BR-1200CD

Digital Recording Workstation Welcome
Congratulations on your purchase of the BOSS BR-1200CD. This TurboStart contains step-by-step instructions that will quickly introduce you to the BR-1200CDs major features.

TurboStart

Inserting Effects on the Inputs For this example, well insert a COSM Guitar Amp processor on the guitar input. 1. If the COSM button is not lit red, press the button to turn it red. 2. Press the COSM EFFECTS button to display the effects patch list. 3. Turn the TIME/VALUE dial to select P011 Warm Drive. 4. Press EXIT/NO to return to the main screen. Adding A Steady Beat with the Rhythm Guide Patterns are the rhythms that play back in the BR-1200CDthese are the building blocks of an arrangement. To make the patterns play back in a certain order, or for a certain duration of time, create an arrangement. 1. Press the PROGRAMMABLE RHYTHM ARRANGEMENT/PATTERN button so the ARRANGMENT indicator lights red. 2. Press PROGRAMMABLE RHYTHM EDIT. 3. Use the buttons and the TIME/VALUE dial to navigate to the Arrangement box and select U005-UserArrange5. 4. Press to go to BPM and turn TIME/VALUE to set the tempo to the desired value. 5. Press F2 to select VIEW. 6. Make sure the arrow at the far left of the screen points to Drums, and use F3 to select ArrEdit. This allows you to edit the drum arrangement. 7. Press to go to PATTERN and select P002 Rock 02 V1 using the TIME/VALUE dial. 8. Press to go to LENGTH and use the TIME/VALUE dial to select 100this sets the number of measures for which the pattern plays. 9. Set the 11/12 fader to the desired listening level. 10. Press ZERO, and then press PLAY to hear the drums. Recording a Performance 1. 2. 3. 4. 5. To select and arm a recording track, press the round REC TRACK button of the track you wish to record. Press the REC buttonit flashes red to indicate its ready to start recording. Press PLAY to start recording. When youre finished recording, press STOP. Press the ZERO button to rewind to the beginning of the song, and press PLAY to listen to the track, adjusting the faders as necessary.
Loading and Playing the Demo Song
Use the following procedure to load and play back the demo song in the BR-1200CD: 1. Press UTILITY. 2. Press until the SONG icon is displayed. 3 Press F2 for SONG. 4. Press until SONG SELECT is displayed. 5. Press F2 to select it. 6. Use your buttons to select a demo song. 7. Press F4 (GO) to load the selected song. 8. If Save Current? is displayed, press ENTER to continue loading the song. 9. Bring up the TRACK MIXER and MASTER faders, and press PLAY to hear the demo song.

Recording a Song

Heres how to record a guitar track while using effects and playing along with the Rhythm Guide. Creating a New Song 1. 2. 3. 4. 5. 4. Press UTILITY. Use the buttons until SONG is displayed. Press F2 to select SONG. Press F3 (NEW). Turn TIME/VALUE to select the songs track type. Press F4 (GO).
Note: Track types can be freely changed even after Song New has been completed. Using the Dedicated Inputs 1. 2. 3. Plug the guitar into the GUITAR/BASS input. Press the GUITAR/BASS button so it lights red. Adjust the first SENS knob (input sensitivity for GUITAR/BASS) until the red PEAK light flashes occasionally when the instrument is played at its loudest level. Adjust the INPUT LEVEL knob until the first meter on the LCD screen averages between 12 and 4. Press REC MODE to light the INPUT indicator.

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Digital Recording Workstation
Adding Reverb to the Recording Track 1. 2. 3. 4. 5. Press the REVERB button. Press F3 (EDIT). Select the type of reverb youd like to use on the track: Room, Hall, or Plate. Use and to select the desired track. Use the VALUE1/PAN knob to adjust the level.
Mastering with the MTK Effects After mixing down, mastering uses the MTKfor Mastering Tool Kiteffects to smooth out changes in volume that occur over the course of a song. 1. 2. 3. 4. 5. 6. 7. 8. Press REC MODE several times until the MASTERING indicator lights. Press the MASTERING TOOL KIT button to turn the mastering effects on. Turn the TIME/VALUE dial to select the desired MTK effect. Press PLAY and adjust the volume of Track 11/12. Press STOP, and then press ZERO to return to the beginning of the song. Press REC to go into Record Standby mode, and then press PLAY to begin recording. At the end of the song, press STOP. Press ZERO, and then PLAY to hear your mastered tracks.
Note: To add chorus or delay, use the same procedure, pressing CHORUS/DELAY in Step 1. Saving a Song 1. 2. 3. 4. Press the UTILITY button. Press F2 for the SONG icon. Press F4 (STORE). When display asks SAVE CURRENT?, press ENTER/YES.
Shortcut: Hold down the STOP button and then press the REC button to make the Save Current? screen appear. Press ENTER/YES to save the song.

Mixing Down Your Tracks

When creating an audio CD, you must combine, or bounce, all recorded tracks down to two tracks in a process called mixing down. Mixing Down (Bouncing) to Track 11/12 1. 2. Press the REC MODE button until the BOUNCE indicator lights. Press REC TRACK 11/12s REC TRACK button so it flashes red and the rest of the tracks buttons remain greenTrack 11/12s first V-Track is selected for recording. Press ZERO to return to the start of the song. Press the REC button so it flashes red, and then press PLAY to begin the mixdown. Adjust the faders as necessary during playback. Press STOP when youve reached the end of the song or the point at which you want to stop the mixdown. Press ZERO, and then PLAY to play back the mixed down audio.
Note: Since you mixed your song onto Track 11/12 V-Track 1 in the previous section, the BR-1200CD automatically selected Track 11/12 V-Track 2 for mastering. You can actually use any V-Tracks you like. See the Owners Manual for details.

Burning a CD

The BR-1200CDs Track at Once operation allows you to create a CD one song at a time. 1. Place a blank CD-R disc in the CD-R/RW drive. 2. Press the AUDIO CD WRITE/PLAY button. 3. Press F1 to highlight the WRITE icon. 4. Press F1 to highlight the TR. AT ONCE icon. 5. Use the buttons and the TIME/VALUE dial to select the pair of V-Tracks you want to write to CD. (If you mastered your mix as described above, thisll be Track 11/12 V-Track 2.) 6. Press F3 (GO). 7. Set the write speed to X8, and press ENTER. 8. When the display shows Write Sure? press ENTER to begin writing the CD. 9. When the CD is finished burning, the BR-1200CD asks, Finalize? If youd like to write additional songs on this particular CD, dont finalize it. However, you must finalize a CD in order to play it on an ordinary CD player. 10. Press ENTER/YES to finalize the CD, or EXIT/NO if you want to add more songs.

Creating bass patterns using real-time recording..175 Practicing before recording (Rehearsal).176 Recording in perfect time (Quantize)..176 Creating bass patterns using step recording..177 Correcting bass patterns (Microscope)..179 Changing the bass patterns groove (Swing)..180 Changing a bass patterns name..181 Copying bass patterns..182 Deleting bass patterns..182 Loading bass patterns from the CD-R/RW drive (SMF Import).183 Using Loop Phrases.. 185 Setting the track type..185 Playing Loop Phrases..185 Selecting a Loop Phrase..186 Adjusting the Loop Phrase and Drum Volume Balance.186 Changing the Loop Phrase tempo..187 Setting the tempo using [TAP]..187 Creating Loop Phrases.. 188 Using a portion of an audio track.188 Using wave data on a CD-ROM/R/RW disc (Loop Phrase Import).190 Reading all files at once..191 Specifying and modifying the source loop phrase (Time Modify).192 Modifying Loop Phrase settings..193 Assigning Loop Phrases to track buttons.194 Copying Loop Phrases..194 Erasing Loop Phrases..195 Setting the Universal Beat for Drums, Bass, and Loop Phrases. 196 Using rhythm arrangements. 197 Selecting a rhythm arrangement..197 Changing the rhythm arrangement tempo..197 Setting the tempo using [TAP]..198 Modifying rhythm arrangement settings.198
Creating rhythm arrangements..199 Assembling drum and bass patterns..199 Erasing All Pattern Assignments at One Time...200 Inserting patterns..200 Inputting chords..200 Changing and moving chords..201 Deleting chords..201 Inserting chords...202 Assembling Loop Phrases..202 Erasing All Loop Phrases at One Time..204 Inserting Loop Phrases..204 Copying a Loop Phrase from a rhythm arrangement to an audio track..204
Modifying all of the loop phrases in the current rhythm arrangement (Arrangement Modify).206
Naming and saving rhythm arrangements..207 Copying a rhythm arrangement..208 Deleting a rhythm arrangement..208 Setting tempos and beats for individual measures (Tempo Map/Beat Map).209 Setting tempos for individual measures (Tempo Map)..209 Setting beats for individual measures (Beat Map)..210 Using a metronome..211 Setting the track type..211 Playing a metronome..211 Selecting metronome sounds..212 Adjusting the Metronome and Loop Phrase Volume Balance..212 Creating Drum and Bass Patterns Simply and Easily (EZ Compose).213 What is EZ Compose?...213 Using EZ Compose...213 Creating a pattern..213 Adding a chord progression..214 Adding a fill-in..214 Pasting In Rhythm Arrangements..215
Section 5 Using the CD-R/RW Drive. 217
Creating Audio CD. 218 Precautions...218 Setting the time between songs (Pre-Gap)..218 Writing Songs to Discs..219 Writing songs individually (Track At Once)...219 Writing several songs at once (Disc At Once By Song)..220 Creating Audio CDs with Audio Tracks Separated by Markers (Disc At Once by Marker).222 Playing Back Audio CDs...224 Enabling playback on CD players (Finalize).225 Using the CD-R/RW drive to exchange data.. 226 Saving Recorded Songs to CD-R/RW Discs.226 Backing up a song (Song Backup)..226 Reading backup songs back into the hard disk (Song Recover).227 Saving Data on the Hard Disk to CD-R/RW Discs..228 Saving Data to CD-R/RW Discs (User Backup).228 Reading backup user data back into the hard disk (User Recover).229 Saving the Entire Contents of the Hard Disk to a CD-R/RW Disc.230 Saving the Hard Disk Contents to a CD-R/RW Disc (HDD Backup)...230 Reading backed-up hard disk contents back into the hard disk (HDD Recover).231 Copying and writing waveform data..232 Copying waveform data from a computer to the audio tracks (WAV/AIFF Import)..232 Copying audio track waveform data to computers (WAV/AIFF Export)..233 Playing SMFs using external MIDI instruments (SMF Player).236 Erasing data from a CD-RW disc (CD-RW Erase)..237

fig.07-51d

4. If necessary, repeat Steps 2 and 3.
In addition to the cursor, the track buttons can also be used to directly choose the track to which settings are to be changed. Furthermore, if the track buttons for tracks 1 and 2, tracks 3 and 4, tracks 5 and 6, or tracks 7 and 8 are pressed in unison at this time, you will be able to modify the settings for the two selected tracks at the same time. This function is extremely useful when you want to match the reverb settings of stereo tracks. Note that since tracks 9/10 and 11/12 are fixed as stereo tracks, the parameters for the left and right sides of each of these tracks will always change in the same way. It is not possible to modify the settings of the left and right sides individually. In addition to the parameters presented on the display, the reverbs also feature other detailed parameters of sound settings. For more detailed information, refer to Using loop effects (p. 125).
2. Press [F3] (EDIT). The Chorus/Delay Edit screen will appear.

fig.07-52d

3. Move the cursor to TYPE and select the desired Loop Effect using the TIME/VALUE dial.

CHORUS:

A chorus effect creates sound a little off, and by adding this to the original sound, it allows the sound to be thickened. You can have the effect seemed to be surrounded by the sound.

DELAY:

A delay effect works like an echo by repeating the original sound after a specific delay time. You can apply this effect on instruments that play melodies to create a richer, thicker sound with no loss of presence.

DOUBLN:

A doubling effect is essentially the same as a delay with an extremely short delay time. You can use this effect to make an instrument recorded in mono sound like it was actually recorded in stereo. 4. Press [EXIT/NO] to return to the Chorus/Delay Send screen. 5. Move the cursor to the track to which chorus, delay, or doubling is to be applied. You can also move directly to a track by pressing the corresponding track button.

fig.07-52ad

6. While listening to the playback from the selected track, use the TIME/VALUE dial to adjust the send level until you like what you hear. When the send level is 0, no effect will be applied; when it is 100, the maximum amount of effect will be applied. 7. If necessary, repeat Steps 5 and 6.

fig.35-10d

VOICE1VOICE3
These parameters are used to make settings for each of the voices comprising the backing chorus.
Chorus Cmaj backing chorus Chord Cmaj

Rest C---

Fmaj backing chorus Fmaj

On/Off

OFF, ON
This is used to turn each of the voices in the backing chorus on or off. When a voice is turned off, it will produce no audio. Note that if all voices 1 through 3 are turned off, no audio will be produced for the backing chorus.
Setting the application method for backing choruses (Harmony Sequence Edit)
Each of the preset patches 6 through 10 uses a slightly different method for applying harmonies. Usually it will be sufficient to select the patch that gives the results you like best; however, if you cannot achieve favorable results using any of these patches, you will be able to change harmony sequence settings to create a patch of your own. 1. Select a preset patch to base your new patch on. 2. Press [F1] (EDIT). The Harmony Sequence edit screen will appear.

fig.35-09d

Pre Delay

0.0 ms50.0 ms

This sets the amount of time that passes between the original vocal part and the backing chorus voice. By setting longer delays and setting a different delay for each of the voices, you can make the backing chorus sound more realistic. By setting shorter delay times, the backing chorus can be made to sound more artificial.

L100R100

This adjusts the left-right position of the corresponding voice. By setting a different pan value for each voice, a backing chorus with a wider sound can be produced.

Human Feel

This adjusts the degree of pitch instability that is unique to human voices. The higher this setting, the greater the degree of pitch instability in the backing chorus voice, and the more like a human voice it will sound. If settings are excessively high, however, the backing chorus will sound amateurish. With lower settings, the pitches of the voice become more stable and the overall backing chorus starts to sound more artificial.

COMMON

These parameters are used to make settings for the overall backing chorus.

Input Type

Making More Detailed Backing Chorus Settings (Harmony Event Map)
In the procedures described thus far, what has been explained is how to add the backing chorus automatically to all of the vocals in the song, from start to finish. In actual practice, however, there may be situations where you want to have the backing chorus only a certain section or make detailed adjustments to the composition of the harmony. In such instances, use the following procedure. 1. Start by switching to BOUNCE mode and selecting the patch to which you want to apply the harmony sequence. 2. Press [F1] (EDIT) in the Vocal Tool Box pitch selection screen. The Harmony Sequence Edit screen appears.

Modifying Mastering Tool Kit settings (Edit)
The Mastering Tool Kit comprises the following effect blocks.

fig.36-01

High-band
GAIN Track 11/12 Playback sound

Middle band

EXPANDER

BASS CUT FILTER

BASS CUT ENHANCER FILTER

DIVIDER

Low-band

LIMITER

CLIP/ DITHER

MIX L/R

Of these, the effect block that plays the most important role is the three-band compressor. Broadly speaking, the frequencies in a musical performance can separated into the following three bands or regions: The low-band, which contains the sounds of the kick drum, bass guitar, and other instruments that provide the basic song rhythm. The middle band, which contains the sounds of the vocals, and the lead guitars and other instruments that play melodies. The high-band, which contains the sounds of the hi-hats, cymbals, and the like. In order to do what is required of them, instruments must be played with varying rhythms and volumes. All of these different performances are combined to produce the music played by a band (or ensemble). If a compressor were to be applied over the complete frequency range of such a group performance in order to keep its volume within the limits suitable for burning to an audio CD, the natural-sounding nature of some of the performances could be impaired. For example, the volume of the kick drum could cause the compressor to modify the volume of melodic instruments, or the volume of the lead guitar could cause the compressor to modify the volume of the bass guitar. By dividing the overall performance into three frequency bands and using a different compressor with each band, volume peaks can be suppressed without making the performances sound processed or unnatural. In addition to this type of three-band compressor, the BR-1200CDs Mastering Tool Kit also features a number of other effect blocks that will come in handy when you are adjusting the volume and presence of your songs.

Editing patch settings

Each of the effect blocks that make up the Mastering Tool Kit can be fine-tuned by making the appropriate settings. Before starting, however, you will need to select the Mastering Tool Kit patch whose settings you would like to change. 1. Press [F2] (EDIT) on the Mastering Tool Kit patch screen. The Mastering Tool Kit edit screen will appear.

fig.36-02d

2. Move the cursor to the effect block you want to edit and press [F3] (=>PRM.). The Mastering Tool Kit parameter screen will appear.

fig.36-02ad

For more detailed information regarding settings, refer to Mastering Tool Kit parameter functions (p. 315). 3. Move the cursor to the parameter that you want to change and select a new value using the TIME/VALUE dial. 4. If you also want to edit other effect blocks, press [F3] (BLOCK<=) to return to the Mastering Tool Kit edit screen, and then repeat Steps 2 and 3. Note that you can press CURSOR [ ] or [ ] to jump to the parameter setting screen for the next effect block to the left or right.

AUDIO: The track will be used for recorded audio. DRUMS&LP: The track is used as a drum and Loop Phrase track. METRONOME: The track is used as a metronome and Loop Phrase track. 3. Press [ENTER/YES]. The Track Type Select screen closes. The DRUMS/LOOP PH. indicator from TRACK TYPE SELECT will light up to indicate that Track type has been set up for use as a Drum & Loop phrase track. You will now be able to use drums. 4. If you wish to store the track type setting, save the current song (p. 70).
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] so the PATTERN indicator is lighted. (Pattern mode) 2. Press PROGRAMMABLE RHYTHM [EDIT]. The Pattern Selection screen will appear.

fig.20-005d

3. Move the cursor to the drum pattern field and select a pattern using the TIME/VALUE dial. Playback of the newly selected drum pattern will start as soon as the previously selected drum pattern has ended. 4. When you have selected the drum pattern that you want to use, press [EXIT/NO] several times to return to the top screen. 5. If you wish to store the drum pattern selection, save the current song (p. 70).
3. Move the cursor to TEMPO and select a suitable tempo using the TIME/VALUE dial. You will be able to hear how your new setting changes the playback tempo. The tempo can be set anywhere within a range of 25.0 to 250.0 BPM. (Beats Per MinuteA value that indicates the tempo in terms of the number of quarter notes occurring in one minute.) 4. After you have set the tempo, press [EXIT/NO] several times to return to the top screen. 5. If you wish to store the patterns tempo, save the current song (p. 70).
The user drum patterns and song drum patterns contained in the BR-1200CD at the time of purchase are empty; you wont hear anything if you select one of them. If you want to hear drum sounds immediately after setting up the BR-1200CD for the first time, select a preset drum pattern.
The tempo is common to all drum patterns, bass patterns, and Loop Phrases.
In addition to setting the tempo using [CURSOR] and the TIME/VALUE dial, you can also set it by tapping your finger on [TAP] at the desired tempo. (Tap Tempo) This feature proves extremely useful when you want to match the playback tempo to that of an audio CD but dont know the actual BPM value. To set the tempo in this way, tap your finger on [TAP] four times with approximately the same interval between each tap. The tempo will be set based on the average tapping interval.

Selecting a drum kit

About the Drum Pattern Beat
Although every drum, bass, and Loop Phrase pattern has its own beat setting, there is also a universal beat setting that can be applied to all drum and bass patterns and Loop Phrases as a whole. When drum, bass, and Loop Phrase patterns are played simultaneously in Pattern mode, they are not played according to any of their individual beat settings, but instead conform to one beat setting that is applied to them all. For more detailed information, refer to Setting the Universal Beat for Drums, Bass, and Loop Phrases (p. 196). 3. Press [F1] (SETUP). The dialog for pattern setup will appear.

9. Press [EXIT/NO]. The Bass Pattern Edit screen will appear once again. 10. Press [F3] (WRCPYDEL). The Write screen for bass patterns will appear.

fig.20-054d

Whenever rehearsal is turned on, you will be able to play bass sounds without recording them, even if real-time recording is in progress. This feature comes in very handy when you want to practice playing a bass pattern. 1. Press [F2] (REHEARSAL) in real-time recording mode. The message REHEARSAL:ON will appear and rehearsal mode will be activated.

fig.20-055d

11. Use the TIME/VALUE dial to select the bass pattern to which the data is to be saved.
Only user bass patterns and song bass patterns may be selected for saving bass pattern data. You will not be able to select a preset bass pattern at this time. 12. Press [F3] (GO). The bass pattern will be saved. When the message Complete! appears, it indicates that saving has been completed.
In this mode, you can press a track button to play its bass note without the corresponding data being recorded. 2. When you have finished rehearsing, press [F2] (REHEARSAL) once again to return to real-time recording mode. The message REHEARSAL:OFF will appear and realtime mode will be reactivated. When you now press a track button to play a bass note, the corresponding performance data will be recorded.
If you select a different bass pattern or load a new song without saving the current pattern, all of the newly recorded data will be lost. This data will also be lost if you turn off the BR-1200CD before saving.
With real-time recording, the data generated by pressing a track button is recorded as is, and any imperfections in timing will be reflected in this performance data. If you dont want to hear these imperfections during playback, you can use the BR-1200CDs quantize feature to automatically move performance data to the nearest quarter note, eighth note, sixteenth note, etc., before the data is actually recorded. 1. Move the cursor to QTZ on the Real-Time Recording standby screen.

fig.20-056d

fig.20-056a

If you want to erase all of the Loop Phrases in a specific bank, move the cursor to the Loop Phrase number field, and then turn the TIME/VALUE dial clockwise to display ALL. 4. Press [F3] (GO). The message Sure? will appear. 5. Press [ENTER/YES]. The Loop Phrase(s) will now be erased, and when the message Complete! appears, it indicates that this operation has been completed.
It will not be possible to restore data erased in this way; accordingly, care should be taken to ensure that important Loop Phrases are not accidentally erased.
Setting the Universal Beat for Drums, Bass, and Loop Phrases
Although every drum, bass, and Loop Phrase pattern has its own beat setting, there is also a universal beat setting that can be applied to all drum and bass patterns and Loop Phrases as a whole. When drum, bass, and loop phrase patterns are played simultaneously in Pattern mode, they are not played according to any of their individual beat settings, but instead conform to one beat setting that is applied to them all. The universal pattern beat is set at the factory to 4/4. You can change this setting using the following procedure. 1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/PATTERN] so the PATTERN indicator is lighted. (Pattern mode) 2. Press PROGRAMMABLE RHYTHM [EDIT]. The Pattern Selection screen will appear.
Example 1) Universal Beat Set to 4/4

fig.20-200

Drum Pattern 4/4

3 Bass Pattern 3/4

The fourth beat is not played, but is filled by a rest.

5 Loop Phrase 5/4

The Loop Phrase plays only through the fourth beat.
4. Move the cursor to Beat and use the TIME/VALUE dial to set a beat.
Example 2) Universal Beat Set to 5/4

fig.20-201

The beat can be set in a range from 1/1 to 8/8. 5. Press [EXIT/NO] several times to return to the top screen. 6. If you wish to store the beat setting, save the current song (p. 70).
5 The fifth beat is not played, but is filled by a rest.
5 The fourth and fifth beats are not played, but are filled by rests.
Using rhythm arrangements
Selecting a rhythm arrangement
1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/ PATTERN] so the ARRANGEMENT indicator is lighted. (Arrangement mode) 2. Press PROGRAMMABLE RHYTHM [EDIT]. The Rhythm Arrangement Selection screen will appear.

fig.21-33d

No Loop Phrases are included in preset rhythm arrangements, and for this reason, there will be no playback from the Loop Phrase track. If you would also like to hear a Loop Phrase, select either a user rhythm arrangement or a song rhythm arrangement, and then assign a Loop Phrase to it. (Assembling Loop Phrases (p. 202))

3. Move the cursor to the rhythm arrangement number and use the TIME/VALUE dial to select the number of the desired rhythm arrangement.

fig.21-02d

Changing the rhythm arrangement tempo
Two different methods can be used to set the rhythm arrangements temponamely, setting of a fixed tempo for the overall song and setting of tempos for individual measures (Tempo Map (p. 209)). The following section will describe the method for setting a fixed tempo.
The user rhythm arrangements and song rhythm arrangements contained in the BR-1200CD at the time of purchase are empty; you wont hear anything if you select one of them. Be sure to select a preset rhythm arrangement here if you want to hear immediate playback. 4. Press the track buttons for Tracks 8 and 9/10 several times until they are lighted. Pressing a button repeatedly allows you to cycle it through the possible statuses, which are: Off Flashing Lighted. Off: No rhythm arrangement will be played. Flashing: Rhythm arrangement will be played only when the BR1200CD is recording or performing. Lighted: Rhythm arrangement will be always played even when the BR-1200CD is not recording or performing. 5. Raise the faders for Tracks 8 and 9/10 to suitable levels. These tracks will now be set up for playback of a rhythm arrangement. 6. Press [PLAY] to start playback. The drum pattern and bass pattern comprising the rhythm arrangement will now be played.
It is important to remember that whenever a fixed tempo is set, all tempos previously set for individual measures will be permanently overwritten with this new tempo. 1. Press PROGRAMMABLE RHYTHM [ARRANGEMENT/ PATTERN] so the ARRANGEMENT indicator is lighted. (Arrangement mode) 2. Press PROGRAMMABLE RHYTHM [EDIT]. The Rhythm Arrangement Selection screen will appear.
3. Move the cursor to BPM and select a suitable tempo using the TIME/VALUE dial. You will be able to hear how your new setting changes the playback tempo. The tempo can be set anywhere within a range of 25.0 to 250.0 BPM. (Beats Per MinuteA value that indicates the tempo in terms of the number of quarter notes occurring in one minute.) 4. After you have set the tempo, press [EXIT/NO] several times to return to the top screen. 5. If you wish to store the rhythm arrangements tempo, save the current rhythm arrangement (p. 207).
4. Press [F1] (EDIT). The tempo set for Pattern mode (p. 158, p. 173, p. 187) and the tempo set for Arrangement mode are handled separately. The Rhythm Arrangement Edit screen will appear.

Certain DAT recorders do not support SCMS or digital connection with CD players. If you set D.CpProtect to ON, you will not be able to record your songs to this type of recorder via the BR1200CDs digital output. Be sure to set D.CpProtect to OFF in such a case.
What is SCMS? An abbreviation of Serial Copy Management System, SCMS is a function implemented on consumer digital-audio devices such as DAT recorders and MD recorders to prevent second- and subsequent-generation copies being made by repeated digital recording, thus protecting the creators copyright. When a digital recording is made on a recording device that features SCMS functionality, SCMS flags will be recorded together with the digital audio signals. It will then not be possible to record digital audio signals containing this type of flag using a digital connection.
3. Move the cursor to D.CpProtect and select ON using the TIME/VALUE dial.

fig.53-12d

D.CpProtect (Digital Copy Protect)
This parameter specifies whether or not it will be possible to create digital copies. OFF: ON: Digital copies may be made. Digital copies may not be made.
Changing the content of the level meter display (Pre/Post Fader)
Normally, the level meters for the tracks, which are displayed on the top screen, will indicate the levels that the various signals have after they have passed through the corresponding faders (i.e., the post-fader volumes). You can, however, use the following procedure to have the levels that the signals are at before they pass through the faders (i.e., pre-fader volumes) be displayed.

fig.53-13

3. Move the cursor to Level Disp. and select PRE FADER using the TIME/VALUE dial.

fig.53-16d

PRE FADER: The levels that signals have prior to reaching the faders are displayed. PST FADER: The levels that signals have after passing through the faders are displayed. This is the setting on the BR1200CD at the time of purchase. 4. Press [EXIT/NO] several times to return to the top screen.

Rev0.02 281

Initializing all BR-1200CD settings (Initialize)

Models the BOSS CS-3 compact effects processor. Models the MXR dyna comp. Models the dbx 160x. Models the UREI 1178.

Attack

(When set to BOSSCmp or D-Comp)

Sustain

This adjusts the range (or time) over which the low-level signals are boosted. Larger values will produce a longer sustain.
This parameter adjusts the strength of the picking attack produced when the strings are played. Larger values will result in a sharper attack, creating a more clearly defined sound.
This adjusts the strength of the attack. Larger values will result in a sharper attack, creating a more clearly defined sound.

Adjusts the tone.

-50 +50 0100
Boosts low-level signals, adjusting the time over which sounds are sustained. Higher values deepen the effect, resulting in a longer sustain.
Adjusts the overall volume of the effect.

Threshold

(When set to Rack160)
When algorithm other than COSM OD GUITAR AMP is selected On/Off
Adjust this parameter to match the input signal from your bass. Compression will be applied to input levels in excess of this level. The smaller the value set here, the lower the level at which the limiter kicks in.

(When set to VtgRack)

This parameter controls the input level. Increasing the value will produce a deeper effect.
(Rack160) 1:120:1, inf:1 (VtgRack) 4:120:1
(When set to Rack160 or VtgRack) This adjusts the limiter compression ratio. Higher ratios produce a stronger compression effect.
This adjust the volume of the effect sound.

Attack Time

COSM Comp/Limiter (COSM Compressor/Limiter)
This effect can be used to produce a long sustain sound by evening out volume levels in the input signal. In addition, you can also use it as a limiter to suppress only peaks in the volume and prevent distortion. A limiter is an effect that prevents distortion by suppressing input signals in excess of a specific value (i.e., the threshold). You can also get the same effect achieved with a compressor by setting the threshold to a low value. The BR-1200CD uses COSM technology to model four types of compressor/limiter effects, which combine the functions of a compressor and a limiter.
This parameter adjusts the amount of time it takes for the compression ratio set by Ratio to be reached once the input level exceeds the set threshold level and compression begins. The larger the value set here, the more rapidly compression will be applied.

Release Time

This adjusts the time it takes for compression to be removed once the signal level drops below the threshold. Higher values cause the compression to be released more rapidly, making it easier to distinguish the sound from successively played strings.

(When set to BOSSCmp)

-50+50
This parameter adjusts the tone. Higher values cause the high frequencies to be boosted more, and this results in a harder sound.

This parameter adjusts the diffusionin other words, the panning of the direct sound and the effect sound to left and right. This will be effective when stereo output is used.
Adjusts the amount of phase-shifted sound in the low-frequency range that is to be mixed with the input. The extent of this lowfrequency range is fixed.
Adjusts the overall volume of the enhanced sound.

Flanger

This algorithm produces a flanging effect, which makes a sound seem as if it is twisting.

Humanizer

This can create human vowel-like sounds.
This parameter turns the flanger effect on or off.

Vowel1

This selects the first vowel.
A, E, I, O, U A, E, I, O, U 0100
Determines the rate of the flanging effect.

Vowel2

This selects the second vowel.
Determines the depth of the flanging effect.
This adjusts the cycle for changing the two vowels.

Manual

This adjusts the depth of the effect.
This parameter adjusts the center frequency at which the effect will be applied.
Determines the amount of resonance (or feedback). Increasing this value will emphasize the flanging effect, producing a more unusual sound.
This determines the point where the two vowels are switched. When it is set to 50, vowel 1 and vowel 2 are switched in the same length of time. When it is set to lower than 50, the time for vowel 1 is shorter. When it is set to higher than 50, the time for vowel 1 is longer.
This parameter adjusts the diffusion. Large values produce greater diffusion, and this will be effective when stereo output is used.
This adjusts the volume of the humanizer sound.
When COSM OD GUITAR AMP algorithm is selected Effect Level
This adjusts the volume of the flanger sound.

Limiter

A limiter is an effect that prevents distortion by suppressing input signals in excess of a specific value (i.e., the threshold).
This adjusts the volume of the direct sound.
This parameter turns the limiter effect on or off.
When COSM OD BASS AMP algorithm is selected Level
When COSM OD GUITAR AMP algorithm is selected Threshold 0100
Adjust this parameter to match the input signal. Limiting will be applied to input levels in excess of this level.

0100 FLAT, 55.0800 Hz

This allows you to get a mild effect sound by cutting the high-end component above the set frequency. When Flat is selected, the high cut frequency will have no effect.

Release

This adjusts the time it takes for limiting to be removed once the signal level drops below the threshold.

Foot Volume

Specify the volume between effects. By using an expression pedal to control the foot volume, you can smoothly change the volume of the output sound. For a detailed explanation, see Using an expression pedal (p. 124).

Specifies the phase of the speakers. NORMAL: INVERSE: The output phase will be the same as that of the input. The output phase will be the opposite to that of the input.
This filter cuts out vocal pop and other unwanted low-band noise.
A limiter reduces loud input levels to prevent distortion.
Switches the limiter on or off.

OFF, ON -600 dB

OFF, ON THRU, Hz
This parameter sets the frequency below which vocal pop and other undesirable lower-range noises will be filtered out.

Low Freq Trimmer

This trimmer is used to process low frequencies.
This parameter adjusts the overall volume.
Switches the low frequency trimmer on or off.

OFF, ON -12+12 dB

Adjusts the gain (i.e., the amount of boost or cut) for the low frequency trimmer.

202000 Hz

Specifies the center frequency for the low frequency trimmer.

High Freq Trimmer

This trimmer is used to process high frequencies.
Switches the high frequency trimmer on or off.
Adjusts the gain (i.e., the amount of boost or cut) for the high frequency trimmer.

1.020.0 kHz

Specifies the center frequency for the high frequency trimmer.
Mastering Tool Kit parameter functions
This is a compressor effect that controls the volume level for each frequency range (lower range, midrange, and upper range) separately in order to even out the differences between them. This allows you to achieve the optimal level when mixing down to MD or DAT, and when using CD-R disks to create your own original audio CDs.

Equalizer

This parameter turns the equalizer effect on or off.
OFF, ON -24+12 dB SHLV, PEAK -12 +12 dB 20 Hz2.0 kHz 0.316.0

Input Gain LowType

Sets the overall volume before passing through the equalizer.
Effect of the input delay time With regular compressors, once excessive levels are detected, there is a momentary delay before the signal is suppressed. This algorithm circumvents this problem by using the input sound only for detection of the level, while a predetermined amount of delay is applied to the sound that is actually processed and output. The input delay time is the delay time setting used for this purpose.

Sets the lower-band equalizer type to shelving or peak.

Low Gain Low Freq Low Q

Sets the amount of boost or cut in the lower band.
Sets the center frequency for the lower band.
Sets the steepness of the frequency response curve at the lower bands center frequency. * The Low Q setting is disabled when SHLV is selected for the Low Type.
Dividing the signal into separate frequency ranges To divide the sound into separate frequency ranges, set the Low-Split Point (Split Freq L) and High-Split Point (Split Freq H).
Low-Mid Gain Low-Mid Freq Low-Mid Q
-12+12 dB 20 Hz8.0 kHz 0.316.0
Sets the amount of boost or cut in the lower-middle band.
Sets the center frequency for the lower-middle band.
Sets the steepness of the frequency response curve at the lowermiddle bands center frequency.
Hi-Mid Gain Hi-Mid Freq Hi-Mid Q
Sets the amount of boost or cut in the upper-middle band.
Sets the center frequency for the upper-middle band.
Sets the steepness of the frequency response curve at the uppermiddle bands center frequency.
High Type High Gain High Freq
Sets the center frequency for the upper band.
SHLV, PEAK -12+12 dB 1.420.0 kHz 0.316.0
Sets the upper-band equalizer type to shelving or peak.
Sets the amount of boost or cut in the upper band.

High Q

Sets the frequency response curve steepness at the upper bands center frequency.
The High Q setting is disabled when SHLV is selected for the High Type.

Output Level

Sets the overall volume level after equalization.

-24+12 dB

Expander
This effect expands the dynamic range at a fixed ratio.
This setting turns the expander on or off.

OFF, ON -800 dB

OFF, ON 20 Hz2.0 kHz

ExpL: Thres

This parameter sets the volume level at which the low-band expander begins to affect the sound.

ExpL: Ratio

1:1.001:16.0, 1:INF
This effect makes a sound livelier, and thus, more present in the mix.
Sets the ratio for output increase in the low band when the input level falls below the Lo threshold.

ExpL: Attack On/Off

This parameter turns the enhancer on or off.

0100 ms

OFF, ON 0100 1.010.0 kHz -24+12 dB
Sets the time it takes for the low-band expander to start affecting the sound once the input level falls below the Lo threshold.