PRACTICAL GUIDE TO THE EDIROL R-44
Amazing 24 bit/192 kHz ultra-high sound quality!! Easy to transport!! Lightweight 4-channel recorder!! 4-channel simultaneous recording techniques are thoroughly explained!!

R-44 Features

Compact 4-channel Recorder
The functions needed for 4-channel recording have been condensed into a unit the size of a palm. With just one R-44, you can perform complete 4-channel recording. It weighs a mere 1.3 kg, even with four AA batteries and an SD card.

Obsession with Quality

You can record at 24 bit/192 kHz, far better than the 16 bit/44.1 kHz for CDs. 44.1 kHz

192 kHz

Sampling frequency more than 4x higher than a CD
SD Card for Longer Recording Times
The R-44 uses a SD card (also supports SDHC cards) for its recording media. Over two hours of a CD-quality recording can be saved on a 2GB SD card. And you can record for four hours with four alkaline batteries or four nickel-metal-hydride (NiMH) batteries. It can even be used outdoors.
Highly Visible, Easy-to-see Screen
The organic EL display ensures high contrast, wide viewing angle, and fast screen response. You can see all the data easily, even in the outdoors or in concert halls. The level meter responds quickly for stress-free level adjusting.

Linking to a PC

With USB 2.0 (high speed) support, you can transfer sound data to a PC with a single USB cable. The data can then be played on software that comes standard with the PC. * Some PC environments may not play 24-bit recordings.
1 Situation Practical Use Technique
Situation 1 : Recording Acoustic Instruments. p. 4 Situation 2 : Recording Band Performances.. p. 8 Situation 3 : Recording Concerts... p. 10 Situation 4 : Recording Outdoor Sounds.. p. 14
Situation Practical Use Technique

2 Applied Technique

Application 1 : Recording Sound for Video. p. 16 Application 2 : Editing Your Recordings to Create a CD or DVD... p. 17

Applied Technique

3 Appendix
Microphones / Difference Between Sensitivity and Volume.. p. 19 Options.... p. 20 R-44 Specifications.... p. 20

Appendix

Situation
Recording Acoustic Instruments
Using the R-44 allows you to realistically record a variety of instrumental performances. We introduce several recording tips here.

Preparing to Record

Turn [PHANTOM] ON
Connect two microphones (DR-80C) to the R-44. Its convenient to use a microphone stand. Turn [PHANTOM] ON.
For details, refer to the owners manual.

Record Settings

We recommend the following settings for making a CD. Sets the mode to record with external microphones Input Select Analog We recommend 44.1 kHz if you want to make a CD Rec Freq. 44.1 kHz You can use 88.2 kHz for higher quality and perform accurate dithering to CD later Rec Bit 16 bit Rec Mode STEREO 1 Setting to use one stereo system (2 channels) to record No need to set this Pre Recording OFF If you set the date, it is easy to know the recording date and time Project Name Date

R-44 Setting : Rec. Mode in STEREO X 2
Sound reflected from the sound board
Sound of the string Regulate the sound quality by changing the height and angle of the microphones Sound reflected from the sound board
Sound of the string Sound of the string
Regulate the sound vibrations with the distance and position of the microphones
Adjust the spacing between the microphones to get the range you want to record

Recording Drums

The drum is an instrument that plays sound in several different directions. We recommend using simultaneous recording with four channels. Start by placing two microphones above the drum (condenser microphones) and one microphone each on the bass drum and snare (dynamic microphones), for a total of four recording locations. You should use microphone stands above the drum and place the microphones at a height of about 2 meters. At this height, the sound from the entire drum set can be recorded. For the bass drum, place the microphone in front aimed at the place where the beater hits. For the snare, you should place the microphone about 10 cm above the snare so you can cleanly record only the sound of the snare. Youll be able to easily emphasize just the bass drum sound by adjusting the volume of each channel if you use this setup.
R-44 Setting : Rec. Mode in STEREO X 4

About 2 meters

About 10 cm

Where the beater hits

Instrument Recording Techniques
This section describes where to place microphones for various instruments. For more about dynamic microphones and condenser microphones, refer to Microphone Type on p. 19 of this guide.

Vocals

Ideally, you should choose a place, such as a studio, where noise isnt introduced from the surroundings. If recording in a room, try to choose a room that doesnt have environmental noise (automobile noise or city noises) and that has the sound reflection that you want.
Aim from the front Aim from slightly below

Pop Guard

Although the basic position for the microphone is directly in front, it is OK to aim it from slightly above or slightly below. This is because sound comes not only from the mouth but also from the head. Although you can use a dynamic microphone, we recommend using a condenser microphone to get a cleaner recording. If some breathing noise is recorded, try using a window screen or pop guard. You can also try changing the direction or angle of the microphone.

Acoustic Guitar

First, the microphone is basically aimed directly at the front of the sound hole. However, you can also adjust the distance and angle to the sound hole to find a sound that you like. When placing the microphone at an angle, we recommended doing so from the fret side. This gives you a cleaner recording. Although you can use a dynamic microphone, we recommend using a condenser microphone to get a cleaner recording.
Sound Hole Aim from the front Set at an angle from the fret side
Guitar Amp/ Bass Amp Point-blank Record the sound of the guitar or bass directly

Electric Guitar or Bass

Move apart a little bit
Capture the sound as heard in the room Place slightly off-center from the speaker
When playing through a guitar amp or bass amp at a studio, it is important to use the actual volume and settings used for performances. Place the microphone a little off-center from the speakers and aim it from pointblank range. Be sure to use a dynamic microphone that can withstand vibrations. If you want the recording to give the feel of playing in a room, use two microphones at distances to record in stereo. However, be careful because if you set the microphones too far, there is too much reflected sound and the sound contours become blurred. If you are recording in a room, you can also using line recording by connecting an effecter with an amp modeling feature or an amp to the R-44 by cable. This is because units that have amp modeling are designed to produce realistic sound even with a line connection.

Synthesizer or Organ

You can record electronic instruments like synthesizers, organs, samplers, or rhythm machines by connecting the instruments line output jack directly to the R-44 combo input jack. Some digital synthesizers have effecter or mastering features, so the line recordings can faithfully reproduce the created sounds. You can record instruments played through an amplifier by considering the distance to the amp, just as with the electric guitar.

Standard phone plug STEREO Standard phone plug

COMBO INPUT Jack

LINE OUT Jack

Aim at the top

Aim from the front
You should use a stereo microphone or two microphones aimed from above the drums to record the sound of the entire kit. It is generally recommend to record from a height of 2 meters, but you can use a microphone stand and adjust the height and angle to find the sound you want. You can also aim from a spot a little from the front. You should be careful when using a unidirectional microphone, because if it is pointed at a particular drum, only the sound of that drum will be featured. In this case, adjust the angle of the microphone. You can use 4-channel recording to capture even better sound. See 4-channel Recording on p. 5 for details.
Unlike recording smaller instruments, when you record sound from a piano you want to record the sound from the entire instrument. You can get an overall balanced recording by setting two microphones a small distance from the S-shaped depression. Also, you can adjust the balance between the strings and the sound board with the angles of the microphones and adjust the balance between the sound of attack and reverberations to get the cleanest recording by moving the microphones closer in or farther out. You can use 4-channel recording to capture even better sound. See 4-channel Recording on p. 5 for details.
Adjusting the balance between the sound of attack and reverberations
Adjusting the balance the strings and the sound board

Wind Instruments

Basically, you should place the microphone in front of the bell of the wind instrument. When aiming at the bell, you should use a wind screen because blowing noise is generated from the wind instrument. Although you can use a dynamic microphone, we recommend using a condenser microphone to get a cleaner recording. When recording a solo performance, woodwinds like the saxophone have some sound coming from the keys as well as from the bell, and when all the keys are pressed, the volume from the bell changes radically. In this situation, you should probably aim somewhere between the bell and the keys. You can record a smooth performance this way. When recording a horn section, you should set a microphone for each horn, and record with an on-mike. If you do this, there will be no overlap of sound which gives you a cleaner recording. The R-44 can simultaneously record 4 channels, so we recommend setting a microphone for each horn.

Aim at the bell

String Instruments
String instruments, like the violin or double bass, are in some ways like an acoustic guitar, so you should record them by balancing the sound of the string vibrations and the sound from the body. You should aim the microphone at the bridge or resonance aperture of the instrument from about 1 to 1.5 meters above. You can then get a clean recording. Although you can use a dynamic microphone, we recommend using a condenser microphone to get a cleaner recording.

Aim from 1 to 1.5 meters above Emphasize the bow impression

Emphasize the body sound

Recording Band Performances
You can easily record band rehearsals using the R-44 internal microphones. Here, we describe several recording tips for using the internal microphones.
An external microphone is unnecessary because you are using the internal microphones.
We recommend the following settings for making a CD when recording with the internal microphones. Input Select IntMic Sets the mode to record with the internal microphones Rec Freq. 44.1 kHz We recommend 44.1 kHz if you want to make a CD 16 bit Rec Bit Rec Mode STEREO 1 Setting to use one stereo system (2 channels) to record Pre Recording OFF No need to set this Project Name Date If you set the date, it is easy to know the recording date and time

Positioning the R-44

Before recording the band performance, consider the song structure and find the place in the song where the volume is the loudest. Adjust so that the R-44 level meter goes as high as possible but falls just short of the C (clip level) at maximum volume.
Volume is too loud if the C (Clip Level) lights up
When rehearsing in a rehearsal studio, the instruments are often located throughout the room. You should position the R-44 in the middle of the studio to record the sound of each instrument equally. You should also place the microphone at about table-height. If the microphone is placed on the floor, the sound is muffled and unclear; if it is placed too high, you lose the bass range and the sound becomes tinny.
If the recording level is too low, the entire recording is done at the low volume. If it is too high, the recording can be distorted (popping noise or if even higher, the sound can be severely distorted).

Bass Amp

Place in the middle
Guitar Amp PA Speaker for Vocals and Keyboard
Record the band performance in one shot with four channels
Because you can record four channels simultaneously, you can record all four parts (vocals, guitar, bass, and drums), each on a separate channel, at the same time. You can also connect microphones or instruments directly into the four combo input jacks without using a mixer. After recording, youll be able to adjust the volume of each part, allowing you to check the performance of individual parts. This is convenient, since it allows you to check your own part as well as listen to the entire bands practice session. R-44 Setting : Rec. Mode in MONO X 4 : Input Select to Analog
Matching the recording levels
You can have a more perfect recording by setting recording levels for each part. You can achieve good balance by first adjusting the microphone for the drums, then the bass, guitar, and vocals, in that order. Also, if you turn on the [LIMITER], described above, you can prevent clipped sounds when there are very loud sounds.

Connections and Settings

This describes how to make recordings with even more realism by using the 4-channel simultaneous recording feature. If you record the performance and the audience separately in stereo, you can record the actual experience of being at the arena. Also, you can easily make adjustments after the recording because the balance of each sound can be changed separately. See Recording the Audience on p. 13 in this guide for how to record the audience.
R-44 Setting : Rec.Mode in STEREO X 2

Performance Microphones

Audience Microphones
Recording Multiple Input Levels Simultaneously
Mistakes cannot be fixed at events like live performances. But even if you set the input level during rehearsal in advance, the recording can still fail because of unexpected sounds that are too loud or too soft. For these times, set combo input jacks 1 and 2 to the normal input level and combo input jacks 3 and 4 to a slightly lower input level. If you do this, you can avoid a recording mistake because even if the normal input level is clipped, the sound in combo input jacks 3 and 4 is not clipped. R-44 Setting : Rec.Mode in STEREO X 2
Slight Lower Recording Level Normal Recording Level
Setting and Placing Microphones in Arenas or Concert Halls
Because sound can change just by changing the microphone positions, microphone placement in arenas and concert halls is extremely important. The best placement can be hard to find because the sound echoes differently for each arena or concert hall. We introduce examples of setting microphones using general suspended microphones and using microphone stands.
Using Suspended Microphones
Recording with Suspended Microphones
Suspended microphones are microphones suspended from the ceiling and are set for recording public performances at authentic concert halls. These microphones allow the performance to be taped without bothering the guests or filming. You have to consult in advance with the performers about the height to suspend the microphones because if the microphones are too close they might interfere with the audience or filming. The best recording is usually made by having the microphones closer to the performers.

Suspended Microphones

Caution!
Be sure to check beforehand whether you can use facility equipment, such as the suspended microphones. You also need to check how to use the equipment and the type and characteristics of the microphones.

Using Microphone Stands

Microphone stands give you more freedom to adjust the microphone position than when using suspended microphones. But you have to consult in advance with the performers about the microphone stands because they might

Recording in a Small Hall
Position two microphones near the center of stage about three meters in front of the stage (or behind the conductor) using the highest setting of the microphone stands. Set the left and right microphones apart at an angle from 90 to 120 degrees. Be careful because the angle between the microphones changes according to the size of the stage. If the angle is too large, the instruments in the center become faint; if the angle is too small, stereo sound is lost. Adjust the vertical angle so that the microphones point to just below the front part of the stage. The vertical direction of the microphones should be determined during the performance rehearsal. We recommend using unidirectional microphones because it is easy to set the sound. If you are using stereo microphones, set them at an angle between 90 and 120 degrees to capture the orchestra or brass band. The height and vertical angle is the same as when using two microphones. Ultimately, it is important to test the setup during rehearsal.

Orchestra or Brass Band

Conductor
Adjust sound quality with the vertical angle

About 3 meters

As high as possible

90120 degrees

Adjust sound quality with the angle between the microphones
Recording in a Large Hall
At large venues, the sound from either end is always heard more faintly. To help with this, you can set auxiliary microphones by making use of the R-44 4-channel simultaneous recording feature. The auxiliary microphones should be placed about 1/3 of the width of the orchestra or brass band from each end. If you use these settings to record, it will be easy to adjust the balance afterwards. Also, you should place the auxiliary microphones with some separation from the main microphones and also use different settings (for example, separating the two auxiliary microphones by a large distance and pointing them up) for the auxiliary microphones to record the venue echoes.
Determined by the size of the hall Auxiliary Microphones Main Microphones 1/3 of the Orchestra or Brass Band Auxiliary Microphones

Recording a Chorus

If distance is too far, lyrics will be hard to understand Auxiliary Microphones Main Microphones Auxiliary Microphones
Basically, the microphones should be positioned as described above. But, choruses have lyrics. You should be careful not to place microphones too far apart because the lyrics may not be clear although you can record the atmosphere of the chorus. You need to balance the chorus with the volume of the piano accompaniment. The balance with the chorus may be difficult depending on the location of the piano. In these cases, you should use auxiliary microphones for recording and adjust the balance later.

Recording the Audience

You should also record the audience to capture the live feel of a performance. Set dedicated microphones for the audience to capture this feeling. The microphones should be set near the center of the audience seating. If you are using unidirectional microphones, point them up to record the reverberations of the concert hall. If the microphones are pointed down, it is difficult to capture the live feel because only certain members of the audience are recorded. You can also use stereo microphones, but you can get a better live feel by using two monaural microphones placed apart. Also, you can consider the omnidirectional microphone as an option to record the atmosphere of the concert hall.

Recording Outdoor Sounds

You can record the sounds of nature, like bird, cat, dog and other animal noises, the sound of rain, or the babbling of a brook. Here, we describe several tips on how to record in the outdoors.
Directional Stereo Microphone (CS-50)
Connect a stereo microphone to the R-44. It is convenient to use a directional stereo microphone (CS-15R or CS-50) to record only what you are pointing at.
The following settings should be used if you are synching to video to make a DVD. Also, you should use the Pre Recording settings to prevent missing a recording.
Input Select Rec Freq. Rec Bit
Sets the mode to record with an external microphone Use 48 kHz if ultimately you are synching to video to make a DVD Or it may be convenient record with 96 kHz if you want to save in high quality so that you can convert sounds to use with a DVD Rec Mode STEREO 1 Setting to use one stereo system (2 channels) to record Pre Recording 20 sec Set to 1520 seconds to prevent missing recording something Project Name Date If you set the date, it is easy to know the recording date and time

Analog 48 kHz 16 bit

Dealing with Wind Noise
You should set the R-44 sensitivity (microphone sensitivity) high so you can record quiet sounds like wild bird song. This setting makes the microphone sensitive and even the quietest sound is captured. On the other hand, lower sensitivity is an appropriate microphone setting for loud sounds that are almost just noise, such as the sound a train makes as it passes.
If a strong wind hits the microphone, a muffled wind noise is recorded. At worst, the wind noise will be louder than the sound you want to record, which is one reason for ruining a clear recording. We introduce some ways of handling wind noise here. 1. Put a wind screen on the microphone. The wind screen should stop most of the wind noise.

Wind Screen

Set [SENS] fairly high
You should check the input level after making these settings. Basically, check to be sure the C at the right of the level meter (clip level) when the loudest sound is heard.

2. Turn [LOW CUT] ON.

Since wind noise is made up mostly of the low range, the noise can be reduced by cutting out the low range.

[LOW CUT] ON

Recording with Surround Sound
Recently, words like surround sound and 5.1 channel have become common along with the popularization of DVDs. With the ability to do 4-channel simultaneous recording, the R-44 can make surround sound recordings. Use four unidirectional microphones and set them on a microphone stand, as shown in the photo, to record the sound from four directions. If you use this setup to record, you can use a PC to convert to 5.1 channel / surround sound. Also, use a wind screen to cut down wind noise, as described earlier. R-44 Setting : Rec. Mode in STEREO X 2 For details see Creating 5.1 Channel Sound Using a PC on p. 18 in this guide
Simultaneously recording birdsong using multiple microphones
Try to record a point as close to the bird as possible. But, if you get too close to the bird, you wont be able to record the natural singing voice. It is important to keep the bird from knowing that you are near. You should check the time and place where birds normally gather and set up multiple microphones, as shown in the illustration, in advance. Also, use long cables to connect the microphones to the recorder, hide in the shadows, and begin the recording as the birds begin to appear. If you do this, the birds wont notice that you are there, and youll be able to record the natural sound of the birds. Also, you can use an umbrella, as shown in the illustration below, in place of a parabola when recording distant sounds. You can also make further use of the 4-channel simultaneous recording feature to set stereo microphones in two locations and select the sound from the microphones closest to the location of the birds.
An umbrella can be used in place of a parabola
Move away to remain unnoticed

Application

Recording Sound for Video

Making a CD

Transfer the sound file (WAV) on the SD card to a PC via a USB connection.
Mix down withCakewalk SONAR7 Producer Edition.
Copy the mixed down data to a CD.
If youve recorded four channels simultaneously on the R-44, and want to create a CD from your recording, youll need to adjust the volume of the four channels and combine them into two-channel stereo data. This process is called mixdown, and will allow you to create a CD that sounds the way you want. In this example, we provide a simple explanation of using the Windows software Cakewalk SONAR7 Producer Edition (sold separately) to turn the four channels of data (STEREO x 2) recorded by the R-44 into two-channel stereo, and use this data to create a CD. (For details, refer to the owners manual or Help file of the software youre using.)
1. Manipulate the screen to adjust the volume of each channel.

2. Export the data.

The data format should be a WAV file at 16 bit/ 44.1 kHz.
3. Write the exported data to a CD.
If you know that you are going to create a CD from the beginning, we recommend recording with 16 bit/44.1 kHz on the R-44. Since this is the same as the CD specifications, it will take just a short time to convert the data.

16 bit/44.1 kHz for CDs

Deleting Unnecessary Parts
There are many cases when youll want to edit the sound after recording, for example to erase the first five seconds that arent needed. In these cases, you can use the Windows version of the Cakewalk SONAR7 series (sold separately) to edit sound recorded with the R-44. Unnecessary sounds can be easily deleted by selecting them and erasing them as shown below. (For details on operations, see the owners manual or help for the software that you are using.)
Cakewalk SONAR7 Producer Edition Screen Cakewalk SONAR7 Producer Edition
Although this software is music creation software, it has plenty of editing features for sound files, too. For example, you can easily create a non-stop melody by connecting several edited passages.

Creating 5.1 Channels

If you use the 4-channel recording as described in Recording with Surround Sound on p. 15, you can convert the sound to the 5.1 channel surround sound used by DVD software. And if you then synch it to video, you will have a piece with the impact and realism of a movie.

We introduce the procedure to convert 4 channels to 5.1 channels below. We use the Windows-compatible Cakewalk SONAR7 Producer Edition (sold separately) for conversion. (For details on operations, see the owners manual or help for the software that you are using.)
5.1 Channel Surround Sound
The 5.1 channel surround sound system creates a realistic sound environment using 6 channels in a rectangle configuration. The six channels are in front of the listener (Center), to the right in front (Front R), to the left in front (Front L), to the right in back (Rear R), to the left in back (Rear L), and the low frequency channel. The low frequency channel is counted as 0.1 channel because it has a limited sound range.

Front L

Low Center frequency Front R
Set Rec Mode to STEREO X 2. If this setting is used to convert to 5.1 channel surround sound, you can manipulate two bits of data in two-channel units to make the conversion operation easier. Also, set the microphones so that channel 1 is the front left, channel 2 is the front right, channel 3 is the rear left, and channel 4 is the rear right. See the illustration at right for how the area recorded by four channels corresponds to the area for 5.1 channels.

Listener

Rear L

Rear R

Converting to 5.1 Channel Surround Sound
Load the data for the two projects (sound data recorded in stereo) to the PC, and convert to 5.1 surround sound using the surround pan feature of Cakewalk SONAR 7 Producer Edition. First, display the screen shown in the illustration. Set the direction of sound for Front L, Center, and Front R with the project that recorded with channels 1 and 2. Determine the direction of sound for Rear L and Rear R with the project that recorded channels 3 and 4. (For details on operations, see the owners manual or help for the software that you are using.)
After making these settings, the exported sound data is the 5.1 channel surround sound data.
Microphones / Difference Between Sensitivity and Volume

Microphones

Microphone Types
There are two main types of microphone structures. It is important to choose the microphone best suited for the recording situation. For example, a bass drum produces high sound pressure levels, so its best recorded using a dynamic microphones.

Condenser Microphone

Structure
A voltage is applied to electrodes, and the change in capacitance is converted to an electronic signal

Characteristic

Although sound quality is superior in high-range attributes, it is susceptible to vibration and moisture and requires phantom power

(Stereo)

CS-15R

DR-80C

Dynamic Microphone

Continuous playback Continuous recording approximately 4.0 hours approximately 4.0 hours
* When using alkaline batteries, 44.1 kHz, 16-bit, stereo, with phantom power off. Current Draw 1.2 A Dimension 157 mm (W) x 183 mm (D) x 61 mm (H) 6-3/16 (W) x 7-1/4 (D) x 2-7/16 (H) Weight Weight : 1.3 kg * Including battery and SD card.
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