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BR Digital Recorder. Two types of bass-amp models were provided in the original BRCD. The Harmony Sequence feature has been improved as well, allowing you to have more control over the editing parameters. If you have a friend who owns a BRCD, for example, the two units can be combined to create a track recording studio with 16 simultaneous input channels! This file is for update via CD-R.
The update files that are compressed into the zip file that you download will need to be extracted before you can burn them to a CD. The options available include COSM guitar-amp emulation, a Vocal Toolbox pitch corrector and harmony generator, a Mastering Toolkit, and speaker modelling for use with Roland's digital monitors.
When you call up a new Song, the BRCD asks you whether you intend to use the drum machine, bass synth, or loop sequencer, and configures the tracks accordingly. If you do want to avail yourself of these rhythm aids, you'll need to tangle with the BR's Pattern sequencer — see the 'Get Rhythm And Bass ' box for more detail. If you just want to go straight ahead and record audio, the BR does its best to guide you through the setup procedure. First, you choose one of four input assignment options by pressing the appropriate button.
Likewise, Vocal mode is designed to cope with a mic plugged into input two, and automatically places a chain of vocal effects, EQ and dynamics processors in its path. The Multitrack and Stereo Tracks modes make use of all eight inputs, if needed. In Multitrack mode, each input is assigned to the corresponding track, or to its equivalent in the bank, while in Stereo Tracks mode, all eight are mixed down to a stereo pair and recorded to the track pair of your choice.
In Multitrack mode, the BR's insert effects processor is automatically configured to place a low-cut filter, compressor and EQ across each track in addition to the dedicated track compression and EQ that's always available.
You can choose from various preset settings such as Rock Band, Jazz Band and Multi Drums, but the thinking behind the compressor and EQ settings for the different channels isn't always obvious. The default setting in all the input modes has the insert effects placed in the record path as well as the monitor path, though you can choose to switch them into the monitor path only, into the playback path as conventional mixdown inserts, or off altogether.
The usefulness of recording with effects such as digital compression and EQ is debatable. On the other, if you overdo things at the tracking stage, there's little you can do to remedy them at the mix, and the preset effects settings that are applied by default might do more harm than good.
I also found it a bit odd that neither the insert effects processor nor the dedicated track compressors can provide multi-channel gating. The BRCD can save up to mixer scenes per Song, which can be assigned to markers for scene-based automation; and though the faders aren't motorised, they are also capable of dynamic automation when used in conjunction with an external MIDI sequencer.
Channel volume messages are sent and received to indicate fader positions, and the default arrangement has fader one sending and receiving on channel one, fader two on channel two, and so on. A helpful Fader option in the Utility menu displays the virtual fader positions as they play back. It can't act as a sync slave, but can record timing information from an external sequencer to use as a sync track.
Navigating a BRCD Song is as straightforward as loading one from disk is slow and it is slow: even the most basic Songs take upwards of 40 seconds to load.
Each Song can contain up to markers; there are dedicated search buttons to jump to the next and previous marker, but all other marker-related functions are buried in the Utility menu. Tracks are armed by pressing the track button once, whereupon the button flashes red; recording is started by pressing Rec, then Play. You can also punch in using a footswitch not supplied , or set in and out points for dropping in automatically. Photo: Mike Cameron The mic preamps are obviously not in the Avalon or GML class, but they're perfectly usable, with only a little hiss creeping in even at the highest gain settings.
Classical recordists and those with a large collection of ribbon mics would be unlikely to choose the BRCD anyway, and there's enough gain available for its intended applications.
The sensitivity of each input is adjusted using a trim pot in the usual way, and each is equipped with a single red LED which lights when the analogue signal reaches -6dB. These LEDs are your only guide when setting input levels: the manual instructs you to turn up the gain until they 'light up occasionally when the instrument is played hard'. Metering on the digital side isn't a lot better — you get a fairly dinky multitrack bar-graph display in the LCD, with nothing at all to indicate digital overs.
The internal effects and processors are equally devoid of gain-reduction meters and the like, which is a shame. While recording it's impossible to set up a monitor balance that's different from the actual levels going to disk, because the faders only affect playback levels of previously recorded tracks. If the drummer wants to hear less tambourine and more snare in his headphones, in other words, you'll have to record the tambourine more quietly and the snare louder. You could do this using the preamp gain knobs, but in Multitrack and Stereo Tracks modes each track has an additional 'soft' gain control that works in the digital domain, following the insert effects.
The gain controls are calibrated from zero to , with values below providing attenuation and values above increasing gain, up to a maximum of 6dB. The BRCD will adjust these gain controls automatically if you like — simply press the Level Calibration button, play the instruments for a few seconds, then hit Calculate.
Recording purists who don't want their signals degraded by digital level controls must also contend with a global Input Level knob. According to the manual, this also sits in the record path after the insert effects, but it's not calibrated and no explanation is forthcoming as to whether it simply offers attenuation or provides an additional gain boost.
The lack of information makes it hard to know what the optimum setting should be. Again, the design has been compromised for the sake of simplicity, but whilst experienced engineers will undoubtedly find it restrictive, the bottom line is that it is possible to make good-sounding recordings with this unit. In the real world, the quality of recordings made on the BRCD is going to be limited by mic placement, ambient noise, room acoustics and instrument quality, not by the quality of the preamps, the lack of bit recording or the degradation caused by digital attenuators.
I recorded a quiet finger-picked acoustic guitar part with the mics quite distant and the BR in the same room, and no trace of hard drive noise made it onto the recording. As well as being 'the easy way to record your band', the BRCD also caters for those who aren't lucky enough to have a real rhythm section on hand, or who want to blend live performances with sequenced material. A built-in drum machine and bass synth are controlled by a Pattern sequencer, which can also be used to string together sampled loops, known in Boss-speak as Loop Phrases.
You can choose to have your recording quantised as you play it in, but there is no way to undo this, or to quantise a Pattern that's already been recorded. Alternatively, drum Patterns can be created in a friendly grid editor, while step-time recording is available for composing bass parts.
I always find these methods laborious and restrictive compared to software sequencers, but the implementation here is as good as most. If you want to make detailed adjustments to your drum and bass Patterns, you can do so via the Microscope list editor.
There's a limited range of bass sounds; a few different electric sounds are represented, along with acoustic and fretless basses and a couple of synth-bass tones. They're perfectly usable, though it's not clear why any of them needs to waste a stereo track. Nine drum kits likewise cover the basics, but don't offer too much scope for experiment, and there's no way to edit drum kits or create your own.
You can, however, connect up a MIDI module and have your drum and bass parts played on that. The process of browsing a sample CD, auditioning loops and importing them to Loop Phrases is straightforward, but involves a bit of hanging around. A nice touch is the bundled Discrete Drums CD-ROM, which contains well-played and well-recorded drum parts for 14 songs, each broken down into loopable verses, choruses, and so on.
If the tempo of your Song is different from the tempo of a Loop Phrase, the phrase will be time-stretched to fit. I've heard better time-stretching, though, and I found the results were only acceptable within a fairly narrow range.
The Arrangement sequencer works pretty much as you'd expect, although the scale of the graphical timeline is so small as to be of little value. As well as specifying which drum Pattern, bass Pattern and Loop Phrase to play back, each sequencer measure can store tempo and chord information, allowing you to create a tempo and chord map across your Song.
The latter is essential if you want to use the automatic vocal harmony generator, and offers a healthy range of extended, diminished, and augmented chords as well as the basics and a 'non-chord' option.
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