 8
Im p o rtin g SMFs a n d cre a tin g p a tte rn s ............................................. 1 6 7
Arra n g e m e n t / Pa tte rn List .............................................................. 1 7 6
Preset Arrangement List........................................................................................................ 176
Preset Pattern List.................................................................................................................. 177
Pa ra m e te r List ................................................................................. 1 7 8
Tro u b le sh o o tin g .............................................................................. 1 8 1
Erro r Me ssa g e s ................................................................................ 1 8 3
MIDI Im p le m e n ta tio n ....................................................................... 1 8 5
MIDI Im p le m e n ta tio n Ch a rt .............................................................. 1 8 8
Sp e cifica tio n s .................................................................................. 1 8 9
In d e x .............................................................................................. 1 9 1
Tra ck Sh e e t ..................................................................................... 1 9 8
1 3
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In tro d u ctio n to th e BR-8 6 4
Fe a tu re s
Sim p le o p e ra tio n
recording music to V-Tracks.
The BR-864 is designed to be operated as easily as a cassette
tape recorder, even by beginners.
Whether you are simply preparing a demo tape, or are
getting ready to go to master with your first album, the
simple operation of the BR-864 allows you to create digital
recordings the very day you take it out of the box.
Rh y th m Gu id e fu n ctio n
capture phrases or musical ideas that come to mind.
Simply select an appropriate rhythm pattern, and set the
tempo.
Dig ita l a u d io w o rk sta tio n
In addition to the internal preset rhythm patterns already
provided, you can also create your own original rhythm
patterns.
All p ro ce sse s a re fu lly d ig ita l
In addition to a digital mixer and digital recorder, the BR-864
contains four digital effects processors.
By recording using the Rhythm Guide function, editing one
measure at a time is greatly simplified.
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. In addition, by connecting
digital devices like DAT recorder, MD recorder and CD
recorder, you can do recording your data with full digital
processing.
Fo u r ve rsa tile d ig ita l e ffe cts p ro ce sso rs
The BR-864 contains four types of effect units.
The effects groups used for recording (insert effects), send
and return (loop effects), tone shaping (Track EQ), and
mastering (Mastering Tool Kit) stand as independent effects,
and the effects other than the Mastering Tool Kit can be used
simultaneously.
Using the USB connector also allows you to save the song
data you create to a computer.
Eq u ip p e d w ith V-Tra ck s
This means that the BR-864 does not require any external
effect devices to produce a sophisticated song.
The BR-864 has eight audio recording tracks, which provides
for simultaneous recording on two tracks, or simultaneous
playback from eight tracks. Moreover, each track
The BR-864 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.
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.
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 Mastering Tool Kit allows you add compression to songs
that have been mixed down and provides a variety of other
effects.
W h a t a re V-Tra ck s?
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
For a more detailed explanation of insert and loop effects,
called “V-Tracks.”
fig.00-101
V-Track1
V-Track2
V-Track3
V-Track4
V-Track5
V-Track6
V-Track7
V-Track8
1 4
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In tro d u ctio n to th e BR-8 6 4
Fu ll co m p le m e n t o f in p u t co n n e cto rs
(ja ck s)
W h a t is CO SM (Co m p o site O b je ct So u n d
Mo d e lin g )?
Your BR-864 is equipped with the input jacks shown below.
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.
GUITAR/ BASS:
This high-impedance input jack allows you to directly
connect your guitar or bass (accepts 1/ 4” phone plugs).
MIC:
These jacks allow a mic to be connected. Both standard TRS
microphone is also included, so you can perform recordings
with the BR-864 even when you don’t have a microphone
connected.
Ed itin g Fu n ctio n s
With the BR-864, you can perform editing operations such as
copying, moving, and erasing, which cannot be done with
multitrack recorders that use tapes. 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.
LIN E:
These jacks accept stereo input from keyboards, CD players,
and other devices at line level (RCA phono jacks).
N o n -d e stru ctive e d itin g
For output, in addition to the LINE OUT jacks (stereo RCA
phono jacks), optical DIGITAL OUT connectors are also
provided for high-quality digital recording to digital audio
recording devices (e.g., CD recorders and MD recorders).
Being a digital recorder, the BR-864 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).
USB:
Connecting your computer here allows you to exchange data
between the BR-864 and a computer.
Q u ick m o ve m e n t to a p o in t
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.
Tw o -w a y p o w e r su p p ly a llo w s
y o u to re co rd a n y w h e re
You can use the BR-864 powered by batteries (six size AA
dry cells) or with the AC adaptor.
And, thanks to its built-in microphone, you can make
recordings anywhere and anytime you desire.
Eq u ip p e d w ith ch ro m a tic tu n e r
(A0 to B6 so u n d ra n g e )
Your BR-864 is also equipped with a chromatic tuner so that
you can tune your guitar or bass while it is still connected to
Ph ra se Tra in e r Fu n ctio n
When you play back a song you have recorded from the CD
player or the MD 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
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In tro d u ctio n to th e BR-8 6 4
Me m o ry ca rd s su p p o rte d b y
y o u r BR-8 6 4
Ho w to re m o ve th e ca rd p ro te cto r
To prevent theft of the memory card (CompactFlash), the BR-
864 is shipped from the factory with a card protector.
fig.00-103
The BR-864 uses CompactFlash cards as the storage media
for recording and playback.
The BR-864 uses 32 MB to 1 GB CompactFlash cards with a
3.3 V power supply.
Card Protector
CompactFlash Type II cards are not compatible.
Card Cover
CompactFlash cards are available at your nearest computer
or digital camera shop.
To remove the card protector, use the following procedure.
(Re co m m e n d e d Pro d u cts)
1 . Make sure the card cover is closed, then the BR-864
over.
DELKIN DEVICES:
eFilm / eFilmPRO Series
* 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.
CompactFlash products other than those recommended here
may not function properly with the BR-864.
Fo rm a ttin g th e m e m o ry ca rd
(Co m p a ctFla sh )
* When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
CompactFlash cards bought at a computer shop, or ones
previously used with a digital camera cannot be used as is
with the BR-864.
2 . Using a coin or
flathead screwdriver,
unscrew and remove
the coin screw from
the bottom panel.
These CompactFlash cards must first be initialized for use
with the BR-864.
3 . Pull out the card
cover in the direction
indicated by the
arrow.
234
* CompactFlash and
are trademarks of SanDisk Corpo-
ration and licensed by CompactFlash association.
4 . To prevent loss of the
card protector after it
is removed, place it as
shown in the figure.
Insert the card
235
* BOSS Corporation is an authorized licensee of the
CompactFlash™ and CF logo ( ) trademarks.
protector in the slot as
indicated by the
arrow.
5 . Turn the BR-864 back
over to its original
position.
Should you remove the screws, make sure to put them in a
safe place out of children’s reach, so there is no chance of
them being swallowed accidentally.
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Pa n e l De scrip tio n s
Fro n t Pa n e l
1
22
21
28
2
3
4
31
34
29
30
33
32
23 24 25 26
5
6
37
8
27
7
16
17
9
13
14
36
15
20
18
19
35
10
11
12
MIC:
1 . PEAK in d ica to r
For selecting either the MIC jack when a microphone is
connected, or the internal microphone.
This indicator shows how strong the input level is at the
various input jacks (e.g., GUITAR/ BASS and MIC).
This indicator lights at a level -6 dB lower than where sound
distortion occurs. Adjust the input sensitivity with the SENS
knob so that this indicator lights only occasionally, at those
moments when you play your guitar (or other instrument) at
its loudest.
LIN E:
For selecting the LINE jack (stereo) for the line inputs, such
as keyboards or CD players.
SIMUL:
By pressing the GUITAR/ BASS and MIC buttons
simultaneously, you can record from both inputs at the same
time.
2 . SEN S k n o b
Use this knob to adjust the sensitivity at the input jacks (e.g.,
GUITAR/ BASS, MIC, and LINE).
* If the INPUT SELECT setting is changed, the insert effect
3 . IN PUT SELECT b u tto n s
4 . EFFECTS b u tto n
Use these buttons to select the input source (input jack) that
you wish to record. The indicator of the selected button will
light. You can mute (silence) the input sound by pressing a
button that is lit.
GUITAR/ BASS:
For selecting either guitar or bass use of the GUITAR/ BASS
jack.
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Pa n e l De scrip tio n s
5 . IN PUT LEVEL k n o b
9 . ZERO b u tto n
Use this knob to adjust the volume of the input source for
recording.
Moves you to the time location 00:00:000.0.
1 0 . REW b u tto n
* If you use the INPUT LEVEL knob 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.
The song will rewind while you hold down the button.
1 1 . FF b u tto n
The song will fast-forward while you hold down the button.
1 2 . REPEAT b u tto n
You can specify a region that you wish to hear, and hear it
6 . TUN ER b u tto n
This feature is useful if you want to repeatedly play back the
to copy a difficult phrase recorded from a CD or the like.
7 . AUTO PUN CH
This button is used to make settings for the automatic punch
in/ out function.
1 3 . STO P b u tto n
O N / O FF b u tto n :
Stops recording or playback of the song.
This turns the auto punch-in/ out function on/ off. When this
is on, the button indicator will light.
1 4 . PLAY b u tto n
IN b u tto n :
For setting the auto punch-in location. Press this button to set
the punch-in point. When set, the indicator on this button
will light. After the punch-in location is set, you can press
this button to automatically move to the punch-in location.
Plays back songs. When [REC] is pressed and the REC
indicator is flashing, press [PLAY] to start recording. During
recording or playback, the indicator on the button lights in
green.
* Press this button while holding down the ON/OFF button to
clear the set punch-in location.
1 5 . REC (Re co rd in g ) b u tto n
This is the Record button. In addition to the Recording
operation, it is also used for manual punch-in/ out. While in
recording standby, the indicator on this button flashes in red,
and during recording, it lights in red.
O UT b u tto n :
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 indicator on this button will light. After the
punch-out location is set, you can press this button to
automatically move to the punch-out location.
1 6 . AUDIO TRACK MIXER fa d e r 1 –4 / 5 –8
* Press this button while holding down the ON/OFF button to
clear the set punch-out location.
For controlling the volumes of each track during playback.
* Hereafter, the AUDIO TRACK MIXER faders shall be
referred to as the “TRACK faders.”
8 . LO CATO R b u tto n
Use this button to store any location that you desire. Then, by
pressing this button, you can automatically move to that
location.
1 7 . MASTER fa d e r
Controls the overall volume of the BR-864.
When a location is set, the indicator on this button will light
and you will jump to the location each time this button is
pressed.
* Press this button while holding down the AUTO PUNCH
ON/OFF button to clear the set location.
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Pa n e l De scrip tio n s
1 8 . REC TRACK (Re co rd in g Tra ck ) b u tto n s
1 –4 / 5 –8
delete rhythm sounds you have input by holding down this
button and pressing the REC TRACK button.
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.
2 1 . REC MO DE (Re co rd in g Mo d e )
b u tto n
This button is used for selecting the recording mode.
The relationship between the indicator and the track
conditions is given below.
•
•
•
O ff:
This track contains no recorded data.
Gre e n :
2 2 . TRACK b u tto n
An audio track that contains recorded data.
This switches Tracks 1–4 and 5–8.
Fla sh in g in re d :
The track is selected as the recording destination, and is in
recording standby.
The button indicator is lit when Tracks 5–8 are selected.
2 3 . PAN b u tto n
Re d :
Pressed to access a screen where you can set the pan (left/
right location of the sound) for the playback of each track or
This track currently being recorded.
Lig h tin g a lte rn a te ly in o ra n g e a n d g re e n :
This track contains recorded data and is selected for
recording.
2 4 . EQ (Eq u a lize r) b u tto n
instrument is assigned to each button.
2 5 . LO O P EFFECTS b u tto n
1 9 . V-TRACK b u tto n
Use this button to call up the screen for setting the send level
switching between reverb and chorus, setting the various
parameters, and more.
Use this button to call up the screen for selecting a V-Track.
the V-TRACK button is used to input rhythm instruments.
2 6 . PHRASE TRAIN ER b u tto n
Use this button to perform the settings for the phrase trainer
function.
2 0 . DELETE/ MUTE b u tto n
By holding down this button and pressing a REC TRACK
button whose indicator is lit in green and orange alternating
or green, you can mute that track during playback,
When you repeat the same action, muting will be defeated.
While muted, the REC TRACK button of that track will flash
in green and orange alternating or green.
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).
* If a recording track was muted, muting will be defeated when
recording ends.
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Pa n e l De scrip tio n s
2 7 . RHYTHM GUIDE
3 2 . EN TER/ YES b u tto n
Here you can make settings for the Rhythm Guide function.
Press this button to confirm a selection or a value being
entered.
ARRAN GE/ PATTERN / O FF b u tto n :
Pressed to cycle the Rhythm Guide function through the
available selections: Arrangement → Pattern → Off.
3 3 . EXIT/ N O b u tto n
Press this button to return to the previous screen or cancel
the last entry.
TO N E LO AD b u tto n :
This calls up the screen for the rhythm tones Tone Load
function.
3 4 . CURSO R b u tto n s
RHYTHM GUIDE fa d e r:
Adjusts the Volume of the Rhythm Guide.
Press these buttons to move the cursor within the screen.
PRO GRAM b u tto n :
This calls up the screen for programming arrangements and
patterns.
3 5 . He a d p h o n e s ja ck (
)
Headphones (sold separately) are connected here. When
headphones are connected, the same output as that from
LINE OUT can be heard from the headphones.
RHYTHM PAD b u tto n :
This button switches the TRACK button, V-TRACK button,
and TAP button functions to rhythm input.
* The headphone volume is adjusted with the MASTER fader.
TAP (TEMPO ) b u tto n :
By tapping this button, you can set the tempo for the rhythm
guide.
3 6 . MIC (In te rn a l m icro p h o n e )
This microphone can be used for recording with the BR-864.
“Press the INPUT SELECT button of the instrument that you
button is used to input rhythm instruments.
2 8 . USB b u tto n
Press this to call up the function for transferring data
between the BR-864 and your computer when the USB
connector is used.
fig.00-202
2 9 . UTILITY b u tto n
This button calls up various functions offered by your BR-
864, such as track editing, song management, and memory
card operations.
37
38
3 7 . MEMO RY CARD slo t
3 0 . UN DO / REDO b u tto n
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.
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
3 8 . Eje ct b u tto n
3 1 . TIME/ VALUE d ia l
Press this button to eject the memory card.
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.
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Pa n e l De scrip tio n s
Disp la y
fig.00-203d
4 . FRAME
1
2
Displays the frame number of the current position of the
song.
3
5
4
At the factory settings, one second is set to 30 frames (non-
drop).This is one type of a specification known as MTC
(MIDI Time Code), and when you use the BR-864 to play in
synchronization with another MIDI device, you will need to
set both devices to the same MTC type.
6
Displays the menu screen, parameter setting screen, or other
information, depending on the type of settings being made.
If the screen is difficult to view, see “Adjusting the Display
5 . REC MO DE
1 . MEAS (MEASURE)
The recording mode is indicated here.
Displays the current position within the song. Indicated from
left to right are the measure, beat, and clock.
6 . Le ve l Me te r
During play mode, the volume levels of instruments being
input, and volume levels of each track are displayed.
2 . TEMPO
The Rhythm Guide tempo is indicated here.
The levels displayed are the levels after the adjustments are
made with the INPUT LEVEL knob and TRACK fader (i.e.,
post fader). You can select the level meter to display each
type of level being set.
3 . TIME
Displays the time of the current position of the song (hours-
minutes-seconds).
Re a r Pa n e l
fig.00-204
11 10
9
8
7
6
5
4 3
2
1
12
1 . GUITAR/ BASS ja ck
3 . LIN E IN ja ck
High-impedance input jack to directly connect your guitar or
bass.
These are input jacks for analog audio signals.These jacks are
used to connect CD players and other audio devices and
keyboards, rhythm machines, and other external sound
modules.
2 . MIC ja ck (TRS/ XLR ty p e s)
These jacks allow a mic to be connected.Both standard TRS
4 . LIN E O UT ja ck
These are output jacks for the analog audio signal. You can
connect tape recorders, or other recording devices to record
the output analog signal from the BR-864.
* If microphones are connected to both jacks, the TRS jack is
given priority.
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Pa n e l De scrip tio n s
5 . DIGITAL O UT co n n e cto r
1 2 . Se cu rity Slo t (
)
Optical connector for outputting digital audio signals. The
same sound that is output from LINE OUT is also output
from DIGITAL OUT. You can connect a DAT recorder or CD
recorder to this connector and make digital recordings of the
BR-864’s output.
http:/ / www.kensington.com/
In se rtin g b a tte rie s
6 . FO O T SW / EXP PEDAL ja ck
1 . Make sure that the power of the BR-864 is turned off.
This is an input jack for connecting a separately sold foot
switch (BOSS FS-5U, Roland DP-2) or expression pedal
(BOSS Roland EV-5, BOSS FV-300L).
2 . Remove the battery cover on the rear panel.
* 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.
By using this FOOT SW jack, you can start/ stop playback,
punch in/ out, and more.
When an expression pedal is used, you can control the depth
of effects with your foot.
* When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
3 . Being careful not to reverse the polarity (+/-), insert six
AA dry-cell batteries into the battery compartment.
7 . MIDI O UT co n n e cto r
* BOSS recommends using longer-life alkaline batteries.
Connector for sending MIDI data.Connect it to the MIDI IN
connector of an external MIDI device (rhythm machine or
sound module).
* Do not mix new batteries with partially used batteries, and do
not mix batteries of differing types.
* Do not use rechargeable batteries.
8 . USB co n n e cto r
4 . Close the battery cover.
fig.00-205
This is the connector for connecting your computer to the BR-
864 with a USB cable.
9 . PO W ER sw itch
This is the power switch. It turns the power of the BR-864
on/ off.
1 0 . DC IN (AC Ad a p to r) ja ck
Connect the AC adaptor (PSA-series; optional) to this jack.
You must use only the PSA-series AC adaptor. Use of any
other adaptor may cause overheating or malfunctions.
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.
1 1 . Co rd Ho o k
Wrap the cable around this hook so that the AC adaptor
cable is not pulled out accidentally.
* If the AC adaptor is disconnected during operation, your
important recorded data may be lost.
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Liste n in g to th e d e m o so n g s
(1 ) Co n n e ctin g p e rip h e ra l d e vice s
Make connections as shown in the diagram below. When making any connections, make sure that all devices are turned off.
fig.00-301
Mic
Electric Guitar
or
CD Recorder etc.
Electric Bass
Rhythm Machine etc.
AC Adaptor
(PSA series)
CD Player etc.
Foot Switch
(FS-5U etc.)
Audio Set etc.
Expression Pedal
(Roland EV-5 etc.)
Keyboard etc.
●
Feedback could be produced depending on the location
of microphones relative to speakers. This can be
remedied by:
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.
1 . Changing the orientation of the microphone(s).
2 . Relocating microphone(s) at a greater distance
from speakers.
●
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, as shown in
the illustration.
3 . Lower the volume.
* Two types of MIC inputs are included, TRS phone type jacks
compatible with balanced input, and XLR type connectors.
The pin assignment for the MIC jack is as shown below. Before
making any connections, make sure that this pin assignment is
compatible with that of all your other devices.
fig.00-302
fig.00-303
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Liste n in g to th e d e m o so n g s
* 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.
2 . Lower the MASTER fader on the BR-864.
fig.00-306
fig.00-304
Polarity Switch
* If using an expression pedal (EV-5 or FV-300L), set the MIN
volume level to “0.”
3 . Turn on the device connected to an input jack (i.e.,
GUITAR/BASS, MIC, or LINE IN).
●
Insert the memory card (CompactFlash) with the gold-
colored contacts facing downward (the side without
contacts should be facing upward).
4 . Turn on the POWER switch located on the rear panel.
fig.00-307
* Carefully insert the memory card all the way in-until it is
firmly in place.
* Do not touch the contacts of the memory card or allow them to
become dirty.
fig.00-305
* 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.
* 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.
5 . Turn on the device connected to the output jack (i.e.,
LINE OUT or DIGITAL OUT).
Before inserting the memory card, be sure to first turn off
the BR-864. 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.
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.
(2 ) Tu rn o n th e BR-8 6 4
Pla y Scre e n
The Play screen is the most fundamental screen of the
BR-864, and is the first screen that appears when the BR-
Once the connections have been completed, turn on power to
your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction
and/ or damage to speakers and other devices.
864 is turned on (see below).
fig.00-308d
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-864 and all other devices
completely lowered?
●
Is the memory card inserted?
* The BR-864 is shipped with a memory card already inserted in
the slot.
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Liste n in g to th e d e m o so n g s
Ad ju stin g th e Disp la y Co n tra st
You can turn the TIME/ VALUE dial while pressing
[UTILITY] to adjust the contrast. Use each procedure as
appropriate.
Depending on where the BR-864 is situated, the display
contents may be difficult to read. If this is the case, perform
the procedure given below to adjust the contrast (1 to 32).
fig.00-309
1,4 4
(3 ) Liste n in g to a d e m o so n g
Se le ctin g a so n g
3
Upon power-up, the song that was selected before the power
was turned off is selected, and the data of that song is loaded.
As soon as the data has been loaded, the Play screen appears
in the display.
2
2,3
To listen to a demo song, follow the procedure given below.
fig.00-312
1,4 4
1 . Press [UTILITY].
3
2
2
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.00-310d
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SEL,”
and press [ENTER].
The Song Select screen appears.
fig.00-313d
3 . Press CURSOR [ ] [ ] to select “LCD Contrast,” and
adjust the contrast with the TIME/VALUE dial.
fig.00-311d
4 . After completing the adjustment, 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.
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Liste n in g to th e d e m o so n g s
3 . Turn the TIME/VALUE dial to select “01:Dreamin’.”
By adjusting the TRACK faders, you can listen to the
individual sounds recorded to each track one at a time or
listen to them at the balance you desire.
Title
Composer
Copyright
Dreamin’ Yutaka Nakano © 2003, BOSS Corporation
Press [FF] to fast-forward the song and press [REW] to
rewind the song. Press [ZERO] to move to the time
location 00:00:00-00.0.
4 . Press [ENTER].
If y o u h a ve ch a n g e d th e re co rd in g o r e d itin g
●
Since the BR-864 automatically updates the recorded data
and operation content if the recording or editing have been
changed, you do not need to perform any special operations
for saving.
In addition to the procedures given above, you can also
change your current position in the song using the
procedures given below.
During updating, “Keep power on!” appears in the upper
line of the display, while the lower line shows what is being
processed.
Ch a n g in g th e cu rre n t p o sitio n
Ela p se d tim e d isp la y
* If you try to record or edit data using a protected demo song,
“Protected!” appears.
The value given at “TIME” in the display shows the elapsed
time into the song using MTC (MIDI time codes) and is
expressed as follows: hours-minutes-seconds-frames-sub
frames.
Pla y in g Ba ck a So n g
The time code specifications can differ depending on the
device. To synchronize operation with another device using
MTC, you will first need to match the time code
1 . Move the TRACK faders 1/5–4/8 and the RHYTHM
GUIDE fader to the positions shown in the figure
below, and lower the MASTER fader.
fig.00-315
specifications of both devices. At the factory settings, one
Mo vin g to th e sta rt o f a p la y
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.
2 . Press [PLAY].
fig.00-316
Mo vin g to th e e n d o f a p la y
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
The song starts. Slowly increase the MASTER fader and
adjust the volume to the desired level.
to the time of the last recorded sound for the song.
fig.00-317
TIME
00:00:00-00.0
23:59:59-29.9
Use of the demo song supplied with this product for any
purpose other than private, personal enjoyment without
the permission of the copyright holder is prohibited by
law. Additionally, this data must not be copied, nor used
in a secondary copyrighted work without the permission
of the copyright holder.
Section of the song recorded
[
] + [ ]
[
]
[
] + [ ]
STOP REW
STOP FF
ZERO
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Liste n in g to th e d e m o so n g s
Mo vin g th ro u g h a so n g u sin g h o u rs,
m in u te s, se co n d s, fra m e s, o r su b fra m e s
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.
Mo vin g th ro u g h a so n g in m e a su re s o r
b e a ts
The current position’s measure– beat–clock are displayed at
the location “MEAS” (measure) in the display.
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).
(4 ) Tu rn in g o ff th e p o w e r
1 . Make sure that playback of the song is stopped.
Always make sure that the recorder is stopped before
turning off the power to the BR-864. 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.
2 . Turn off the power to each device in the reverse order
3 . Turn the BR-864’s POWER switch off.
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fig.00-401
(1 ) Pre p a rin g th e m e m o ry ca rd
1 4
The BR-864 writes the recorded data directly to the inserted
memory card. Therefore, for recording or playback, the
memory card must be inserted.
2,3,4
2,3
In se rtin g th e m e m o ry ca rd
Before inserting the memory card (CompactFlash), be sure to
first turn off the BR-864. 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.
1 . Press [UTILITY].
1 . Insert the memory card into the memory card slot.
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
The supplied memory card still has some remaining
space; however, for extended recording, you will need to
erase some of the demo song or prepare a new memory
card (64 MB or greater is recommended).
and press [ENTER].
fig.00-402d
* The demo songs are protected.
To delete the demo songs, first remove the protections, then
carry out the deletion.
Tu rn o n th e p o w e r
3 . Press CURSOR [ ] [ ] to move the cursor to “CRD,”
and press [ENTER].
Fo rm a ttin g th e m e m o ry ca rd
(in itia lize )
“Are you sure?” appears.
fig.00-403d
* This is not necessary for memory cards that have already been
used with the BR-864.
Newly purchased memory cards, or memory cards that have
been used previously with a computer will need to be
prepared so they can be used with the BR-864.
Carry out the following steps in the order given to complete
the procedure (this preparation process is called
“Initializing”).
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Re co rd in g / p la y in g b a ck a so n g
4 . To continue with the initializing, press [ENTER] (YES).
To cancel the operation, press [EXIT] (NO) (or
[UTILITY]).
(2 ) Se le ct th e so n g to re co rd
When the memory card contains more than one song, the
song that was recorded last is automatically selected.
When [ENTER] (YES) is pressed, initializing begins.
To record a new song, follow the procedure given below.
When the initializing has been completed, “Completed!”
appears in the display.
Re co rd in g a n e w so n g
“Keep power on! Song creating...” then appears in the
display, and a new song is automatically created.
Ab o u t d a ta ty p e s
In this case, the data type selected is HiFi (MT2).
When you record a new song, the BR-864 allows you to set
the data type. This enables you to select the combination of
audio quality and recording time that is most suitable for the
material you are recording. The following data types can be
selected.
When creation of the song is finished, the play screen
returns to the display.
* Depending on the capacity of the memory card, initializing
may take more than ten minutes to complete. This is not a
malfunction.The progress of the initializing is shown in the
display. Do not turn off the BR-864 until the initializing has
been completed.
* The data type of a song cannot be changed after it is created.
HiFi (MT2 ) (m u ltitra ck 2 ):
For high-quality recordings. This data type is recommended
when you will be doing a lot of track bouncing. Normally
you should select this type. Use this type for most of your
recordings.
Do not remove the memory card or turn off the BR-864
while the display shows “Keep power on!” Doing so can
destroy the data on the memory card and/ or render the
memory card itself unusable.
STD (LV1 ) (live 1 ):
For recordings that will take longer than what can be
provided with the MT2 data type. This is the most suitable
setting for recording live performances.
LO N G (LV2 ) (live 2 ):
Of the three data types, this provides the longest recording
time. This is convenient when the card has little recording
capacity.
Re co rd in g tim e
The recording times possible for each data type on one
memory card are given below (when recording one track).
Recording time (times approximate)
Data type
HiFi (MT2)
16 min.
32 min.
STD (LV1)
19 min.
39 min.
LONG (LV2)
24 min.
49 min.
32 MB
64 MB
128 MB
256 MB
512 MB
1 GB
65 min.
78 min.
98 min.
130 min.
260 min.
520 min.
156 min.
312 min.
624 min.
196 min.
392 min.
784 min.
* The recording times shown above are approximate. Depending
on the number of songs, the allowable recording time may
decrease.
* The recording times shown above are for when only one track
is used. For example, if you record on all eight tracks, the
recording time for each track will be 1/8th of the time shown
above.
* The CompactFlash memory cards supported by your BR-864
are 32 MB to 1 GB CompactFlash cards for use with a 3.3 V
power supply voltage.
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Re co rd in g / p la y in g b a ck a so n g
fig.00-405
(3 ) Co n n e ctin g in stru m e n ts
1
Ch o o se w h ich ja ck y o u w ill u se
to co n n e ct y o u r in stru m e n t
3
Your BR-864 is equipped with a number of input jacks to
match the type of instrument that you will connect. Select an
4,5
2,3
instrument appropriate for your purposes.
fig.00-408
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “NEW,”
GUITAR/ BASS:
and press [ENTER].
An electric guitar or bass can be connected to this jack. Since
this is a high-impedance input, a guitar or bass can be
connected directly.
“Type” appears in the display.
fig.00-406d
MIC:
These jacks allow a mic to be connected. Both standard TRS
jacks and XLR jacks are provided.
The standard TRS type allows for both balanced and
unbalanced connections.
* If both jacks are being used, the TRS jack is given priority.
* If you are recording an electric acoustic guitar using a shielded
connection, use the GUITAR/BASS jack.
LIN E:
When connecting to the output of a CD player, cassette
player, or other audio device, or to a rhythm machine,
external sound module, keyboard, or other sound source, use
the stereo input jacks.
3 . Turn the TIME/VALUE dial to select the desired data
type.
* The BR-864 uses a sample rate of 44.1 kHz. It is not possible to
change the sample rate.
4 . Press [ENTER].
Pre ss th e IN PUT SELECT b u tto n o f th e
in stru m e n t th a t y o u w a n t to re co rd
“Are you sure?” appears.
fig.00-407d
Select the input source to record. The indicator of the selected
button will light.
fig.00-409
5 . Press [ENTER].
When the new song is ready, you are returned to the
Play screen.
[GUITAR/ BASS]
Select to record the instrument connected to the GUITAR/
BASS jack.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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fig.00-411d
[MIC]
Select to record the signal from a microphone connected to
the MIC jack or from the internal microphone.
When the MIC indictor for the INPUT SELECT button is lit,
you can use both the microphone connected to the MIC jack
and the internal microphone simultaneously.
* Your BR-864 is shipped with its internal microphone turned
on. When not using the internal microphone, be sure to turn it
off (see next section).
[LIN E]
Select this when you wish to record the sound of an
instrument or CD player connected to the LINE jacks.
3 . Press CURSOR [ ] [ ] to select “Onbrd Mic,” and
[SIMUL]
turn off the microphone with the TIME/VALUE dial.
fig.00-412d
To record the vocal and guitar at the same time, press
[GUITAR/ BASS] and [MIC] simultaneously. Both indicators
light, telling you that simultaneous recording is now
possible.
•
When two recording tracks are selected, the GUITAR/
BASS is recorded to Track 1, 3, 5, 7, and the MIC is
recorded to Track 2, 4, 6, 8.
•
When one recording track is selected, the GUITAR/
BASS and MIC are mixed and then recorded.
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.
Tu rn in g o ff th e in te rn a l m icro p h o n e
To use only the microphone connected to the MIC jack, you
must first turn off the internal microphone.
fig.00-410
Ad ju stin g th e in p u t se n sitivity
1 4
When input from GUITAR/ BASS or MIC is selected, adjust
their input sensitivity with the relevant SENS knob.
fig.00-412a
3
2
2,3
In order to record at a good sound level, you should adjust
the input levels so that the PEAK indicator lights
momentarily when a guitar is strummed strongly or vocals
are sung loudly.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
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Ad ju stin g th e in p u t le ve l
Adjust the volume of the input source for recording.
1 . Lower the MASTER fader.
(4 ) Usin g in se rt e ffe cts
The BR-864 comes with four onboard effects processors: an
insert effect, loop effects, track EQ, and mastering tool kit.
Below is an explanation of the operations related to the insert
effects.
2 . Turn the INPUT LEVEL knob to its center position and
then slowly increase the MASTER fader.
ig.00-421b
W h a t is a n in se rt e ffe ct?
An effect added directly to a specific signal (with the BR-864,
this refers to the instrumental sounds from an INPUT jack) is
called an “insert effect.” The effect pedals that a guitarist
connects between his guitar and amp are a type of insert
effect. Loop effects, on the other hand, are effects connected
to the send/ return jack of mixers and other similar devices.
At this time, use the INPUT LEVEL knob to adjust the
input level so that the level changes in the -12 (between
-24 and -6)–0 dB range of the “IN” level meter.
The volume level is adjusted with the MASTER fader
and INPUT LEVEL knobs.
Sw itch e ffe ct p a tch e s
Le ve l m e te r d isp la y
The BR-864 provides numerous effects for vocals, guitar, etc.,
and two or more of these effects can be used simultaneously.
Such a combination of effects (i.e., the types of the effects
used and the order in which they are connected) is called an
“algorithm.”
This shows the volume levels for each track.
fig.00-413d
Each effect in an algorithm offers a certain number of
parameters, which allow the sound to be altered (similar to
tweaking the knobs on a stomp pedal). The algorithm and its
parameter settings are bundled into units called “effect
patches.”
IN :
The level meter shows the input from INPUT.
By changing the effect patch, you can simultaneously change
the stored effect combinations, their on/ off status, and the
parameter settings, and completely change the sound.
1 –8 :
The level meter shows the output of Tracks 1–8.
RHYTHM:
1 . Press [EFFECTS] to display the currently selected effect
The level meter shows the output of Rhythm Guide.
patch.
fig.00-414d
LR:
P: Preset / S: Song / U: User
Algorithm
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.
Bank
Number Patch Name
Name
Fa d e r p o sitio n d isp la y
When you hold down [TRACK], the current positions of the
TRACK faders (1–8) are shown in the display.
fig.00-414ad
Your BR-864 allows you to automatically select the most
suitable “banks” by pressing an INPUT SELECT button.
For example, pressing the [GUITAR/ BASS] INPUT
SELECT button changes you to a guitar bank patch, and
pressing [LINE] changes you to a line bank patch.
Banks are a collection of effect patches.
Current positions of the TRACK faders (1–8)
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GTR:
Effect patches for use with guitars.
Some effect patches are particularly effective for stereo
recording.
MIC:
For recording in stereo, refer to “Selecting the recording
Effect patches for use on the sound from the MIC input
(i.e., vocals).
LIN (LINE):
“Effect Patch List” (separate sheet).
Effect patches for use on the sound from CDs, MDs, and
other external devices from the LINE input.
SML (SIMUL):
Re co rd in g w ith o u t in se rt e ffe cts
Effect patches for recording vocals and a guitar together.
Press [EFFECTS] repeatedly to turn off the insert effects.
The indicator goes out, and the sound will be recorded
without insert effects.
2 . Press CURSOR [ ] [ ] to align the cursor up with
the effect patch on the upper right side of the display,
and turn the TIME/VALUE dial to change the effect
patch.
Selecting “INPUT <REC DRY>” as the Insert mode allows
you to record the sounds without the insert effects while
listening to the sounds with the insert effects applied.
Preset patches (P)
“Changing how the insert effects are used according to the mode”
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.00-415
Memory Card
BR-864
SONG
Preset
Patch
User
Patch
Song
Patch
3 . Press CURSOR [ ] [ ] to align the cursor up with
the patch number on the upper right side of the
display, 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
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Pla y in g th e rh y th m g u id e
(5 ) Usin g th e rh y th m g u id e
Each time you press [ARRANGE/ PATTERN/ OFF] of the
W h a t is th e Rh y th m Gu id e ?
RHYTHM GUIDE, the status changes as shown below.
fig.00-417
When you record, it is convenient to use the built-in rhythm
guide.
The “rhythm guide” is a dedicated rhythm track that can not
only play back rhythm sounds as a guide during recording,
you can also use it to play internal rhythm patterns and
original user-created rhythm patterns and to play and record
these patterns as your own rhythm part performances.
ARRAN GE: Lit (Arra n g e m e n t Mo d e )
When you press [PLAY] to start playback or recording, the
rhythm arrangement. When [STOP] is pressed, the rhythm
arrangement stops as well.
By using the rhythm guide during recording, you can use the
track editor to edit in units of measures, synchronize outputs
with an external device, and perform other useful operations.
For more details, refer to “Editing the performance on a track
PATTERN : Fla sh in g (Pa tte rn Mo d e )
When you press [PLAY] to start playback or recording, the
rhythm pattern. When [STOP] is pressed, the rhythm pattern
stops as well.
You can also change the tempo or rhythm pattern during a
song. For more details, refer to “Section 3 Using the Rhythm
O FF: Un lit
The rhythm is turned off.
The rhythm guide features two modes, “Pattern mode” and
“Arrangement mode.”
* When you adjust the volume of the rhythm guide, use the
RHYTHM GUIDE fader.
fig.00-418a
Pa tte rn Mo d e
You can perform patterns and create your own original
patterns.
Arra n g e m e n t Mo d e
You can perform arrangements and create your own original
arrangements.
Patterns and arrangements are composed as shown below.
Ch a n g in g a rra n g e m e n ts
Pa tte rn
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
These are drum performance phrases from one to several
measures in length.
indicator lights up.
fig.00-418
Internal patterns (preset patterns) include prepared patterns
for intros, verses, fill-ins, and endings.
Arra n g e m e n t
Patterns arranged in the order they are performed (for
example, intro, verse, fill-in, and ending) and played at the
2 . Select an arrangement.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
selected tempo comprise a song.
fig.00-416
select the Preset/ Song and number.
fig.00-419d
Intro
Verse
Fill
Verse Ending
P: Preset / S: Song
Number
Arrangement name
The rhythm guide is preset with a wide variety of
arrangements, including the sound of a normal metronome.
For more details regarding the preset arrangements, refer to
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Preset Arrangements (P)
Ch a n g in g th e te m p o o f th e
a rra n g e m e n ts o r p a tte rn s
The preset arrangements contain preset data.
Their settings cannot be changed, and you cannot create
a new preset arrangement.
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.
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.
* The arrangement’s tempo setting is temporarily disabled.
1 . Press CURSOR [ ] [ ] and align the cursor up with
fig.00-420
Memory Card
“TEMPO” in the display.
BR-864
SONG
2 . Rotate the VALUE dial to adjust the tempo.
Preset
Arrangement
fig.00-421d
Song
Arrangement
Tempo
3 . Press [EXIT] to return to the Play screen.
Ch a n g in g p a tte rn s
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.00-420a
* The change in tempo is only temporary. If you want to change
* Tempos cannot be saved to patterns.
2 . Select a pattern.
Ta p p in g to ch a n g e th e te m p o o f
th e a rra n g e m e n ts o r p a tte rn s
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song and number.
fig.00-420bd
You can temporarily change the tempo of the arrangement or
pattern by the timing with which you press [TAP].
P: Preset / S: Song
Tap on [TAP] four or more times to change the tempo of the
arrangement or pattern. The tempo becomes that in which
you tapped.
Number
Pattern Name
* The arrangement’s tempo setting is temporarily disabled.
fig.00-422
Preset Patterns (P)
The preset patterns contain preset data.
Their settings cannot be changed, and you cannot create
a new preset pattern.
* The change in tempo is only temporary. If you want to change
Song Patterns (S)
* Tempos cannot be saved to patterns.
Song patterns can be written; however, the data for song
patterns are stored along with the song data to the
memory card.
fig.00-420c
Memory Card
BR-864
SONG
Preset
Pattern
Song
Pattern
3 . Press [EXIT] to return to the Play screen.
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Re co rd in g / p la y in g b a ck a so n g
fig.00-425
(6 ) Ba sic re co rd in g
(Recording in Mono)
Se le ctin g th e re co rd in g tra ck
1 . Press [TRACK] to switch between Tracks 1–4 and
Tracks 5–8.
The [TRACK] indicator is lit when Tracks 5–8 are
(Recording in Stereo)
selected.
fig.00-422a
If IN PUT SELECT [LIN E] o r [SIMUL] a re lit
fig.00-426
2 . Press either [1/5]–[4/8] at REC TRACK to select the
recording track.
If the button flashes in red, that track is ready for
recording.
or
fig.00-423
Since the input is stereo, the recording is normally performed
on two tracks. REC Press either REC TRACK [1] or [2] to
select tracks 1 and 2, or [3] or [4] to select tracks 3 and 4.
The status of each track can be determined from the
indicator on the button.
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 8 to be the
track to which to record.
Off:
Green: Recorded data exists on track.
Red: The track is selected for recording.
No recorded data exists on the track.
If a track with existing data is selected for recording, the
indicator will light alternately in orange and green.
Ab o u t th e re co rd in g (REC) m o d e s
Recording on the BR-864 is separated into three main modes.
If IN PUT SELECT [GUITAR/ BASS] o r
[MIC] a re lit
Use whichever mode is suitable in the course of bringing
your song to completion.
fig.00-427
fig.00-424
MASTERING
INPUT
BOUNCE
or
Guitar
Bass
L
L
1
2
1
2
1
2
R
R
3
.
Vocal
Mixing down
to two tracks
Finishing the song
with levels optimized
.
.
Since the input is mono, the recording is normally performed
as a mono recording onto one track. Press one of the eight
track buttons at REC TRACK to select the one track to which
to record.
Keyboard
8
However, if you want to record in stereo to increase the effect
of insert effects, you can simultaneously press the [1] and [2],
[3] and [4], [5] and [6], or [7] and [8], REC TRACK buttons for
stereo recording onto two tracks.
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IN PUT:
Pro ce d u re
Only the instrument sounds or other input sources are
recorded to the tracks. Sounds played back from other tracks
are not recorded.
fig.00-428a
1
BO UN CE:
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 Guide
in the recording as well.
4 3 2
MASTERIN G:
1 . Press [REC MODE] repeatedly until “INPUT” is
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.
indicated for REC MODE at the left of the screen.
fig.00-428d
* The Rhythm Guide cannot be used in this mode.
W h a t is a Ma ste rin g To o l Kit?
When creating an audio CD from your recorded songs, or
recording to an MD or similar media, the overall volume
needs to be restrained, so that even the loudest portions of
the songs are handled appropriately on the CD or MD.
However, this often results in an overall lowering of the
volume, resulting in a CD or MD that lacks excitement and
impact.
2 . Press [REC].
[REC] flashes in red and the BR-864 enters the recording
standby state.
fig.00-429
Flash
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 it’s at the maximum level. This also
makes it difficult to create powerful sounds.
3 . Press [PLAY].
The [REC] and REC TRACK buttons stop flashing in red
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.
and instead light solidly, and recording starts.
fig.00-430
Lit
* The Mastering Tool Kit features 19 pre-programmed “Preset
Patches” (P01-P19), 19 rewritable “User Patches” (U01-
U19), and 19 “Song Patches,” which are stored individually
4 . When you finish recording, press [STOP].
The REC TRACK button lights alternately in orange and
green, indicating that track contains recorded data.
for each song (S01-S19).
fig.00-428
* You cannot play back sounds recorded for less than one
second.
Memory Card
BR-864
SONG
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
Preset
Patch
User
Patch
Song
Patch
“Mastering Tool Kit Patch List” (separate sheet)
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(7 ) Pla y in g b a ck re co rd e d m u sic
(8 ) O ve rd u b b in g
(Re co rd in g a n a d d itio n a l p e rfo rm a n ce
1 . Press [ZERO] to move to the time location 00:00:00-00.0.
fig.00-431
w h ile liste n in g to a n e x istin g p e rfo rm a n ce )
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
2 . Press [PLAY].
Use the TRACK faders to adjust the volume separately
for each track.
Fa d e r p o sitio n d isp la y
perform other operations.
fig.00-434a
When you hold down [TRACK], the current positions of the
TRACK faders (1–8) are shown in the display.
fig.00-414ad
1
Current positions of the TRACK faders (1–8)
Sile n cin g th e so u n d o f sp e cific
tra ck s (Mu te )
6 5 4
2
3
During playback, hold down [DELETE/ MUTE] and press a
REC TRACK button that is lit in green and orange alternating
or green.
1 . Press [TRACK] to switch between Tracks 1–4 and
Tracks 5–8.
The [TRACK] indicator is lit when Tracks 5–8 are
selected.
The REC TRACK button will change to blinking in orange or
green, and the sound of that track will be muted (silenced).
2 . Press one of REC TRACK [1/5] to [4/8] to select the track
If you repeat the same operation, the button will return to its
previous lit state and the sound of that track will once again
to which to record.
be heard.
fig.00-433
By selecting a different track to record from the track
that you previously recorded, you can record a new part
while listening to the previously recorded part.
The status of each track can be determined from the
indicator on the button.
Off:
Green: Recorded data exists on track.
Red: The track is selected for recording.
No recorded data exists on the track.
If a track with existing data is selected for recording, the
indicator will light alternately in orange and green.
* If you choose a track to record that already contains data
(where the REC TRACK button is lit in green), the indicator
lights alternately in orange and green, and the new music
overwrites the previously recorded data.
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Re co rd in g / p la y in g b a ck a so n g
3 . Adjust the faders so the tracks being played back are at
(9 ) Ad ju stin g th e so u n d fo r
e a ch tra ck
a suitable level.
4 . Press [REC].
You can adjust the tone, panning, and volume balance for
each track individually.
[REC] flashes in red and the BR-864 enters the recording
standby state.
5 . Press [PLAY].
Se ttin g th e p o sitio n in g (p a n ) o f th e so u n d
The [REC] and REC TRACK button indicators change
from flashing in red to being continually lit and
recording begins.
1 . Press [PAN].
fig.00-434b
[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.
The Pan settings screen appears.
fig.00-434d
* If you use the INPUT LEVEL knob 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.
2 . Press CURSOR [ ] [ ] and turn the TIME/VALUE
To change the volume of the music being played back, use the
TRACK fader for the respective tracks.
dial to change each track pan settings.
* Pressing a REC TRACK button moves the cursor to the track
corresponding to the button pressed.
6 . When you finish recording, press [STOP].
* You cannot play back sounds recorded for less than one
second.
Pressing [TRACK] switches to between Tr1–4 and Tr5–8.
* Pressing [ENTER] sets this to “C00” (Center).
3 . Press [PAN] (or [EXIT]) to return to the Play screen.
Some tips for overdubbing
Ad ju stin g th e to n e (Tra ck EQ )
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.
“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.
1 . Press [EQ].
fig.00-435a
“Setting the left-right positioning (pan) of the
2 . 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.
Pressing [TRACK] switches to between Tr1–4 and Tr5–8.
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fig.00-435d
2 . Press CURSOR [ ] [ ] to move the cursor to “CHO/
DLY” or “REV,” and press [ENTER].
fig.00-437d
3 . 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
setting’s value.
fig.00-436d
3 . Press CURSOR [ ] [ ] until “FX Type” or “Type” is
displayed, then turn the TIME/VALUE dial to select the
loop effect.
For more on the settings content, refer to “Track EQ
When using CHO/DLY
Select from “CHORUS,” “DELAY,” or “DBLN”
(doubling).
4 . When you have finished making the settings, press
fig.00-438d
[EQ] (or [EXIT]) to return to the Play screen.
Ad d in g w id th to th e so u n d (Lo o p Effe ct)
The BR-864 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.
When using REV
Select from “HALL” or “ROOM.”
fig.00-439d
W h a t is a lo o p e ffe ct?
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-864).
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.
4 . If you want to change the settings for the selected
effect, press CURSOR [ ] [ ] to select the parameter,
then change the setting’s value with the TIME/VALUE
sounds, loop effects are applied to the complete track.
dial.
* You cannot use chorus, delay, and doubling simultaneously.
Any one may be selected while loop effects are in use.
fig.00-440d
1 . Press [LOOP EFFECTS].
fig.00-437a
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Re co rd in g / p la y in g b a ck a so n g
(
1 0 ) Bo u n ce
For more on the settings content, refer to “Loop Effect
(Pu ttin g m u ltip le tra ck s to g e th e r)
fig.00-444a
5 . Press CURSOR [ ] [ ] to display the Send Level
1
settings screen.
When using CHO/DLY
fig.00-441d
2
3
2
When using REV
fig.00-442d
6 5 4
1 . Press [REC MODE] repeatedly until “BOUNCE” is
indicated for REC MODE at the left of the screen.
fig.00-444d
6 . Press CURSOR [ ] [ ] and the TIME/VALUE dial to
adjust each track’s send level.
* Pressing a REC TRACK button moves the cursor to the track
corresponding to the button pressed.
● :
V-Tracks with recorded data.
V-Tracks without data.
Pressing [TRACK] switches to between Tr1–4 and Tr5–8.
● :
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.
2 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
The send level for each track is also indicated in the
select the track/V-track to which you want to record.
lower row of the display.
fig.00-443d
3 . Press [ENTER].
Return to the Play screen.
fig.00-445d
Send level of the each tracks
7 . After you have completed adjusting the send level,
4 . Press [REC].
press [EXIT] repeatedly to return to the Play screen
[REC] flashes in red and the BR-864 enters the recording
standby state.
fig.00-446
You can switch screens in the following sequence, with
the screen cycling to the next screen each time [LOOP
EFFECTS] is pressed.
Flash
Loop Effects selection screen → Send Level screen →
Type screen → Play screen
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Re co rd in g / p la y in g b a ck a so n g
5 . Press [PLAY].
(
1 1 ) Ma ste rin g
The [REC] and REC TRACK buttons stop flashing in red
After bouncing and getting the performance data down to
two tracks, apply the “Mastering Tool Kit” to obtain a master
and instead light solidly, and recording starts.
fig.00-447
Lit
with optimized levels.
fig.00-448a
1
6 . When you finish recording, press [STOP].
The REC TRACK button lights alternately in orange and
green, indicating that track contains recorded data.
2,4
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
3,5
2,4
If, after you’ve finished bouncing tracks, the BR-864 then
automatically switches to an empty V-track in order to
set up a recording-destination track other than the one to
which sounds have been bounced.
8 7 6
1 . Press [REC MODE] repeatedly until “MASTERING” is
indicated for REC MODE at the left of the screen.
fig.00-448d
● :
V-Tracks with recorded data.
V-Tracks without data.
● :
2 . Press cursor [ ] [ ] and turn the TIME/VALUE dial
to select the source tracks and V-Tracks from which
you want to record.
3 . Press [ENTER].
fig.00-449d
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Re co rd in g / p la y in g b a ck a so n g
4 . Turn the TIME/VALUE dial to select the V-track to
(
1 2 ) Tu rn in g o ff th e p o w e r
which you want to record.
To turn off the power, use the procedure described in
* In this case, although the source and destination tracks in this
recording process are the same. You cannot make these
changes on other tracks.
The next V-Track after the recording source is automatically
selected as the recording-destination V-Track.
Before you turn off the BR-864, make sure to first stop
any recording. If the BR-864 is turned off during
playback/ recording where the memory card is being
accessed, the recorded data, mixer settings, and effect
patch data may be lost.
5 . Press [ENTER].
Return to the Play screen.
* At this point, the Mastering Tool Kit is automatically selected
as the effect.
fig.00-450d
(
1 3 Re m o vin g th e m e m o ry ca rd
)
The power of the BR-864 must be turned off before
removing a memory card. 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.
6 . Press [REC].
[REC] flashes in red and the BR-864 enters the recording
standby state.
fig.00-451
Flash
7 . Press [PLAY].
The [REC] and REC TRACK buttons stop flashing in red
and instead light solidly, and recording (mastering)
starts.
fig.00-452
Lit
8 . When you finish recording (mastering), 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.
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Re co rd in g
If IN PUT SELECT [GUITAR/ BASS] o r
[MIC] a re lit
Se le ctin g th e re co rd in g tra ck
1 . Press [TRACK] to switch between Tracks 1–4 and
fig.01-102
Tracks 5–8.
The [TRACK] indicator is lit when Tracks 5–8 are
or
selected.
fig.01-100
Since the input is mono, the recording is normally performed
as a mono recording onto one track. Press one of the eight
track buttons at REC TRACK to select the one track to which
to record.
2 . Press either [1/5]–[4/8] at REC TRACK to select the
However, if you want to record in stereo to increase the effect
of insert effects, you can simultaneously press the [1] and [2],
[3] and [4], [5] and [6], or [7] and [8], REC TRACK buttons for
recording track.
If the button flashes in red, that track is ready for
recording.
fig.01-101
stereo recording onto two tracks.
fig.01-103
(Recording in Mono)
The status of each track can be determined from the
indicator on the button.
(Recording in Stereo)
Off:
Green: Recorded data exists on track.
Red: The track is selected for recording.
No recorded data exists on the track.
If a track with existing data is selected for recording, the
indicator will light alternately in orange and green.
If IN PUT SELECT [LIN E] o r [SIMUL] a re lit
fig.01-104
or
Since the input is stereo, the recording is normally performed
on two tracks. REC 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 8 to be the
track to which to record.
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Re co rd in g
Ch a n g in g V-Tra ck s
Ch a n g in g th e p o sitio n o f th e
in p u t so u n d
The BR-864 is a eight-track multitrack recorder, and each
track consists of eight V-Tracks. You can select any one of
these V-Tracks for recording or playback.
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.
Therefore, by making use of the many V-Tracks, you can use
the BR-864 just as if it were a 64-track multitrack recorder.
If this is the case, you can change the positioning (or
This allows a wide range of uses, such as recording one take
of a guitar solo or vocal, and then recording another take
without having to erase the first one. You can also then take
just the portions of the V-Tracks that you like and put them
together onto one track.
panning) of the INPUT (the instrument you are playing) and
record it so that it is not buried underneath the other sounds.
1 . Press [PAN].
The Pan settings screen appears.
fig.01-107d
“Editing the performance on a track (Track Editing)”
1 . Press [V-TRACK].
fig.01-105
2 . Press CURSOR [ ] to display “IN.”
fig.01-108d
The V-Track Selection screen appears. This screen shows
the numbers of the selected V-Tracks for each track.
fig.01-106d
3 . Turn the TIME/VALUE dial to change the pan settings.
The pan settings made here are automatically applied to
the track that you are recording to, so that after
recording is complete, you can listen to the track with
the same pan as that when it was recorded.
● :
V-Tracks with recorded data.
V-Tracks without data.
● :
4 . Press [PAN] (or [EXIT]) to return to the Play screen.
2 . Use [TRACK] and the REC TRACK [1/5]–[4/8] to select
the track to be altered.
* You can also select tracks with CURSOR [ ] [ ].
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.
3 . Turn the TIME/VALUE dial and change the V-Track.
4 . After you finish changing the V-Track,
press [V-TRACK] (or [EXIT]) to return to the Play
screen.
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Re co rd in g
* The following operations cannot be used, or are disabled, while
the recorder is in use (during recording and playback).
Re co rd in g O p e ra tio n s
1 . Press [REC MODE] repeatedly until “INPUT” is
•
•
•
•
•
•
•
•
•
•
•
•
Recording patterns
indicated for REC MODE at the left of the screen.
fig.01-109d
Editing arrangements
Selecting drum kits
[USB]
[TONE LOAD]
Switching to the SONG SELECT screen
Switching to the SONG NEW screen
Switching to the SONG INFORMATION screen
Switching to the SONG EDIT screen
Track Editing
2 . Press [REC].
[REC] flashes in red and the BR-864 enters the recording
standby state.
fig.01-110
Switching to the SYNC screen
Switching to the INITIALIZE screen
Flash
3 . Press [PLAY].
The [REC] and REC TRACK buttons stop flashing in red
and instead light solidly, and recording starts.
fig.01-111
Lit
4 . When you finish recording, press [STOP].
The REC TRACK button lights alternately in orange and
green, indicating that track contains recorded data.
* You cannot play back sounds recorded for less than one
second.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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Re p e a tin g Pla y b a ck (Re p e a t)
By using the “Repeat function” you can repeatedly play back
a specified part. Repeating playback allows you to check the
punch in/ out functions.
2 . After registering the repeat start point (A), register the
repeat end point (B).
Move to the position where you want the repeat to end
and press [REPEAT].
fig.01-203
The position in the song where [REPEAT] is pressed first
becomes repeat start point (A), and the position where it is
pressed a second time becomes repeat end point (B). The
portion between the two points is then repeated during
playback.
fig.01-201
That position becomes repeat end point (B).
Repeat
The [REPEAT] indicator lights, telling you that the
repeat end point (B) has been registered.
To re-do the registration, press [REPEAT] once again.
Time
The [REPEAT] indicator goes out, and the registered
repeat start point (A) and end point (B) are deleted.
Repeat Start
(A)
Repeat End
(B)
Then press [REPEAT] again and register repeat start
point (A) and end point (B) as desired.
Press [REPEAT] again to cancel the repeat function and
delete the start and stop points.
* 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.
Se ttin g th e re p e a t p o rtio n
* 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).
1 . Enter the repeat start point (A).
Move to the position where you want the repeat to start
and press [REPEAT].
fig.01-202
3 . 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.
The position is set as repeat start point (A).
The [REPEAT] indicator begins to flash, telling you that
the repeat start point (A) has been registered.
If you wish to re-do the registration, you can cancel the
registered location by pressing [REPEAT] when the
current location is the same as the repeat start point (A).
If the current location is beyond the repeat start point
(A), press [REPEAT] twice to cancel the registration.
The [REPEAT] indicator goes out, and the registered
repeat start point (A) and end point (B) are deleted.
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Re p e a tin g Pla y b a ck (Re p e a t)
* 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.
Se ttin g th e re p e a t p o rtio n
w ith a ccu ra te tim in g
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.
* You can set the repeat portion to one measure by pressing
[REPEAT] twice at the same position.
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.
When the repeat portion is set, you can use the following
functions to edit your recorded track data.
•
•
•
The quantize function allows you to set the timing in one-
measure units.
Perform the procedure given below to use the quantize
function.
Before using these functions, you can use the quantize
function to set the repeat portion with accurate timing.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.01-204d
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.01-205d
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.
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Re -re co rd in g o n ly a m ista k e (Pu n ch -in / o u t)
You may occasionally make a mistake while recording, or the
Ma n u a lly p u n ch in g in a n d o u t
u sin g [REC]
performance may not turn out as you expect. In this case, you
can punch in/ out to re-record only the portion that is
As an example of use, the explanation below assumes you
mistaken.
are manually punching in and out to re-record a portion of
Changing to recording during the playback of a song is
track 1, which is a track to which you have already recorded.
referred to as punching in, and changing from recording to
playback is referred to as punching out.
1 . Press REC TRACK [1].
Therefore, punch in at the location where you want to begin
the re-recording, and punch out at the location where you
REC TRACK [1] lights alternately in orange and green.
2 . Place the fader for track 1 at the location shown below.
fig.01-302
want the re-recording to end.
fig.01-301
Playback
Recording
Playback
Time
]
Start
Punch-In
Punch-Out
Stop
[
]
[
]
[
]
[
STOP
PLAY
REC
REC
3 . Start playback and adjust the volume of the input
With your BR-864, you can choose from manual or automatic
punching in/ out.
source using the INPUT LEVEL knob.
Listen to the track you will be re-recording and the input
source and adjust the volume of the input source using
the INPUT LEVEL knob so that it is the same level as the
track.
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
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-864 starts recording.
Ma n u a lly p u n ch in g in / o u t
6 . To punch out, press [REC] (or [PLAY]) again.
You can use the button on the BR-864 or a foot switch to
punch in or out.
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.
When you are playing an instrument and performing the
recording by yourself, it may be difficult to punch in or out
using the button on the BR-864. If this is the case, you can use
a separately sold foot-switch (BOSS FS-5U, Roland DP-2, etc.)
and use your feet to punch in and out.
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.
* 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.
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.
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Re -re co rd in g o n ly a m ista k e (Pu n ch -in / o u t)
Ma n u a lly p u n ch in g in a n d o u t
u sin g a fo o t sw itch
Au to p u n ch in g in a n d o u t
Automatically punching in and out at predetermined
locations (or times) in the song is referred to as “auto
punching in/out.”
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.
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.
In o rd e r to u se a fo o t sw itch
When you are using a foot switch (BOSS FS-5U, Roland DP-2,
etc.) to punch in and out, connect the foot switch to the
FOOT SW jack on the BR-864 and change the function of the
FOOT SW jack by following the procedure given below.
Sp e cify in g th e a re a fo r a u to
p u n ch in g in / o u t
Before you begin recording, you must register the locations
at which punch-in and punch-out will occur automatically.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
1 . Register the location where you want to punch in.
and press [ENTER].
fig.01-303d
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] indicator lights,
telling you that the punch-in position is registered.
fig.01-305
* If the AUTO PUNCH [IN] indicator 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.
3 . Press CURSOR [ ] [ ] and select “Foot SW.”
fig.01-304d
At this time, the AUTO PUNCH [OUT] indicator lights,
telling you that the punch-out position is registered.
fig.01-306
4 . Turn the TIME/VALUE dial and select “PUNCH”
(PUNCH IN/OUT).
* If the AUTO PUNCH [OUT] indicator is lit, you will
automatically move to the registered punch-out time when this
button is pressed.
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.
If you want to punch in/ out at a previously set locator
point, press [LOCATOR] to move to the locator point,
and press AUTO PUNCH [IN] or AUTO PUNCH [OUT].
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Re -re co rd in g o n ly a m ista k e (Pu n ch -in / o u t)
6 . Press [REC] to place the BR-864 in recording standby
Era sin g a re g iste re d a u to p u n ch
in / o u t lo ca tio n
and then press [PLAY].
Recording automatically starts at the auto punch-in
location, so start playing what you want to record.
●
To erase an auto punch-in location, press and hold
AUTO PUNCH [ON/OFF] and then press [IN].
At the point you specified for punch-out, the track will
automatically change back to play mode.
●
To erase an auto punch-out location, press and hold
AUTO PUNCH [ON/OFF] and then press [OUT].
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.
When the settings are erased, the AUTO PUNCH [ON/ OFF],
[IN], and [OUT] indicators go out.
* If you want to save the auto punch in/out settings in the
currently selected song, hold down [STOP], and press [REC].
8 . Listen to the re-recorded results.
Return the song to a point earlier than you re-recorded,
and play it back.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
Adjust the volume of track 1 using the TRACK fader.
Ho w to Re co rd
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.01-307
3 . Make sure that the AUTO PUNCH [ON/OFF] indicator
is dark.
If it is lit, press AUTO PUNCH [ON/ OFF] to make the
indicator go dark.
4 . Start playback and adjust the volume of the input
source using the INPUT LEVEL knob.
Listen to the track you will be re-recording and the input
source and adjust the volume of the input source using
the INPUT LEVEL knob so that it is the same level as the
track.
5 . Move to a position before where you want to start re-
recording and press AUTO PUNCH [ON/OFF].
The indicator lights up, showing that the auto punch in
and out have been set.
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Re -re co rd in g o n ly a m ista k e (Pu n ch -in / o u t)
Ho w to Re co rd
Re p e a te d ly Re co rd in g O ve r th e
Sa m e Lo ca tio n (Lo o p Re co rd in g )
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.
portion of a song (the loop portion) over and over again.
1 . Press REC TRACK [1].
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.
REC TRACK [1] lights alternately in orange and green.
2 . Place the fader for track 1 at the location shown below.
fig.01-309
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.
the song and adjust the volume of the input source
using the INPUT LEVEL knob.
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.
Se ttin g th e p o rtio n to b e re p e a te d
Before you begin recording, you will need to set the starting
and ending position of the portion to be repeated.
4 . Press [STOP].
* The portion to be repeated should contain the portion that you
wish to re-record (the portion between the punch-in and
5 . Press AUTO PUNCH [ON/OFF].
The indicator lights, showing that the auto punch in and
out have been set.
punch-out points).
fig.01-308
6 . When you are ready to record, press [REC], then press
Repeat
[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.
Playback
Recording
Playback
Time
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.
Repeat Start Punch-In
(A)
Punch-Out Repeat End
(B)
If the portion to be re-recorded is not fully contained in the
repeat portion, the recording may not start or end as desired.
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 indicator go dark.
9 . Press AUTO PUNCH [ON/OFF] to make the indicator
go dark.
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Ca n ce lin g a n O p e ra tio n (Un d o / Re d o )
Occasionally when the recording you make may not turn out
Re ve rsin g th e la st o p e ra tio n
as you wish, or the settings you make for an editing
(Un d o )
operation are incorrect, and you want to reverse what you
have done. At these times, you can use the “Undo function.”
1 . Press [UNDO/REDO].
The Undo function reverses the action you have just
“UNDO?” appears.
fig.01-401d
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
2 . To execute Undo, press [ENTER] (YES).
you were in immediately after the second recording, you
Press [ENTER] to reverse the last performed recording or
would use the Redo function.
editing operation.
* After you have performed an Undo, you can only perform a
If you decide not to Undo, press [EXIT] (NO).
Redo (you cannot perform an Undo again).
* If you record something, or carry out Track Edit after
Ca n ce lin g th e Un d o (Re d o )
performing an Undo, it will no longer be possible to perform a
Redo.
To reverse the Undo you just executed, perform a Redo.
* Undos only affect audio data recorded to the tracks. You
1 . Press [UNDO/REDO].
cannot undo changes made to parameter settings, or data other
“REDO?” appears.
fig.01-402d
than audio data.
* Keep in mind that the history of all operations you’ve carried
out with respect to the recorded data will be cleared as soon as
you execute Song Optimize, you’ll no longer be able to perform
an undo.
2 . To execute Redo, press [ENTER] (YES).
The Undo you just performed is reversed.
If you decide not to Redo, press [EXIT] (NO).
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Usin g th e in se rt e ffe cts
The BR-864 comes with four effects processors: an insert
effects, loop effects, Track EQ, and Mastering Tool Kit.
Pre se t p a tch e s (P)
The preset patches contain preset data. Their settings can be
changed, but you cannot create a new preset patch.
An insert effects, loop effects, and Track EQ can be used
simultaneously, and you can make settings for each effect as
desired.
Use r p a tch e s (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.
Here is an explanation of how to change the various
parameters for the insert effects and how to then save those
changes.
So n g p a tch e s (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.01-502
Insert effects are applied during recording, in addition
they are applied during the mixing of the various tracks
as well. For more details, refer to “Changing how the
Memory Card
BR-864
SONG
Preset
Patch
User
Patch
Song
Patch
Effe ct p a tch e s a n d b a n k s
* Song patches (S) cannot be selected unless a memory card is
inserted.
The effects used by insert effects and the parameters of each
effect are changed by calling up “effect patches.”
Your BR-864 comes equipped with a number of preset effect
patches for use with vocals and instruments. These are
grouped according to different input sources and each group
Your BR-864 is shipped with the user patches (U) and
song patches (S) containing the same patches as the
preset patches (P).
is called a “bank.”
fig.01-501
INPUT SELECT
When you create a new song, copies of the patches in the
song patches (S) are made in the preset patches (P) for
each bank.
GUITAR/BASS MIC
LINE
SIMUL
Guitar Bank Mic Bank Line Bank Simul Bank
GTR
MIC
LIN
SML
P01
P01
P01
P01
.
.
.
.
.
.
.
.
Preset
Patch
P99
P40
P50
P50
U01
U01
U01
U01
.
.
.
.
.
.
.
.
User
Patch
U99
U40
U50
U50
S01
S01
S01
S01
.
.
.
.
.
.
.
.
Song
Patch
S99
S40
S50
S50
Your BR-864 allows you to automatically change banks by
pressing an INPUT SELECT button. For example, pressing
the [GUITAR/ BASS] INPUT SELECT button changes you to
a guitar bank patch, and pressing [LINE] changes you to a
line bank patch.
Also, within each bank, effect patches are further grouped as
shown below.
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Usin g th e in se rt e ffe cts
fig.01-505d
Ed itin g in se rt e ffe ct se ttin g s
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 . Press [EFFECTS].
The Effect Settings screen appears.
fig.01-503d
By pressing [ENTER] while the cursor is at a bank–
number, you can display the Edit Effect screen directly.
P: Preset / S: Song / U: User
Algorithm
Bank
Number Patch Name
Name
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.01-506d
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
5 . Press CURSOR [ ] [ ] to move the cursor to the
effect with the parameter that you want to change and
press [ENTER].
displayed.
fig.01-504d
The Parameter Setting screen for each effect appears.
fig.01-507d
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 5–6.
●
When effect patches in the SIMUL bank are selected,
“GTR” and “MIC” appear.
8 . If you wish to save the current effect settings, perform
the procedure described in “Saving insert effect
settings,” next.
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].
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Usin g th e in se rt e ffe cts
4 . Press CURSOR [ ] [ ] to move the cursor to
“WRITE,” and press [ENTER].
fig.01-509d
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.
Sa vin g in se rt e ffe cts se ttin g s
(W rite )
Follow the procedure below to enter a name (patch name) for
an effect that you’ve modified, and save it as a new effect
patch.
5 . Turn the TIME/VALUE dial to select the number to
which to write the new effect patch.
* You cannot save an effect patch during the recording or
playback of a song.
6 . After you’ve selected the destination, press [ENTER].
After the save has been completed, you are returned to
the Edit Effect screen.
1 . Entering the patch name.
* If you do not need to change patch name, go to “4.”
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
At the Edit Effect screen, press CURSOR [ ] [ ] to
move the cursor to “NAME,” and press [ENTER].
The Patch Name Setting screen appears.
fig.01-508d
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
screen (Effect Edit screen) two screens previous.
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Usin g th e in se rt e ffe cts
IN PUT<REC DRY>:
Ch a n g in g h o w th e in se rt e ffe cts a re
u se d a cco rd in g to th e m o d e
The sound is monitored through the insert effect but is
recorded without the effect (dry).
fig.01-512
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.
TRACK 1
(REC)
On the BR-864, you can accommodate a wide variety of
situations by changing the point to which the insert effects
are connected.
TRACK 1 –8 , 1 &2 , 3 &4 , 5 &6 , 7 &8 :
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.
Follow the procedure below to change where insert effects
are connected.
1 . Press [UTILITY].
fig.01-513
2 . Press CURSOR [ ] [ ] to move the cursor to “EFX,”
TRACK 1
(PLAY)
and press [ENTER].
fig.01-510d
RHYTHM:
The insert effect can be applied to the playback of a
Rhythm Guide.
fig.01-513a
Rhythm
Guide
MASTER:
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.
3 . Turn the TIME/VALUE dial to switch the “Insert
Mode.”
fig.01-514
TRACK 1
(PLAY)
IN PUT<N O RMAL>:
TRACK 2
(PLAY)
The sound is monitored and recorded after it passes
through the insert effect. Normally you will use the BR-
TRACK 8
(PLAY)
864 with this setting.
fig.01-511
Rhythm
Guide
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
TRACK 1
(REC)
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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Pu ttin g m u ltip le tra ck s to g e th e r (Bo u n ce )
Although the BR-864 allows the simultaneous playback of
eight tracks, when you run out of tracks, the BR-864 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 3 and 4.
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).
In bounce mode, you can play back eight tracks
simultaneously and record them all to a single, separate
V-Track.
2 . Play back the song and adjust the volumes for the eight
When input sources are selected with INPUT SELECT,
you can have those sounds recorded together.
tracks 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.
Furthermore, you can include the sounds from the
rhythm guide in the recording.
fig.01-601
Lower the faders for the tracks that you do not want to
mix.
TRACK 8-V1
TRACK 7-V1
TRACK 6-V1
TRACK 5-V1
TRACK 4-V1
TRACK 3-V1
TRACK 2-V1
* When using bounce recording, you can record the sounds with
applied. When using the insert effects, refer to “Changing how
TRACK 1-V1
RHYTHM
INPUT
Track 1–8
Rhythm Guide
3 . Press [STOP].
4 . Press [REC MODE] repeatedly until “BOUNCE” is
indicated for REC MODE at the left of the screen.
The track selection screen appears for stereo recording.
TRACK 8-V2
TRACK 7-V2
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the recording-destination track/V-Track.
Separate V-Track
Here, set this to “34V2” (V-Track 2 of Tracks 3 and 4).
fig.01-602d
● :
V-Tracks with recorded data.
V-Tracks without data.
● :
(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.
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Pu ttin g m u ltip le tra ck s to g e th e r (Bo u n ce )
fig.01-603d
1 1 . 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.
6 . Press [ENTER] to confirm the screen for specifying the
recording-destination track.
Return to the Play screen.
The REC TRACK button for the track selected as the
recording destination flashes in red.
If the selected recording destination track already has
data recorded to it, the REC TRACK button for that
selected recording destination track alternately lights up
in orange and green.
The [INPUT SELECT] indicator goes out, and the input
source is automatically muted. This prevents the input
source from being mixed in and recorded during bounce
recording.
* If you wish to mix an input source as part of the bounce
recording, press [INPUT SELECT] to select the desired input
sound of the input source.
7 . If you want to mix in the sound of the rhythm guide as
well, increase the RHYTHM GUIDE fader.
If you do not want to record the rhythm guide, lower the
fader.
8 . After pressing [ZERO] to return to the time location
00:00:00-00.0, press [REC] and then press [PLAY] to start
bounce recording.
9 . 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.
1 0 . Press [PLAY] to check the sound bounced to tracks 3
and 4.
The pan for tracks 3 and 4, where the music was
bounced, is set all the way to the left and right
respectively.
In order to prepare for the next recording, when the
bounce is finished, the tracks (1–2 and 5–8) other than
those that were bounced to (3 and 4) are automatically
switched to the V-Tracks that are empty.
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Usin g th e lo o p e ffe cts/ Tra ck EQ
Here is an explanation of how to change the various
parameters for the loop effects (chorus/ delay/ doubling/
reverb).
W h e n u sin g REV
Select either “HALL” or “ROOM.”
fig.01-703d
For an explanation of loop effects, refer to “Loop Effect
Loop effects do not have “patches.” Loop effect settings
are saved along with the song data.
4 . To change the settings for the selected effect, press
If you want to save the settings in the currently selected
song, hold down [STOP], and press [REC].
CURSOR [ ] [ ] to select the parameter and turn the
TIME/VALUE dial to change the set value.
fig.01-704d
Se le ctin g th e lo o p e ffe ct
* You cannot use the chorus, delay, and doubling effects
together. You must choose only one.
1 . Press [LOOP EFFECTS].
For a description of the parameters for each effect, refer
2 . Press CURSOR [ ] [ ] to move the cursor to “CHO/
DLY” or “REV,” and press [ENTER].
fig.01-701d
5 . When you finish making settings,
press [EXIT] repeatedly to return to the PLAY screen.
Do u b lin g
When you want to spread out the guitar backing sound
to the left and right, record the same guitar backing
separately to two tracks, then pan the sounds to the left
and right. This is known as “doubling.”
By using the “DBLN” loop effect, you can produce a
doubling effect even from a single-track (mono)
recording, allowing you to make more efficient use of
the tracks.
* If you want to emphasize the doubling effect, pan the track
completely to the right or to the left and increase the
doubling effect level. In addition, use the following
procedure to raise the send level.
3 . Press CURSOR [ ] [ ] until “FX Type” or “Type” is
displayed, then turn the TIME/VALUE dial to select the
loop effect.
W h e n u sin g CHO / DLY
Select from “CHORUS,” “DELAY,” or “DBLN”
(doubling).
fig.01-702d
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Usin g th e lo o p e ffe cts/ Tra ck EQ
Ad ju stin g h o w th e lo o p e ffe ct is
a p p lie d
If you then press CURSOR [ ], the screen for setting
the input-source send level appears in the display; if you
press CURSOR [ ], the one for setting the rhythm
guide send level is displayed.
The following explains how you can alter the volume of the
signals sent by each track to the loop effects (the send level),
and control the degree to which the loop effects are applied.
fig.01-708d
1 . Press [LOOP EFFECTS].
2 . Press CURSOR [ ] [ ] to move the cursor to “CHO/
DLY” or “REV,” and press [ENTER].
fig.01-705d
fig.01-709d
To adjust the send level for the input source, move the
cursor to “In Send.” To adjust the send level for the
rhythm guide, move the cursor to “Rhy Send.” The
setting is adjusted by turning the TIME/ VALUE dial to
the desired value.
5 . After you have completed adjusting the send level,
press [EXIT] repeatedly to return to the Play screen
3 . Press CURSOR [ ] [ ] to select the screen for setting
the send level of each track appears.
You can switch screens in the following sequence, with
the screen cycling to the next screen each time [LOOP
EFFECTS] is pressed.
W h e n u sin g CHO / DLY
fig.01-706d
Loop Effects selection screen → Send Level screen →
Type screen → Play screen
W h e n u sin g REV
fig.01-707d
4 . Use [CURSOR] and the TIME/VALUE dial to adjust
the send level for each track.
* Pressing a REC TRACK button moves the cursor to the track
corresponding to the button pressed.
Pressing [TRACK] switches to between Tr1–4 and Tr5–8.
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Usin g th e lo o p e ffe cts/ Tra ck EQ
Se ttin g th e Tra ck EQ
This section explains how to edit the Track EQ settings
(parameters).
For a fuller description of Track EQ, refer to “Track EQ
Track EQ do not have “patches.” Loop effect settings are
saved along with the song data.
If you want to save the settings in the currently selected
song, hold down [STOP], and press [REC].
1 . Press [EQ].
2 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
set the EQ On/Off for each track.
* Pressing a REC TRACK button moves the cursor to the track
corresponding to the button pressed.
Pressing [TRACK] switches to between Tr1–4 and Tr5–8.
fig.01-711d
3 . To change the EQ settings, press CURSOR [
]
repeatedly to display the parameter screen, then turn
the TIME/VALUE dial to change the settings value.
fig.01-712d
4 . After you have completed the setting, press [EQ] or
[EXIT] to return to the Play screen
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Ma ste rin g
Use the “Mastering Tool Kit” to produce a two-track master
of the bounce tracks with the levels optimized.
1 . Press [REC MODE] several times until “MASTERING”
is indicated for REC MODE at the left of the screen.
The Mastering screen appears in the display.
fig.01-801d
W h a t is Ma ste rin g To o l Kit?
When creating an audio CD from your recorded songs,
or recording to an MD or similar media, the overall
volume needs to be restrained, so that even the loudest
portions of the songs are handled appropriately on the
CD or MD. However, this often results in an overall
lowering of the volume, resulting in a CD or MD that
lacks excitement and impact.
● :
V-Tracks with recorded data.
V-Tracks without data.
● :
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 it’s at the
maximum level. This also makes it difficult to create
powerful sounds.
2 . Press CURSOR [ ] [ ] and turn the TIME/VALUE
dial to select the recording source tracks and V-Tracks.
3 . Press [ENTER] to bring up the screen for specifying the
recording-destination track.
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.
* In this case, although the source and destination tracks in this
recording process are the same. You cannot make these
changes on other tracks.
The next V-Track after the recording source is automatically
We recommend mastering with the Mastering Tool Kit
in the final stage of creating songs.
selected as the recording-destination V-Track.
fig.01-802d
* The Mastering Tool Kit features 19 pre-programmed
“Preset Patches” (P01–P19), 19 rewritable “User
Patches” (U01–U19), and 19 “Song Patches,” which are
stored individually for each song (S01–S19).
fig.01-800
Memory Card
BR-864
SONG
4 . Turn the TIME/VALUE dial to select the track and V-
Preset
Patch
User
Patch
Track to which you want to record.
Song
Patch
5 . Press [ENTER] to confirm the recording-destination
track and return to the Play screen.
The REC TRACK button for the track selected as the
recording destination flashes in red.
“Mastering Tool Kit Patch List” (separate sheet)
If the recording source track contains data, the REC
TRACK button for the selected recording destination
track alternately lights up in orange and green.
* In Mastering mode, the following buttons are disabled after
you set the recording source and destination and return to the
Play screen. In addition, you cannot make Insert mode settings
* At this point, the Mastering Tool Kit is automatically selected
as the effect.
[INPUT SELECT], [TUNER], [PAN], [EQ],
[LOOP EFFECTS], [PHRASE TRAINER],
[ARRANGE/ PATTERN/ OFF], [TONE LOAD]
[RHYTHM PAD], [V-TRACK]
6 . Press [EFFECTS].
The Mastering Tool Kit selection screen appears in the
display.
fig.01-803d
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Ma ste rin g
7 . Press CURSOR [ ] [ ] and turn the TIME/VALUE
Ed itin g th e Ma ste rin g To o l Kit
se ttin g s
dial to select the Mastering Tool Kit bank and number.
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.
“Mastering Tool Kit Patch List” (separate sheet)
8 . Press [EXIT] to return to the Play screen.
9 . Press [REC].
If you wish to save the effect settings that you edited, save
them as a user patch or song patch.
[REC] flashes in red and the BR-864 enters the recording
standby state.
fig.01-804
mode.
Flash
The Mastering Tool Kit selection screen appears.
fig.01-806d
P: Preset / S: Song / U: User
Algorithm
Bank
Number Patch Name
1 0 . Press [PLAY].
Name
The [REC] and REC TRACK buttons stop flashing in red
and instead light solidly, and recording starts.
fig.01-805
Lit
2 . Select a Mastering Tool Kit.
1 1 . When you finish mastering, press [STOP].
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song/ User and number.
3 . 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.01-807d
You can also display this screen directly by pressing
[ENTER] while the cursor is positioned at the Preset/
Song/ User or number.
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Ma ste rin g
fig.01-809d
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.
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.
fig.01-808d
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.
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
4 . Press CURSOR [ ] [ ] to move the cursor to
return to the previous screen, and repeat steps 5-6.
“WRITE,” and press [ENTER].
8 . If you wish to save the current effect settings, perform
the procedure described in “Saving mastering tool kit
settings,” below.
The Write screen appears.
fig.01-810d
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.
Sa vin g th e Ma ste rin g To o l
Kit se ttin g s (W rite )
5 . Turn the TIME/VALUE dial to select the number to
This assigns a name (patch name) to the edited patch settings
and saves the settings.
which to write the new patch.
6 . After you’ve selected the destination, press [ENTER].
* You cannot write patches while songs are being recorded or
played back.
After the save has been completed, you are returned to
the Effect screen.
1 . Entering the patch name.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
* If you do not need to change patch name, go to “4.”
At the Edit Effect screen, press CURSOR [ ] to move
the cursor to “NAME,” and press [ENTER].
The Patch Name Setting screen appears.
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Disp la y in g th e so n g in fo rm a tio n
Disp la y in g th e re m a in in g
a va ila b le re co rd in g tim e
Disp la y in g th e m e m o ry ca rd u sa g e
Follow the procedure below to display the current condition
of the memory card being used.
Follow the procedure below to either display the elapsed
recording time or the remaining available recording time in
the recording standby and recording screens.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “INF,”
1 . Press [UTILITY].
and press [ENTER].
fig.01-904d
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.01-901d
3 . Press CURSOR [ ] [ ] to select the parameter to be
displayed.
Name of the currently selected song
fig.01-905d
3 . Press CURSOR [ ] [ ] to select “Remain Inf,” and
turn the TIME/VALUE dial to select “ON” or “OFF.”
fig.01-902d
Song’s data type and memory used (Size: MB)
fig.01-906d
ON:
Displays the remaining available recording
time in “minutes: seconds.”
Data Type
HiFi (MT2):
STD (LV1):
LONG (LV2):
High-quality recording type
Standard recording type
Long recording type
OFF:
Displays the elapsed recording time.
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
Remaining memory
fig.01-907d
* 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-864
into record standby ([REC] flashes), the remaining recording
* The song sizes are displayed in units of 1M = 1,000,000 bytes.
The size displayed is an approximation.
time is displayed in the TIME area.
fig.01-903d
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
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Re g iste rin g tim e (Lo ca to r Fu n ctio n )
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.
Re g iste rin g a lo ca to r p o in t
1 . At the Play screen, move to the location where you
want to register the locator point.
2 . Press [LOCATOR].
When the [LOCATOR] indicator lights up, registration is
complete.
fig.02-101
Mo vin g to th e lo ca to r p o in t
1 . Press [LOCATOR].
This moves you to the time in the song registered as a
locator point.
De le tin g a lo ca to r p o in t
1 . Press and hold AUTO PUNCH [ON/OFF], then press
[LOCATOR].
The locator point is deleted.
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Se a rch fo r th e m u sic’s sta rt a n d e n d (Scru b / Pre vie w )
Scru b Fu n ctio n
When editing a sound, some times you need to know exactly
Scru b b in g to fin d th e m u sic
sta rtin g / e n d in g p o in t
where the sound starts, or exactly where the recording with
an auto punch in starts.
1 . Hold down [STOP] and press [PLAY].
To enable you to find these points accurately, the BR-864 is
The [PLAY] indicator begins flashing and scrubbing
equipped with the Scrub Function.
starts.
When you use the Scrub Function during playback (called
At this time, The Track 1–8 LEVEL meters are displayed.
“scrubbing”), the portion from your before or after the
The “
” (SCRUB TO) and “
” (SCRUB FROM)
current location (approximately 45 msec) is played back and
repeated.
displayed at the TEMPO position in the screen are the
scrub points with respect to the current position.
Pre vie w Fu n ctio n
With the Preview Function, you can playback the one-second
portion of the song before or after your current position.
When the cursor is set under the scrub point, it is
possible to change scrub point by TIME/ VALUE dial.
fig.02-202d
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.02-201
Now Time
fig.02-203d
Sound Data
Time
SCRUB
TO
SCRUB
FROM
Approx. 45 msec
You can press [PLAY] to preview the material to or from the
currently selected scrub point.
PREVIEW
TO
PREVIEW
FROM
Approx. 1.0 msec
Approx. 1.0 msec
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.
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.
You can now press [LOCATOR] to register a locator point so
that you can find the point easily later.
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Se a rch fo r th e m u sic’s sta rt a n d e n d (Scru b / Pre vie w )
Ch a n g in g th e scru b p o in ts
En a b lin g u se o f th e Pre vie w
fu n ctio n w ith [REW ] a n d [FF]
you can also use the following method to switch the scrub
point.
can also set the unit so that [REW] and [FF] can be used with
the Preview function.
1 . Press [UTILITY].
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SCR,”
and press [ENTER].
fig.02-204d
2 . Press CURSOR [ ] [ ] to move the cursor to “SCR,”
and press [ENTER].
fig.02-206d
3 . Press CURSOR [ ] [ ] to select “FROM/TO,” and
turn the TIME/VALUE dial to change scrub points.
fig.02-205d
3 . Press CURSOR [ ] to select “Preview SW,” and turn
the TIME/VALUE dial to set “ON.”
fig.02-207d
TO:
Scrubs to your current position.
FROM: Scrubs from your current position.
This enables use of the Preview Function.
4 . After completing the setting, press [UTILITY] (or press
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
[EXIT] repeatedly) to return to the Play screen.
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.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
You can temporarily switch to Preview during scrub
with the following operations.
Press [REW]:
Press [FF]:
PREVIEW TO
PREVIEW FROM
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
The BR-864 allows you to edit your songs by performing
Co p y in g th e re p e a te d p o rtio n (AB)
editing functions such as copying and moving data recorded
Perform the procedure given below to copy the portion from
on the tracks.
the repeat start (A) to the repeat end (B).
Ex. 1: Copying twice to the same track
fig.02-302
Ab o u t th e Me a su re / Tim e Sp e cifica tio n scre e n
Measures and time are specified in the “S” (Start), “E”
(End), and “T” (To) screens in Track Edit as shown
below.
fig.02-301d
S (Start) / E (End) / T (To)
Repeat
Start (A)
Repeat TO
End (B)
Time
Measure Beat
(Example)
Ex. 2: Copying twice to another track
fig.02-303
Hours Seconds Frame
Minutes
Sub Frame
Repeat
Start (A)
Repeat TO
End (B)
Time
Data is saved in its edited form when you return to the Play
screen from the Track Edit screen.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
* During automatic updating, “Keep power on!” appears in the
upper line of the display, while the lower line shows what is
being processed.
and press [ENTER].
fig.02-304d
To copy, move, or erase repeated portions, you first need to
set the portion to be repeated, using the procedure described
Co p y in g d a ta (Tra ck Co p y )
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.
3 . Press CURSOR [ ] [ ] to move the cursor to “CPY,”
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.
and press [ENTER].
fig.02-305d
* 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.
The three types of Track Copy are given below.
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
4 . Turn the TIME/VALUE dial to select “AB” and press
Co p y in g b y sp e cify in g th e tim e
(TME/ MES)
[ENTER].
fig.02-306d
Perform the procedure given below to copy the portion
between specific times.
Ex. 1: Copying twice to the same track
fig.02-309
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-Track to copy from, and track/V-
Track to copy to.
START
END
TO
Time
Ex. 2: Copying twice to another track
fig.02-310
6 . Press [ENTER].
fig.02-307d
START
END
TO
Time
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.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
8 . Press [ENTER].
fig.02-308d
and press [ENTER].
fig.02-311d
9 . Turn the TIME/VALUE dial to select the number of
copies you want to be placed.
1 0 . When you are ready to execute the copy, press
[ENTER].
The display will ask “Are you sure?,” so that you can
confirm the operation.
1 1 . Press [ENTER].
3 . Press CURSOR [ ] [ ] to move the cursor to “CPY,”
The copy is executed.
and press [ENTER].
fig.02-312d
1 2 . 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.
4 . Turn the TIME/VALUE dial to select “TME/MES” and
press [ENTER].
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
fig.02-319d
1 3 . Turn the TIME/VALUE dial to select the number of
copies you want to be placed.
1 4 . When you are ready to execute the copy, press
[ENTER].
The display will ask “Are you sure?,” so that you can
confirm the operation.
1 5 . Press [ENTER].
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-Track to copy from, and track/V-
Track to copy to.
The copy is executed.
1 6 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
6 . Press [ENTER].
fig.02-314d
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
* 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.
7 . Use [CURSOR] and the TIME/VALUE dial to specify
the beginning of the portion “S” (Start) of data you
want to copy.
You can also enter the time using [LOCATOR], [ZERO],
[STOP] + [REW], [STOP] + [FF], and AUTO PUNCH [IN/
OUT].
8 . Press [ENTER].
fig.02-315d
Co p y in g a co m p le te tra ck (ALL)
Perform the procedure given below to copy the complete
recorded data from one track to another.
9 . Use [CURSOR] and the TIME/VALUE dial to specify the
1 . Press [UTILITY].
ending of the portion “E” (End) of data you want to copy.
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
1 0 . Press [ENTER].
fig.02-316d
and press [ENTER].
fig.02-318d
1 1 . 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.
1 2 . Press [ENTER].
fig.02-317d
3 . Press CURSOR [ ] [ ] to move the cursor to “CPY,”
and press [ENTER].
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
fig.02-319d
Mo vin g d a ta (Tra ck Mo ve )
Track Move allows you to move a specific portion of data to
a different location.
* After the data is moved, the location it was in will be left
empty.
The three types of Track Move are given below.
4 . Turn the TIME/VALUE dial to select “ALL” and press
[ENTER].
fig.02-320d
Mo vin g th e re p e a te d p o rtio n (AB)
Perform the procedure given below to move the portion from
the repeat start (A) to the repeat end (B).
Ex. 1: Moving twice to the same track
fig.02-321
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-Track to copy from, and track/V-
Track to copy to.
Repeat
Start (A)
Repeat
End (B)
TO
Time
6 . When you are ready to execute the copy, press
[ENTER].
Ex. 2: Moving twice to another track
The display will ask “Are you sure?,” so that you can
confirm the operation.
fig.02-322
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.
Repeat
Start (A)
Repeat
Start (B)
TO
Time
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-323d
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
Mo vin g b y sp e cify in g th e tim e
(TME/ MES)
3 . Press CURSOR [ ] [ ] to move the cursor to
“MOV,” and press [ENTER].
fig.02-324d
Perform the procedure given below to move the portion
between specific times.
Ex. 1: Moving twice to the same track
fig.02-327
4 . Turn the TIME/VALUE dial to select “AB” and press
[ENTER].
fig.02-325d
START
END
TO
Time
Ex. 2: Moving twice to another track
fig.02-328
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-Track to move from, and track/V-
Track to move to.
START
END
TO
Time
1 . Press [UTILITY].
6 . Press [ENTER].
fig.02-326d
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-329d
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.
3 . Press CURSOR [ ] [ ] to move the cursor to
1 0 . Press [UTILITY] (or press [EXIT] repeatedly) to return
“MOV,” and press [ENTER].
fig.02-330d
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.
4 . Turn the TIME/VALUE dial to select “TME/MES” and
press [ENTER].
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
fig.02-331d
* 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].
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.02-332d
Mo vin g a co m p le te tra ck (ALL)
Perform the procedure given below to move the complete
data from one track to another.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-335d
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.02-333d
9 . Use [CURSOR] and the TIME/VALUE dial to specify the
ending of the portion “E” (End) of data you want to move.
1 0 . Press [ENTER].
fig.02-334d
3 . Press CURSOR [ ] [ ] to move the cursor to
“MOV,” and press [ENTER].
fig.02-336d
1 1 . 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.
4 . Turn the TIME/VALUE dial to select “ALL” and press
1 2 . When you are ready to execute the move, press [ENTER].
[ENTER].
fig.02-337d
The display will ask “Are you sure?,” so that you can
confirm the operation.
1 3 . Press [ENTER].
Move Event is executed.
1 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.
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
5 . Press CURSOR [ ] [ ] and the TIME/VALUE dial to
Era sin g d a ta (Tra ck Era se )
select the track/V-Track to move from, and track/V-
Track to move to.
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.
6 . Press [ENTER].
fig.02-338d
* 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.
The three types of Track Erase are given below.
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.
Era sin g th e re p e a te d p o rtio n (AB)
Perform the procedure given below to erase the portion from
8 . When you are ready to execute the move, press [ENTER].
the repeat start (A) to the repeat end (B).
fig.02-339
The display will ask “Are you sure?,” so that you can
confirm the operation.
9 . Press [ENTER].
Move Event is executed.
1 0 . 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.
Repeat
Start (A)
Repeat
End (B)
Time
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-304d
3 . Press CURSOR [ ] [ ] to move the cursor to “ERS,”
and press [ENTER].
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
fig.02-341d
Era sin g b y sp e cify in g th e tim e
(TME/ MES)
Perform the procedure given below to erase the portion
between specific times.
fig.02-343
4 . Turn the TIME/VALUE dial to select “AB” and press
[ENTER].
fig.02-342d
START
END
Time
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
and press [ENTER].
select the track/V-Track to erase from.
fig.02-334d
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.
3 . Press CURSOR [ ] [ ] to move the cursor to “ERS,”
and press [ENTER].
fig.02-345d
4 . Turn the TIME/VALUE dial to select “TME/MES” and
press [ENTER].
fig.02-346d
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
Era sin g a co m p le te tra ck (ALL)
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-Track to erase from.
1 . Press [UTILITY].
6 . Press [ENTER].
fig.02-347d
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-349d
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
3 . Press CURSOR [ ] [ ] to move the cursor to “ERS,”
and press [ENTER].
fig.02-350d
9 . Use [CURSOR] and the TIME/VALUE dial to specify
the ending of the portion “E” (End) of data you want to
erase.
1 0 . When you are ready to execute the erasure, press
[ENTER].
The display will ask “Are you sure?,” so that you can
confirm the operation.
4 . Turn the TIME/VALUE dial to select “ALL” and press
[ENTER].
fig.02-351d
1 1 . Press [ENTER].
The erasure is executed.
1 2 . 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.
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
* 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.
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].
You can also enter the time using [LOCATOR], [ZERO],
[STOP] + [REW], [STOP] + [FF], and AUTO PUNCH
[IN/ OUT].
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.
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Ed itin g th e p e rfo rm a n ce o n a tra ck (Tra ck Ed itin g )
5 . When you are ready to execute the exchange, press
Ex ch a n g in g d a ta (Tra ck Ex ch a n g e )
[ENTER].
Perform the procedure given below to exchange the data
between two tracks.
The display will ask “Are you sure?,” so that you can
confirm the operation.
Example: exchanging all the data on track 1 with all the
6 . Press [ENTER].
data on track 2
fig.02-352
The exchange is executed.
Track 1
7 . Press [UTILITY] (or press [EXIT] repeatedly) to return
A
B
C
to the Play screen.
Track 2
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
D
D
E
E
Track 1
Track 2
A
B
C
Time
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “TRK,”
and press [ENTER].
fig.02-353d
3 . Press CURSOR [ ] [ ] to move the cursor to “XCG,”
and press [ENTER].
fig.R08-27
4 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the two tracks/V-Tracks to exchange data.
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O rg a n izin g th e so n g s y o u ’ve re co rd e d
Co p y in g a So n g (So n g Co p y )
Era sin g so n g s (So n g Era se )
Follow the procedure below to copy the currently selected
song.
Follow the procedure below to erase a song from the
memory card.
1 . Press [UTILITY].
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
and press [ENTER].
and press [ENTER].
fig.02-401d
fig.02-403d
3 . Press CURSOR [ ] [ ] to move the cursor to “CPY,”
3 . Press CURSOR [ ] [ ] to move the cursor to “ERS,”
and press [ENTER].
and press [ENTER].
The Copy Song screen appears.
The Erase Song screen appears.
fig.02-402d
fig.02-404d
4 . Turn the TIME/VALUE dial and select the song to be
If “ N o m o re Me m o ry !” a p p e a rs
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.
erased.
5 . After selecting the song to erase, press [ENTER].
“Are you sure?” appears.
6 . To continue with the erasure, press [ENTER] (YES).
To cancel the operation press the [EXIT] (NO) (or
[UTILITY]).
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.
* If you erase a song currently being used, the song on the
memory card with the lowest number is selected, and you are
returned to the Play screen.
7 . If you erased a song not currently being used, press
[UTILITY] (or press [EXIT] repeatedly) repeatedly to
return to the Play screen.
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O rg a n izin g th e so n g s y o u ’ve re co rd e d
* 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.
Sa vin g m e m o ry o n th e
m e m o ry ca rd (So n g O p tim ize )
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.
* After you execute Optimize, it is not possible to undo/redo to
revert to the state before executing Optimize.
N a m in g so n g s (So n g N a m e )
When a new song is created, it is automatically given a name
such as “SONG 0001.” With your BR-864, you can use “Song
Name” to give each song a name, which helps you manage
and organize your songs.
By performing a “Song Optimize,” you can have the BR-864
erase any unnecessary data on the memory card and increase
the unused space.
1 . Press [UTILITY].
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
and press [ENTER].
fig.02-405d
and press [ENTER].
fig.02-407d
3 . Press CURSOR [ ] [ ] to move the cursor to “OPT,”
3 . Press CURSOR [ ] [ ] to move the cursor to
and press [ENTER].
“NAM,” and press [ENTER].
“Are you sure?” appears in the display.
fig.02-406d
The name of the song (Song Name) appears in the
display.
fig.02-408d
4 . To continue with the optimization, press [ENTER]
(YES).
The Song Optimize function is carried out. When
completed, “Completed!” appears in the display, and
you are returned to the Play screen.
4 . Press CURSOR [ ] [ ] to move the cursor to the
character you want to change.
5 . Rotate TIME/VALUE dial to select the character.
To cancel the operation press the [EXIT] (NO) (or
[UTILITY]).
* 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.
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O rg a n izin g th e so n g s y o u ’ve re co rd e d
fig.02-410d
Pro te ctin g a so n g (So n g Pro te ct)
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).
4 . Rotate TIME/VALUE dial to select the “ON.”
* The following operations are not available when a song is
protected.
5 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
•
•
•
•
•
Editing a song name
Erasing a song
When a song is protected, the display will show the song
Song Optimize
protect symbol.
fig.02-411d
Editing a digital copy protect
Initializing the rhythm guide (arrangements/
patterns/ drum kits)
•
•
•
•
•
•
Initializing effects (user patches/ song patches)
Initialize All
Arrangement/ Pattern Edit
Importing SMFs
[TONE LOAD]
Writing effects to song patches
Sa vin g th e cu rre n t se ttin g s to
th e so n g
1 . Press [UTILITY].
The BR-864 can save the following contents as song data.
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
•
•
•
•
•
•
•
•
Recorded data
and press [ENTER].
fig.02-409
Mixer settings (Pan, Track EQ, etc.)
Insert Effect song patches
Mastering Tool Kit song patches
Rhythm Arrangements / Rhythm Patterns
Loop Effects
Tuner
Utility (excluding LCD contrast)
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.
3 . Press CURSOR [ ] [ ] to move the cursor to “PRT,”
and press [ENTER].
The Song Protect screen appears.
1 . Hold down [STOP] and press [REC].
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Cre a tin g a m a ste r ta p e
This process involves recording the finished song to your
Re co rd in g to a d ig ita l re co rd e r
(d ig ita l co n n e ctio n )
recorder (cassette tape recorder, CD recorder, etc.) and
making a master tape.
1 . Connect the BR-864’s DIGITAL OUT connector to the
digital recorder's input connector.
fig.02-501b
Re co rd in g to a ca sse tte ta p e
re co rd e r (a n a lo g co n n e ctio n )
1 . Connect the BR-864’s LINE OUT jacks to the cassette
tape recorder's input jacks.
fig.02-501a
Digital Recorder
(CD Recorder etc.)
2 . Set the digital recorder so it is ready to record digital
signals.
Cassette tape
Recorder
3 . Put the digital recorder in record mode.
4 . Press [PLAY] on the BR-864 and start the playback of
the recorded data.
2 . Put the cassette tape recorder in record mode.
3 . Press [PLAY] on the BR-864 and start the playback of
the recorded data.
Disa b lin g d ig ita l co p y in g
When recording from the BR-864 to a digital recorder, you
can prevent further digital copying of the master tape to any
other digital recorders.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “EDT,”
and press [ENTER].
fig.02-501d
3 . Press CURSOR [ ] [ ] to move the cursor to
“DPRT,” and press [ENTER].
The Digital Copy Protect screen appears.
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Cre a tin g a m a ste r ta p e
fig.02-502d
4 . Rotate TIME/VALUE dial to select the “ON.”
ON:
Digital copying will be prohibited.
Digital copying is enabled.
OFF:
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.
* Some DAT recorders do not support SCMS, or do not allow
digital connections to a CD player. If you are using this type of
DAT recorder, it will not be possible to record the digital
output of the BR-864 on a DAT recorder if “Copy Prtct” is
turned “ON.” In this case, you will need to turn off the “Copy
Prtct” setting.
W h a t is SCMS?
SCMS stands for Serial Copy Management System.
This is a function of consumer digital audio devices such
as DAT recorders CD recorders that protects the
copyright of the producer by prohibiting second-
generation and subsequent copies from being made
digitally.
If digital connections are made to a digital recorder that
has this function, SCMS flags will be recorded along
with the digital audio signals.
Digital audio data that contains this data cannot be
recorded again via a digital connection.
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MEMO
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Ab o u t th e Rh y th m Gu id e
The “rhythm guide” is a dedicated rhythm track that can not
only play back rhythm sounds as a guide during recording,
you can also use it to play internal rhythm patterns and
original user-created rhythm patterns and to play and record
these patterns as your own rhythm part performances.
E (En d in g )
Music patterns to be placed at the ending of a song.
So n g p a tte rn s (S0 0 1 –S1 0 0 )
These are patterns whose data is rewritable, and up to 100
different patterns for each song can be stored on memory
The rhythm guide features two modes, “Pattern mode” and
“Arrangement mode.”
cards.
fig.03-101a
Memory Card
BR-864
Pa tte rn Mo d e
SONG
You can perform patterns and create your own original
patterns.
Preset
Pattern
Song
Pattern
Arra n g e m e n t Mo d e
You can perform arrangements and create your own original
arrangements.
Ab o u t th e a rra n g e m e n ts
Arrangements are sequences of patterns arranged in the
order they are performed and with the tempo set.
fig.03-102
Ab o u t th e p a tte rn s
Intro
Tempo: 120.0
Verse
Tempo: 110.0
Fill
Tempo: 130.0
These are phrases consisting of from one to several measures
of drum performance.
Ty p e s o f p a tte rn s
Ty p e s o f a rra n g e m e n ts
Pre se t p a tte rn s (P0 0 1 –P3 2 7 )
Pre se t a rra n g e m e n ts (P0 1 –P5 0 )
These are internal patterns stored in the BR-864 that have
already been prepared for use. There are 327 patterns
categorized by musical genre, such as “rock” and “jazz.”
These are internal arrangements stored in the BR-864 that
have already been prepared for use. There are 50 patterns
categorized by musical genre, such as “rock” and “jazz.”
* You cannot change and overwrite Preset pattern data.
* You cannot change and overwrite Preset arrangement data.
In each Preset arrangement (except for Metro 4/ 4), a BREAK
(rest) of three measures is played after the END (ending), and
then the V1 (verse 1) is played repeatedly.
Preset patterns include prepared patterns for intros, verses,
fill-ins, and endings (you can confirm the type by looking at
the characters at the end of the pattern name).
(Example)
ROCK1-IN (Intro)
ROCK1-V1 (Verse 1)
ROCK1-F1 (Fill 1)
ROCK1-V2 (Verse2)
ROCK1-F2 (Fill 2)
ROCK1-E (Ending)
So n g a rra n g e m e n ts (S0 1 –S0 5 )
These are arrangements whose data is rewritable, and up to 5
different arrangements for each song can be stored on
memory cards.
fig.03-102a
IN (In tro )
Memory Card
BR-864
Music patterns to be placed at the beginning of a song.
SONG
Preset
V (Ve rse ) 1 a n d 2
Music patterns to make up the main part of the song. “1” are
Song
Arrangement
Arrangement
basic patterns and “2” are more advanced versions of “1.”
F (Fill) 1 a n d 2
Music patterns to be used as phrases to connect different
sections of a song. You can select either “1” or “2” depending
on the form that will follow the fill.
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Ab o u t th e Rh y th m Gu id e
Sw itch in g th e Rh y th m Gu id e
m o d e
Pe rfo rm in g a rra n g e m e n ts
a n d p a tte rn s
The Rhythm Guide mode switches each time [ARRANGE/
PATTERN/ OFF] is pressed.
Se le ctin g a rra n g e m e n ts
This procedure selects the arrangement to be played with the
Rhythm Guide.
[ARRAN GE/ PATTERN / O FF]: Lit
(Arra n g e m e n t Mo d e )
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
fig.03-201d
Performance and programming of arrangements is enabled.
Press [PLAY] to start the performance of the arrangement.
* You cannot play back or record during programming.
P: Preset / S: Song
Number Arrangement Name
[ARRAN GE/ PATTREN / O FF]: Fla sh in g
(Pa tte rn Mo d e )
Performance and programming of patterns is enabled.
Press [PLAY] to start the performance of the pattern.
* You cannot play back or record during programming.
2 . Select the arrangement.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song and number.
[ARRAN GE/ PATTERN / O FF]: Un lit (O FF)
P01–P50: Preset arrangements 1–50
S01–S05: Song arrangements 1–5
The Rhythm Guide does not play.
3 . Press [EXIT] to return to the Play screen.
Pe rfo rm in g a rra n g e m e n ts
1 . Make sure performance of the song is stopped, then
press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
fig.03-202d
2 . Select an arrangement.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song and number.
3 . Move the RHYTHM GUIDE fader to the positions
shown in the figure below.
fig.03-203
4 . Press [ZERO] to reset the play position back to the
beginning of the song, then press [PLAY].
The selected arrangement is performed.
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Ab o u t th e Rh y th m Gu id e
Se le ctin g p a tte rn s
Ch a n g in g th e te m p o o f th e
a rra n g e m e n ts o r p a tte rn s
This selects the pattern to be played with the Rhythm Guide.
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 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.03-203d
P: Preset / S: Song
* The arrangement’s tempo setting is temporarily disabled.
Number
Pattern Name
1 . Press [CURSOR] and align the cursor up with
“TEMPO” in the display.
2 . Turn the TIME/VALUE dial to adjust the tempo.
fig.03-205d
Tempo
2 . Select a pattern.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song and number.
P001–P327: Preset patterns 1–327
S001–S100: Song patterns 1–100
* The change in tempo is only temporary. If you want to change
3 . Press [EXIT] to return to the Play screen.
* Tempos cannot be saved to patterns.
Pe rfo rm in g p a tte rn s
1 . Make sure performance of the song is stopped, then
Ta p p in g to ch a n g e th e te m p o o f
th e a rra n g e m e n ts o r p a tte rn s
press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
You can temporarily change the tempo of the arrangement or
pattern by the timing with which you press [TAP].
fig.03-204d
Tap on [TAP] four or more times to change the tempo of the
arrangement or pattern. The tempo becomes that in which
you tapped.
* The arrangement’s tempo setting is temporarily disabled.
fig.03-206
2 . Select a pattern.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song and number.
3 . Move the RHYTHM GUIDE fader to the positions
shown in the figure below.
fig.03-203
* The change in tempo is only temporary. If you want to change
* Tempos cannot be saved to patterns.
4 . Press [PLAY].
The selected pattern is performed.
No sound plays if “BREAK” is selected for the pattern.
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Cre a tin g o rig in a l a rra n g e m e n ts
You can create arrangements (Song arrangements) of up
to 999 measures.
Sta rtin g Me a su re
Set the measure where the pattern that is selected by the
current step will start playing.
fig.03-303a
1 . Make sure performance of the song is stopped, then
press [ARRANGE/PATTERN/OFF] repeatedly until the
Step 1
Step 2
indicator is lit.
fig.03-301d
Intro
Verse
(1 measure)
(1 measure)
Strating
Measure 001
002
003
Set the starting measure to “3” in step 2
Step 1
Step 2
Intro
Verse
(2 measures)
(1 measure)
Strating
Measure 001
002
003
2 . Press [PROGRAM].
fig.03-302d
* The starting measure for step 1 is always set to “001.” This
cannot be changed.
* You cannot set a starting measure that is equal to, or earlier
than the starting measure that is set for the previous step.
* You cannot set a starting measure that is beyond the starting
measure of the next step.
Pa tte rn N u m b e r
Select the pattern. Set the patterns for each step as shown
3 . Press [CURSOR] to move the cursor to “EDIT,” and
press [ENTER].
in the figure below.
fig.03-304
The Arrangement Edit screen appears.
Step 1
Step 2
Step 3
* You cannot switch from the Edit screen for arrangements to
Intro
(2 measures)
Tempo: 120.0
Verse
(1 measure)
Tempo: 110.0
Fill
(1 measure)
Tempo: 110.0
other screens (except for the drum kit selection screen).
fig.03-303d
Starting
Measure
001
003
004
Pattern Number
Starting Measure
Step
Time Signature
* When an arrangement is played from within the Play screen,
the arrangement plays all the way to the end, and then the
performance of the pattern set in the last step is repeated.
Thus, by setting the preset pattern “P327 BREAK” for the last
step, you can have a rest be played repeatedly, which makes it
seem as if the performance of the arrangement has stopped.
fig.03-304a
Step 1
Intro
Step 2
Verse
Step **
Step **
Tempo Pattern Name
P327
BREAK
Ending
Information about the performance is displayed in the
matrix display at the bottom of the screen.
Tim e Sig n a tu re
4 . Press [CURSOR] to move the cursor to “STEP,” then
turn the TIME/VALUE dial to select the step to be
edited.
Set the time signature of the pattern that is selected by
the current step.
Te m p o
* You can press [REW] to move to the immediately preceding
step, or press [FF] to move to the next step.
Set the tempo of the pattern that is selected by the
current step.
Valid Settings: 25.0–250.0
5 . Press [CURSOR] to move the cursor to the parameter
you want to change, then turn the TIME/VALUE dial to
change the setting’s value.
6 . When you have finished creating the arrangement,
press [EXIT] repeatedly.
* You can press [PLAY] here to play the sound of the pattern in
the currently selected step.
The Play screen is displayed again, and the arrangement
is saved.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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Cre a tin g o rig in a l a rra n g e m e n ts
1 . Make sure performance of the song is stopped, then
press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
In se rtin g a ste p
Perform the procedure below to insert a new step into the
location of the present step.
fig.03-305
2 . Press [PROGRAM].
3 . Press [CURSOR] to move the cursor to “EDIT,” and
Verse
Insert
press [ENTER].
Step 1
Step 2
Step 3
The Arrangement Edit screen appears.
Intro
Verse
Fill
4 . Press CURSOR [ ] repeatedly to move the cursor to
“ERASE.”
fig.03-308d
Step 1
Step 2
Step 3
Step 4
Intro
Verse
Verse
Fill
* The parameter value of inserted step will be the same as of the
targeted step.
1 . Make sure performance of the song is stopped, then
press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
5 . To insert a step, press [ENTER].
2 . Press [PROGRAM].
To cancel the operation, press CURSOR [ ] repeatedly
to return to the Arrangement Edit screen.
3 . Press [CURSOR] to move the cursor to “EDIT,” and
press [ENTER].
When you press [ENTER], the display indicate “Erase!”
then return to the Arrangement Edit screen.
The Arrangement Edit screen appears.
4 . Press CURSOR [ ] repeatedly to move the cursor to
“INSERT.”
fig.03-306d
N a m in g a rra n g e m e n ts
You can edit the name of the currently selected arrangement.
* You can use up to eight characters in naming arrangements.
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
5 . To insert a step, press [ENTER].
2 . Press CURSOR [ ] repeatedly to move the cursor to
“NAME,” and press [ENTER].
To cancel the operation, press CURSOR [ ] to return to
the Arrangement Edit screen.
The Change Arrangement Name screen appears.
fig.03-310d
When you press [ENTER], the display indicate “Insert!”
then return to the Arrangement Edit screen.
Era sin g a ste p
This erases the content of the currently selected step. The
content of the following steps are brought forward to fill the
erased step.
fig.03-307
Step 1
Step 2
Step 3
Step 4
Intro
Verse
Fill
Verse
Erase
Step 1
Step 2
Step 3
* You cannot change Preset arrangement names.
Intro
Verse
Verse
3 . Press CURSOR [ ] [ ] and turn the TIME/VALUE
* Step 1 cannot be erased.
dial to change the characters.
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Cre a tin g o rig in a l a rra n g e m e n ts
* Press [ENTER] to switch between uppercase and lowercase.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
4 . 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.
Era sin g a rra n g e m e n ts
This erases Step 2 and all subsequent steps in the
arrangement currently being selected.
Co p y in g a rra n g e m e n ts
* “Metro” (the metronome) is set in Step 1.
You can take the currently selected arrangement and copy it
to another Song arrangement.
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is lit.
2 . Press [CURSOR] to move the cursor to “ERASE,” and
press [ENTER].
fig.03-315d
2 . Press [CURSOR] to move the cursor to “COPY,” and
press [ENTER].
The screen for selecting the copy destination is
displayed.
fig.03-312d
3 . Turn the TIME/VALUE dial to select the arrangement
to be erased.
S01–S05: Song arrangements 1–5
3 . Turn the TIME/VALUE dial to select the copy-
4 . If you want to erase the arrangement, press [ENTER].
destination arrangement.
The screen for confirming the deletion appears.
fig.03-316d
S01–S05: Song arrangements 1–5
4 . Once you have decided on the copy destination, press
[ENTER].
The screen for confirming the copy destination appears.
fig.03-313d
5 . Press [ENTER] (YES) to erase the arrangement.
To cancel, press [EXIT] (NO).
Once the deletion is complete, the screen for selecting the
arrangement to be erased returns to the display.
5 . Press [ENTER] (YES) to copy.
6 . Press [EXIT] repeatedly to return to the Play screen.
To cancel, press [EXIT] (NO).
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
As soon as the copy has been completed, the screen for
selecting the copy destination returns to the display.
6 . Press [EXIT] repeatedly to return to the Play screen.
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Cre a tin g o rig in a l p a tte rn s
When creating a rhythm arrangement by stringing together
N o te co n ce rn in g cre a tio n o f p a tte rn s
rhythm patterns, there may be times when you do not find
anything suitable among the preset rhythm patterns, or
when you want to get a rhythm pattern that sounds exactly
the way you want. In such cases, you can create your own
original rhythm patterns.
●
Maximum polyphony for patterns is five voices. This
means you can play up to five drum sounds with the
same timing.
●
Even if six or more drum sounds are input at the same
time, only five of the drum sounds will be sounded.
However, the “●” signifying the entry in the matrix
display remains as is.
There are three ways to create rhythm patterns.
Re a ltim e Re co rd in g
●
●
You cannot play the CLOSED HH and OPEN HH
sounds at the same time. However, the “●” signifying
the entry in the matrix display remains as is.
In Realtime Recording, you record while tapping the TRACK
buttons in time with the metronome. Rhythm patterns are
played back repeatedly, and the data being input is mixed in
with these sounds. Additionally, even if your timing is a little
off when tapping the buttons, you can use the Quantize
function to rectify the input so the timing is correct.
When using cymbals and other sounds that have
lengthy decay times, if other sounds totalling five
voices are input before the previous sound has
completely vanished, Sounds started previously may
be cut off before they finish playing.
Ste p Re co rd in g
●
You cannot switch to other screens while recording
patterns (except for the pattern record standby screen).
In Step Recording, the timing of sounds and the drum
sounds are programmed one at a time. There are two ways to
input drum sounds:
•
Specifying the timing of a sound (measure-beat-click),
and inputting the drum sound at that point by tapping
the TRACK button.
Cre a tin g p a tte rn s in Re a ltim e
Re co rd in g
•
Inputting a drum sound at the desired timing within the
detailed framework dividing a single measure (the
matrix). This allows you to visually get an overall grasp
of the rhythm pattern, making for a simple way to create
rhythm patterns.
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.03-401d
Im p o rtin g SMFs
You can import SMFs (Standard MIDI Files) as song patterns.
For instructions on this procedure, refer to “Section 6 USB”
2 . Press [PROGRAM].
fig.03-402d
3 . Press [CURSOR] to move the cursor to “REAL,” and
press [ENTER].
“REAL” appears in REC MODE at the left of the screen.
The Recording Standby screen appears.
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fig.03-403d
6 . Set the velocity (how “hard” the note is played) for the
sounds to be input from the current point by adjusting
Fader 1.
Measure
Tempo
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.
Velocity
Me a su re
This sets the number of measures in the pattern to be
7 . Input the drum sounds with the desired timing.
recorded.
Use REC TRACK [1/ 5]–[4/ 8], [V-TRACK] and [TAP] to
input the drum sounds.
Valid Settings: 1–999
You can switch the UPPER and LOWER drum sounds by
pressing [RHYTHM PAD].
Te m p o
When recording, this sets the tempo for confirming the
pattern.
[RHYTHM PAD] Lit
Valid Settings: 25.0–250.0
Enables input of the UPPER drum sounds.
* 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).
REC TRACK [1/ 5]
REC TRACK [2/ 6]
REC TRACK [3/ 7]
REC TRACK [4/ 8]
[V-TRACK]
KICK
SNARE
CLOSED HH
OPEN HH
CRASH
RIDE
Tim e Sig n a tu re
This sets the time signature (i.e., the beat) for the pattern
[TAP]
to be recorded.
Valid Settings: 1/ 1–8/ 1, 1/ 2–8/ 2, 1/ 4–8/ 4, 1/ 8–8/ 8
[RHYTHM PAD] Flashing
Enables input of the LOWER drum sounds.
Q u a n tize
This sets the recording quantization.
REC TRACK [1/ 5]
REC TRACK [2/ 6]
REC TRACK[3/ 7]
REC TRACK [4/ 8]
[V-TRACK]
CROSS STICK
COWBELL
TOM1
Setting Quantize lets you to have the sounds being input
conform to preset note lengths, thus eliminating
discrepancies in the input timing.
TOM2
* Press “HI” you want to keep the timing used to input the
sounds.
TOM3
[TAP]
TOM4
Valid Settings:
You can confirm the drum sound currently being input
by checking the matrix at the bottom part of the display.
Quarter note
Sixteenth-note triplet
Thirty-second note
Thirty-second-note triplet
Quarter-note triplet
Eighth note
In d ica te d in th e m a trix
You can confirm the timing at which each rhythm
instrument sounds in the matrix display.
Eighth-note triplet
Sixteenth note
HI
The ● mark in the lower part of the matrix indicates beat
timing.
5 . Press CURSOR [ ] [ ] to move the cursor to “REC,”
* When a coarse Quantize setting is used, the ● mark may
and press [ENTER].
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.
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Cre a tin g o rig in a l p a tte rn s
fig.03-405
Re h e a rsin g re co rd in g s
Ex.)
CLOSED HH
SNARE
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.
KICK
• Q (Quantize) =
• Q (Quantize) =
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.03-406d
fig.03-405a
Ex.)
CLOSED HH
SNARE
KICK
2 . Press [PROGRAM].
fig.03-407d
• Q (Quantize) =
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
3 . Press [CURSOR] to move the cursor to “REAL,” and
that there is material not currently displayed.
fig.03-405b
press [ENTER].
“REAL” appears in REC MODE at the left of the screen.
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
Realtime Recording and continue recording the
pattern.
4 . Press CURSOR [ ] repeatedly to move the cursor to
“RHR,” and press [ENTER].
The BR-864 is put into Rehearsal mode.
fig.03-409d
8 . Set the tempo and Quantize values as needed.
9 . When you have finished inputting sounds, move the
cursor to “STOP” and press [ENTER].
* You can also stop recording by pressing [STOP].
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Cre a tin g o rig in a l p a tte rn s
5 . Rehearse the performance by pressing the REC TRACK
Ch a n g in g th e m e tro n o m e vo lu m e
[1/5]–[4/8], [V-TRACK] and [TAP].
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
You can switch the UPPER and LOWER drum sounds by
pressing [RHYTHM PAD].
indicator is flashing.
fig.03-411d
* At this point, adjust Fader 1 to confirm the velocity status.
6 . When you have finished rehearsing, move the cursor to
“STOP” and press [ENTER].
* You can also quit the rehearsal by pressing [STOP].
2 . Press [PROGRAM].
fig.03-412d
De le tin g u n n e e d e d d ru m so u n d s
You can delete any drum sounds you do not need during
Realtime Recording by holding down [DELETE/ MUTE] and
pressing the track buttons.
1 . When you hold down [DELETE/MUTE] and press one
or more REC TRACK buttons for the tones you want to
delete.
3 . Press [CURSOR] to move the cursor to “REAL,” and
The corresponding drum sounds are deleted for as long
press [ENTER].
as the buttons are pressed.
fig.03-410
“REAL” appears in REC MODE at the left of the screen.
The Recording Standby screen appears.
fig.03-413d
4 . Press CURSOR [ ] repeatedly to move the cursor to
“Click.”
fig.03-414d
5 . Turn the TIME/VALUE dial to adjust the metronome
volume.
Valid Settings: 0–3
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Cre a tin g o rig in a l p a tte rn s
Tim e Sig n a tu re
This sets the time signature (i.e., the beat) for the pattern
to be recorded.
Cre a tin g p a tte rn s in Ste p
Re co rd in g
Valid Settings: 1/ 1–8/ 1, 1/ 2–8/ 2, 1/ 4–8/ 4, 1/ 8–8/ 8
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.03-415d
Q u a n tize
This sets the resolution for the steps being input.
Quarter note (96)
Sixteenth-note triplet (16)
Quarter-note triplet (64)
Eighth note (48)
Thirty-second note (12)
Thirty-second-note triplet (8)
(1)
Eighth-note triplet (32) HI
Sixteenth note (24)
2 . Press [PROGRAM].
fig.03-416d
Numerals in parentheses indicate the clock. The lower
the value set, the finer the resolution each beat becomes.
(Ex.) ꢀ : Here you can input sounds in eighth-note lengths.
fig.03-418d
3 . Press [CURSOR] to move the cursor to “STEP,” and
press [ENTER].
“STEP” appears in REC MODE at the left of the screen.
The recording standby screen appears in the display.
fig.03-417d
(Ex.) ꢁ : Here you can input sounds in sixteenth-note lengths.
fig.03-419d
Measure
Tempo
5 . Press CURSOR [ ] [ ] to move the cursor to “REC,”
Time Signature
Quantize
and press [ENTER].
4 . Use [CURSOR] and the TIME/VALUE dial to set the
measure, beat, and click from which to start recording
of the pattern.
Step Recording starts.
* You can also start recording by pressing [REC].
6 . Press CURSOR [ ] [ ] to move the cursor to the
measure, beat, and click, then turn the TIME/VALUE
dial to specify the time at which the drum sound is to
Me a su re
This sets the number of measures in the pattern to be
recorded.
be input.
fig.03-420d
Valid Settings: 1–999
Measure Beat Clock
Te m p o
When recording, this sets the tempo for confirming the
pattern.
Valid Settings: 25.0–250.0
* 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).
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fig.03-421d
7 . Set the velocity (how “hard” the note is played) for the
sounds to be input from the current point by adjusting
Fader 1.
fig.03-423d
In d ica te d in th e m a trix
You can confirm the timing with which each rhythm
instrument sounds in the matrix display.
Velocity
The ● mark in the lower part of the matrix indicates beat
8 . Input the drum sound.
timing.
There are two ways to input drum sounds.
* When a coarse Quantize setting is used, the ● mark may
indicate half-note or quarter-note timing.
fig.03-422
(Me th o d 1 ) In p u ttin g w ith th e REC TRACK b u tto n s
Use REC TRACK [1/ 5]–[4/ 8], [V-TRACK] and
[TAP] to input the drum sounds.
Ex.)
CLOSED HH
SNARE
You can switch the UPPER and LOWER drum
sounds by pressing [RHYTHM PAD].
KICK
[RHYTHM PAD] Lit
• Q (Quantize) =
• Q (Quantize) =
Enables input of the UPPER drum sounds.
REC TRACK [1/ 5]
REC TRACK [2/ 6]
REC TRACK [3/ 7]
REC TRACK [4/ 8]
[V-TRACK]
KICK
SNARE
CLOSED HH
OPEN HH
CRASH
RIDE
[TAP]
fig.03-422a
Ex.)
[RHYTHM PAD] Flashing
CLOSED HH
SNARE
Enables input of the LOWER drum sounds.
KICK
REC TRACK[1/ 5]
REC TRACK [2/ 6]
REC TRACK [3/ 7]
REC TRACK [4/ 8]
[V-TRACK]
CROSS STICK
COWBELL
TOM1
• Q (Quantize) =
TOM2
TOM3
[TAP]
TOM4
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.
(Me th o d 2 ) In p u ttin g w ith th e [EN TER]
Press CURSOR [
matrix display.
] to move the cursor to the
In such instances, a “
” symbol appears, indicating
that there is material not currently displayed.
fig.03-405b
Press [CURSOR] to move the cursor to the
intersection of the drum sound you want to input
and the time at which you want it to sound, then
press [ENTER].
The drum sound is alternately input or deleted each
time you press [ENTER].
* In this case, you can press [REW]/[FF] to move the location
(cursor) in large steps.
“●” flashes rapidly when you move the cursor to a
point where a sound has already been input. When a
drum sound is input, the display changes to “●.”
Pressing CURSOR [
] in the top row of the
matrix display returns the cursor to its original
position.
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Cre a tin g o rig in a l p a tte rn s
N a m in g p a tte rn s
You can use up to eight characters in naming patterns.
You can press [REC MODE] during Step Recording to
switch to Realtime Recording.
* You can not change the Preset Pattern name.
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
9 . Set the tempo and Quantize values as needed.
2 . Press [CURSOR] to move the cursor to “NAME,” and
press [ENTER].
1 0 . Repeat Steps 6–9 as needed.
The Change Pattern Name screen appears.
fig.03-427d
* Press [PLAY] to listen to the recording pattern.
1 1 . When you have finished inputting sounds, move the
cursor to “STOP” and press [ENTER].
* You can also stop recording by pressing [STOP].
Ch a n g in g th e ve lo city
During Step Recording, when you move the cursor to a point
in the matrix display where a drum sound has been input,
the velocity value appears in the position where the time
signature is normally indicated. At this point, you can
change the velocity by adjusting Fader 1.
fig.03-424d
3 . Press CURSOR [ ] [ ] and turn the TIME/VALUE
dial to change the characters.
* Press [ENTER] to switch between uppercase and lowercase.
4 . 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.
De le tin g u n n e e d e d d ru m so u n d s
You can use either of the two following methods to delete
unneeded drums sounds in Step Recording.
(Me th o d 1 )
1 . Move the [CURSOR] to the point in the matrix display
where a drum sound you want to delete has been input,
then press [ENTER].
(Me th o d 2 )
1 . When you hold down [DELETE/MUTE] and press one
or more track buttons for the tones you want to delete.
You can delete the unneeded drum sound at the current
measure, beat, and clock.
fig.03-410
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Cre a tin g o rig in a l p a tte rn s
Co p y in g p a tte rn s
Era sin g p a tte rn s
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
1 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
indicator is flashing.
2 . Press [CURSOR] to move the cursor to “COPY,” and
2 . Press CURSOR [ ] repeatedly to move the cursor to
press [ENTER].
“ERASE,” and press [ENTER].
fig.03-432d
The Pattern Copy screen appears.
fig.03-429d
3 . Turn the TIME/VALUE dial to select the pattern to be
3 . Turn the TIME/VALUE dial to select the copy-
deleted.
destination arrangement.
S001–S100: Song Pattern 1–100
S001–S100: Song Pattern 1–100
4 . If you want to delete the pattern, press [ENTER].
4 . Press [ENTER].
The screen for confirming the deletion appears.
fig.03-433d
The screen for confirming the copy appears.
fig.03-430d
5 . Press [ENTER] (YES) to delete the pattern.
5 . Press [ENTER] (YES) to copy.
To cancel, press [EXIT] (NO).
To cancel, press [EXIT] (NO).
Once the deletion is complete, the screen for selecting the
pattern to be deleted returns to the display.
Once the arrangement has been copied, the screen for
selecting the copy destination returns to the display.
6 . Press [EXIT] repeatedly to return to the Play screen.
6 . 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.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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Ab o u t th e d ru m k its
A drum kit is a variety of rhythm instrument sounds
collected in a single set; the BR-864 includes nine internal
“preset drum kits.”
Se le ctin g d ru m k its
1 . Make sure performance of the song is stopped, then
press [ARRANGE/PATTERN/OFF] repeatedly until the
In addition, you can also put together an additional five
original “song drum kits.”
indicator is lit.
fig.03-502d
Song drum kits are saved to individual songs on memory
cards.
The drum kit instrument sounds are used in the performance
of the arrangements and patterns.
fig.03-501
Memory Card
BR-864
SONG
SONG
SONG
Preset Drum Kit 9
2 . Press [PROGRAM].
fig.03-503d
Preset Drum Kit 3
Preset Drum Kit 2
Preset Drum Kit 1
Song Drum Kit
Kick
Snare
Kick
Snare
Closed Hi-hat
Open Hi-hat
3 . Press [CURSOR] to move the cursor to “KIT,” and
press [ENTER].
fig.03-504d
Drum Kit Name
Pe rfo rm in g th e d ru m s
1 . Make sure performance of the song is stopped, then
press [RHYTHM PAD] repeatedly until the indicator is
lit or flashing.
2 . Press REC TRACK [1/5]–[4/8], [V-TRACK] and [TAP] to
input the drum sounds.
Number
P: Preset / S: Song
[RHYTHM PAD] Lit
Enables performance of the UPPER drum sounds.
4 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select drum kits by switching the preset/song and
number.
REC TRACK [1/ 5]
REC TRACK [2/ 6]
REC TRACK [3/ 7]
REC TRACK [4/ 8]
[V-TRACK]
KICK
SNARE
CLOSED HH
OPEN HH
CRASH
RIDE
(P1–9)
STD1, 2:
ROOM:
HARD:
Standard sets
Set with moderate ambience applied
Set appropriate for hard rock
Set appropriate for jazz
Set appropriate for dance
Set appropriate for dance
Set appropriate for reggae
[TAP]
JAZZ:
[RHYTHM PAD] Flashing
HIP-HOP:
HOUSE:
REGGAE:
808:
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]
CROSS STICK
COWBELL
TOM1
Set based on the renowned “Roland
TR-808” rhythm machine
TOM2
(S1–5)
TOM3
SongKit1–5:
Original drum kits assigned to each
[TAP]
TOM4
5 . Press [EXIT] repeatedly to return to the Play screen.
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Ab o u t th e d ru m k its
* Drum kits are stored to each individual arrangement
separately.
Lo a d in g fro m th e tra ck s
This loads sounds recorded to the tracks as drum tones.
(Example)
Arrangement
Drum Kit
ROCK 1...............ROOM
ROCK 2...............STD 2
It can be convenient to use the “scrub,” “punch in,” and
“locator” functions to set the range containing the drum
sounds you want to load ahead of time.
:
:
You can use the scrub function to repeat playback and locate
the point from which loading is to start (the start point) and
press AUTO PUNCH [IN], then after determining the point
at which loading is to finish (the end point), press
Cre a tin g o rig in a l d ru m k its
(To n e Lo a d )
[LOCATOR] to register the range to be loaded.
With the BR-864, you can create original drum kits not only
with the internal drum sounds, but by loading drum sounds
from external sources as well.
Using this technique of setting the start point with AUTO
PUNCH [IN] and the end point with [LOCATOR] allows you
to set the range to be loaded very rapidly.
There are three ways to load drum tones.
1 . Press [TONE LOAD].
fig.03-505d
● Lo a d in g fro m th e tra ck s
● Lo a d in g fro m o th e r d ru m k its
● Lo a d in g fro m W AV/ AIFF file s
* For instructions on this procedure, refer to “Section 6 USB”
2 . Press CURSOR [ ] to move the cursor to “TRACK,”
and press [ENTER].
fig.03-506d
You can load drum sounds of up to 13 seconds for a
single drum kit.
(Example)
Kick: 3 seconds, snare: 3 seconds, crash cymbal: 7 seconds
→ Total 13 seconds
3 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track and V-Track to which the drum sounds
are to be loaded, then press [ENTER].
fig.03-507d
4 . Use [CURSOR] and the TIME/VALUE dial to specify
the range (start and end points) of drum sounds to be
loaded in terms of measures or time locations.
* You cannot specify an interval between the start and end
points or a length of time in less than 100 ms or excess of 13
seconds.
* When specifying measures, the result is reflected in the time
display, and vice versa.
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Ab o u t th e d ru m k its
5 . When you have finished setting the start and end
Sta rt Po in t (“ S” )
points, move the cursor to “LOAD” and press [ENTER].
fig.03-510d
Specify the measure or location to be used as the start
point for loading the drum sounds.
fig.03-508d
Measure Beat
Hours Minutes Seconds Frame
En d Po in t (“ E” )
Specify the measure or location to be used as the end
point for loading the drum sounds.
6 . Specify the load-destination song drum kit with the
From the screen for setting the start point, press
CURSOR [ ] repeatedly to display the screen for
TIME/VALUE dial, then press [ENTER].
S1–5: Song Drum Kit 1–5
fig.03-511d
setting the end point.
fig.03-509d
Measure Beat
7 . Specify the load-destination drum sound with the
TIME/VALUE dial, then press [ENTER].
The load is executed.
Hours Minutes Seconds Frame
To cancel, press [EXIT].
fig.03-512d
You can preview the drum sounds in the specified range
by moving the cursor to “PVW” and pressing [ENTER].
Determine the sounds to load while setting the start and
end points and the length, and repeating the preview.
* You can press [PLAY] to preview the sounds, and press
[STOP] to stop the sounds.
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Ab o u t th e d ru m k its
5 . Turn the TIME/VALUE dial to specify the copy-
Co p y in g d ru m so u n d s fro m o th e r
d ru m k its
destination drum kit, then press [ENTER].
fig.03-522d
1 . Press [TONE LOAD].
2 . Press CURSOR [ ] [ ] to move the cursor to
“COPY,” and press [ENTER].
fig.03-519d
6 . Turn the TIME/VALUE dial to select the copy-
destination song drum sound, then press [ENTER].
The load is executed.
To cancel, press [EXIT].
fig.03-522a
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
3 . Turn the TIME/VALUE dial to specify the copy-
destination drum kit, then press [ENTER].
P1–9:
Preset Drum Kit 1–9
Song Drum Kit 1–5
Once the copying is complete, the beginning screen for
Tone Load is returned to the display.
S1–5:
fig.03-520d
7 . Press [TONE LOAD] (or [EXIT]) to return to the Play
screen.
4 . Turn the TIME/VALUE dial to specify the copy-
destination drum sound, then press [ENTER].
* Select “ALL” if you want to copy all of the drum sounds in the
kit.
fig.03-521d
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Ab o u t th e d ru m k its
Era sin g d ru m so u n d s
1 . Press [TONE LOAD].
Ch a n g in g th e p o sitio n (p a n ) o f
th e d ru m so u n d s
2 . Press CURSOR [ ] [ ] to move the cursor to
1 . Press [TONE LOAD].
“ERASE,” and press [ENTER].
2 . Press CURSOR [ ] to move the cursor to “PAN,” and
fig.03-523d
press [ENTER].
fig.03-526d
3 . Turn the TIME/VALUE dial to specify the erase drum
kit, then press [ENTER].
3 . Turn the TIME/VALUE dial to specify the drum kit
whose panning you want to change, then press
[ENTER].
S1–5:
Song Drum Kit 1–5
fig.03-524d
S1–5:
Song Drum Kit 1–5
fig.03-527d
4 . Turn the TIME/VALUE dial to specify the erase drum
sound, then press [ENTER].
* Select “ALL” if you want to erase all of the drum sounds in
4 . Use [CURSOR] and the TIME/VALUE dial to specify
the kit.
fig.03-525d
the drum sound whose panning is being changed and
the pan setting.
fig.03-528d
“Are you sure?” appears.
5 . Press [ENTER] (YES) to erase the drum sound.
* When you press [RHYTHM PAD], causing the indicator to
light/flash, you can then set the drum sounds by tapping REC
TRACK [1/5]–[4/8], [V-TRACK], and [TAP].
To cancel, press [EXIT] (NO).
Once the erasing is complete, the beginning screen for
Tone Load is returned to the display.
* Pressing [ENTER] sets this to “C00” (Center).
6 . Press [TONE LOAD] (or [EXIT]) to return to the Play
5 . Press [TONE LOAD] (or press [EXIT] repeatedly) to
screen.
return to the Play screen.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Se ttin g Pro ce d u re
1 . Press [EFFECTS].
4 . Press CURSOR [ ] [ ] to move the cursor to each
The Effect Settings screen appears.
fig.04-101d
effect and turn the TIME/VALUE dial to turn each
effect on or off.
P: Preset / S: Song / U: User
Bank Number Patch Name
Algorithm
Name
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.04-104d
2 . Select an effect patch.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the bank, Preset/ Song/ User, and patch number.
5 . Press CURSOR [ ] [ ] to move the cursor to the
effect with the parameter that you want to change and
press [ENTER].
3 . Press CURSOR [ ] to move the cursor to “EDIT,” and
press [ENTER].
The Parameter Setting screen for each effect appears.
fig.04-105d
The Edit Effect screen appears and the algorithm (the
connection sequence for the effects being used) is
displayed.
fig.04-102d
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 5–6.
8 . If you wish to save the current effect settings, perform
the procedure described in “Saving insert effect
●
When effect patches in the SIMUL bank are selected,
“GTR” and “MIC” appear.
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.
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].
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.
fig.04-103d
By pressing [ENTER] while the cursor is at a bank–
number, you can display the Edit Effect screen directly.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Alg o rith m List
The algorithms (the available effects and their connection order) that can be used as an insert effect are shown below.
The algorithms that can be selected will differ for each bank. To select the algorithm that you wish to use, first select the effect
bank that includes that algorithm, and then refer to the “Effect Patch List” (separate sheet) 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).
(Example)
fig.04-105a
Output: Mono
Output: Stereo
–[
]–[ ]–
COMP PAMP
–[
]=[ ]=
MOD DLY
BAN K: GUITAR
1 . CO SM GTR AMP
2 . ACO USTIC SIM
This is a multi-effect designed for electric guitar. This
provides an amp sound using a preamp and speaker
simulator.
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.04-107
* In case of “Phaser,” output will become monaural.
fig.04-106
–[
[
]–[ ]
]–[ ]–[
ASIM COMP EQ NS
–[
[
]–[ ]
]–[ ]–[
COMP PAMP SP EQ/WAH
]–[ ]=
]=[
FV MOD DLY
]–[ ]–[ ]=
]=[
NS FV MOD DLY
Acoustic Guitar Simulator
Compressor
Compressor
Preamp
4Band Equalizer
Noise Suppressor
Foot Volume
Speaker Simulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Modulation
- Flanger
- Chorus
Noise Suppressor
Foot Volume
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Modulation
- Flanger
- Chorus
Delay
- Phaser
- Pitch Shifter
- Harmonist
- Doubling
- Tremolo/Pan
- Slow Attack
Delay
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
3 . BASS SIM
5 . GTR SYN TH
Simulates the sound of a bass guitar. Obtain the sound of a
bass guitar while playing an electric guitar.
This is an effect for use with guitar Synth. Pitch and attack
information in the sound input from the guitar is expressed
as synth sounds.
* You should avoid playing chords when using the Bass
Simulator.
fig.04-108
* It does not work properly when a chord is played. Be sure to
mute all the other strings and play in a single note.
–[
]–[
]–[ ]–[ ]–[
]=
BSIM COMP/DEF NS FV MOD
* When you are to play the next string while a certain sound is
still playing, perfectly mute the previous sound then play the
next one with a clear attack.
Bass Simulator
Compressor/Defretter
- Compressor
* If the unit cannot detect the attack, it may not sound correctly.
fig.04-110
- Defretter
–[
]–[ ]–[ ]=
]=[
GSYN FV MOD DLY
Noise Suppressor
Foot Volume
Guitar Synth
Foot Volume
Modulation
- Flanger
Modulation
- Flanger
- Chorus
- Phaser
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
4 . CO SM CO MP GTR
This is a multi-effect designed for electric guitar. In addition
to a COSM compressor/ limiter, it uses a preamp and speaker
6 . ACO USTIC GTR
simulator for a characteristic amp sound.
fig.04-109
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
–[
]–[ ]
]–[ ]–[
COMP PAMP SP EQ/WAH
–[ ]–[ ]–[
]=
NS FV DLY
microphone.
fig.04-111
COSM Comp/Limiter
Preamp
–[
]=[ ]=
]=[ ]=[ ]=[
ACP COMP EQ NS DLY
Speaker Simulator
Acoustic Processor
Compressor
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
4Band Equalizer
Noise Suppressor
Delay
Noise Suppressor
Foot Volume
Delay
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
7 . BASS MULTI
8 . CO SM BASS AMP
This is a multi-effect designed for bass guitar. Appropriate
This is a multi-effect designed for bass guitar. This features
for creating standard bass sound.
an amp sound that uses a preamp and speaker simulator.
fig.04-112
fig.04-113
–[
]–[
]–[
]–[
]
–[
]–[ ]
]–[ ]–[
COMP/DEF OCT ENH EQ/WAH
COMP PAMP SP EQ/WAH
–[ ]–[ ]–[
]=[
]=
–[ ]–[ ]–[
]=[
]=
NS FV MOD DLY
NS FV MOD DLY
Compressor/Defretter
- Compressor
Compressor
Preamp
- Defretter
Speaker Simulator
Octave
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Enhancer
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Noise Suppressor
Foot Volume
Modulation
- Flanger
Modulation
- Flanger
- Chorus
- Phaser
- Chorus
- Pitch Shifter
- Doubling
- Tremolo/Pan
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
Delay
9 . CO SM CO MP BSS
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.04-114
–[
[
]–[ ]
]–[
COMP/LIM PAMP SP
]–[ ]–[ ]–[
EQ/WAH NS FV DLY
]=
COSM Comp/Limiter
Preamp
Speaker Simulator
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
Noise Suppressor
Foot Volume
Delay
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
BAN K: MIC
1 0 . VO CAL MULTI
1 2 . CO SM CO MP VCL
This is a multi-effect designed for vocals.
This is a multi-effect designed for vocals.
It provides the basic effects needed for vocals.
The COSM compressor/ limiter is perfect for creating a basic
fig.04-115
sound.
fig.04-117
–[
]–[ ]
]–[
]–[
COMP DES ENH EQ
–[
[
]–[ ]
]–[
COMP/LIM DES ENH
–[ ]–[ ]–[ ]=
]=[
NS FV MOD DLY
]–[ ]–[ ]–[
EQ NS FV DLY
]=
Compressor
COSM Comp/Limiter
De-esser
De-esser
Enhancer
Enhancer
4Band Equalizer
Noise Suppressor
Foot Volume
4Band Equalizer
Noise Suppressor
Foot Volume
Delay
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
1 1 . VO ICE TRAN S
This is a multi-effect designed for vocals.
This allows you to produce a unique effect using a voice
transformer.
fig.04-116
–[ ]–[ ]–[ ]–[ ]=
]=[
VT NS FV MOD DLY
Voice Transformer
Noise Suppressor
Foot Volume
Modulation
- Flanger
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
Delay
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
BAN K: LIN E
BAN K: SIMUL
1 3 . STEREO MULTI
1 5 . VO +GT AMP
This algorithm connects seven types of effect, all in full
This algorithm is for use when simultaneously recording a
vocal and electric guitar.
stereo.
fig.04-118
For the guitar, you can produce an amp sound using a
preamp and speaker simulator.
=[
[
]=[ ]
]=[
COMP RNG EQ/WAH
]=[ ]=[ ]=
]=[
NS FV MOD DLY
(GUITAR)
fig.04-121
Compressor
–[
]–[ ]–
]–[ ]–[ ]–[
COMP PAMP SP NS DLY
Ring Modulator
(MIC)
4Band Equalizer/Wah
- 4Band Equalizer
- Wah
fig.04-120
–[
]–[ ]–[ ]–[ ]–
COMP EQ NS DLY
Noise Suppressor
Foot Volume
(GUITAR)
Compressor
PreAmp
Modulation
- Flanger
Speaker Simulator
Noise Suppressor
Delay
- Chorus
- Phaser
- Pitch Shifter
- Doubling
- Tremolo/Pan
(MIC)
Delay
Compressor
4Band Equalizer
Noise Suppressor
Delay
1 4 . LO -FI BO X
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.S02-14
=[
]=[ ]=
LOFI NS
Lo-Fi
Noise Suppressor
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
1 6 . VO +AC.SIM
1 7 . VO +ACO USTIC
This algorithm is for use when simultaneously recording a
vocal and electric guitar.
This algorithm is for use when simultaneously recording a
vocal and acoustic guitar.
For the guitar, you can make the electric guitar sound like an
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)
(GUITAR)
fig.04-123
fig.04-125
–[
]–[ ]–
]–[ ]–[
ASIM COMP NS DLY
–[
]–[ ]–[ ]–
ACP COMP NS
(MIC)
fig.04-122
(MIC)
fig.04-124
–[
]–[ ]–[ ]–[ ]–
COMP EQ NS DLY
–[
]–[ ]–
COMP NS
(GUITAR)
(GUITAR)
Acoustic Guitar Simulator
Compressor
Acoustic Processor
Compressor
Noise Suppressor
Delay
Noise Suppressor
(MIC)
(MIC)
Compressor
Noise Suppressor
Compressor
4Band Equalizer
Noise Suppressor
Delay
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Pa ra m e te r 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 BOSS’s BR-864. Their marks are used solely
to identify the equipment whose sound is simulated by BOSS’s BR-864.
Aco u stic Gu ita r Sim u la to r
Aco u stic Pro ce sso r
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.
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.
If you set the pickup selector of your guitar to the front position, the
desired effect will be easier to achieve.
O n / O ff
OFF, ON
This parameter turns the acoustic processor effect on/ off.
O n / O ff
OFF, ON
This parameter turns the acoustic guitar simulator effect on/ off.
Bo d y
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.
Pick Up
SINGLE, HUMBUCK
Set this to the type of pickup on the connected guitar.
Ch a rct
Mic Dist
0–100
This selects one of the four types of sounds.
This simulates the distance between the microphone capturing the
STD (standard):
sound of an acoustic guitar and the guitar itself.
This is a normal acoustic guitar.
Le ve l
0–100
JUMBO:
This adjusts the volume of the acoustic processor.
This is an acoustic guitar with a body that is bigger than
STANDARD. The bass sound is powerful.
Ba ss Sim u la to r
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.
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.
PIEZO:
This simulates the sound you would get from a pickup installed on
an electric-acoustic guitar.
O n / O ff
OFF, ON
This parameter turns the bass simulator effect on/ off.
During the attack, a certain amount of compression will be applied.
Ch a rct
LOOSE, TIGHT
To p -Hi
-100–+100
Bass tone characteristic is set. When “LOOSE” is selected, as if the
Adjust the level of the direct sound from the strings. That is, it
string gauge was getting thicker.
adjusts the harmonic contents.
Le ve l
0–100
To p -Mid
-100–+100
This adjusts the volume of the bass simulator.
This adjusts the interference to the strings made by the top plate.
That is, it adjusts the attack sense.
Ch o ru s
Bo d y
-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.
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.
Le ve l
0–100
*
This effect can be used when the MODULATION “Type” parameter
is set to “CHORUS.”
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.
O n / O ff
OFF, ON
0–100
This parameter turns the chorus effect on/ off.
Ra te
Adjusts the rate of the Chorus effect.
De p th
0–100
Adjusts the depth of the Chorus effect.
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Pre Dly
0.5–50.0 ms
Th re sh o ld (with Rack160)
0–100
Adjusts the time needed for the effect sound to be output after the
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.
direct sound has been output.
E.Le ve l
0–100
Adjusts the volume of the effect sound.
In p u t (with VtgRack)
0–100
Controls the input level. Increasing the value will produce a deeper
Co m p re sso r
effect.
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.
Ra tio
(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.
Atta ck Tim e (When set to VtgRack)
0–100
Another use of compression is as a “limiter,” which prevents
distortion by suppressing only volume peaks.
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.
O n / O ff
OFF, ON
This parameter turns the compressor effect on/ off.
Re le a se Tim e (with VtgRack)
0–100
Su sta in
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.
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.
Atta ck
0–100
To n e (with BOSS-Cmp)
-50–+50
Adjusts the strength of the attack. Larger values will result in a
Adjusts the tone. The higher the value set, the more the high
sharper attack, creating a more clearly defined sound.
frequencies are boosted, resulting in a harder sound.
Le ve l
0–100
Le ve l
0–100
Adjusts the volume.
Adjusts the volume.
CO SM Co m p (co m p re sso r)/ Lim ite r
De -e sse r
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.
Useful for reducing ‘sibilant’ or ‘S’ sounds produced by a vocalist.
O n / O ff
OFF, ON
This parameter turns the de-esser effect on/ off.
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-864 uses COSM technology to model four types of
compressor/ limiter in which the compressor and limiter functions are
combined.
Sib ila n t
0–100
Adjusts the sensitivity relative to the input volume, which controls
how the effect is applied.
Le ve l
0–100
Adjusts the volume.
O n / O ff
OFF, ON
Sets the compressor/ limiter to ON or OFF.
De fre tte r
Ty p e
Selects the compressor/ limiter type.
This simulates a fretless bass.
BOSS-Cmp: Models the BOSS CS-3 compact effects processor.
O n / O ff
OFF, ON
0–100
D-Comp:
Rack160:
VtgRack:
Models the MXR dyna comp.
Models the dbx 160.
This parameter turns the defretter effect on/ off.
Models the UREI 1178.
Se n s
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.
Atta ck (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.
Atta ck
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.
Su sta in (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.
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De p th
0–100
En h a n ce r
This controls the ratio of harmonics. Increasing the value will
increase the harmonic content and therefore will create a more
unusual sound.
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.
Le ve l
0–100
O n / O ff
OFF, ON
Adjusts the volume of the defretter sound.
This parameter turns the enhancer effect on/ off.
Se n s
0–100
De la y
Adjusts the manner in which the enhancer will be applied relative to
This creates a thicker sound by applying a delayed sound to the
direct sound.
the input signals.
Fre q
1.0–10.0 kHz
O n / O ff
OFF, ON
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.
This parameter turns the delay effect on/ off.
Ty p e
This Parameter selects the type of delay.
Mix Le ve l
0–100
SINGLE:
This is a simple delay.
Adjusts the amount of phase-shifted sound of the range set
by “Frequency” that is to be mixed with the input.
TAP:
Lo Mix Lvl
0–100
The delayed sound is panned across the left and right channels. This
will be effective when stereo recording.
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.
Dly Tm e
SINGLE: 1–1400 ms, TAP: 1–700 ms
This parameter adjusts the delay time (i.e., the interval for which
Le ve l
0–100
sound is delayed).
Adjusts the volume of the enhanced sound.
Fe e d b a ck
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.
Eq u a lize r
A 4-band equalizer.
E.Le ve l
Adjusts the volume of the delay sound.
0–120
*
You can use this effect with the following algorithms when “4BAND
EQ” is selected for the 4BAND EEQ/WAH “Type” setting.
COSM GTR AMP
COSM COMP GTR
BASS MULTI
COSM BASS AMP
COSM COMP BSS
STEREO MULTI
Do u b lin g
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.
O n / O ff
OFF, ON
This parameter turns the equalizer effect on/ off.
Lo w Ga in
-20– +20 dB
*
This effect can be used when the MODULATION “Type” parameter
is set to “DOUBLING.”
This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
O n / O ff
OFF, ON
Lo -M Gin
-20– +20 dB
This parameter turns the doubling effect on/ off.
This parameter sets the gain (amount of boost or cut) for the low-
midrange equalizer.
Dly Tm e
0.5–50.0 ms
This parameter adjusts the delay time (i.e., the interval for which
Lo -M F
100 Hz–10.0 kHz
sound is delayed).
This parameter sets the central frequency for the low-midrange
equalizer.
Se p a ra tio n
-50– +50
Adjusts the diffusion. The panning of the direct sound and effect
Lo -M Q
0.5–16
sound can be spread to left and right.
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.
*
This effect is obtained with stereo recording (using two tracks).
Hi-M Gin
-20– +20 dB
E.Le ve l
0–120
This parameter sets the gain (amount of boost or cut) for the high-
This adjusts the volume of the delay sound.
midrange equalizer.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Hi-M F
100 Hz–10.0 kHz
Gu ita r Sy n th
This parameter sets the central frequency for the high-midrange
equalizer.
Pitch and attack information in the sound input from the guitar is
expressed as synth sounds.
Hi-M Q
0.5–16
*
Since pitch and attack information for the input sounds selected with
the INPUT SELECT button are detected, the sounds do not play
“INPUT<NORMAL>” or “INPUT<REC DRY>.”
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 Ga in
-20– +20 dB
This parameter sets the gain (amount of boost or cut) for the treble
*
*
It does not work properly when a chord is played. Be sure to mute all
the other strings and play in a single note.
equalizer.
Le ve l
-20– +20 dB
When you are to play the next string while a certain sound is still
playing, perfectly mute the previous sound then play the next one with
a clear attack.
This parameter adjusts the volume after the equalizer stage.
*
If the unit cannot detect the attack, it may not sound correctly.
Fla n g e r
O n / O ff
OFF, ON
0–100
This produces a flanging effect that gives a sort of “twisting”
character to the sound.
This parameter turns the guitar synthesizer on/ off.
*
This effect can be used when the MODULATION “Type” parameter
is set to “FLANGER.”
Se n s
This adjusts the input sensitivity.
When Internal Sound Generator Method (SQUARE, SAW) is used,
the response of the internal sound source is better with a higher
sensitivity value, but the malfunctions will be increased on the other
hand. So, try to set it as high as possible without causing
malfunction.
O n / O ff
OFF, ON
0–100
0–100
0–100
0–100
This parameter turns the flanger effect on/ off.
Ra te
Determines the rate of the flanging effect.
W a ve
De p th
Determines the depth of the flanging effect.
This selects a wave type that is the source of the guitar synthesizer.
*
When “SQUARE” or “SAW” is selected, a three-voice synth sound is
played.
Ma n u a l
Adjusts the center frequency at which to apply the effect.
SQUARE:
Re so n a n ce
The unit detects the pitch and attack information from the input
Determines the amount of resonance (feedback). Increasing the value
guitar sound, then send the square waveform (
internal sound source.
) from the
will emphasize the effect, creating a more unusual sound.
Se p a ra tio n
0–100
SAW:
Adjusts the diffusion. The diffusion increases as the value increases.
The unit detects the pitch and attack information from the input
This will be effective when stereo output is used.
guitar sound, then send the saw waveform (
internal sound source.
) from the
*
This effect is obtained with stereo recording (using two tracks).
BRASS:
The unit directly processes the input guitar sound and creates a
guitar synthesizer sound. It gives a quick sound rise and send the
sound with a sharp edge.
Fo o t Vo lu m e
Specify the volume between effects.
By using an expression pedal to control the foot volume, you can
smoothly change the volume of the output sound. For a detailed
BOW:
The unit directly processes the input guitar sound and creates a
guitar synthesizer sound. It outputs a soft sound without attack.
O n / O ff
Switches the foot volume on/ off.
OFF, ON
PW M Ra te (with SQUARE)
0–100
This gives breadth or fatness to the sound by applying modulation
to the waveform (only to Square) in the internal sound module. A
higher value will quicken the rate of the modulation.
PW M De p th (with SQUARE)
0–100
This adjusts the depth of the PWM. When it is set to “0,” no PWM
effect is obtained.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Ch ro m a tic (with SQUARE, SAW)
OFF, ON
Atta ck
DECAY, 0–100
This switches on or off the chromatic function. When it is on, the
pitch change of the synthesizer sound is in semitone steps. This does
not respond to pitch changes less than a semitone, such as what
might be obtained with bending or vibrato. Thus, this is effectively
used for realistically playing musical instruments whose pitch will
change in steps greater than a semitone, such as a keyboard.
This adjusts the time needed for a synthesizer sound to reach its
maximum. When it is set to a lower value, the sound will rise
quickly. When it is set higher, the sound will rise slowly. When it is
set to “Decay,” the sound will rise quickly and turn to a Release
status regardless of the input of the guitar sound.
*
When “BRASS” or “BOW” is selected for the Wave, the attack time
will not be quicker from a certain level even if the attack is set to
“Decay” or “0.”
Ke y (with SQUARE, SAW)
OFF, C–B
Specify the key of the song you are playing. By setting the key, you
can produce harmonies from the three-voice synth sounds.
Re le a se
0–100
The key setting corresponds to the key of the song (#, b) as follows.
fig.04-126
This determines the time needed for the synthesizer sound to reach
zero from the moment the input of the guitar sound is completed.
*
When “BRASS” or “BOW” is selected for the Wave, the guitar signal
itself is processed. That is, the synthesizer sound will go down when
the guitar signal goes down no matter how long the release may be set.
Ve lo city
OFF, 0–100
This adjusts the amount of the volume change of the synthesizer
sound. When it is set to high, the volume change will be greater
depending on the picking strength. When it is set to “0,” no volume
change is caused even by changing the picking manner.
Pe d a l Ho ld (with SQUARE, SAW)
OFF, ON
You can control the internal sound generator with the expression
pedal.
OFF:
In te rvl 1 –3 (with SQUARE, SAW)
No change is produced by operating the expression pedal.
(Key: OFF) -12–0–+12, (Key: C–B) -1 oct–Tonic–+1 oct
This sets the intervals for the three-voice synth sound pitches.
When Key is set to OFF, the intervals are fixed.
ON:
The sound continues sounding at the pitch it had the moment the
expression pedal was depressed.
When Key is set to C–B, harmonies are produced by the pitches as
they changes in response to the pitch of the guitar input.
Po rta m e n to (with SQUARE, SAW)
OFF, 1–100
Cu to ff F
0–100
This sets the portamento function (an effect that connects notes by
producing a smooth change in pitch from one note to the next).
This adjusts the frequency where the harmonics contents of the
sound are cut off. This parameter determines the tone at the point
that the filter movement finally stops.
N o ise
0–100
This adjusts the noise added to the sound from the sound generator.
Re so n a n ce
0–100
Adding noise gives the synth guitar a special type of ambience.
This adjusts the filter resonance (the amount of feedback). Increasing
Dir Le ve l
This determines the volume of the direct sound.
0–100
0–100
the value emphasizes the effect, creating a more unusual sound.
Fil Se n s
0–100
Sy n 1 –3 Le ve l (with SQUARE, SAW)
This adjusts the volume of each of the three-voice synth sounds.
This adjusts the sensitivity of the filter. When it is set to a lower
value, the filter is affected only with stronger picking. When it is set
higher, the filter changes even with weaker picking.
When it is set to “0,” the depth of the filter will be the same no matter
how the picking strength may be.
Sy n Le ve l (with BRASS, BOW)
This adjusts the volume of the synth sound.
0–100
Fil De ca y
0–100
This sets the rate for the filter’s movement. The filter moves more
slowly as the value is increased.
Fil De p th
-100–100
This adjusts how much the filter shifts. When a positive value is set,
playing a string causes the filter to go upwards, starting from the
conditions determined with the cutoff frequency. Conversely, the
movement is downward when the value is negative. The change
becomes more dramatic as the numerical value is increased.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Ha rm o n ist
Lo -Fi Bo x
“Harmonist” is the amount of shifting is adjusted according to an
analysis of the guitar input, allowing you to create harmonics based
on diatonic scales.
Produces a lo-fi sound.
O n / O ff
OFF, ON
This parameter turns the lo-fi box effect on/ off.
*
This effect can be used when the MODULATION “Type” parameter
is set to “HARMONIST.”
Ty p e
Select the mode of the lo-fi box.
*
Since pitch and attack information for the input sounds selected with
the INPUT SELECT button are detected, the sounds do not play
“INPUT<NORMAL>” or “INPUT<REC DRY>.”
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.
*
Because of the need to analyze the pitch, chords (two or more sounds
played simultaneously) cannot be played.
PLAYER:
Ke y
The sound will appear to be heard from a gramophone. The noise
caused by scratches and dust on the record are is simulated.
Specify the key of the song you are playing. By specifying the key,
you can create harmonies that fit the key of the song. The key setting
DIGITAL:
corresponds to the key of the song (#, b) as follows.
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.
fig.04-127
●
W h e n “ RADIO ” o r “ PLAYER” is se le cte d
Tu n in g
0–100
This is a parameter for “RADIO.” It simulates the sounds that occur
when you adjust the tuning frequency of an AM radio.
W o w 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.
N o ise
This simulates noise.
0–100
0–100
In te rva l
-1 oct–Tonic– +1 oct
Filte r
This sets the intervals for the harmony sound pitch.
Adjusts the filter.
D:E
100:0–0:100
D:E
100:0–0:100
This adjusts the volume balance of the direct and harmony sound.
This adjusts the volume balance of the direct and effect sounds.
Se p a ra tio n
-100– +100
● W h e n “ DIGITAL” is se le cte d
Adjusts the diffusion. The panning of the direct sound and harmony
sound can be spread to left and right.
Pre Filte r
OFF, ON
This filter decreases digital distortion. When turned off, you can
*
This effect is obtained with stereo recording (using two tracks).
create an intense lo-fi sound incorporating digital distortion.
Sm p l Ra te
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.
Po st 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 Le ve l
Adjust the volume of the lo-fi sound.
0–100
0–100
Dir Le ve l
Adjusts the volume of the direct sound.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Mo d ify Fil
Ph a se r
This is a filter featuring a wide range of possible settings (modifiable
filter). Select different types to get a variety of different filter effects.
By adding varied-phase portions to the direct sound, the phaser
effect gives a whooshing, swirling character to the sound.
OFF:
*
This effect can be used when the MODULATION “Type” parameter
is set to “PHASER.”
The modify filter will not be used.
LPF:
The effect will function as a low pass filter.
O n / O ff
OFF, ON
0–100
0–100
0–100
0–100
This parameter turns the phaser effect on/ off.
BPF:
The effect will function as a band pass filter.
Ra te
This sets the rate of the Phaser effect.
HPF:
The effect will function as a high pass filter.
De p th
Cu to ff F
Adjust the cutoff frequency.
0–100
0–100
Determines the depth of the Phaser effect.
Ma n u a l
Re so n a n ce
Adjust the resonance.
Adjusts the center frequency of the phaser effect.
Re so n a n ce
Ga in
0–24 dB
Determines the amount of resonance (feedback). Increasing the value
Adjust the volume level of the sound that has passed through the
will emphasize the effect, creating a more unusual sound.
modify filter.
Pitch Sh ifte r
N o ise Su p p re sso r
This effect changes the pitch of the original sound (up or down)
within a range of two octaves.
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.
*
This effect can be used when the MODULATION “Type” parameter
is set to “PITCH SFT.”
O n / O ff
OFF, ON
O n / O ff
OFF, ON
This parameter turns the pitch shifter effect on/ off.
This parameter turns the noise suppressor effect on/ off.
Ty p e
Th re sh o ld
0–100
Selects either manual pitch shifter “MANUAL” or pedal pitch shifter
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.
“PEDAL.”
MANUAL:
This is a simple pitch shifter.
*
High settings for the Threshold parameter may result in there being no
sound when you play with your instruments volume turned down.
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
Re le a se
0–100
Adjusts the time from when the noise suppressor begins to function
until volume reaches “0.”
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.
O cta ve
*
This effect can be used when the “P.Shift Type” parameter is set to
“MANUAL.”
This adds a note one octave lower, creating a richer sound.
O n / O ff
OFF, ON
0–100
D:E
100:0–0:100
This parameter turns the octave effect on/ off.
This adjusts the volume balance of the direct and effect sounds.
O ct Le ve l
Se p a ra tio n
-50– +50
This adjusts the volume of the sound one octave below.
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.
Dir Le ve l
Adjusts the volume of the direct sound.
0–100
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Mid d le
GUITAR AMP: 0–100, BASS AMP:-100– +100
Pre a m p
Adjusts the tone for the middle frequency range.
Adjust the distortion and tone of the guitar sound.
*
If you have selected “MATCH” or “VO DRV” as the type, the middle
control will have no effect.
*
When all Bass, Middle and Treble are set to “0,” no sound may be
produced depending on the “Type” setting.
Tre b le
GUITAR AMP: 0–100, BASS AMP: -100– +100
O n / O ff
OFF, ON
Adjusts the tone for the high frequency range.
Turns the preamp effect on/ off.
Pre se n ce
0–100
Ty p e
This can be selected in the “COSM GUITAR AMP” or the
“VO+GT.AMP” algorithm.
This sets the type of the preamp. The distortion and tone
characteristics of each amp are as shown below:
Adjusts the tone for the ultra high frequency range.
*
If you have selected “MATCH” or “VO DRV” as the type, raising
●
W ith “ CO SM GTR AMP,” “ CO SM CO MP GTR,” o r
“ VO +GT AMP” a lg o rith m s
presence will cut the high range (the value will change from “0” to “-
100”).
JC-120
The sound of the Roland “JC-120,” a favorite
Ma ste r
0–100
of pro musicians around the world.
The sound of a conventional built-in tube
amp.
Adjusts the volume of the entire preamp.
CLEAN
Brig h t
OFF, ON
(with JC-120, CLEAN, CRUNCH, BLUES, BG LEAD, AC, AMG)
CRUNCH
MATCH
VO DRV
BLUES
Allows you to obtain a crunch effect that
creates a natural distortion.
Turns the bright setting on/ off.
A simulation of the latest tube amp widely
used in styles from blues and rock.
Allows you to obtain the Liverpool sound of
the 60’s.
OFF:
Bright is not used.
ON:
Bright is switched on to create a lighter and crisper tone.
A lead sound with a rich middle ideal for
Blues.
Ga in
LOW, MIDDLE, HIGH
BG LEAD:
The sound of a tube amp typical of the late
’70s to ’80s, characterized by a distinctive
mid-range.
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.”
MS (1, 2, 1+2)
The sound of a large tube amp stack that was
indispensable to the British hard rock of the
70’s, and is used to this day by many hard
rock guitarists.
Rin g Mo d u la to r
1
2
A trebly sound created by using input I of the
guitar amp.
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.
A trebly sound created by using input I of the
guitar amp.
1 + 2
The sound of connecting inputs I and II of the
guitar amp in parallel, creating a sound with a
stronger low end than I.
O n / O ff
OFF, ON
0–100
This parameter turns the ring modulator effect on/ off.
SLDN:
A tube amp sound with versatile distortion,
usable in a wide range of styles.
The sound of a large tube amp, suitable for
heavy metal.
Fre q u e n cy
This adjusts the frequency of the internal oscillator.
METAL:
METAL D:
Fx Le ve l
0–100
Adjusts the volume of the effect sound.
A high gain and powerful metal sound.
Dir Le ve l
Adjust the volume of the direct sound.
0–100
●
W ith “ CO SM BASS AMP” o r “ CO SM CO MP BSS”
a lg o rith m s
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.
Vo lu m e
0–100
Adjusts the volume and distortion of the amp.
Ba ss
GUITAR AMP: 0–100, BASS AMP:-100– +100
Adjusts the tone for the low frequency range.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Mic Le ve l
Adjusts the volume of the microphone.
0–100
0–100
Slo w Atta ck
This produces a volume-swell effect (“violin-like” sound).
Dir Le ve l
Adjust the volume of the direct sound.
*
This effect can be used in the “COSM GTR AMP” algorithm when
the MODULATION “Type” parameter is set to “SLOW ATCK.”
O n / O ff
OFF, ON
Tre m o lo / Pa n
This parameter turns the slow attack effect on/ off.
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).
Rise Tm e
10–2000 ms
This adjusts the time needed for the volume to reach its maximum
from the moment you begin picking.
*
This effect can be used when the MODULATION “Type” parameter
is set to “TRM/PAN.”
Le ve l
0–100
Adjust the volume of the slow attack sound.
O n / O ff
OFF, ON
This parameter turns the tremolo/ pan effect on/ off.
Sp e a k e r Sim u la to r
Mo d e
Selects tremolo or pan; also selects how the effect is applied
This simulates the characteristics of various types of speakers. When
the output of the BR-864 is connected directly to a mixer, etc., this
can be used to create the sound of your favorite speakers system.
TRM-TRI:
The volume will change cyclically. Smooth change will be produced.
O n / O ff
OFF, ON
TRM-SQR:
This parameter turns the speaker simulator effect on/ off.
The volume will change cyclically. Abrupt change will be produced.
PAN-TRI:
Ty p e
The sound will be moved cyclically between left and right. Smooth
change will be produced.
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.
PAN-SQR:
The sound will be moved cyclically between left and right. Abrupt
change will be produced.
●
W ith “ CO SM GUITAR AMP,” “ CO SM CO MP GUITAR AMP,” o r
“ VO +GT.AMP” a lg o rith m s
*
“PAN-TRI” and “PAN-SQR” are obtained with stereo recording
(using two tracks).
fig.04-128
SP Simulator
Speaker Microphone
Cabinet
Comments
Ra te
0–100
0–100
Type
Unit
Setting
On Mic
On Mic
On Mic
On Mic
Off Mic
On Mic
Off Mic
On Mic
Off Mic
OnMic
Off Mic
On Mic
Off Mic
Off Mic
Small open-back enclosure
Open-back enclosure
10 inch
12 inch
SMALL
MIDDLE
JC-120
TWIN
Adjust the rate at which the effect will operate.
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Open-back enclosure 12 inch (two units)
Large Sealed enclosure 12 inch (two units)
Large sealed enclosure 12 inch (two units)
Large sealed enclosure 12 inch (four units)
Large sealed enclosure 12 inch (four units)
Large dual stack 12 inch (four units)
Roland JC-120 Simulation
A setting suitable for CLEAN
A setting suitable for CLEAN
A setting suitable for MATCH
A setting suitable for MATCH
A setting suitable for VO DRV
A setting suitable for VO DRV
A setting suitable for BG LEAD
A setting suitable for BG LEAD
A setting suitable for MS
A setting suitable for MS
De p th
Adjusts the depth of the effect.
twin
MATCH
match
VO DRV
vo drv
BG STK
bg stk
MS STK
ms stk
METAL
● W ith “ CO SM BASS AMP” o r “ CO SM CO MP
BASS AMP” a lg o rith m s
fig.04-129
SP Simulator
Type
Speaker Microphone
Comments
Cabinet
Unit
Setting
On Mic
Off Mic
On Mic
Off Mic
Large sealed enclosure 15 inch (two units)
Large sealed enclosure 15 inch (two units)
Large sealed enclosure 10 inch (eight units)
Large sealed enclosure 10 inch (eight units)
A setting suitable for AC
A setting suitable for AC
A setting suitable for AMG
A setting suitable for AMG
AC
ac
AMG
amg
Mic Se t
CENTER, 1–10 cm
This simulates the microphone position. “CENTER” simulates the
condition that the microphone is set in the middle of the speaker
cone. “1–10 cm” means that the microphone is moved away from the
center of the speaker cone.
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In se rt Effe ct Pa ra m e te r Fu n ctio n s
Se n s
0–100
Vo ice Tra n sfo rm e r
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.
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.
Fre q u e n cy
0–100
O n / O ff
OFF, ON
This adjusts the center frequency of the Wah effect.
This parameter turns the voice transformer effect on/ off.
Pe a k
0–100
Fo rm a n t1
Adjust the formant of the voice character 1.
-100– +100
-100– +100
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.
Fo rm a n t2
Adjust the formant of the voice character 2.
Le ve l
Adjusts the volume.
0–100
FX1 Le ve l
Adjust the volume of the voice character 1.
FX2 Le ve l
Adjust the volume of the voice character 2.
0–100
● W h e n “ PEDAL” is se le cte d
The effect of the wah pedal can be obtained by operating the
Expression pedal.
Dir Le ve l
Adjust the volume of the direct sound.
0–100
For a detailed explanation, refer to “When using an expression
Pe a k
0–100
W a h
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.
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.
Le ve l
Adjusts the volume.
0–100
* You can use this effect with the following algorithms when
“WAH” is selected for the 4BAND EQ/WAH “Type” setting.
COSM GTR AMP
COSM COMP GTR
BASS MULTI
COSM BASS AMP
COSM COMP BSS
STEREO MULTI
O n / O ff
OFF, ON
Turns the touch wah/ pedal wah effect on/ off.
Ty p e
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.
● W h e n “ TO UCH” is se le cte d
Po la rity
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.
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Ma ste rin g To o l Kit Pa ra m e te r Fu n ctio n s
Se ttin g Pro ce d u re
5 . Press CURSOR [ ] [ ] to move the cursor to the
effect with the parameter that you want to change and
press [ENTER].
mode.
The Parameter Setting screen for each effect appears.
The Mastering Tool Kit selection screen appears.
fig.04-203d
fig.04-201d
P: Preset / S: Song / U: User
Algorithm
Bank
Number Patch Name
Name
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
2 . Select a Mastering Tool Kit.
return to the previous screen, and repeat steps 5-6.
Use CURSOR [ ] [ ] and the TIME/ VALUE dial to
select the Preset/ Song/ User and number.
8 . If you wish to save the current effect settings, perform
the procedure described in “Saving mastering tool kit
3 . 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,
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.
shown in the sequence they are connected).
fig.04-202d
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.
Alg o rith m
fig.04-204
=[ ]=[ ]
]=[
]=[ ]=[
EQ BCUT ENH IN EXP
[
]=[ ]
]=[
]=[
COMP MIX LIM OUT
Equalizer
Bass Cut Filter
Enhancer
Input
You can also display this screen directly by pressing
[ENTER] while the cursor is positioned at the Preset/
Song/ User or number.
Expander
Compressor
Mixer
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.
Limiter
Output
Turn on the effects that you want to use.
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Ma ste rin g To o l Kit Pa ra m e te r Fu n ctio n s
Pa ra m e te r List
Eq u a lize r
Ba ss Cu t Filte r
This is a filter that cuts unwanted low range noise, such as pops.
O n / O ff
OFF, ON
This parameter turns the equalizer effect on/ off.
O n / O ff
OFF, ON
This setting turns the Bass Cut Filter on/ off.
In p u t Ga in
-24 – +12 dB
Sets the overall volume before passing through the equalizer.
Fre q
THRU, 20 Hz–2.0 kHz
This sets the frequency containing popping or other undesirable
Lo w Ty p e
SHELVNG, PEAK
lower-range noises that you want to cut.
Sets the equalizer type (shelving, peaking) for the lower range.
Lo w Ga in
Sets the amount of boost or cut in the lower range.
-12 – +12 dB
En h a n ce r
This adds more liveliness to the sound, putting sounds at the
forefront.
Lo w Fre q
Sets the center frequency for the lower range.
20 Hz–2.0 kHz
0.3–16.0
O n / O ff
OFF, ON
Lo w Q
This parameter turns the enhancer effect on/ off.
Sets the steepness of the frequency response curve for the lower
range’s center frequency. (*1)
Se n s
0–100
This sets the amount of Enhancer that is applied.
Lo w Mid Ga in
-12– +12 dB
Sets the amount of boost or cut in the mid-low range.
Fre q
1.0–10.0 kHz
Sets the frequency at which the enhancer effect will begin to be
Lo w Mid Fre q
Sets the center frequency for the mid-low range.
20 Hz–8.0 kHz
applied.
Mix Lvl
Sets the volume of the effect sound.
-24– +12 dB
Lo w Mid Q
0.3–16.0
Sets the steepness of the frequency response curve for the mid-low
range’s center frequency.
In p u t
Hig h Mid Ga in
Sets the amount of boost or cut in the upper-low range.
-12– +12 dB
This divides the original sound into three frequency ranges: low,
mid, and high.
Hig h Mid Fre q
20 Hz–8.0 kHz
Sets the center frequency for the upper-midrange.
Ga in
-24– +12 dB
Sets the overall volume level before the signal passes through the
Hig h Mid Q
0.3–16.0
expander/ compressor.
Sets the steepness of the frequency response curve for the upper-low
range’s center frequency.
Dly Tim e
0–10 ms
This sets the amount of time by which the source input sound is
Hig h Ty p e
SHELVNG, PEAK
delayed.
Sets the equalizer type (shelving, peaking) for the upper range.
Sp litL
20–800 Hz
Hig h Ga in
Sets the amount of boost or cut in the upper range.
-12– +12 dB
This sets the frequency (in the lower range) at which the source
sound is split into three separate ranges.
Hig h Fre q
Sets the center frequency for the upper range.
1.4–20.0 kHz
0.3–16.0
Sp litH
1.6–16.0 kHz
This sets the frequency (in the upper range) at which the source
Hig h Q
sound is split into three separate ranges.
Sets the frequency response curve steepness for the upper range’s
center frequency. (*1)
O u tp u t Ga in
-24– +12 dB
Sets the overall volume level after equalization.
(*1)
The Low Q/ Hi Q setting is disabled when “SHELVNG” (shelving type
equalization) is selected for the Low Type or High Type.
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Ma ste rin g To o l Kit Pa ra m e te r Fu n ctio n s
Ex p a n d e r
Co m p re sso r
This expands the dynamic range at a fixed ratio.
This compresses the overall output signal when the input volume
level exceeds a set value.
O n / O ff
This setting turns the expander on/ off.
OFF, ON
-80–0 dB
O n / O ff
OFF, ON
This parameter turns the compressor effect on/ off.
Lo Th re s
Lo Th re s
-24–0 dB
This sets the volume level at which the lower-range expander goes
into effect.
This sets the volume level at which the lower-range compressor goes
into effect.
Lo Ra tio
1:1.00–1:16.0, 1:INF
Lo Ra tio
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.
This sets the ratio of suppression of the lower-range output when the
input level exceeds the Lo threshold level.
Lo Atta ck
0–100 ms
Lo Atta ck
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.
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 Re le a se
50–5000 ms
Lo Re le a se
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.
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 Th re s
-80–0 dB
Mid Th re s
-24–0 dB
This sets the volume level at which the midrange expander goes into
effect.
This sets the volume level at which the midrange compressor goes
into effect.
Mid Ra tio
1:1.00–1:16.0, 1:INF
Mid Ra tio
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.
This sets the ratio of suppression of the midrange output when the
input level exceeds the Middle threshold level.
Mid Atta ck
0–100 ms
Mid Atta ck
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.
This sets the time it takes for the midrange compressor to go into
effect once the input level exceeds the Middle threshold level.
Mid Re le a se
50–5000 ms
Mid Re le a se
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.
This sets the time it takes for the midrange compressor effect to stop
once the input level falls below the Middle threshold level.
Hi Th re s
-80–0 dB
Hi Th re s
-24–0 dB
This sets the volume level at which the upper-range expander goes
into effect.
This sets the volume level at which the upper-range compressor goes
into effect.
Hi Ra tio
1:1.00–1:16.0, 1:INF
Hi Ra tio
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.
This sets the ratio of suppression of the upper-range output when
the input level exceeds the Hi threshold level.
Hi Atta ck
0–100 ms
Hi Atta ck
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.
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 Re le a se
50–5000 ms
Hi Re le a se
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.
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 (Mix) level as needed.
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Ma ste rin g To o l Kit Pa ra m e te r Fu n ctio n s
Mix e r
Adjusts the volume of each frequency band.
Lo Le ve l
-80– +6 dB
Sets the volume level of the lower range after the signal passes
through the expander and compressor.
Mid Le ve l
-80– +6 dB
Sets the volume level of the midrange after the signal passes through
the expander and compressor.
Hi Le ve l
-80– +6 dB
Sets the volume level of the upper range after the signal passes
through the expander and compressor.
Lim ite r
This suppresses high-level signals to prevent distortion.
O n / O ff
OFF, ON
Sets the limiter to ON or OFF.
Th re s
-24–0 dB
Adjust this as appropriate for the input signal from your bass.
Atta ck
0–100 ms
This sets the time it takes for the limiter to go into effect once the
input level exceeds the threshold level.
Re le a se
50–5000 ms
Adjusts the time until when the limiter will turn off after the input
level falls below the threshold level.
O u tp u t
This makes settings that affect the overall output.
Le ve l
-80– +6 dB
Sets the volume level of the overall sound after the signal passes
through the limiter.
So ft Clip
Off, On
This suppresses noticeable distortion occurring with heavy use of
the compressor/ limiter effect.
Dith e r
OFF, 24–8 BIT
This prevents the action of muting sounds from being too noticeable.
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Lo o p Effe ct Pa ra m e te r Fu n ctio n s
Se ttin g Pro ce d u re
1 . Press [LOOP EFFECTS].
4 . To change the settings for the selected effect, press
CURSOR [ ] [ ] to select the parameter and turn the
TIME/VALUE dial to change the set value.
2 . Press CURSOR [ ] [ ] to move the cursor to “CHO/
DLY” or “REV,” and press [ENTER].
fig.01-704d
fig.01-701d
5 . When you finish making settings,
press [EXIT] repeatedly to return to the PLAY screen.
3 . Press CURSOR [ ] [ ] until “FX Type” or “Type” is
displayed, then turn the TIME/VALUE dial to select the
loop effect.
W h e n u sin g CHO / DLY
Select from “CHORUS,” “DELAY,” or “DBLN”
(doubling).
fig.01-702d
W h e n u sin g REV
Select either “HALL” or “ROOM.”
fig.01-703d
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Lo o p Effe ct Pa ra m e te r Fu n ctio n s
Pa ra m e te r List
● W h e n “ DBLN ” is se le cte d
CHO RUS/ DELAY/ DBLN (Do u b lin g )
Dly Tm e
0.5–50.0 ms
This selects the chorus, delay, or doubling effect.
This parameter adjusts the delay time (i.e., the interval for which
sound is delayed).
FX Ty p e
This sets the type of the effect.
E.Le ve l
0–100
CHORUS:
This adjusts the volume of the delay sound.
A sound with a subtly shifted pitch is added to the direct sound,
making the final output sound thicker and broader.
REVERB
DELAY:
This creates a thicker sound by applying a delayed sound to the
direct sound.
Reverberation (or reverb) is the effect caused by sound waves
decaying in an acoustic space, or a digital simulation thereof. This
decay occurs because sound waves bounce off many walls, ceilings,
objects, etc. in a very complex way. These reflections, coupled with
absorption by various objects, dissipate the acoustic energy over a
certain period of time (called the decay time). The ear perceives this
phenomenon as a continuous wash of sound.
DBLN:
By adding a slightly time-delayed sound to the direct sound, this
produces the impression that multiple sources are sounding together
(a “doubling” effect). The delayed sound will be output from the
side opposite to which the playback track has been panned.
Ty p e
● W h e n “ CHO RUS” is se le cte d
This selects the Reverb Type.
Ra te
0–100
0 –100
ROOM:
Adjusts the rate of the Chorus effect.
Simulates the reverberation in a small room.
De p th
HALL:
Adjusts the depth of the Chorus effect.
Simulates the reverberation in a concert hall.
Pre Dly
0.5–50.0 ms
Re v Tim e
0.1–10.0
-12– +12
0–100
Adjusts the time needed for the effect sound to be output after the
This parameter adjusts the duration (time) of the reverb.
direct sound has been output.
To n e
Adjusts the tone.
E.Le ve l
Adjusts the volume of the effect sound.
0–100
E.Le ve l
This adjusts the volume of the reverb sound.
● W h e n “ DELAY” is se le cte d
Dly Tm e
10–1000 ms
This parameter adjusts the delay time (i.e., the interval for which
sound is delayed).
Fe e d b a ck
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.Le ve l
0–100
This adjusts the volume of the delay sound.
Re v Se n d
0–100
Adjust the volume of the reverb that is applied to the delayed sound.
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Tra ck EQ Pa ra m e te r Fu n ctio n s
Se ttin g Pro ce d u re
Pa ra m e te r List
This is a Four-band equalizer that is independent for each track.
1 . Press [EQ].
2 . Use [CURSOR] and the TIME/VALUE dial to set the
If you adjust the equalizer while listening to the sound, you may
notice a clicking noise. This is not a malfunction. If the noise is
objectionable, make adjustments while the sound is not playing.
EQ On/Off for each track.
* Pressing a REC TRACK button moves the cursor to the track
corresponding to the button pressed.
fig.04-401d
O n / O ff
OFF, ON
This parameter turns the equalizer effect on/ off.
Lo G
-12– +12 dB
This sets the gain (-12 to +12 dB) for the low-range equalizer
(shelving type).
Lo F
40 Hz–1.5 kHz
This sets the center frequency (40Hz to 1.5 kHz) for the low-range
equalizer (shelving type).
3 . To change the EQ settings, press CURSOR [
]
Hi G
-12 – +12 dB
repeatedly to display the parameter screen, then turn
the TIME/VALUE dial to change the settings value.
This sets the gain (-12 to +12 dB) for the high-range equalizer
(shelving type).
fig.04–402d
Hi F
500 Hz–18.0 kHz
This sets the center frequency (500 Hz to 18 kHz) for the high-range
equalizer (shelving type).
4 . After you have completed the setting, press [EQ] or
[EXIT] to return to the Play screen.
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MEMO
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Usin g a fo o t sw itch o r e x p re ssio n p e d a l
You can connect an optional foot switch (such as the BOSS
3 . Press CURSOR [ ] [ ] and select “Foot SW.”
fig.05-103d
FS-5U or Roland DP-2) or expression pedal (such as the
Roland EV-5 or BOSS FV-300L) to the FOOT SW/ EXP
PEDAL jack on the rear panel, allowing you to use your foot
to control a number of functions.
fig.05-101
4 . Turn the TIME/VALUE dial and select the foot switch
function
time you press the foot switch.
PLAY:
PUNCH:
FX:
The song will alternate between play and
stop each time you press the foot switch.
Switches punch in and out alternately each
time you press the foot switch.
Set the polarity switch
as shown in the following.
The effect will alternate between on and off
each time you press the foot switch.
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.
Foot Switch
(FS-5U etc.)
Expression Pedal
(Roland EV-5 etc.)
* Use only the specified expression pedal (EV-5, FV-300L;
optional). By connecting any other expression pedals, you risk
causing malfunction and/or damage to the unit.
W h e n u sin g a n e x p re ssio n p e d a l
* With the EV-5 and FV-300L, set the MIN volume to 0.
The expression pedal functions according to the effect
settings, as shown below.
●
●
●
●
W h e n u sin g a fo o t sw itch
Use the following procedure to set the foot switch function.
1 . Press [UTILITY].
Functions as a hold pedal for the synth sound when
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.05-102d
The expression pedal functions as a pitch shifter pedal
“PEDAL.”
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Tu n in g a n in stru m e n t (Tu n e r)
The BR-864 has a built-in “chromatic tuner function” that
Ch a n g in g to th e tu n e r
allows you to tune your instrument quickly.
1 . Press [TUNER] to access the Tuner screen.
The built-in tuner supports both guitar and bass guitar.
fig.05-201d
As an example here, we will explain how to use the tuner to
tune your guitar.
* It is not possible to play back or record while using the tuner.
Ch e ck th e fo llo w in g p o in ts b e fo re y o u b e g in .
•
•
•
That your guitar is connected to the GUITAR/ BASS
INPUT jack.
2 . To exit the tuner, press [TUNER] once again (or press
That [GUITAR/ BASS] indicator on the INPUT SELECT
button is lit.
[EXIT]) to return to the Play screen.
That GUITAR/ BASS INPUT SENS is properly adjusted
If you do not want to output the tuning sounds, either
turn down the MASTER fader.
If [GUITAR/ BASS] indicator is off, press [GUITAR/ BASS] to
turn it on.
* You cannot switch from the Tuner screen to other screens
(except the Play screen).
Ex p la n a tio n o f th e in d ica tio n s
th a t a p p e a r w h ile tu n in g
When the built-in tuner of the BR-864 is used, the reference
pitch is shown in the upper left of the display, and the note
name in the right. The lower part will display a tuning guide
to indicate the difference between the input sound and the
displayed note.
fig.05-202d
Reference Pitch Note Name
Tuning Guide
If the difference between the input pitch and the correct pitch
is less than +/ -50 cents, the tuning guide will indicate the
amount of the difference.
Watch the tuning guide, Watch the tuning guide as you tune
the instrument so that the vertical line is shown at the ●
mark.
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Tu n in g a n in stru m e n t (Tu n e r)
4 . Repeat steps 1–3 to tune each of the strings.
Tu n in g
* If you are tuning a guitar that has a vibrato arm, tuning one
string may cause other strings to drift. In this case, you should
first tune the strings approximately so that the correct note
name is displayed, and then re-tune each string.
1 . Play a note using the string you are tuning.
The screen will indicate the note name that is closest to
the pitch of the string you played.
* Cleanly play a single note only on the string you wish to tune.
Se ttin g th e re fe re n ce p itch o f th e
tu n e r
2 . Continue tuning until the pitch name of the string you
are tuning appears in the display.
Normal tuning
The reference pitch refers to the frequency of the A4 key (i.e.,
the “A” key at the center of a piano keyboard) from the
instrument that serves as the reference pitch during
performances (e.g., piano). On the BR-864, you can set the
reference pitch of the tuner to any value between 435 and 445
Hz.
7th
6th
5th
4th
3rd
2nd
1st
string string string string string string string
Guitar
Bass
B
E
A
B
D
E
G
A
B
D
E
G
3 . Watch the tuning guide as you tune the instrument so
* This was set to 440 Hz when the unit was shipped from the
factory.
that the vertical line is shown at the ● mark.
If the pitch of the string is within +/ -50 cents of the
correct pitch, the tuning guide will indicate the
discrepancy between the actual and the correct pitches.
1 . Press [TUNER] to access the Tuner screen.
fig.05-206d
Your instrument is tuned above the displayed note (#)
fig.05-203d
2 . Turn the TIME/VALUE dial to change the reference
pitch.
Calib (Calibrate): 435–445 Hz
Your instrument is tuned the displayed note
fig.05-204d
3 . To exit the tuner, press [TUNER] once again (or press
[EXIT]) to return to the Play screen.
Your instrument is tuned below the displayed note (
b)
fig.05-205d
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Co p y in g d ifficu lt so n g s (Ph ra se Tra in e r)
Your BR-864 features a built-in “Phrase Trainer.” The
Slo w in g d o w n th e sp e e d
Phrase Trainer records from the device connected to the
(Tim e Stre tch fu n ctio n )
input jack (e.g., CD players or MD player) and then allows
you to play back a part of that recording repeatedly to allow
The Time Stretch function allows you to slow down the
you to practice that portion again and again. You can also
speed of playback to a half of the normal speed without
slow down the playback to aid in copying fast phrases or
changing the pitch.
remove the guitar solo sound to play along with only the
backing instruments as a practice aid.
1 . Press [PHRASE TRAINER].
2 . Press CURSOR [ ] [ ] to select “TimeStrtch,” and
The Phrase Trainer can also be used with tracks 3 and 4.
turn the TIME/VALUE dial to set “ON.”
fig.05-310d
* You cannot perform recording while you are using the Phrase
Trainer (Time Stretch or Center Cancel).
* The following buttons are disabled while the Phrase Trainer is
in use.
[PAN], [EQ], [LOOP EFFECTS], [TONE LOAD],
[RHYHM PAD]
* The Rhythm Guide does not sound when Phrase Trainer is on.
ON:
Slows down playback to one-half without
changing the pitch.
1 . Record the song you want to copy onto tracks 3 and 4.
OFF:
Pitch and playback speed are not changed.
For how to record with the BR-864, refer to “Basic
2 . Repeat the portion of the song that you want to copy.
Ca n ce lin g th e ce n te r so u n d
(Ce n te r Ca n ce l fu n ctio n )
This will help you practice and copy a difficult phrase or
guitar solo as you can select any portion of the song and
have it repeated.
The Center Cancel function allows you to remove the central
sound of the playback (e.g., vocals or guitar solos).
This is helpful if you want to practice playing along with the
backing instruments.
For how to repeat a portion of the song, refer to
3 . When using the Time Stretch and Center Cancel
Function, press [PHRASE TRANER] to make the
indicator light.
* Depending on how the song was recorded, it may not be
possible to completely remove the central sound.
Each time you press [PHRASE TRAINER], the Phrase
Trainer is on (the [PHRASE TRAINER] indicator lights)
and off (the indicator is off).
1 . Press [PHRASE TRAINER].
2 . Press CURSOR [ ] [ ] to select “CentrCncel,” and
turn the TIME/VALUE dial to set it to “ON.”
fig.05-302d
* When you turn off both the Time Stretch Function and the
Center Cancel Function, it doesn’t light.
ON: Removes central sound (e.g., vocals or guitar solos).
OFF: Normal playback.
Perform the procedure below if the central sound is not
removed as you desire or if you want to emphasize the
bass sound.
* When CentrCncel is set to “OFF,” subsequent operations are
disabled.
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Co p y in g d ifficu lt so n g s (Ph ra se Tra in e r)
3 . To emphasize the bass sound, press CURSOR [
]
[
] to select “Low Boost,” and turn the TIME/VALUE
dial and adjust the value so that the bass sound is more
easily heard.
fig.05-303d
4 . Press CURSOR [ ] to select “C.Adjust,” and turn the
TIME/VALUE dial and adjust the value of the sound
that you want to remove to decrease its volume.
* Depending on how the song was recorded, these procedures
may not be able to remove the sounds completely.
fig.05-304d
5 . Press [EXIT] to return to the Play screen.
* You can turn on both the Time Stretch and Center Cancel
functions to use them together.
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Sy n ch ro n izin g w ith MIDI d e vice s
In this chapter, you will learn the basic features of the MIDI
interface and how to synchronize output with a MIDI
sequencer.
The operating manual of every MIDI device includes a
“MIDI implementation chart.” This chart makes it easy to see
the types of MIDI message that can be transmitted and
received. When you wish to connect two MIDI devices, you
should compare their charts to see which types of MIDI
message can be conveyed between them.
MIDI Fu n d a m e n ta ls
* For more details about MIDI of the BR-864, please refer to
MIDI stands for Musical Instrument Digital Interface. This is
a worldwide standard that was developed in order to allow
music data and sound data to be exchanged among
electronic musical instruments and computers. Devices that
are MIDI-compatible can exchange music data according to
their capabilities, even if they are different types of device or
were made by different manufacturers.
Usin g th e rh y th m g u id e to p la y
a n e x te rn a l MIDI so u n d m o d u le
Perform the procedure given below to use a MIDI sound
module and choose the sounds you desire for the rhythm
guide.
MIDI Co n n e cto rs
MIDI messages (the data handled by MIDI) is transferred
using the following three types of connector.
1 . Use a MIDI cable to connect the BR-864 and your MIDI
sound module as shown in the diagram.
fig.05-401
MIDI IN :
Receives MIDI messages from another MIDI device.
MIDI Sound Module
MIDI O UT:
MIDI IN
Sends MIDI messages from the BR-864.
MIDI OUT
MIDI THRU:
Sends out the MIDI messages that arrive at the MIDI IN
connector.
* The BR-864 is equipped only with a MIDI OUT connector.
MIDI ch a n n e ls
MIDI allows you to independently control two or more
devices over a single MIDI cable.This is possible because
MIDI provides for multiple channels of control.
2 . Press [UTILITY].
You can think of MIDI channels as being similar to television
channels. Although many broadcast channels are in the air at
any one time (many channels of MIDI data are moving
through a single cable), a television set receives only the
channel to which it is set (the MIDI device receives only the
channel to which it is set).
3 . Press CURSOR [ ] [ ] to move the cursor to
“SYNC,” and press [ENTER].
fig.05-402d
Similarly with MIDI, if the MIDI channel being used by the
transmitter is “1,” the MIDI channel of the receiver must also
be set to “1” or else the MIDI messages will not be received.
Ab o u t MIDI Im p le m e n ta tio n Ch a rts
MIDI allows a wide variety of electronic musical instruments
to communicate with each other. However, it is not
necessarily the case that every device is able to transmit and
receive every type of MIDI message. Only MIDI messages
that are supported by both devices can be conveyed.
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Sy n ch ro n izin g w ith MIDI d e vice s
4 . Press CURSOR [ ] [ ] to select “RhyMIDI ch.”
fig.05-403d
Sy n ch ro n izin g p la y b a ck w ith
a MIDI se q u e n ce r
The BR-864 can operate in synchronization with a MIDI
sequencer.
When synchronizing with a MIDI sequencer, it is possible to
synchronize the MIDI sequencer using the BR-864 (i.e., with
the BR-864 as the master), but it is not possible to
synchronize the BR-864 with the MIDI sequencer (i.e., with
the BR-864 as the slave).
5 . Turn the TIME/VALUE dial to set the MIDI channel
(1–16).
If you select “OFF,” note messages of the rhythm guide
will not be transmitted.
* For details on operation of your MIDI sequencer, refer to the
operating manual for your device. For information regarding
6 . 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.
Sy n ch ro n ize d p la y b a ck w ith th e
BR-8 6 4 a s th e m a ste r
Follow the procedure given below to synchronize the MIDI
sequencer using the BR-864.
The sounds produced by the rhythm guide and their
corresponding note numbers are given below.
1 . Use a MIDI cable to connect the BR-864 and your MIDI
Rhythm Guide Sound
Closs Stick
Metronome (click)
Metronome (bell)
Kick
Note Number
sequencer as shown in the diagram.
fig.05-404
G1
(31)
(33)
A 1
A#1 (34)
C 2
D 2
F 2
(36)
(38)
(41)
(42)
(45)
Snare
Tom 4
Closed Hi-hat
Tom 3
F#2
A 2
MIDI Sequencer
MIDI IN
Open Hi-hat
Tom 2
A#2 (46)
C 3 (48)
C#3 (49)
D 3 (50)
MIDI OUT
Clash Cymbal
Tom 1
Ride Cymbal
Cowbell
D#3 (51)
G#3 (56)
Tone arrangement is based on GS/ GM. In case your external
MIDI sound module is not based on GS or GM, you will need
to make settings on your external MIDI sound module to
change the sounds that correspond to each note number. For
details on making these settings, refer to the manual of your
MIDI sound module.
2 . Press [UTILITY].
3 . Press CURSOR [ ] [ ] to move the cursor to
* If you are using an external MIDI sound module to play the
rhythm guide, use the controls of the external MIDI sound
module to adjust the volume level.
“SYNC,” and press [ENTER].
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fig.05-405d
25:
24:
25 frame per second frame rate. This is used
for SECAM or PAL format video, audio
equipment, and film (used in Europe and
elsewhere).
24 frame per second frame rate. This is used
for video, audio devices, and film in the US.
6 . 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.
7 . Just as when you synchronize a MIDI sequencer using
external MTC, when you use the rhythm guide, you can
synchronize the MIDI sequencer using the external
MIDI clock.
4 . Press CURSOR [ ] [ ] to select “Sync Gen,” and
turn the TIME/VALUE dial to set the sync generator.
fig.05-406d
8 . Get the MIDI song data ready for playback.
When the BR-864 begins playing, the MIDI sequencer
will also begin playing in sync with it.
W h a t a re d ro p a n d n o n -d ro p fo rm a ts?
There are two types of format used by NTSC video
cassette recorders, non-drop and drop. With the non-
drop format, the frames are continuous. On the other
hand, in order to support NTSC color video, the drop
format drops the first two frames of every minute
excluding minutes 10, 20, 30, 40, and 50.
OFF:
MTC:
MCK:
Synchronization signals will not be output.
MIDI Time Code will be transmitted.
Sends the MIDI clock based on the tempo set
* If “OFF” or “MCK” is selected, proceed to step 6.
In most video and audio production, since formats with
continuous frames are easier to deal with, non-drop is
generally used. In contrast, in situations such as in
broadcast, where the time code must match actual clock
time, drop is used.
5 . Press CURSOR [ ] [ ] to select “MTC Type,” and
turn the TIME/VALUE dial to set the MTC type.
fig.05-407d
Verify the specifications of your MIDI sequencer and set
the MTC type on the BR-864.
30:
30 frames per second non-drop format. This is
used by audio devices such as analog tape
recorders, and for NTSC format black and
white video (used in Japan and the U.S.).
29N:
29D:
29.97 frames per second non-drop format. This
is used for NTSC format color video (used in
Japan and the U.S.).
29.97 frames per second drop format. This is
used for NTSC format broadcast color video
(used in Japan and the U.S.).
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Sy n ch ro n izin g w ith MIDI d e vice s
Se ttin g th e MTC o ffse t
Usin g MMC
The offset sets the time required to align the song playback
and MTC timing when synchronizing an external device
using MTC from the BR-864.
MMC stands for “MIDI Machine Control.” This is a protocol
that uses MIDI System Exclusive messages to remotely
control multiple recording devices from one device. Your BR-
864 supports the MMC protocol.
1 . Press [UTILITY].
By using MMC, your BR-864 can send commands such as
PLAY, STOP, and FF to connected MIDI devices to operate
them.
2 . Press CURSOR [ ] [ ] to move the cursor to
“SYNC,” and press [ENTER].
fig.05-408ad
Some MIDI devices do not support the BR-864’s MMC
functionality. If so, it will not be possible to operate them
from the BR-864 using the procedures described here. For
details on the MMC functionality supported by the BR-864,
O p e ra tin g MMC-co m p a tib le
d e vice s w ith th e BR-8 6 4
This section explains how to make settings for synchronizing
the playback with a computer-based sequencer program that
supports MMC and MTC. Make connections as shown in the
diagram below.
fig.05-409
3 . Press CURSOR [ ] [ ] to select “Offset,” and turn
the TIME/VALUE dial to set the time offset.
fig.05-408d
The offset is set as the difference between the “time to
which to align the MTC timing” and the “time to which
to align the song timing.” For example, you want to have
the external device play back with the MTC timing
shown below when the song timing reaches
MIDI IN
MIDI OUT
“01h00m00s00,” then set the offset as follows.
Song Timing
MTC for
Offset Setting
External Device
01h00m00s00
01h00m00s00
01h30m00s00
00h30m00s00
00h30m00s00
23h30m00s00
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
The BR-864 will be the master for MMC and MTC.
to the Play screen.
Follow the procedure given below to operate the play, stop,
fast-forward and other functions of a sequencer program
with the BR-864.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to
“SYNC,” and press [ENTER].
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fig.05-410d
3 . Press CURSOR [ ] [ ] to select “MMC Master,” and
turn the TIME/VALUE dial to set the MMC mode.
fig.05-411d
OFF:
MMC will not be transmitted.
MASTER: MMC information is sent. The BR-864 becomes
the master of the external MIDI instrument.
* For details on the MMC functionality supported by the BR-
4 . Press CURSOR [ ] [ ] to select “Sync Gen,” and
turn the TIME/VALUE dial to set “MTC.”
5 . Make settings on your sequencer software.
Make the following settings on your sequencer software.
For details on making these settings, refer to the manual
for your sequencer software.
MTC:
receive
MTC type: same setting as the MTC Type selected on the
BR-864
MMC:
receive
6 . 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.
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Mix in g th e o u tp u t fro m a n e x te rn a l MIDI d e vice
w ith th e o u tp u t fro m y o u r BR-8 6 4 (Au d io Su b Mix )
The Audio Sub Mix function allows you to mix the signal
Usin g th e Au d io Su b Mix fu n ctio n
input from LINE IN with the signal output to LINE OUT.
1 . Press [UTILITY].
When performing synchronized playback using the BR-864
and an external MIDI device, you can use the Audio Sub Mix
function to mix the output from the external MIDI device
with that of the BR-864 internally, within the BR-864 so you
won’t need an external mixer.
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.05-503d
Also, since you can output the signal from the MIDI device
without having to first record it to a track on the BR-864, you
can use the BR-864 tracks more effectively.
fig.05-501
Sub Mixer : OFF
External Mixer
LINE
OUT
MIDI
OUT
MIDI
IN
OUTPUT
3 . Press CURSOR [ ] [ ] to select “Sub Mixer,” and
turn the TIME/VALUE dial to turn the setting “ON.”
fig.05-504d
fig.05-502
Sub Mixer : ON
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
5 . Turn the LINE SENS knob to adjust the sensitivity to
the input from the external MIDI device.
LINE
IN
LINE
OUT
MIDI
OUT
MIDI
IN
Even when the AUDIO SUB MIX switch is turned on, if you
press INPUT SELECT [LINE], illuminating its indicator, the
signal from LINE IN that passes through the recorder/ mixer
block is given priority, and the AUDIO SUB MIX function
will not work.
OUTPUT
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In itia lizin g th e BR-8 6 4 ’s se ttin g s
In itia lizin g a ll th e BR-8 6 4 ’s
se ttin g s
In itia lizin g th e sy ste m se ttin g s
Follow the procedure below to initialize the system
parameters.
The following settings are initialized together at one time.
•
•
•
System Settings
A list of the initial settings for each parameter is given in
Effects (User Patches/ Song Patches)
Rhythm Guide (Arrangements/ Patterns/ Drum Kits)
1 . Press [UTILITY].
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
and press [ENTER].
fig.05-603d
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
and press [ENTER].
fig.05-601d
3 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
3 . Press PARAMETER CURSOR [ ] [ ] to move the
The confirmation message “Are you sure?” appears in
cursor to “ALL,” and press [ENTER].
the display.
fig.05-604d
The confirmation message “Are you sure?” appears in
the display.
fig.05-602d
4 . To continue the initialization, press [ENTER] (YES).
To cancel, press [EXIT] (NO) (or [UTILITY]).
4 . To continue the initialization, press [ENTER] (YES).
To cancel, press [EXIT] (NO) (or [UTILITY]).
When [ENTER] is pressed, initialization begins.
After the initialization has been completed, you are
returned to the Play screen.
When [ENTER] is pressed, initialization begins.
After the initialization has been completed, you are
returned to the Play screen.
You can perform the same initialization with “INIT
ALL,” by holding down INPUT SELECT [GUITAR/
BASS], [MIC], and [LINE] while turning the POWER
switch ON, then pressing [ENTER].
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In itia lizin g th e BR-8 6 4 ’s se ttin g s
In itia lizin g th e e ffe ct se ttin g s
In itia lizin g th e Rh y th m Gu id e
Arra n g e m e n ts/ Pa tte rn s/ Dru m Kits
Follow the procedure below to initialize the user effect patch
or song effect patch.
This initializes the Rhythm Guide Arrangements, Patterns,
and Drum Kits.
A list of the initial settings for each parameter is given in
•
•
In Step Arrangement, Step 1 is set to the metronome.
In song patterns and song drum kits, the step is empty.
1 . Press [UTILITY].
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
and press [ENTER].
fig.05-605d
and press [ENTER].
fig.05-607d
3 . Press CURSOR [ ] [ ] to move the cursor to
“U EFX” (user patch) or “S EFX” (song patch), and press
[ENTER].
3 . Press CURSOR [ ] [ ] to move the cursor to “RHY,”
and press [ENTER].
The confirmation message “Are you sure?” appears in
The confirmation message “Are you sure?” appears in
the display.
the display.
fig.05-608d
(Example) when you select “U EFX”
fig.05-606d
4 . To continue the initialization, press [ENTER] (YES).
To cancel, press [EXIT] (NO) (or [UTILITY]).
4 . To continue the initialization, press [ENTER] (YES).
To cancel, press [EXIT] (NO) (or [UTILITY]).
When [ENTER] is pressed, initialization begins.
After the initialization has been completed, you are
returned to the Play screen.
When [ENTER] is pressed, initialization begins.
After the initialization has been completed, you are
returned to the Play screen.
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In itia lizin g th e BR-8 6 4 ’s se ttin g s
4 . To continue the initialization, press [ENTER] (YES).
To cancel, press [EXIT] (NO) (or [UTILITY]).
In itia lizin g th e Me m o ry Ca rd
When [ENTER] is pressed, initialization begins.
When the initializing has been completed, “Completed!”
appears in the display.
Be aware that when initialized, any existing data on the card
will be erased.
“Keep power on! Song creating...” then appears in the
display, and a new song is automatically created.
* If you initialize the memory card supplied with the BR-864,
the demo songs on the card will be lost.
In this case, the data type selected is HiFi (MT2).
When creation of the song is finished, the play screen
returns to the display.
Before you insert or remove a memory card, always turn off
the BR-864 first.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.
* Depending on the capacity of the memory card, initializing
may take more than ten minutes to complete. This is not a
malfunction.The progress of the initializing is shown in the
display. Do not turn off the BR-864 until the initializing has
been completed.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “INI,”
and press [ENTER].
fig.05-609d
Do not remove the memory card or turn off the BR-864
while the display shows “Keep power on!” Doing so can
destroy the data on the memory card and/ or render the
memory card itself unusable.
3 . Press CURSOR [ ] [ ] to move the cursor to “CRD,”
and press [ENTER].
The confirmation message “Are you sure?” appears in
the display.
fig.05-610d
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Co n se rvin g b a tte ry p o w e r (Po w e r Sa ve )
Your BR-864 is equipped with a power save function that
3 . Press CURSOR [ ] [ ] to select “PowerSave,” and
limits the current dissipation during use.
turn the TIME/VALUE dial to set the time until the
When the power save function is activated, if no button, or
Power Save function is activated.
TIME/ VALUE dial on the BR-864 is used for a certain
Valid Settings: OFF, 1min, 3min, 5min, 10min
fig.05-704d
amount of time, the BR-864 will enter the standby state and
turn off the display backlight and button indicators.
Also, when in the standby state, the display will appear as
shown below.
fig.05-701d
4 . Press [UTILITY] (or press [EXIT] repeatedly) to return
to the Play screen.
* During updating, “Keep power on!” appears in the upper line
* The power save function is especially helpful when the BR-864
of the display, while the lower line shows what is being
is running on battery power.
processed.
Perform the procedure given below to activate the power
save function.
De a ctiva tin g th e p o w e r sa ve fu n ctio n
1 . Press [UTILITY].
Press any of the panel buttons to deactivate power save.
* After the power save function is deactivated, the Play screen
appears.
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
fig.05-703d
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Utility p a ra m e te r list
Utilities include the following:
Re m a in In fo rm a tio n (Re m a in In f)
Valid Settings: ON, OFF (Initial value: OFF)
•
“System parameters” for setting functions affecting the
entire BR-864
This indicates the remaining amount of recording time
available in the display during recording standby or while
recording is in progress.
•
“Sync parameters” for setting synchronized
performance functions
•
•
“Scrub parameters” for setting scrub functions
“Insert mode” for setting effect functions
Po w e r Sa ve Mo d e (Po w e rSa ve )
Valid Settings: OFF, 1, 3, 5, 10 (min) (Initial value: OFF)
This setting turns the “Power Save function” on and off.
“Power Save” is a function that reduces power consumption
through such power-saving measures as switching off the
display’s illumination if no operation is performed for a set
period of time (for one, three, five, or ten minutes). This is
effective in preventing excess battery drain.
Ab o u t th e Sy ste m p a ra m e te rs
This section describes the System parameters.
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
Ab o u t th e Sy n c p a ra m e te rs
3 . Using CURSOR [ ] [ ], select the System parameter,
This section describes the Sync parameters.
then make the setting with the VALUE/TIME dial.
1 . Press [UTILITY].
LCD Co n tra st
Valid Settings: 1–32 (Initial value: 13)
2 . Press CURSOR [ ] [ ] to move the cursor to
“SYNC,” and press [ENTER].
This sets the display contrast.
Fo o t Sw itch Assig n (Fo o t SW )
3 . Using CURSOR [ ] [ ], select the Sync parameter,
Valid Settings: PLAY, PUNCH, FX (Initial value: PLAY)
then make the setting with the VALUE/TIME dial.
This sets the function for the foot switch (an optional FS-5U
or DP-2) connected to the FOOT SWITCH jack.
Rh y th m Gu id e MIDI Ch a n n e l (Rh y MIDI ch )
Valid Settings: 1–16, OFF (Initial value: 10)
PLAY:
Controls the recorder’s PLAY and STOP
functions.
This sets the MIDI channel for the Rhythm Guide
performance data output from the MIDI OUT connector. No
data is output when this is set to OFF.
PUNCH:
FX:
Controls Punch In/ Out.
Controls the effects On/ Off.
Sy n c Ge n e ra to r (Sy n c Ge n )
Valid Settings: OFF, MTC, MCK (Initial value: OFF)
Au d io Su b Mix Sw itch (Su b Mix e r)
Valid Settings: ON, OFF (Initial value: ON)
This sets the synchronization signals output from the MIDI
OUT connector.
This setting turns the Audio Sub Mix function (output mix of
the external inputs from LINE IN) on and off.
OFF:
No synchronization signal is output from
MIDI OUT.
In te rn a l m ic sw itch (O n b rd Mic)
MTC:
MCK:
MTC synchronization signals are output from
MIDI OUT.
Valid Settings: ON, OFF (Initial value: ON)
This setting turns the internal mic on and off.
MIDI CLOCK synchronization signals are
output from MIDI OUT.
AB Q u a n tize (AB Q tz)
Valid Settings: ON, OFF (Initial value: OFF)
MMC Ma ste r
This setting turns the “Quantize function” on and off.
Valid Settings: ON, OFF (Initial value: OFF)
“Quantize” is a function that enables you to set the start and
end points in measure units when making the settings for
repeat playback (the repeated portion).
This setting determines whether or not the Master MMC
code is output from the MIDI OUT connector.
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Utility p a ra m e te r list
MTC Ty p e
Ab o u t th e Scru b p a ra m e te rs
Valid Settings: 30, 29N, 29D, 25, 24 (Initial value: 30)
This section describes the Scrub parameters.
This sets the type of MTC output from the MIDI OUT
connector.
1 . Press [UTILITY].
30:
130 frames per second non-drop format. This is
used by audio devices such as analog tape
recorders, and for NTSC format black and
white video (used in Japan and the U.S.).
2 . Press CURSOR [ ] [ ] to move the cursor to “SCR,”
and press [ENTER].
3 . Using CURSOR [ ] [ ], select the Scrub parameter,
29N:
29D:
25:
29.97 frames per second non-drop format. This
is used for NTSC format color video (used in
Japan and the U.S.).
then make the setting with the TIME/VALUE dial.
Scru b Mo d e Fro m / To
Valid Settings: FROM, TO (Initial value: FROM)
29.97 frames per second drop format. This is
used for NTSC format broadcast color video
(used in Japan and the U.S.).
This sets the “Scrub function” mode.
“Scrub” is a function for repeatedly playing back material of
an extremely short duration (approximately 45 msec).
25 frame per second frame rate. This is used
for SECAM or PAL format video, audio
equipment, and film (used in Europe and
elsewhere).
You can get scrub playback by holding down [STOP] and
pressing [PLAY].
FROM:
Provides about 45 milliseconds of scrub
playback starting from the current location.
24:
24 frame per second frame rate. This is used
for video, audio devices, and film in the US.
TO:
Provides about 45 milliseconds of scrub
playback ending up at the current location.
O ffse t
Valid Settings: 00:00:00-00.0–23:59:59-29.9
(Initial value: 00:00:00-00.0)
Pre vie w Sw itch (Pre vie w SW )
Valid Settings: ON, OFF (Initial value: OFF)
Sets the time required to align the song playback and MTC
timing when synchronizing an external device using MTC
from the BR-864.
This setting turns the “Preview function” on and off.
When the Preview switch is set to ON, pressing [REW]
during scrub playback provides one second of playback time
starting from the current location, while pressing [FF]
provides one second of playback time ending up at the
current location.
The offset is set as the difference between the “time to which
to align the MTC timing” and the “time to which to align the
song timing.” For example, you want to have the external
device play back with the MTC timing shown below when
the song timing reaches “01h00m00s00,” then set the offset as
follows.
Song Timing MTC for
External Device
Offset Setting
01h00m00s00
01h00m00s00
01h30m00s00
00h30m00s00
00h30m00s00
23h30m00s00
The Offset is stored to each song individually.
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Utility p a ra m e te r list
RHYTHM:
Ab o u t th e e ffe cts In se rt m o d e
Effects are applied to the Rhythm Guide sounds.
fig.05-804
This section describes Insert mode.
Rhythm
Guide
1 . Press [UTILITY].
2 . Press CURSOR [ ] [ ] to move the cursor to “SYS,”
and press [ENTER].
MASTER:
3 . Make the setting with the TIME/VALUE dial.
Effects are applied to the sounds from the master output.
fig.05-805
In se rt Mo d e
TRACK 1
(PLAY)
Valid Settings:
TRACK 2
(PLAY)
INPUT<NORMAL>, INPUT<REC DRY>, TRACK 1–8,
TRACK 1&2–7&8, RHYTHM, MASTER
(Initial value: INPUT<NORMAL>)
TRACK 8
(PLAY)
This sets the target to which the insert effects are applied.
Rhythm
Guide
You can use this setting to apply insert effects to sounds that
have already been recorded to the tracks.
INPUT<NORMAL>:
Effects are applied to the input source. This mode is normally
set as the default.
fig.05-801
TRACK 1
(REC)
INPUT<REC DRY>:
You can monitor the sound of the input source with the
effects applied, but only the dry sounds, without the effects
applied, are recorded.
fig.05-802
TRACK 1
(REC)
TRACK 1–8, TRACK 1&2–7&8:
Effects are applied to each of the selected tracks.
fig.05-803
TRACK 1
(PLAY)
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MEMO
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Be fo re Usin g USB (O ve rvie w )
The BR-864 is equipped with a USB connector, which allows
Co m p o sitio n o f d a ta o n
m e m o ry ca rd s
you to connect the BR-864 directly to a computer, making it
easy to back up your important song data and exchange files
between the BR-864 and the computer.
The folders and files created are as shown below.
fig.06-102
W h a t is USB?
Root Directory
USB, short for “Universal Serial Bus,” is a type of interface
for connecting computers with a variety of peripheral
devices.
ROLAND Folder
BR0 Folder
SONG0000 Folder
Using USB allows you to connect different peripherals using
a single USB cable, and also provides rapid data
transmission.
Recorded Data
Rhythm Data
Effect Data
What’s more, you can connect and disconnect peripherals
with the power on, and the computer can automatically
recognize when devices are connected (you may need to
make settings when connecting certain devices).
Song Information
SONG0001 Folder
Recorded Data
Rhythm Data
Effect Data
O n th e BR-8 6 4 , USB is u se d fo r th e fo llo w in g
ta sk s:
Song Information
●
●
Backing up the BR-864’s data
Saving BR-864 track data in WAV/AIFF format (WAV/
AIFF Export)
The folders are created
each song
●
Loading WAV/AIFF files in BR-864 tracks (WAV/AIFF
Import)
TONELOAD Folder
WAV/AIFF File
SMF Folder
SMF File
USB Folder
WAV/AIFF File
●
●
Importing SMFs and creating patterns
Loading drum sounds from WAV/AIFF files
Realtime audio signals and MIDI messages cannot be
handled via the BR-864’s USB connector.
RO LAN D Fo ld e r
The BR-864 does not handle audio data or MIDI data via
USB.
Co m p a tib le O S
BR0 Fo ld e r
W in d o w s:
W in d o w s Me / 2 0 0 0 o r la te r
Song data (recording data, song arrangements/ patterns/
drum kits, effect song patches, and song information) are
saved to each song folder.
Ma cin to sh : Ma c O S 9 .1 o r la te r
TO N ELO AD Fo ld e r
Drive r
WAV and AIFF files loaded for use as drum sounds will be
The BR-864 uses a standard DRIVER that is found on OS.
The DRIVER will be installed automatically once connected
with Computer via USB.
SMF Fo ld e r
SMF files loaded for use in song patterns will be saved here
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Be fo re Usin g USB (O ve rvie w )
USB Fo ld e r
Co n n e ctin g a co m p u te r
WAV and AIFF files loaded to the BR-864’s tracks, and WAV
and AIFF files saved on computers (track data converted to
Use the USB cable to connect the BR-864 to your computer.
* Purchase USB cables at computer stores or other retailers.
fig.06-101
USB Connector
of your Computer
Fo ld e rs a n d file s cre a te d o n m e m o ry ca rd s a re
d isp la y e d o n th e co m p u te r scre e n .
When you continue with an operation, the “BOSS_BR-864”
icon is added in the computer screen.
* With certain versions of Windows OS, the “Removable Disk
(*:)” icon may be displayed.
fig.06-102a
(Ex.) Windows XP
USB Cable
BOSS_BR-864
BOSS_BR-864
(Ex.) Windows 2000
Removable Disk (*:)
(Ex.) Macintosh
(OS X)
You cannot switch from any USB-related screen to other
screens (except the Play screen).
BOSS_BR-864
When you click the “BOSS_BR-864” icon (or the “Removable
Disk (*:)” icon), or double-click the “BOSS_BR-864” icon on
the Macintosh, the “ROLAND” folder is displayed.
Open this folder to show the “BR0” folder, the
“TONELOAD” folder, the “SMF” folder, and the “USB”
folder.
fig.06-102b
(
)
Ex.
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Ba ck in g u p th e BR-8 6 4 ’s d a ta
W ith W in d o w s
When restoring data backed up on a computer to the BR-864,
1 . Connect your computer and the BR-864 with a USB
drag the “ROLAND” folder to the “BOSS_BR-864” icon (or
the “Removable Disk (*:)” icon) and drop it there
(overwriting it).
cable.
2 . Confirm that the recorder is stopped, then press [USB].
The USB function select screen appears.
5 . Quit the connection to the computer.
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
3 . Select “BACKUP” with the TIME/VALUE dial, then
press [ENTER].
* If this procedure fails to eject the disk, use the procedure below.
The Idling screen appears in the display.
fig.06-103d
1) Click the
icon in the task tray, then click the
“Stop USB Disk—drive (*:)” message displayed
there.
fig.06-105a
Task Bar
Task Tray
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
6 . Press the BR-864’s [EXIT].
The USB function select screen returns to the display.
* You cannot carry out the following procedure unless the Idling
resolving this problem.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] returns the USB function select screen to the
The “BOSS_BR-864” (or “Removable Disk (*:)”) icon is
display.
added to the computer.
fig.06-106ad
fig.06-104
(
)
Ex.
BOSS_BR-864
Removable Disk (*:)
4 . Back up the data.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
7 . When backup of the data is complete, press [EXIT] to
2) Drag the “ROLAND” folder to the computer’s
folder and drop it in the folder.
return to the Play screen.
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
fig.06-105d
When you have finished backing up the data, the Idling
screen returns to the display.
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Ba ck in g u p th e BR-8 6 4 ’s d a ta
W ith Ma cin to sh
When restoring data backed up on a computer to the BR-864,
drag the “ROLAND” folder to the “BOSS_BR-864” icon (or
the “Removable Disk (*:)” icon) and drop it there
(overwriting it).
1 . Connect your computer and the BR-864 with a USB
cable.
2 . Confirm that the recorder is stopped, then press [USB].
The USB function select screen appears.
5 . Quit the connection to the computer.
1) Drag the “BOSS_BR-864” icon into the trash.
3 . Select “BACKUP” with the TIME/VALUE dial, then
press [ENTER].
6 . Press the BR-864’s [EXIT].
The Idling screen appears in the display.
fig.06-106d
The USB function select screen returns to the display.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] returns the USB function select screen to the
display.
fig.06-106ad
7 . When backup of the data is complete, press [EXIT] to
return to the Play screen.
* You cannot carry out the following procedure unless the Idling
resolving this problem.
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
The “BOSS_BR-864” icon is added to the computer.
fig.06-107
(
)
Ex.
Usin g th e BR-5 3 2 ’s Da ta
You can use the BR-864 to play BR-532 data.
BOSS_BR-864
* First be sure to back up the BR-532’s “ROLAND” folder to
the computer.
4 . Back up the data.
1) Double-click the “BOSS_BR-864” icon.
2 . Connect your computer and the BR-864 with a USB
cable.
2) Drag the “ROLAND” folder to the computer’s
folder and drop it in the folder.
3 . Confirm that the recorder is stopped, then press [USB].
fig.06-109d
The USB function select screen appears.
4 . Select “BACKUP” with the TIME/VALUE dial, then
press [ENTER].
The Idling screen appears in the display.
When you have finished backing up the data, the Idling
screen returns to the display.
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Ba ck in g u p th e BR-8 6 4 ’s d a ta
fig.06-110ad
6 . Drag the previously backed up BR-532 “ROLAND”
folder to the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon and drop it there.
fig.06-110bd
When you have finished backing up the data, the Idling
screen returns to the display.
7 . Quit the connection to the computer.
* You cannot carry out the following procedure unless the Idling
resolving this problem.
W ith W in d o w s
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
W ith W in d o w s
The “BOSS_BR-864” (or “Removable Disk (*:)”) icon is
* If this procedure fails to eject the disk, use the procedure below.
added to the computer.
1) Click the
icon in the task tray, then click the
fig.06-104
“Stop USB Disk—drive (*:)” message displayed
there.
(
)
Ex.
fig.06-105a
BOSS_BR-864
Removable Disk (*:)
W ith Ma cin to sh
The “BOSS_BR-864” icon is added to the computer.
fig.06-107
Task Bar
Task Tray
(
)
Ex.
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
BOSS_BR-864
W ith Ma cin to sh
1) Drag the “BOSS_BR-864” icon into the trash.
5 . Delete the BR-864 “ROLAND” folder.
8 . Press the BR-864’s [EXIT].
W ith W in d o w s
The USB function select screen returns to the display.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon, and delete the “ROLAND” folder.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] returns the USB function select screen to the
W ith Ma cin to sh
1) Double-click the “BOSS_BR-864” icon, and delete
the “ROLAND” folder.
display.
fig.06-106ad
9 . When backup of the data is complete, press [EXIT] to
return to the Play screen.
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
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Sa vin g BR-8 6 4 tra ck d a ta in W AV/ AIFF fo rm a t
(W AV/ AIFF Ex p o rt)
You can convert the BR-864’s track data into WAV or AIFF
files and save these on your computer. After converting your
mastered tracks to WAV or AIFF files, you can easily use
your computer to create audio CDs with the data, as well as
load the data into audio applications.
W h e n sa vin g in ste re o
* Select the track combination 1/2, 3/4, 5/6, or 7/8.
fig.06-111d
W ith W in d o w s
1 . Connect your computer and the BR-864 with a USB
6 . Press [ENTER].
cable.
Conversion of the WAV or AIFF file begins.
Files names are converted as shown below.
(Mono)
2 . Confirm that the recorder is stopped, then press [USB].
The USB function select screen appears.
Track 1, V-Track 1
3 . Select “EXPORT” with the TIME/VALUE dial, then
TR01_ _ _1.WAV or TR01_ _ _1.AIF
Track 1, V-Track 2
press [ENTER].
fig.06-110d
TR01_ _ _1.WAV or TR01_ _ _1.AIF
:
Track 8, V-Track 7
TR08_ _ _7.WAV or TR08_ _ _7.AIF
Track 8, V-Track 8
TR08_ _ _8.WAV or TR08_ _ _8.AIF
(Stereo)
Track 1/ 2, V-Track 1
TR0102 _1.WAV or TR0102 _1.AIF
Track 1/ 2, V-Track 2
TR0102 _2.WAV or TR0102 _2.AIF
:
4 . Press CURSOR [ ] [ ] to select the file format, then
press [ENTER].
Track 7/ 8, V-Track 7
WAV:
This is an audio format used primarily with
Windows.
TR0708_7.WAV or TR0708_7.AIF
Track 7/ 8, V-Track 8
AIFF:
This audio format is used primarily with
Macintosh.
TR0708_8.WAV or TR0708_8.AIF
* Converting songs takes approximately the same amount of
time to complete as it does to play the source song data.
5 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track/V-track to be saved.
When the conversion is complete, the “BOSS_BR-864”
(or “Removable Disk (*:)”) icon is added to the
W h e n sa vin g in m o n o
fig.06-112d
computer.
fig.06-104
(
)
Ex.
BOSS_BR-864
Removable Disk (*:)
7 . Export the WAV or AIFF file to the computer.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
2) Drag the WAV or AIFF file in the “USB” folder to
the computer’s folder and drop it in the folder.
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Sa vin g BR-8 6 4 tra ck d a ta in W AV/ AIFF fo rm a t (W AV/ AIFF Ex p o rt)
fig.06-114d
W ith Ma cin to sh
1 . Connect your computer and the BR-864 with a USB
cable.
2 . Confirm that the recorder is stopped, then press [USB].
The USB function select screen appears.
When you have finished exporting the data, the Idling
screen returns to the display.
3 . Select “EXPORT” with the TIME/VALUE dial, then
press [ENTER].
fig.06-115d
8 . Quit the connection to the computer.
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
* If this procedure fails to eject the disk, use the procedure below.
1) Click the
icon in the task tray, then click the
“Stop USB Disk—drive (*:)” message displayed
there.
fig.06-105a
Task Bar
Task Tray
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
4 . Press CURSOR [ ] [ ] to select the file format, then
press [ENTER].
WAV:
This is an audio format used primarily with
Windows.
9 . Press the BR-864’s [EXIT].
The file format selection screen returns to the display.
AIFF:
This audio format is used primarily with
Macintosh.
The contents of the “USB” folder are automatically
deleted the instant the [EXIT] button is pressed.
5 . Turn the TIME/VALUE dial to select the track to be
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] returns the file format selection screen to the
saved.
W h e n sa vin g in m o n o
fig.06-117d
display.
fig.06-106ad
W h e n sa vin g in ste re o
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
* Select the track combination 1/2, 3/4, 5/6, or 7/8.
fig.06-116d
1 0 . Repeat Steps 4–9 as needed.
1 1 . When you have finished exporting the WAV or AIFF
file(s), press [EXIT] several times to return to the Play
screen.
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Sa vin g BR-8 6 4 tra ck d a ta in W AV/ AIFF fo rm a t (W AV/ AIFF Ex p o rt)
6 . Press [ENTER].
When you have finished exporting the data, the Idling
screen returns to the display.
Conversion of the WAV or AIFF file begins.
Conversion of the WAV or AIFF file begins.
Files names are converted as shown below.
(Mono)
8 . Quit the connection to the computer.
1) Drag the “BOSS_BR-864” icon into the trash.
9 . Press the BR-864’s [EXIT].
Track 1, V-Track 1
The file format selection screen returns to the display.
TR01_ _ _1.WAV or TR01_ _ _1.AIF
Track 1, V-Track 2
The contents of the “USB” folder are automatically
deleted the instant the [EXIT] button is pressed.
TR01_ _ _1.WAV or TR01_ _ _1.AIF
:
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] returns the file format selection screen to the
Track 8, V-Track 7
TR08_ _ _7.WAV or TR08_ _ _7.AIF
Track 8, V-Track 8
display.
fig.06-106ad
TR08_ _ _8.WAV or TR08_ _ _8.AIF
(Stereo)
Track 1/ 2, V-Track 1
TR0102 _1.WAV or TR0102 _1.AIF
Track 1/ 2, V-Track 2
TR0102 _2.WAV or TR0102 _2.AIF
:
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
Track 7/ 8, V-Track 7
1 0 . Repeat Steps 4–9 as needed.
TR0708_7.WAV or TR0708_7.AIF
Track 7/ 8, V-Track 8
1 1 . When you have finished exporting the WAV or AIFF
file(s), press [EXIT] several times to return to the Play
screen.
TR0708_8.WAV or TR0708_8.AIF
* Converting songs takes approximately the same amount of
time to complete as it does to play the source song data.
When the conversion is complete, the “BOSS_BR-864”
icon is added to the computer.
fig.06-107
(
)
Ex.
BOSS_BR-864
7 . Export the WAV or AIFF file to the computer.
1) Double-click the “BOSS_BR-864” icon.
2) Drag the WAV or AIFF file in the “USB” folder to
the computer’s folder and drop it in the folder.
fig.06-119d
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Lo a d in g W AV/ AIFF file s in BR-8 6 4 tra ck s
(W AV/ AIFF Im p o rt)
You can take WAV or AIFF files on your computer, such as
files created with audio software applications, and load them
to the BR-864’s tracks.
W h e n lo a d in g to th e tra ck s in m o n o
fig.06-122d
●
Wave data in the following formats can be imported.
You cannot import wave data in other formats.
•
•
•
•
WAV or AIFF format
Mono or Stereo
W h e n lo a d in g to th e tra ck s in ste re o
* Select the track combination 1/2, 3/4, 5/6, or 7/8.
fig.06-121d
8-bit or 16-bit
Sampling Rate: 44.1 kHz
●
Add the extension “WAV” to imported WAV files and
the extension “AIF” to imported AIFF files.
●
●
Compressed WAV files or AIFF files cannot be loaded.
Extremely short waveform data (less than
approximately 1 sec) cannot be loaded.
5 . Use [CURSOR] and the TIME/VALUE dial to specify
the measure or position in the track from which
●
The loop point settings within an AIFF file will be
ignored.
loading is to start, then press [ENTER].
fig.06-123d
W ith W in d o w s
1 . Connect your computer and the BR-864 with a USB
cable.
The “BOSS_BR-864” (or “Removable Disk (*:)”) icon is
2 . Confirm that the recorder is stopped, then press [USB].
added to the computer.
fig.06-104
The USB function select screen appears.
(
)
3 . Select “IMPORT” with the TIME/VALUE dial, then
Ex.
press [ENTER].
fig.06-120d
BOSS_BR-864
Removable Disk (*:)
6 . Copy the WAV or AIFF files you want to import.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
2) Drag the imported WAV or AIFF file to the “USB”
folder.
* Only one file can be imported at a time in each import
operation. Do not drag and drop more than one file at a time.
fig.06-126d
4 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
select the track to be loaded, then press [ENTER].
When you have finished Copying the data, the Idling
screen returns to the display.
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Lo a d in g W AV/ AIFF file s in BR-8 6 4 tra ck s (W AV/ AIFF Im p o rt)
7 . Quit the connection to the computer.
W ith Ma cin to sh
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
1 . Connect your computer and the BR-864 with a USB
cable.
* If this procedure fails to eject the disk, use the procedure below.
2 . Confirm that the recorder is stopped, then press [USB].
1) Click the
icon in the task tray, then click the
The USB function select screen appears.
“Stop USB Disk—drive (*:)” message displayed
there.
3 . Select “IMPORT” with the TIME/VALUE dial, then
fig.06-105a
press [ENTER].
fig.06-127d
Task Bar
Task Tray
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
8 . Press the BR-864’s [EXIT].
The WAV or AIFF file is imported.
The contents of the “USB” folder are automatically
deleted at the time the import is finished.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] imports the WAV or AIFF file.
4 . Use CURSOR [ ] [ ] and the TIME/VALUE dial to
fig.06-106ad
select the track to be loaded, then press [ENTER].
W h e n lo a d in g to th e tra ck s in m o n o
fig.06-129d
Once the import is complete, you are returned to the
screen for specifying the import-source track/ V-Track.
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
W h e n lo a d in g to th e tra ck s in ste re o
* Select the track combination 1/2, 3/4, 5/6, or 7/8.
fig.06-128d
9 . Repeat Steps 4–8 as needed.
1 0 . When you have finished importing the WAV or AIFF
file(s), press [EXIT] repeatedly to return to the Play
screen.
5 . Use [CURSOR] and the TIME/VALUE dial to specify
the measure or position in the track from which
loading is to start, then press [ENTER].
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Lo a d in g W AV/ AIFF file s in BR-8 6 4 tra ck s (W AV/ AIFF Im p o rt)
fig.06-130d
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] imports the WAV or AIFF file.
fig.06-106ad
The “BOSS_BR-864” icon is added to the computer.
fig.06-107
(
)
Ex.
Once the import is complete, you are returned to the
screen for specifying the import-source track/ V-Track.
BOSS_BR-864
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
6 . Copy the WAV or AIFF files you want to import.
9 . Repeat Steps 4–8 as needed.
1) Double-click the “BOSS_BR-864” icon.
1 0 . When you have finished importing the WAV or AIFF
file(s), press [EXIT] repeatedly to return to the Play
screen.
2) Drag the imported WAV or AIFF file to the “USB”
folder.
* Only one file can be imported at a time in each import
operation. Do not drag and drop more than one file at a time.
fig.06-133d
When you have finished copying the data, the Idling
screen returns to the display.
7 . Quit the connection to the computer.
1) Drag the “BOSS_BR-864” icon into the trash.
8 . Press the BR-864’s [EXIT].
The WAV or AIFF file is imported.
The contents of the “USB” folder are automatically
deleted at the time the import is finished.
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Im p o rtin g SMFs a n d cre a tin g p a tte rn s
You can import SMFs (Standard MIDI Files) stored on
memory cards as song patterns. You can easily increase your
collection of song patterns by creating SMFs on your
computer or other device and copying them to memory cards.
4 . Import the SMF.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
2) Drag the imported SMF to the “SMF” folder.
fig.03-435d
●
You cannot import SMFs containing more than 999
measures.
●
●
Add the extension “MID” to SMFs you are importing.
File names containing more than eight characters will
not be displayed correctly.
When you have finished importing the SMF, the Idling
screen returns to the display.
5 . Quit the connection to the computer.
W ith W in d o w s
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
1 . Connect your computer and the BR-864 with a USB
* If this procedure fails to eject the disk, use the procedure below.
cable.
1) Click the
icon in the task tray, then click the
2 . Confirm that the recorder is stopped, then press [USB].
“Stop USB Disk—drive (*:)” message displayed
there.
The USB function select screen appears.
3 . Select “BACKUP” with the TIME/VALUE dial, then
fig.06-105a
press [ENTER].
The Idling screen appears in the display.
fig.03-434d
Task Bar
Task Tray
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
6 . Press BR-864’s [EXIT] repeatedly to return to the Play
screen.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] and then [EXIT] returns the Play screen to the
display.
fig.06-106ad
* You cannot carry out the following procedure unless the Idling
resolving this problem.
The “BOSS_BR-864” (or “Removable Disk (*:)”) icon is
added to the computer.
fig.06-104
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
(
)
Ex.
7 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
BOSS_BR-864
Removable Disk (*:)
indicator is flashing.
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Im p o rtin g SMFs a n d cre a tin g p a tte rn s
fig.03-436d
* With some SMF files, a considerable amount of time may be
required to finish importing the file.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
8 . Press [PROGRAM].
fig.03-437d
W ith Ma cin to sh
1 . Connect your computer and the BR-864 with a USB
cable.
2 . Confirm that the recorder is stopped, then press [USB].
The USB function select screen appears.
3 . Select “BACKUP” with the TIME/VALUE dial, then
9 . Press [CURSOR] to move the cursor to “SMF,” and
press [ENTER].
press [ENTER].
The Idling screen appears in the display.
fig.03-434d
The names of the SMFs on the memory card are
displayed.
fig.03-438d
* You cannot carry out the following procedure unless the Idling
resolving this problem.
1 0 . Turn the TIME/VALUE dial to select the SMF to be
imported, then press [ENTER].
The “BOSS_BR-864” icon is added to the computer.
fig.06-107
When importing GM/ GS/ XG-compatible SMFs, MIDI
Channel 10 is generally assigned as the channel used for
rhythm performances. Setting the MIDI channel to 10
here allows you to extract only the rhythm performance
data.
(
)
Ex.
BOSS_BR-864
1 1 . Turn the TIME/VALUE dial to select the import-
4 . Import the SMF.
destination song pattern, then press [ENTER].
fig.03-439d
1) Double-click the “BOSS_BR-864” icon.
2) Drag the imported SMF to the “SMF” folder.
The import is executed.
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Im p o rtin g SMFs a n d cre a tin g p a tte rn s
fig.03-435d
fig.03-438d
When you have finished importing the SMF, the Idling
screen returns to the display.
5 . Quit the connection to the computer.
1) Drag the “BOSS_BR-864” icon into the trash.
6 . Press BR-864’s [EXIT] repeatedly to return to the Play
screen.
1 0 . Turn the TIME/VALUE dial to select the SMF to be
imported, then press [ENTER].
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] and then [EXIT] returns the Play screen to the
When importing GM/ GS/ XG-compatible SMFs, MIDI
Channel 10 is generally assigned as the channel used for
rhythm performances. Setting the MIDI channel to 10
here allows you to extract only the rhythm performance
data.
display.
fig.06-106ad
1 1 . Turn the TIME/VALUE dial to select the import-
destination song pattern, then press [ENTER].
fig.03-439d
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
7 . Press [ARRANGE/PATTERN/OFF] repeatedly until the
indicator is flashing.
fig.03-436d
The import is executed.
* With some SMF files, a considerable amount of time may be
required to finish importing the file.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
8 . Press [PROGRAM].
fig.03-437d
9 . Press [CURSOR] to move the cursor to “SMF,” and
press [ENTER].
The names of the SMFs on the memory card are
displayed.
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Lo a d in g d ru m so u n d s fro m W AV/ AIFF file s
You can import WAV and AIFF files on your computer and
W ith W in d o w s
load these as drum sounds (TONE LOAD).
1 . Connect your computer and the BR-864 with a USB
cable.
2 . Confirm that the recorder is stopped, then press [USB].
●
Wave data in the following formats can be imported.
You cannot import wave data in other formats.
The USB function select screen appears.
•
•
•
•
WAV or AIFF format
Mono or Stereo
3 . Select “BACKUP” with the TIME/VALUE dial, then
press [ENTER].
The Idling screen appears in the display.
fig.03-513d
8-bit or 16-bit
Sampling Rate: 44.1 kHz
●
Add the extension “WAV” to imported WAV files and
the extension “AIF” to imported AIFF files.
●
●
Compressed WAV files or AIFF files cannot be loaded.
Extremely short waveform data (less than
approximately 100 msec) cannot be loaded.
●
●
●
The loop point settings within an AIFF file will be
ignored.
File names containing more than eight characters will
not be displayed correctly.
You can load drum sounds of up to 13 seconds for a
single drum kit.
* You cannot carry out the following procedure unless the Idling
resolving this problem.
(Example)
Kick: 3 seconds, snare: 3 seconds,
The “BOSS_BR-864” (or “Removable Disk (*:)”) icon is
crash cymbal: 7 seconds → Total 13 seconds
added to the computer.
fig.06-104
●
Stereo WAV and AIFF files are loaded as “mono”
sounds with the left and right sides mixed.
(
)
Ex.
BOSS_BR-864
Removable Disk (*:)
4 . Import the WAV or AIFF file.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
2) Drag the imported WAV or AIFF file to the
“TONELOAD” folder.
fig.03-514d
When you have finished importing the WAV or AIFF
files, the Idling screen returns to the display.
5 . Quit the connection to the computer.
In My Computer, right-click on the “BOSS_BR-864”
icon (or “Removable Disk (*:)” icon) to “Eject” the disk.
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Lo a d in g d ru m so u n d s fro m W AV/ AIFF file s
fig.03-516d
* If this procedure fails to eject the disk, use the procedure below.
1) Click the icon in the task tray, then click the
“Stop USB Disk—drive (*:)” message displayed
there.
fig.06-105a
Task Bar
Task Tray
2) Click [OK] in the “Safe To Remove Hardware”
dialog box that appears.
6 . Press BR-864’s [EXIT] repeatedly to return to the Play
9 . Turn the TIME/VALUE dial to select the WAV or AIFF
screen.
file with the drum sound to be loaded.
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] and then [EXIT] returns the Play screen to the
You can preview the sound of the WAV or AIFF file to
be loaded by moving the cursor to “PVW” and pressing
[ENTER].
display.
fig.06-106ad
1 0 . Turn the TIME/VALUE dial to specify the load-
destination song drum kit.
S1–5:
Song Drum Kit 1–5
fig.03-517d
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
7 . Press [TONE LOAD].
fig.03-515d
1 1 . Turn the TIME/VALUE dial to select the load-
destination song drum sound, then press [ENTER].
The load is executed.
To cancel, press [EXIT].
fig.03-518d
8 . Press CURSOR [ ] [ ] to move the cursor to “FILE,”
and press [ENTER].
The names of the WAV and AIFF files on the memory
card are displayed.
* WAV files are indicated by the symbol “.W”; “.A” indicates
AIFF files.
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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Lo a d in g d ru m so u n d s fro m W AV/ AIFF file s
6 . Press BR-864’s [EXIT] repeatedly to return to the Play
W ith Ma cin to sh
screen.
1 . Connect your computer and the BR-864 with a USB
* If you press [EXIT] without quitting the connection to the
computer, the following screens appear. In this case, pressing
[ENTER] and then [EXIT] returns the Play screen to the
cable.
2 . Confirm that the recorder is stopped, then press [USB].
display.
fig.06-106ad
The USB function select screen appears.
3 . Select “BACKUP” with the TIME/VALUE dial, then
press [ENTER].
The Idling screen appears in the display.
fig.03-513d
At this point, you can safely disconnect the USB cable
from the BR-864 and the computer.
7 . Press [TONE LOAD].
fig.03-515d
* You cannot carry out the following procedure unless the Idling
resolving this problem.
8 . Press CURSOR [ ] [ ] to move the cursor to “FILE,”
and press [ENTER].
The names of the WAV and AIFF files on the memory
card are displayed.
The “BOSS_BR-864” icon is added to the computer.
fig.06-107
* WAV files are indicated by the symbol “.W”; “.A” indicates
(
)
Ex.
AIFF files.
fig.03-516d
BOSS_BR-864
4 . Import the WAV or AIFF file.
1) Click the “BOSS_BR-864” (or “Removable Disk
(*:)”) icon.
2) Drag the imported WAV or AIFF file to the
“TONELOAD” folder.
fig.03-514d
9 . Turn the TIME/VALUE dial to select the WAV or AIFF
file with the drum sound to be loaded.
When you have finished importing the WAV or AIFF
files, the Idling screen returns to the display.
You can preview the sound of the WAV or AIFF file to
be loaded by moving the cursor to “PVW” and pressing
[ENTER].
5 . Quit the connection to the computer.
1) Drag the “BOSS_BR-864” icon into the trash.
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Lo a d in g d ru m so u n d s fro m W AV/ AIFF file s
1 0 . Turn the TIME/VALUE dial to specify the load-
destination song drum kit.
S1–5:
Song Drum Kit 1–5
fig.03-517d
1 1 . Turn the TIME/VALUE dial to select the load-
destination song drum sound, then press [ENTER].
The load is executed.
To cancel, press [EXIT].
fig.03-518d
* During updating, “Keep power on!” appears in the upper line
of the display, while the lower line shows what is being
processed.
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MEMO
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Arra n g e m e n t / Pa tte rn List
Pre se t Arra n g e m e n t List
Each of the preset patterns (except Metro4/ 4) is set so that a three-measure BREAK, followed by V1 (verse) comes after the E (ending).
No.
Arrangement
Name
Initial
Tempo
Beat
Starting measure
BREAK
V1
Drum
Kit
IN
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
V1
2
3
3
5
5
2
5
3
5
4
2
5
3
3
3
5
3
3
3
3
3
3
4
5
5
2
2
5
3
5
5
3
5
5
5
3
5
5
5
2
2
3
2
3
3
2
2
5
2
-
F1
4
V2
6
F2
8
V2
10
11
11
13
13
18
13
19
13
12
10
21
19
19
19
13
11
11
11
11
11
11
12
17
13
10
10
21
19
13
13
11
13
21
13
11
13
21
21
10
18
19
10
11
11
10
18
13
10
-
END
12
13
15
15
15
22
15
23
15
15
12
25
21
21
21
15
13
13
13
13
13
13
14
21
15
12
13
25
23
15
15
13
15
25
15
13
15
25
25
12
22
23
12
13
13
12
22
15
12
-
P01
P02
P03
P04
P05
P06
P07
P08
P09
P10
P11
P12
P13
P14
P15
P16
P17
P18
P19
P20
P21
P22
P23
P24
P25
P26
P27
P28
P29
P30
P31
P32
P33
P34
P35
P36
P37
P38
P39
P40
P41
P42
P43
P44
P45
P46
P47
P48
P49
P50
ROCK1
ROCK2
ROCK3
ROCK4
ROCK5
ROCK6
HdRck1
HdRck2
HdRck3
HdRck4
HdRck5
HEAVY1
HEAVY2
HEAVY3
HEAVY4
HEAVY5
POP1
130
130
118
118
104
86
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
16
17
17
19
17
24
18
25
20
18
13
29
23
24
24
16
17
15
15
17
15
15
16
24
18
14
16
29
26
17
18
18
18
26
19
15
17
30
29
15
23
25
13
15
14
14
24
19
14
-
19
20
20
22
20
27
21
28
23
21
16
32
26
27
27
19
20
18
18
20
18
18
19
27
21
17
19
32
29
20
21
21
21
29
22
18
20
33
32
18
26
28
16
18
17
17
27
22
17
-
ROOM
ROOM
ROOM
ROOM
ROOM
STD 2
ROOM
HARD
ROOM
ROOM
ROOM
HARD
HARD
HARD
ROOM
ROOM
ROOM
STD1
5
7
9
6
7
10
12
12
17
12
18
12
11
9
8
9
8
9
9
10
9
130
98
8
10
8
11
9
126
120
118
210
120
120
162
109
118
118
118
118
140
96
7
8
5
6
11
9
13
11
11
11
9
19
17
17
17
12
10
10
10
10
10
10
11
16
12
9
9
9
8
6
7
POP2
6
7
POP3
6
7
ROOM
ROOM
ROOM
STD 1
STD 2
STD 1
ROOM
STD 2
STD 2
STD 1
STD 2
STD 1
STD 1
STD 1
STD 2
STD 1
STD 1
JAZZ
POP4
6
7
POP5
6
7
POP6
6
7
POP7
66
7
8
POP8
151
70
8
9
BALLAD1
BALLAD2
BLUES1
BLUES2
BLUES3
BLUES4
R&B1
8
9
89
5
6
124
192
124
148
110
154
108
96
5
6
9
12
10
8
13
11
9
20
18
12
12
10
12
20
12
9
8
9
R&B2
6
7
R&B3
8
9
R&B4
12
8
13
9
R&B5
94
JAZZ1
140
140
140
120
118
93
5
7
JAZZ2
7
9
11
20
20
9
JAZZ
JAZZ3
12
12
5
13
13
6
JAZZ
FUSION1
FUSION2
HipHop1
HipHop2
FUNK
STD2
ROOM
HIP-HOP
808
9
10
11
6
17
18
8
102
110
114
118
118
96
10
4
HIP-HOP
HOUSE
JAZZ
HOUSE
Cntry1
6
7
10
10
9
6
7
Cntry2
5
6
JAZZ
Other1
Other2
Other3
Metro4/4
9
10
9
17
11
9
REGGAE
STD 2
ROOM
STD 1
118
125
120
7
5
6
-
-
-
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Arra n g e m e n t / Pa tte rn List
Pre se t Pa tte rn List
Measure
F1 V2
Initial
Tempo
Pattern Name
(Abbreviation shown in display)
Beat
IN
1
2
2
4
4
1
4
2
4
3
1
4
2
2
2
4
2
2
2
2
2
2
3
4
4
1
1
4
2
4
4
2
4
4
4
2
4
4
4
1
1
2
1
2
2
1
1
4
1
-
V1
2
2
2
2
2
4
2
4
2
2
1
4
2
2
2
2
2
2
2
1
1
2
2
2
2
2
4
4
2
2
2
2
2
4
2
2
2
4
4
2
4
4
2
2
1
2
4
2
2
-
F2
2
2
1
1
1
1
1
1
1
1
1
2
2
2
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
1
1
1
1
1
2
1
1
1
1
2
1
-
E
4
4
2
4
2
2
3
2
5
3
1
4
2
3
3
1
4
2
2
4
2
2
2
3
3
2
3
4
3
2
3
5
3
1
4
2
2
5
4
3
1
2
1
2
1
2
2
4
2
-
ROCK1
130
130
118
118
104
86
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
-
2
2
1
1
1
1
1
1
1
1
1
2
2
2
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
1
1
1
1
1
2
1
1
1
1
2
1
-
2
2
2
2
2
4
2
4
2
2
1
4
2
2
2
2
2
2
2
1
1
2
2
4
2
2
4
4
2
2
2
2
2
4
2
2
2
4
4
2
4
4
2
2
1
2
2
2
2
-
ROCK2
ROCK3
ROCK4
ROCK5
ROCK6
Hard Rock 1(HdRc1)
Hard Rock 1(HdRc2)
Hard Rock 1(HdRc3)
Hard Rock 1(HdRc4)
Hard Rock 1(HdRc5)
HEAVY1 (HEVY1)
HEAVY2 (HEVY2)
HEAVY3 (HEVY3)
HEAVY4 (HEVY4)
HEAVY5 (HEVY5)
POP1
130
98
126
120
118
210
120
120
162
109
118
118
118
118
140
96
POP2
POP3
POP4
POP5
POP6
POP7
66
POP8
151
70
BALLAD1 (BALD1)
BALLAD2 (BALD2)
BLUES1 (BLUS1)
BLUES2 (BLUS2)
BLUES3 (BLUS3)
BLUES4 (BLUS4)
R&B1
89
124
192
124
148
110
154
108
96
R&B2
R&B3
R&B4
R&B5
94
JAZZ1
140
140
140
120
118
93
JAZZ2
JAZZ3
FUSION1 (FUSN1)
FUSION2 (FUSN2)
HipHop1 (H.Hp1)
HipHop2 (H.Hp2)
FUNK
102
110
114
118
118
96
HOUSE
Cntry1 (Cnty1)
Cntry2 (Cnty2)
OTHER1 (Othr1)
OTHER2 (Othr1)
OTHER3 (Othr1)
Metro
118
125
-
BREAK
-
-
-
-
-
-
-
-
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Pa ra m e te r List
(*1) If you want to save the settings as part of the currently selected song, hold down [STOP] and press [REC].
(*2) Stored in the BR-864.
(*2) Not Stored.
Mix e r Pa ra m e te r (*1)
Parameter Name
Display
-
Initial Value
GUITAR/ BASS
INPUT
Valid Settings
Input Select
GUITAR/ BASS, MIC, LINE, SIMUL
INPUT, BOUNCE, MASTERING
L50–C00–R50
Recording Mode
PAN
REC MODE
PAN
C00
Ch o ru s / De la y / Do u b lin g
Parameter Name
Display
Initial Value
Valid Settings
Effect Type
FX Type
CHORUS
CHORUS, DELAY, DBLN
Ch o ru s
Chorus Send Level
Send
In,Tr1–8: 0, Rhy: 0
0–100
Rate
Rate
10
0–100
Depth
Depth
Pre Dly
E.Level
10
0–100
Pre Delay
Effect level
10.0 ms
100
0.5–50.0 ms
0–100
De la y
Delay Send Level
Send
In,Tr1–8: 0, Rhy: 0
0–100
Delay Time
Feedback
Dly Tme
Feedback
E.Level
10
10–1000 ms
0–100
10
Effect Level
100
0–100
Do u b lin g
Doubling Send Level
Send
In,Tr1–8: 0, Rhy: 0
20.0 ms
0–100
Delay Time
Effect level
Dly Tme
E.Level
0.5–50.0 ms
0–100
100
Re ve rb
Parameter Name
Reverb Send level
Reverb Type
Reverb Time
Tone
Display
Send
Initial Value
Valid Settings
0–100
In,Tr1–8: 10, Rhy: 10
Type
HALL
2.0 s
0
HALL, ROOM
0.1–10.0 s
Rev Time
Tone
-12–0–+12
0–100
Effect Level
E.Level
50
Tra ck EQ
Parameter Name
Equalizer On/ Off
Display
EQ
Initial Value
Tr1–8: OFF
Valid Settings
OFF, ON
Equalizer Low Gain
Equalizer Low Frequency
Equalizer High Gain
Equalizer High Frequency
Lo G
Lo F
Tr1–8: 0 dB
-12–0–+12 dB
40 Hz–1.5 kHz
-12–0–+12 dB
500 Hz–18 kHz
Tr1–8: 100 Hz
Tr1–8: 0 dB
Hi G
Hi F
Tr1–8: 1.0 kHz
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Pa ra m e te r List
Re co rd e r Pa ra m e te r (*1)
Parameter Name
Display
Initial Value
Valid Settings
Recording Track Status
-
Track 1: REC
PLAY, REC
Track 2–8: PLAY
V-Track
V-TRACK
1
1–8
Auto Punch On/ Off
Auto Punch In/ Out
Locator
-
-
-
-
OFF
OFF, ON
-
-
-
00:00:00-00.00–23:59:59-**.** (*)
00:00:00-00.00–23:59:59-**.** (*)
00:00:00-00.00–23:59:59-**.** (*)
Repeat
*
The settable range for Auto Punch In/Out, Locator and Repeat will change slightly depending on the MTC Type (sync parameter).
So n g Pa ra m e te r (*1)
Parameter Name
Display
Initial Value
SONG0000
HiFi (MT2)
OFF
Valid Settings
Song Name
SONG NAME
Type
8 characters
Data Type
HiFi (MT2), STD (LV1), LONG (LV2)
Song Protect
Protect SW
Copy Prtct
Time Strtch
CentrCncel
Low Boost
C.Adjust
OFF, ON
Digital Copy Protect
Time Stretch
OFF
OFF, ON
ON, OFF
ON, OFF
0–12
OFF
Center Cancel
OFF
Center cancel Low Boost
Center cancel Adjust
0
C00
L10–C00–R10
Sy ste m Pa ra m e te r (*2)
Parameter Name
Display
LCD Contrast
Foot SW
Initial Value
13
Valid Settings
1–32
LCD Contrast
Foot Switch Assign
Audio Sub Mix Switch
Internal Mic On/ Off Switch
AB Quantize
PLAY
OFF
PLAY, PUNCH, FX
OFF, ON
Sub Mixer
Onbrd Mic
AB Qtz
ON
OFF, ON
OFF
OFF, ON
Remain Information
Power Save Mode
Calibrate (Tuner)
Remain Inf
PowerSave
Calib
OFF
OFF, ON
OFF
OFF, 1, 3, 5, 10 (min)
435–445 (Hz)
440
Sy n c Pa ra m e te r (*2)
Parameter Name
Rhythm Guide MIDI Channel
Sync Generator
MMC Master
Display
Initial Value
Valid Settings
1–16, OFF
RhyMIDI Ch
Sync Gen
MMC Master
MTC Type
Offset
10
OFF
OFF, MTC, MCK
OFF, ON
OFF
MTC Type
30
24, 25, 29D, 29N, 30
00:00:00-00.0–23:59:59-29.9
Offset (*1)
00:00:00-00.0
1 7 9
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Pa ra m e te r List
Scru b Pa ra m e te r (*3)
Parameter Name
Scrub From/ To Mode
Preview Switch
Display
Initial Value
FROM
Valid Settings
FROM, TO
FROM/ TO
Preview SW
OFF
OFF, ON
In se rt Mo d e Pa ra m e te r (*3)
Parameter Name
Display
Initial Value
Valid Settings
Insert Mode
Insert Mode
INPUT<NORMAL>
INPUT<NORMAL>, INPUT<REC DRY>,
TRACK 1–8, 1&2, 3&4, 5&6, 7&8,
RHYTHM, MASTER
Rh y th m Gu id e Pa ra m e te r (*1)
Parameter Name
Arrangement / Pattern / Off
Arrangement
Display
Initial Value
OFF
Valid Settings
-
OFF, ARRANGE, PATTERN
P01–50, S01–05
Arrangement Name
Pattern Name
P01
Pattern
P001
P001–327, S001–100
Arra n g e m e n t Pa ra m e te r (*1)
Parameter Name
Display
Initial Value
Valid Settings
Step
current setting
current setting
current setting
current setting
current setting
Drum Kit
1
1–50
Time Signature
Tempo
4/ 4
1/ 1–8/ 1, 1/ 2–8/ 2,1/ 4–8/ 4, 1/ 8–8/ 8
25.0–250.0
-
Starting Measure
Pattern
001
001–999
-
-
P001–327, S001–100
Drum Kit
STD1, STD2, ROOM, HARD, JAZZ,
HIP-HOP, HOUSE, REGGAE, 808,
SongKit1–5
Pa tte rn Pa ra m e te r
Parameter Name
Display
Initial Value
Valid Settings
Measure (*1)
current setting
current setting
current setting
current setting
1
1–999
Time Signature (*1)
Tempo (*3)
4/ 4
1/ 1–8/ 1, 1/ 2–8/ 2,1/ 4–8/ 4, 1/ 8–8/ 8
25.0–250.0
-
Quantize (*3)
ꢁ
ꢂ, ꢂ 3, ꢀ, ꢀ 3, ꢁ, ꢁ 3, ꢃ, ꢃ 3, HI
Click (*3)
Click
3
0–3
1 8 0
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Tro u b le sh o o tin g
If the BR-864 does not function as you expect, please check
the following points before assuming that a malfunction has
occurred.
Ca n n o t re co rd
●
●
●
Is a song protected?
Is a memory card inserted?
If this does not resolve the problem, contact a nearby Roland
service center or your dealer.
Does the memory card have insufficient remaining
capacity?
●
●
Has the recording mode (REC MODE) been selected
correctly?
Pro b le m s w ith th e so u n d
Has the Phrase Trainer or Scrub Playback function
been turned on?
N o so u n d
Th e re co rd e d so u n d co n ta in s n o ise o r
d isto rtio n
●
Is the power of the BR-864 and of the connected
equipment turned on?
●
●
●
Are the audio cables connected correctly?
Are any audio cables broken?
●
Is the input sensitivity set appropriately?
If the input sensitivity is too high, the recorded sound
will be distorted. If it is too low, the input sound will be
buried in noise. Adjust the SENS knob so that the level
meter moves as much as possible without causing the
PEAK indicator to light.
Has the volume of the connected amp or mixer been
lowered?
●
Has the MASTER fader or headphone volume of the
BR-864 been lowered?
●
●
Is a memory card inserted?
* Set it so the “0” is not indicated in the level meter.
Has the wrong card been inserted?
●
Are the track output levels appropriate?
You can use commercially available CompactFlash cards
as memory cards for the BR-864; The 3.3 V type with the
capacities of 32 MB to 1 GB can be used.
If you hear noise or distortion after bouncing tracks, the
output level of the tracks was too high.
●
Is a mic with high output impedance connected
directly to the BR-864?
●
Are you attempting to play back a short phrase of less
than 1.0 seconds? Phrases of 1.0 seconds or less cannot
be played.
The BR-864 is designed with a wide margin of
headroom. Also, since the MIC jacks are low impedance
inputs (TRS type: 8.9 kΩ, XLR type: 8.2 kΩ (Hot-Cold)),
the recording level may be too low, depending on the
response of some mics. In such cases, connect the mic via
a mic preamp to the BR-864, so that they can be boosted
to line level before recording.
Th e vo lu m e le ve l o f th e in stru m e n t co n n e cte d to
GUITAR/ BASS ja ck o r LIN E IN ja ck is to o lo w
●
Could you be using a connection cable that contains a
resistor?
Use a connection cable that does not contain a resistor.
Ca n n o t d ig ita lly re co rd to a n e x te rn a l
d e vice
A sp e cific tra ck ca n n o t b e h e a rd
●
Does the sampling rate of the BR-8 match that of the
digital audio device?
●
●
●
Has the track volume been lowered?
Is the V-Track setting for a different V-Track?
Has the track been muted?
Set the digital audio device to a sampling rate of 44.1
kHz.
●
Does the digital signal format match?
Th e in p u t so u rce ca n n o t b e h e a rd
Your digital audio device may use a non-standard digital
signal format. Connect the BR-864 to a digital audio
device that supports CP-1201 or S/ P DIF.
●
●
Did you adjust the SENS knob?
Has INPUT SELECT been muted? (The INPUT
SELECT indicator will be dark.)
●
●
Has the INPUT LEVEL knob been set to “MIN”?
If you are using the internal microphone, is “Built
Mic” under UTILITY set to ON?
1 8 1
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Tro u b le sh o o tin g
Pro b le m s w ith th e m e m o ry ca rd
Pro b le m s w ith USB
“ Un su p p o rte d Ca rd !” is d isp la y e d
Id lin g scre e n n o t d isp la y e d
●
Do you have a compatible (CompactFlash) memory
card inserted in the BR-864?
●
●
Is the USB cable properly connected?
Is your computer's operating system compatible with
the BR-864?
●
Is the memory card fully and securely inserted?
Windows: Windows Me/2000 or later
Macintosh: Mac OS 9.1 or later
Sy n ch ro n iza tio n p ro b le m s
(Ca n n o t sy n ch ro n ize )
O th e r p ro b le m s
When using MTC to synchronize the BR-864 with a MIDI
sequencer, the BR-864 must be the master device.
Me m o ry ca rd d a ta w a s d a m a g e d
●
●
●
Is the MIDI cable connected correctly?
Is the MIDI cable broken?
If memory card data has been damaged, the following causes
Has the sync generator been set to the desired
synchronization procedure (MTC or MIDI Clock)?
●
●
●
●
Was the power turned off while the recorder was
operating?
Was a strong physical shock applied to the memory
card?
●
If you are synchronizing with MTC, has the other
Could the power have been turned off while the
memory card was being accessed?
●
●
●
Has the MIDI sequencer been set correctly?
Is the MIDI sequencer ready to play back?
Was the card initialized on a PC or digital camera?
Does the other device support the MMC commands of
the BR-864?
Sy n ch ro n iza tio n w ith th e rh y th m
m a ch in e is lo st
●
Is the connected rhythm machine receiving Song
Position Pointer?
Certain rhythm machines are unable to receive Song
Position Pointer while in Pattern mode.
Check the MIDI implementation for the rhythm machine
you are using.
1 8 2
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Erro r Me ssa g e s
If you attempt an incorrect operation or if an operation could
not be executed, the display will indicate an error message.
ERRO R! Ca rd Fu ll
Cause:
It is not possible to record or copy due to
Refer to this list and take the appropriate action.
small memory capacity.
Solution:
Back up the data you need to your computer
Ba tte ry Lo w !
Cause:
The batteries are depleted (6 x AA dry-cell
batteries).
ERRO R! CARD Re a d
Solution:
Replace the batteries as soon as possible
Cause:
Memory card data cannot be loaded correctly.
Solution 1:
Turn off the BR-864, properly insert the
memory card, then turn the BR-864 back on.
Ca n n o t Ed it! Q u a n tize is Lo w !
Solution 2:
Cause:
During Step Recording of a pattern, the
Quantize setting is too coarse, so multiple
entries are appearing at the same point in the
matrix.
* If the same message appears after you have taken the above
steps, it is possible that the memory card is malfunctioning.
ERRO R! Ca rd W rite
Solution:
Cause:
An error occurred while writing data to the
memory card.
Ca n n o t Ed it! Th is is a Pre se t
Cause:
Solution:
Also, the song data you had been attempting
to save will be lost.
Preset data is selected; you cannot edit this
data.
Solution:
Copy the song data and then edit that.
ERRO R! Eve n t Fu ll
Ca n n o t In se rt!
Cause:
The BR-864 has used up all the events that
Cause:
No further steps or measures can be entered.
can be handled by one song.
Solution:
When creating Arrangement, a maximum of
50 steps and 999 measures can be set.
Solution:
W h a t is a n e ve n t?
Ca n n o t Pro g ra m ! Rh y th m Gu id e O ff
The smallest unit of memory used by the BR-864 to store
recorded results on disk is the event. A newly created song
provides approximately 1,000 events per song.
For each track, one recording pass uses two events. Operations
such as punch-in/ out or track copy also use up events.
The number of events that are used up will fluctuate in a
complex way.
Cause:
The Rhythm Guide is switched off, so you
cannot program it.
Solution:
Press [ARRANGE/ PATTERN/ OFF] to select
Arrange mode or Pattern mode.
ERRO R! Ca rd Bu sy
Cause:
Even if there is capacity remaining on the memory card, further
recording or track editing will not be possible if all of the events
are used up. In such cases, an error message such as “Event
Full” will appear.
If this message appears after you have been
using the memory card with the BR-864, the
data on the card has become fragmented,
causing delays in reading and writing data.
Or, you could be using memory card with a
slow processing speed.
ERRO R! Me m o ry Fu ll
Cause:
The total time of the drum sounds for one
drum kit that can be loaded with tone load
has exceeded 13 seconds.
Solution 1:
Reduce the number of tracks that are played
back simultaneously. Use track bouncing etc.
to combine tracks, or erase or cut data from
tracks which you do not need to playback, and
then try the playback again.
Solution:
Make sure the drum sounds being loaded by
means of tone load do not exceed a total of 13
Solution 2:
Solution 3:
Reduce the number of tracks that are being
recorded simultaneously.
ERRO R! MIDI Bu ffe r Fu ll
Reduce the Data Type (STD (LV1) or LONG
(LV2)), and then try creating the song again.
Cause:
Excessive number of MIDI messages being
output.
* In cases of unfavorable card access conditions, such as when
track editing or punch-in recording etc. is used to connect
phrases (musical data) of several seconds.
Solution 1:
Either decrease the tempo of the Rhythm
Guide or reduce the number of Note messages
Solution 2:
1 8 3
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Erro r Me ssa g e s
ERRO R! N o File
Pro te cte d !
Cause:
The BR-864’s [EXIT] button was pressed
Cause:
You are attempting to write data to a song
in the “USB” folder.
that has protection switched on.
Solution:
To write data to the song, switch Protect to
Solution:
Copy the WAV or AIFF files that you want to
import to the “USB” folder.
Se t th e Re p e a t!
Cause:
Repeat A (Starting Point) and B (Ending
Point) is not set.
La ck o f Eve n t!
Cause:
It is not possible to execute Undo or Redo if
Solution:
fewer than 200 events remain.
Solution:
Sto p P.Tra in e r!
Cause:
The operation you attempted cannot be done
Ma ste rin g Mo d e ! Ste p d isa llo w e d .
Cause:
The BR-864 is in Mastering Mode.
Solution:
Press [PHRASE TRAINER] to turn off the
Phrase Trainer.
Solution:
The attempted operation is not allowed.
N o Ca rd !
Sto p Re co rd e r!
Cause:
You have tried to operate the recorder, or
access the memory while the memory card
(CompactFlash) is not inserted, or is not
inserted properly.
Cause:
The operation you attempted cannot be done
while the recorder is running (playing or
recording).
Solution:
Press [STOP] to stop playback or recording.
Cause:
The memory card has been removed after
selection of data on that memory card.
To o Ma n y So n g s!
Solution:
Turn off the BR-864, properly insert the
Cause:
You are attempting to create more that 100
memory card, then turn the BR-864 back on.
songs.
Solution:
N o So n g !
Cause 1:
There are no songs on the memory card.
Un fo rm a tte d !
Solution 1:
Cause 2:
Cause:
The Memory card is not formatted by DOS.
Incorrect data is in the song folder, or the
necessary data is not present.
Solution 1:
Turn off the BR-864, properly insert the
memory card, then turn the BR-864 back on.
Solution 2:
Restore the data backed up on the computer to
the BR-864. In this case, restore each
Solution 2:
Un su p p o rte d Ca rd
Cause:
The memory card (CompactFlash) or
MicroDrive inserted is not compatible with
the BR-864.
Po w e r Do w n !
Cause:
Internal power source voltage is below than
guaranteed workable range.
Solution:
Use a memory card compatible with the BR-
864 (32 MB to 1 GB CompactFlash with a
power-source voltage of 3.3 V).
Solution:
In case of using PSA adaptor:
Cable might be broken or adaptor itself might
be malfunctioning. Please contact Roland
Service or Roland authorized dealers.
Un su p p o rte d Fo rm a t!
Cause 1:
In case of using batteries:
The BR-864 cannot recognize or use the
format of the inserted memory card.
Solution 1:
Cause 2:
Insert a memory card initialized for use with
You have attempted to load an incompatible
WAV or AIFF file or SMF to the BR-864.
Solution 2:
Check the format of the WAV or AIFF file or
SMF.
1 8 4
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8 -TRACK DIGITAL STUDIO
Mo d e l BR-8 6 4
Da te : Ma r. 1 , 2 0 0 3
Ve rsio n : 1 .0 0
MIDI Im p le m e n ta tio n
Frame Count
Seconds Count
Minutes Count
Hours Count
xxxyyyyy
1. TRANSMITTED DATA
xxx
Reserved (000)
yyyyy
Frame No.(0-29)
●Channel Voice Message
●Note On
If the MIDI parameter “RhyMIDI ch” is set to “1–16,” note numbers/ velocities
corresponding to the rhythm pattern will be transmitted on the MIDI channel that is
specified for the rhythm guide.
xxyyyyyy
xx
Reserved (00)
Seconds (0-59)
yyyyyy
xxyyyyyy
xx
Reserved (00)
Status
9nH
Second
mmH
Third
llH
yyyyyy
Minutes (0-59)
xyyzzzzz
n
= MIDI Channel No. :
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
x
Reserved (0)
mm = Note No. :
ll = Velocity :
yy
Time Code type
*
The time code types defined by the MIDI specification correspond to the BR-864 Sync
parameter “MTC Type” as follows.
MIDI specification setting
●Note Off
If the MIDI parameter “RhyMIDI ch” is set to “1–16,” note numbers corresponding to the
“MTC Type” setting
rhythm pattern will be transmitted on the MIDI channel specified for the rhythm guide.
0 = 24 Frames/ Sec
1 = 25 Frames/ Sec
24
25
Status
8nH
Second
mmH
Third
llH
2 = 30 Frames/ Sec (Drop Frame)
3 = 30 Frames/ Sec (Non Drop Frame)
zzzzz Hours (0–23)
29D
29N or 30
n
= MIDI Channel No. :
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
40H (64)
mm = Note No. :
ll = Velocity :
●Song Position Pointer
The current position is transmitted by the Song Position Pointer Message when the BR-864
is stopped, or the locate operation has been performed, if the SYNC parameter “Sync Gen”
is set to “MCK.”
●Notes sounded by the rhythm guide correspond to note numbers as
follows.
Status
F2H
Second
mmH
Third
nnH
Rhythm Guide Tone
Cross Stick
Metronome (click)
Metronome (bell)
Kick
Note Number
G 1 (31)
A 1 (33)
A#1 (34)
C 2 (36)
D 2 (38)
F 2 (41)
F#2 (42)
A 2 (45)
A#2 (46)
C 3 (48)
C#3 (49)
D 3 (50)
D#3 (51)
G#3 (56)
mm (LSB), nn (MSB) = Song Position Point: 00H 00H - 7FH 7FH
Snare
●System Realtime Message
Transmitted when “Sync Gen” is “MCK” in the SYNC parameter.
Tom 4
Closed hi-hat
Tom 3
●Timing Clock
Status
Open hi-hat
Tom 2
Crash cymbal
Tom 1
F8H
Ride cymbal
Cowbell
●Active Sensing
Status
FEH
●System Common Messages
*
This is transmitted at intervals of approximately 200 msec.
●MIDI Time Code Quarter Frame Messages
●Start
If the Sync parameter “Syn Gen” is set to “MTC,” quarter frame messages of the time code
type specified by “MTC Type” will be transmitted when the BR-864 is running (recording or
playing). The transmitted time counts are summed to “SMPTE (MTC) Offset Time” as the
song top is “00:00:00:00”.
Status
FAH
●Continue
Status
F1H
Second
Status
mmH (= 0nnndddd)
FBH
nnn = Message type :
0 = Frame count LS nibble
●Stop
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble
0h - FH (0 - 15)
Status
FCH
dddd = 4 bit nibble data :
Bit Field is assigned as follws.
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MIDI Im p le m e n ta tio n
●System Exclusive Message
2. MIDI Machine Control
●MIDI Machine Control Command Reference
●STOP (MCS)
Status
Data Bytes
Status
F0H
iiH,ddH, ..., eeH
F7H
Byte
F0H
iiH
Description
Status of Exclusive Message
ID Number
Status
Data Bytes
Status
7EH Universal Non Realtime Message
7FH Universal Realtime Message
Data: 00H - 7FH (0-127)
:
F0H
7FH, Dev, 06H, 01H
F7H
ddH
:
Byte
F0H
7FH
Dev
06H
01H
F7H
Description
Status of Exclusive Message
eeH
F7H
Data
Universal System Exclusive Message Realtime Header
Device ID (7FH)
EOX (End of Exclusive Message)
MMC Command Message
STOP (MCS)
The BR-864 can transmit and receive Universal System Exclusive messages.
EOX (End of Exclusive Message)
●About Device ID
If [STOP] was pressed, the BR-864 transmits this message.
The Device ID is used to distinguish one device from another.
●DEFERRED PLAY (MCS)
Status
Data Bytes
Status
F7H
●Universal System Exclusive Message
F0H
7FH, Dev, 06H, 03H
●MIDI Time Code Commands
Byte
F0H
7FH
Dev
06H
03H
F7H
Description
Status of Exclusive Message
●Full Message
Universal System Exclusive Message Realtime Header
Device ID (7FH)
Basic operation of quarter frame messages will be handled.
MMC Command Message
Status
Data Bytes
Status
F7H
DEFERRED PLAY (MCS)
F0H, 7FH
Dev,01H, 01H, hrH, mnH, scH, frH
EOX (End of Exclusive Message)
Byte
Description
If [PLAY] was pressed, the BR-864 transmits this message.
F0H, 7FH
Dev
Universal System Exclusive Message Realtime Header
Device ID (7FH)
●RECORD STROBE
01H
sub-ID #1 (MIDI Time Code)
sub-ID #2 (MIDI Full Message)
Hours and Type 0 yy zzzzz
yy type
Status
Data Bytes
Status
F7H
01H
F0H
7FH, Dev, 06H, 06H
hrH
Byte
F0H
7FH
Dev
06H
06H
F7H
Description
00 = 24 Frames/ sec
Status of Exclusive Message
01 = 25 Frames/ sec
Universal System Exclusive Message Realtime Header
Device ID (7FH)
10 = 30 Frames/ sec (Drop Format)
11 = 30 Frames/ sec (Non Drop Format)
zzzzz hours (00–23)
MMC Command Message
RECORD STROBE
mnH
mnH
frH
Minutes (00–59)
EOX (End of Exclusive Message)
Seconds (00–59)
Frames (00–29)
If [REC] was pressed out of the recording condition, the BR-864 transmits this message.
F7H
EOX (End of Exclusive Message)
When you change the song position, the device ID will be transmitted as 7FH.
●RECORD EXIT
Status
Data Bytes
Status
F7H
●MIDI Machine Control Commands
F0H
7FH, Dev, 06H, 07H
Status
F0H
Data Bytes
Status
F7H
Byte
F0H
7FH
Dev
06H
07H
F7H
Description
7FH, Dev, 06H, aaH, ..., bbH
Status of Exclusive Message
Universal System Exclusive Message Realtime Header
Device ID (7FH)
Byte
F0H
7FH
Dev
06H
aaH
:
Description
Status of Exclusive Message
MMC Command Message
Universal System Exclusive Message Realtime Header
RECORD EXIT
Device ID (7FH)
EOX (End of Exclusive Message)
MMC Command Message
Command
If [PLAY] or [REC] was pressed while recording, the BR-864 transmits this message.
:
bbH
F7H
Command
●MMC RESET
EOX (End of Exclusive Message)
Status
Data Bytes
Status
F7H
F0H
7FH, Dev, 06H, 0DH
*
see ‘2. MIDI Machine Control’ section
Byte
F0H
7FH
Dev
06H
0DH
F7H
Description
Status of Exclusive Message
Universal System Exclusive Message Realtime Header
Device ID (7FH)
MMC Command Message
MMC RESET
EOX (End of Exclusive Message)
When powered on the BR-864 transmits this message.
1 8 6
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MIDI Im p le m e n ta tio n
<Example 1>
●LOCATE (MCP)
What is the decimal equivalent of 5AH?
●Format 2 - LOCATE [TARGET]
From the above table, 5AH = 90.
<Example 2>
Status
F0H
Data Bytes
Status
7FH, Dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H
What is the decimal equivalent of the 7-bit hexadecimal values 12 34H?
Byte
F0H
7FH
Dev
06H
44H
06H
01H
Description
Status of Exclusive Message
Universal System Exclusive Message Realtime Header
Device ID (7FH)
From the above table, 12H = 18 and 34H = 52
Thus, 18 x 128 + 52 = 2356
MMC Command Message
LOCATE(MCP)
<Example 3>
What is the decimal equivalent of the nibbled expression 0A 03 09 0DH?
Number of Bytes
“TARGET” sub command
hrH, mnH, scH, frH, ffH
Standard Time with Sub Frame
EOX (End of Exclusive Message)
From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
F7H
<Example 4>
What is the nibbled equivalent of the decimal number 1258?
This message is transmitted when the song position moves.
16 ) 1258
16 ) 78
16 )
...10
...14
... 4
4
0
3. Supplementary material
From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH
Thus the result is 00 04 0E 0AH
●Decimal/Hexadecimal table
(hexadecimal values are indicated by a following “H”)
●MIDI Machine Control (MMC) Command,
Information Field / Response Reference
MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of
exclusive messages. The following table shows the correspondence between decimal and
hexadecimal numbers.
●Commands Transmitted
Command
Action
+——————+——————++——————+——————++——————+——————++——————+——————+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
01H STOP
STOP
+——————+——————++——————+——————++——————+——————++——————+——————+
03H DEFERRED PLAY
06H RECORD STROBE
07H RECORD EXIT
0DH MMC RESET
44H 01H LOCATE TARGET
PLAY
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|
|
|
|
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|
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|
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|
|
|
0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
REC / PUNCH IN
PUNCH OUT
RESET
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
LOCATE
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
*
*
Decimal expressions such as used for MIDI channel, Bank Select, and Program Change
will be the value 1 greater than the decimal value given in the above table.
Since each MIDI byte carries 7 significant data bits, each byte can express a maximum of
128 different values. Data for which higher resolution is required must be transmitted
using two or more bytes. For example a value indicated as a two-byte value of aa bbH
would have a value of aa x 128 + bb.
*
*
For a signed number (+/ -), 00H = -64, 40H = +/ -0, and 7FH = +63. I.e., the decimal
equivalent will be 64 less than the decimal value given in the above table. For a two-byte
signed number, 00 00H = -8192, 40 00H = +/ -0, and 7F 7FH = +8191. For example the
decimal expression of aa bbH would be aa bbH - 40 00H = (aa x 128 + bb - 64 x 128.
Hexadecimal notation in two 4-bit units is used for data indicated as 'nibbled'. The
nibbled two-byte value of 0a 0b H would be a x 16 + b.
1 8 7
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MIDI Im p le m e n ta tio n Ch a rt
M
I
8-TRACK DIGITAL STUDIO
Date : Mar. 1, 2003
Version : 1.00
D
I
Model BR-864
MIDI Implementation Chart
I
m
p
l
Transmitted
Recognized
Remarks
Function...
e
m
e
n
t
Basic
Channel
Default
Changed
1–16
1–16
X
* 1
* 1
**************
Default
Messages
Altered
Mode 3
X
X
X
X
a
t
Mode
i
o
n
**************
31, 33, 34, 36, 38, 41, 42,
45, 46, 48–51, 56
* 1
Note
Number :
X
True Voice
**************
C
h
a
r
Note ON
Note OFF
O 9n V=1–127
O 8n V=64
* 1
* 1
X
X
Velocity
t
After
Touch
Key's
Ch's
X
X
X
X
Pitch Bend
X
X
X
X
Control
Change
Prog
X
X
: True #
Change
**************
**************
System Exclusive
O
X
: Quarter Frame
: Song Pos
: Song Sel
: Tune
O
O
X
X
* 2
* 3
X
X
X
X
System
Common
System
Real Time
: Clock
: Command
O
O
* 3
* 3
X
X
: All sound off
X
X
X
X
O
X
X
X
X
X
X
X
:
Reset all controllers
: Local ON/ OFF
: All Notes OFF
: Active Sense
: System Reset
Aux
Message
* 1 Rhythm Guide only.
* 2 “SYNC parameter: Sync Gen = MTC” only.
* 3 “SYNC parameter: Sync Gen = MCK” only.
Notes
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
1 8 8
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Sp e cifica tio n s
BR-8 6 4 : Dig ita l Stu d io
● Tra ck s
● N o m in a l In p u t Le ve l (Va ria b le )
Track: 8
V-Track: 64 (8 V-Tracks per each Track)
GUITAR/ BASS jack:
-24 dBu
MIC (TRS balanced/ XLR) jack: -44 dBu
* Up to 2 tracks can be recorded simultaneously, and up to 8
tracks can be played back simultaneously.
LINE jack:
-16 dBu
● Use fu l Ca p a city
● In p u t Im p e d a n ce
CompactFlash: 32 M–1 G bytes
GUITAR/ BASS jack:
1 M Ω
MIC (TRS balanced/ XLR) jack: 8.9 k Ω (HOT-COLD)
● Da ta Ty p e
HiFi (MT2)
8.2 k Ω (HOT-GND, COLD-GND)
15 k Ω
LINE jack:
STANDARD (LV1)
LONG (LV2)
● N o m in a l O u tp u t Le ve l
LINE OUT jack:
-10 dBu
● Sig n a l Pro ce ssin g
AD Conversion: 24 bit, ∆∑ Modulation + AF-AD (Guitar/ Bass)
● O u tp u t Im p e d a n ce
24 bit, ∆∑ Modulation + AF-AD (Mic)
24 bit, ∆∑ Modulation (Line)
LINE OUT jack:
2 k Ω
Headphone jack:
147 Ω
24 bit, ∆∑ Modulation (Simul)
● Re co m m e n d e d Lo a d Im p e d a n ce
DA Conversion: 24 bit, ∆∑ Modulation
Internal Processing: 24 bit (digital mixer section)
LINE OUT jack:
20 k Ω or greater
Headphone jack:
8–50 Ω
● Sa m p le Ra te
44.1 kHz
● Re sid u a l N o ise Le ve l
LINE OUT jack:
-85 dBu or less
(INPUT SELECT: GUITAR/ BASS, input terminated with 1 k
● Fre q u e n cy Re sp o n se
Ω, INPUT SENS: CENTER, IHF-A, typ., EFFECT: OFF)
20 Hz to 20 kHz (+1/ -3 dBu)
● In te rfa ce
● Re co rd in g Tim e (1 tra ck )
USB Connector
Data type
DIGITAL OUT:
Optical type
Capacity
HiFi (MT2) STD (LV1) LONG (LV2)
32 MB
64 MB
128 MB
256 MB
512 MB
1 GB
16 min.
32 min.
65 min.
130 min.
260 min.
520 min.
19 min.
39 min.
78 min.
156 min.
312 min.
624 min.
24 min.
49 min.
98 min.
196 min.
392 min.
784 min.
● Disp la y
16 Characters x 2 Lines + Approx. 100 icons (Backlit LCD)
● Co n n e cto rs
GUITAR/ BASS jack (1/ 4 inch phone type)
MIC jacks (TRS Balanced 1/ 4 inch phone type, XLR type)
LINE IN jack L/ R (RCA Phono type)
* The above-listed recording times are approximate. Times may
be slightly shorter depending on the number of songs that were
created.
LINE OUT jack L/ R (RCA Phono type)
DIGITAL OUT Connector (Optical type)
FOOT SW/ EXP PEDAL jack (1/ 4 inch phone type)
MIDI OUT Connector
* The above number is the total for all the tracks that are used. If
each of the eight tracks contain an equal amount of data, the
length of the resulting song will be approximately 1/8 of the
above.
Headphone Jack (Stereo 1/ 4 inch phone type)
● Po w e r Su p p ly
DC 9 V; Supply AC Adaptor (PSA series), Dry batteries x 6
1 8 9
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Sp e cifica tio n s
● Cu rre n t Dra w
200 mA
* Expected battery life under continuous use:
Alkaline: 5 hours
These figures will vary depending on the actual conditions of use.
● Dim e n sio n s
322 (W) x 225 (D) x 69 (H) mm
12-11/ 16 (W) x 8-7/ 8 (D) x 2-3/ 4 (H) inches
● W e ig h t
1.65 kg/ 3 lbs 11 oz (excluding batteries)
● Acce sso rie s
Dry battery (R6 (AA) type) x 6
Demo Card
Owner’s Manual
Effect Patch List
Roland Service (information sheet)
● O p tio n s
AC Adaptor:
Foot Switch:
Pedal Switch:
PSA series
FS-5U
DP-2 (Roland)
Expression Pedal: EV-5 (Roland), FV-300L
* 0 dBu = 0.775V rms
In the interest of product improvement, the specifications
and/ or appearance of this unit are subject to change without
prior notice.
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In d e x
N u m e rics
A
C
Click ........................................................................................... 99
B
D
1 9 1
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In d e x
FX ............................................................................................. 136
E
G
EFX ............................................................................................. 59
H
F
F .................................................................................................. 90
Filter ......................................................................................... 122
1 9 2
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In d e x
I
Intro ........................................................................................... 90
M
J
K
L
1 9 3
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In d e x
N
O
OS ............................................................................................. 156
Q
R
P
1 9 4
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In d e x
Step ............................................................................................ 94
S
SEL ............................................................................................. 26
T
1 9 5
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In d e x
W
X
Y
YES ............................................................................................. 20
U
Z
V
1 9 6
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MEMO
1 9 7
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For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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**********
1*SX
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