Alesis BRC User Manual

ALESIS

BRC

Reference Manual

TABLE OF CONTENTS

CHAPTER 1 - INTRODUCTION

1.0 ABOUT THE BRC..............................................................................................1

1.1 IMPORTANT NOTES ABOUT THIS

MANUAL...................................................................................................................4

1.2 OVERVIEW OF MAIN FUNCTIONS...........................................................4

1.2A Transport.................................................................................................4

1.2B Record/Monitor functions...................................................................5

1.2C Autolocation...........................................................................................5

1.2D Punching..................................................................................................5

1.2E Rehearsing...............................................................................................6

1.2F Digital Bus................................................................................................6

1.3 “ENGAGED” VS “DISENGAGED” TAPES................................................7

1.4 BASIC OPERATION..........................................................................................7

1.4A Displays....................................................................................................7

1.4B Display Type............................................................................................8

1.4C Display Mode...........................................................................................8

1.4D LED Indicators.........................................................................................9

1.4E EDIT Button.............................................................................................9

1.4F Cursor Buttons........................................................................................10

1.4G Numeric Keypad....................................................................................10

1.4H UP/DOWN Buttons..............................................................................10

1.4I NAME Button..........................................................................................11

1.4J COPY TAPE LOCATION Button..........................................................11

CHAPTER 2 - HOOKUP

2.0 POWER................................................................................................................13

2.1 SYNCHRONIZING MULTIPLE ADATS......................................................13

2.1A Hooking Up Multiple ADATs............................................................13

2.1B ADAT ID (identification) Numbers...................................................14

2.1C Independent Slave Mode.....................................................................14

2.2 DIGITAL I/O.......................................................................................................15

2.2A Connecting the Digital Bus..................................................................15

2.2B Connecting the AI-1...............................................................................16

2.3 SMPTE IN/OUT.................................................................................................17

2.4 MIDI IN/OUT.....................................................................................................18

2.5 48 KHZ CLOCK IN/OUT..................................................................................18

2.6 VIDEO SYNC IN................................................................................................18

2.7 RMB REMOTE METER BRIDGE....................................................................18

2.8 FOOTSWITCHES...............................................................................................18

2.9 RACK-MOUNTING..........................................................................................19

2.10 ROLLAROUND STAND................................................................................19

CHAPTER 3 - GETTING READY TO
RECORD

3.0 POWERING-UP.................................................................................................20

3.1 FORMATTING TAPES.....................................................................................21

3.1A Additional Formatting

Considerations...........................................................................................................23

3.2 TRACK/RECORD MONITOR CONTROLS.................................................24

3.2A Track Bank Select...................................................................................24

3.2B Record Enables........................................................................................25

3.2C Auto Input...............................................................................................25

3.2D All Input..................................................................................................25

3.2E All Safe......................................................................................................25

3.2F All Clear....................................................................................................26

3.2G Groups 1 Through 4..............................................................................26

3.3 TRANSPORT CONTROLS..............................................................................27

3.3A Play............................................................................................................27

3.3B Stop............................................................................................................27

3.3C Record.......................................................................................................28

3.3D Rewind/Review.....................................................................................28

3.3E Fast Forward/Cue...................................................................................29

3.4 RECORD XFADE (CROSSFADE)....................................................................29

3.5 REHEARSE..........................................................................................................30

3.6 TRACK DELAY TIME.......................................................................................30

CHAPTER 4 - PITCH,
AUTOLOCATION AND
PUNCHING CONTROLS

4.0 PITCH CONTROLS............................................................................................33

4.1 AUTOLOCATION CONTROLS......................................................................34

4.1A Reset 0......................................................................................................34

4.1B Locate 0.....................................................................................................35

4.1C Setting a Locate Point............................................................................35

4.1D Naming a Locate Point..........................................................................37

4.1E Locating a Locate Point...........................................................................38

4.1F Manual Locate.........................................................................................39

4.1G Footswitch Controlled Autolocation.................................................40

4.1H Using the LRC Remote Control.........................................................41

4.1I Auto-Play...................................................................................................42

4.2 LOOPING.............................................................................................................42

4.2A Setting Loop Points...............................................................................43

4.2B Automatic Looping................................................................................44

4.3 AUTO-PUNCH...................................................................................................44

4.3A Setting Auto-Punch Points..................................................................45

4.3B Auto-Group Record...............................................................................47

4.3C Footswitch Controlled Punching........................................................50

4.4 PRE-ROLL & POST-ROLL................................................................................50

4.5 TAPE OFFSET.....................................................................................................51

4.5A Offsetting ADATs..................................................................................52

4.5B Continuous Play and Record...............................................................55

4.6 WHAT IS A SONG?..........................................................................................57

4.6A Setting a Song.........................................................................................58

4.6B Naming a Song.......................................................................................60

4.6C Locate Song..............................................................................................60

4.6D Copy Song................................................................................................61

4.6E Delete Song..............................................................................................62

4.7 DIGITAL BUSSING...........................................................................................63

4.7A Digital Input............................................................................................63

4.7B Bouncing tracks......................................................................................64

4.7C Using the AI-1.........................................................................................66

CHAPTER 5 - SYNCHRONIZATION,
BACKUP
AND MISC CONTROLS

5.0 SMPTE..................................................................................................................69

5.0A SMPTE Formats.....................................................................................69

5.0B SMPTE Start Offset.................................................................................69

5.0C External Sync...........................................................................................70

5.0D Generate Sync.........................................................................................74

5.1 TEMPO MAP.......................................................................................................75

5.1A Creating A Tempo Map........................................................................76

5.1B Displaying A Tempo Map....................................................................77

5.1C Deleting A Tempo Map Entry.............................................................77

5.1D Erasing A Tempo Map..........................................................................78

5.2 BACKING UP.....................................................................................................78

5.2A Save Setup To Tape...............................................................................79

5.2B Load Setup From Tape..........................................................................80

5.3 MIDI/UTIL BUTTON.......................................................................................81

5.3A MIDI Echo................................................................................................81

5.3B Dump Sysex.............................................................................................81

5.3C Tape Status...............................................................................................83

5.3D LCD Display Contrast............................................................................84

5.3E Group Buttons Enable/Disable............................................................85

5.3F Copy Tape Location Mode....................................................................85

5.3G Software Version...................................................................................86

CHAPTER 6 - APPENDICES

6.0 APPENDIX 1

SPECIFICATIONS............................................................................................87

6.1 APPENDIX 2

MAINTENANCE/SERVICE

INFORMATION.......................................................................................................90

6.1A Cleaning...................................................................................................90

6.1B Maintenance............................................................................................90

6.1C Servicing..................................................................................................90

6.2 APPENDIX 3

TROUBLE-SHOOTING...................................................................................91

1

CHAPTER 1: INTRODUCTION

1.0 ABOUT THE BRC

Congratulations! You’ve just purchased an incredible tool that will
assist in streamlining your recording projects. The BRC master
remote control is the key element that makes the most of the ADAT
digital recording system. Whether using it in a professional
commercial studio, recording a live performance, or working in post­production, here are some of the features that illustrate the type of
control using the BRC/ADAT system will afford you:

• Sample accurate syncing capabilities. Using ADAT’s exclusive
Proprietary Synchronization Interface, the BRC can control up to
16 ADATs for a total of 128 tracks, and lock them together in
perfect synchronization. Each ADAT tape is “formatted” (a simple
operation that can be done before or during recording) with a
proprietary Alesis time code that is much more accurate than
SMPTE or other time code systems. This process time-stamps the
tape to an incredible single-sample accuracy; that is, 1/48,000th of a
second.

Because of this incredibly tight sync performance, multiple
ADATs are virtually free of the evils of incoherent phase between
tracks playing on different machines. This means that when you
lock two or more ADATs together, you’re really creating the
equivalent of one large digital tape recorder.

And since the ADAT/BRC sync system is internalized and sample
accurate, you get machine synchronization without giving up an
audio track (which would otherwise be required for SMPTE);
accurate tape counter readings without annoying slippage; and
intelligent sample-accurate autolocation functions.

• Easy and familiar front panel controls. If you’ve ever used a large
remote control for a multitrack tape recorder, then you probably
already know how to use many of the functions on the BRC.
Familiar controls like play, record, fast forward, rewind and the
track select buttons perform the majority of functions you’ll need.
Other functions (like Auto-Punch, Looping, Pre-Roll and Post­Roll), may be toggled on and off by pressing their respective
button; an LED set inside each button will light to indicate when a
function is turned on. These same functions can be edited by first
pressing the EDIT button, and then the toggle button whose
function you wish to program.

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• Modular recording. This is the feature that makes ADAT and the
ADAT/BRC system perhaps the most flexible multitrack recorder
ever designed. Because ADAT’s S-VHS tape format is so
inexpensive, you can easily afford to record alternate versions of
vocals, solos, background accompaniments; whatever your
creative urge requires.

Modular recording means you can build as many tracks as you
desire while you’re recording and do composite editing with the
BRC and ADAT’s Optical Digital Interface (see next section) before
the final mixdown.

Tapes can be offset with pin-point accuracy. This feature is
particularly useful for recording extended live performances when
a 40 minute tape would not fit the entire recording. By offsetting
the time location of a second ADAT by 30 minutes past the first,
the second will take over while you change tapes on the first unit.
Thus, a continuous recording can be preserved digitally on
multiple cassettes, creating the equivalent of one very long
seamless piece of tape.

• Optical digital interface. In addition to conventional analog inputs
and outputs, the ADAT’s Proprietary Multichannel Optical Digital
Interface carries up to eight tracks simultaneously via optical cable,
allowing for perfect, degradation-free digital dubbing between
ADATs. The BRC Remote Control allows you to assign any part of
a track to any other track in a multiple ADAT system. This means
you can do comprehensive editing of recorded tracks, all in the
digital domain.

• SMPTE, MIDI and external time code control. The BRC is capable
of generating MIDI Time Code (MTC) and generating and reading
all six SMPTE formats. It can also provide MIDI-Clock based on a
user-definable Tempo Map. Generating SMPTE or MTC provides
sync for external devices, such as sequencers and drum machines.
Reading SMPTE allows for the syncing to external devices,
including other multitrack machines of different manufacturers.
Other synchronizing options include 48 KHz clock in and out, and
a video sync in (accepts composite video as well as black burst
video inputs).

• Storage of setups. To insure instant recall of the BRC’s settings, all
setup information can be saved to the beginning of each ADAT
tape for later retrieval. This information is known as the “table of
contents”, or TOC. This information can also be stored via MIDI,
by dumping the BRC’s data as System/Exclusive information to a
MIDI storage device, such as the Alesis DataDisk.

3

• Digital interface and sample rate converter option. If you need to
integrate your ADAT recordings to digital recording equipment
from other manufacturers, an optional accessory box, the Alesis
AI-1, can isolate the digital audio signal of two tracks at a time
from any single eight-track ADAT in the system, and assign the
pair to the industry standard AES/EBU and S/PDIF interfaces.
This allows for direct digital connection, with sample rate
conversion, to and from other digital audio recorders, DAT
recorders, CDs, hard disk recorders, synthesizers, and more.

• Meter bridge option. The RMB Remote Meter Bridge provides
localized viewing of 32 channels of LED meters. It’s designed to
mount on top of the BRC so that you can install your ADATs in a
remote rack and control functions and view critical metering of
the recording directly from one location. The RMB may also be
installed in any standard 19” rack.

• LRC Remote Control. Each ADAT is supplied with the LRC
Remote, which duplicates some of the ADAT’s front panel
functions. Up to two LRC Remotes can be connected to the BRC
for additional sets of transport and locate controls.

• Fast and easy hookup. Connection of the BRC is accomplished via
a single 9 pin sync cable connected to the first ADAT in the system.
Successive ADATs are connected in turn – sync out to sync in –
using the same 9 pin style connector. When the BRC is turned on,
it automatically becomes the system’s master, and assigns each
ADAT an identification number, from first to last in the chain.
The BRC also automatically checks which units have a tape
installed, and if the tapes are formatted. Finally, the BRC
automatically autolocates each slave ADAT to the position of the
first ADAT. This entire routine allows you to setup and be ready
to record within minutes. The BRC may also be rack-mounted by
removing the top, bottom and side panels, or mounted on an
optional roll-around stand.

• Voltage tolerant power supply. The BRC accepts any AC voltage
between 90 and 250 volts.

For more information on digital recording, see Appendix 1 in the
ADAT manual. Appendix 2 in the ADAT manual is a glossary of
digital recording terms that may be helpful as you read this manual.

4

1.1 IMPORTANT NOTES ABOUT THIS
MANUAL

This manual has been divided into two separate books, of which this
is the first. This book is designed as a reference to assist the recording
professional in learning the basic operation of the BRC. All functions
are explained in a clear manner, using step-by-step instructions and
illustrations for setting up and performing various operations.
However, it is assumed that you already have some understanding of
multitrack recording in general. It also assumes you have read the
ADAT manual and comprehend its operation.

If you have little or no previous experience with multitrack
recording, please read the second book of this manual, entitled

Concepts and Applications . It will give you an understanding of how
an ADAT/BRC system works, and the types of things you may expect.
It explains why certain features are significant, and how to employ
them in your recording routine. Most importantly, there are simple
tutorials for commonly performed operations, which illustrate
exactly how to put it all together.

Regardless of your level of experience, it is important that you read
through section 1.3 on the difference between “engaged” and
“disengaged” tapes, and section 3.1 on formatting tapes. These
describe recording concepts that have no counterpart with analog
recorders, and which must be understood before you start using
ADAT and the BRC.

BRC

In this manual, buttons and LEDs are spelled with all capital letters
(such as RECORD LED or FORMAT TAPE button).

1.2 OVERVIEW OF MAIN FUNCTIONS

Here is a brief rundown of the BRC’s main functions.

1.2A Transport

The transport controls are just like most standard remotes. Tape
motion controls include play, fast forward, rewind, stop, and record.
The tape location counter at the top shows elapsed time in SMPTE
time, real time, or bars/beats/sub-beats.

For more information on transport controls, see section 3.3.

1.2B Record/Monitor functions

5

The BRC can control as many as 16 ADATs for up to 128 tracks. The
track select section of the BRC provides access to 32 tracks at any time.
Four buttons let you switch between TRACK 1–32, TRACK 33–64,
TRACK 65–96 and TRACK 97–128. The button that has its LED lit will
indicate which group of tracks is currently selected, as will the LEDs
centered in the track select area, above. If you find yourself using the
TRACK 97–128 button often, consider yourself a lucky person.

The BRC and ADATs do much of the recording/monitoring
switchwork for you. Generally, tracks monitor what’s on tape until
you put them into recording ready, at which point they will monitor
the inputs, so you can hear what is about to be recorded. The ALL
INPUT button lets you monitor the inputs of all channels, regardless
of record status. AUTO INPUT lets you monitor the tape on tracks
that are in record ready, until you go into record at which time you
will be monitoring the inputs. ALL CLEAR takes all tracks out of
record ready, while the ALL SAFE button will temporarily disengage
all tracks from record ready so you can instantly put the same tracks
back into record ready later. You can also program up to 4 groups of
record-enabled tracks for instant recall.

For more information on recording and track monitor controls, see
section 3.2.

1.2C Autolocation

Besides locating to zero, you can store 20 different locate points per
song, which can also be used by other functions including Loop,
Auto-Punch and Tape Offsets. Each locate point can be named, and
the BRC even gives you a list of typical names to choose from (like
“Intro”, “Verse A1”, “Chorus 2”, etc.). You can fine-tune the position
of each locate point with the accuracy of a single sample step. Each set
of locate points may be saved with each ADAT tape.

For more information on Autolocation and Song controls, see
sections 4.1 and 4.6.

1.2D Punching

In addition to ADAT’s seamless punching ability, the BRC provides
you with many more advanced features to help you get your tracks
down in record time, including: Auto-Punch, Loop, Pre-Roll, Post­Roll, and a variable Record Crossfade time to allow a smooth
transition of original audio to new audio. Auto-Group Record lets
you continuously loop between two locate points and will
automatically record each take to a different track, or set of tracks.

6

For more information on Auto-Punch and related controls, see
section 4.3.

1.2E Rehearsing

This works just like a real recording, but instead lets you “audition”
exactly how a punch is going to work. By pressing the REHEARSE
button, you can test out and change the settings of the various
recording functions to get the results you want without being
destructive in the process. When the punch-in point is reached, the
record-enabled tracks will monitor their inputs, but no recording will
occur. This way you can measure twice (or more) … and cut only once.

For more information on Rehearse mode, see section 3.5.

1.2F Digital Bus

With both the sync and digital bus cables connected, the BRC/ADAT
system offers powerful digital track bouncing and copying functions.

Let’s say you want to replace the chorus vocal on track 15 with the
one you liked on track 2. This is easy to do with the two connections
that all ADATs in the system share: the sync cable, carrying the
timing and sync information, and the optical cable which carries the
digital audio bus. The new chorus on track 15 will be an exact digital
duplicate of the one on track 2.

If you feel particularly inspired one day, but can’t make up your mind
about which lead solo to go with, fill five or six tracks of a single S­VHS cassette tape with your hottest playing. This is easy using the
Auto-Group Record function to automatically advance the record
track(s) for playing multiple takes. Later on, you can take the best
performance, or the best parts of each one and recompose the entire
solo onto a new track. All in perfect sync, all sample accurate, all in
the digital domain. The popular recording practice of composite
vocals is just as easy, and more effective than ever with ADAT to
support your efforts.

For more information on bouncing tracks, see section 4.10B.

1.3 “ENGAGED” VS “DISENGAGED”

7

TAPES

Analog audio recorders typically move tape past the heads at
anywhere from 1-7/8 to 30 inches per second. Higher speeds result in
a higher bandwidth, or ability to record high-frequency signals.

ADAT’s digital audio signals require much higher bandwidth than
analog audio. In addition to moving the tape faster to handle the
increased bandwidth, ADAT’s VHS mechanism rotates the head itself
at a very high speed and uses diagonal tape tracks. As far as the head
is concerned, the tape appears to be moving by at a more rapid speed.

With ADAT, the tape is “engaged” if the tape is not moving but
comes in contact with the spinning head. This allows for going into
play or record faster, as well as “cue” and “review” functions that let
you monitor the tape audio during fast forward or rewind,
respectively. When the machine is paused, the head remains
spinning, and the tape is not disengaged from the head.

When the tape is “disengaged”, the head is not spinning and it takes
slightly longer to go into play or record. This is because the tape
moves away from the head in order to prolong tape and head life.
Cue and review are not possible while the tape is disengaged, but
rewind and fast forward speeds are much faster.

If the tape is engaged, and no transport activity (play, record, rewind,
etc.) occurs for 4 minutes, the tape will automatically disengage itself
to minimize tape wear.

1.4 BASIC OPERATION

In general, the operation of the BRC is similar to most currently
available multitrack remote controllers. Almost all functions can be
enabled and edited by incorporating the following displays and
buttons.

1.4A Displays

There are three displays on the BRC. The top two are LED displays.
The leftmost 3-digit LED display is used to indicate the PITCH
CONTROL value (the range of this value is -300 through +100 cents).
See section 4.0 for more information on pitch controls.

The larger, 8-digit LED display is the current TAPE LOCATION
counter. The lower display is a 2x16 backlit LCD, and is used for

8

displaying and editing things like locate points, pre/post-roll times,
etc.

1.4B Display Type

It is important that you can reference tape positions in a way that you
are comfortable with. That’s why we’ve designed the BRC to provide
you with three different types of position indicators, so you can
choose the one that best suits your needs.

Both the tape location counter and the lower display can reference the
tape position in time to either Normal ADAT timecode, SMPTE
timecode, or Bars.

Press the DISPLAY TYPE button next to the NORMAL, SMPTE, and
BARS LEDs; the LEDs will cycle through the three formats. The LEDs
will indicate which time format is currently being displayed.

• When NORMAL is selected, time is referenced in minutes,

seconds and frames (00:00:00). Frames are displayed in 1/30ths of a
second.

• When SMPTE is selected, time is referenced in hours, minutes,

seconds and frames (00:00:00:00). Frames are displayed in 1/24ths,
1/25ths, or 1/30ths of a second, depending upon the SMPTE
format selected by the SMPTE button (see section 5.0).

• When BARS is selected, song position is referenced in bars, beats

and sub-beats (01–01/00). Sub-beats are displayed in 1/24ths of a
beat. This requires that the tempo and time signature (number of
beats per bar) be set up in the TEMPO MAP (see section 5.1).

1.4C Display Mode

While Normal Display Type is selected, pressing the DISPLAY MODE
button next to the RELATIVE and ABSOLUTE LEDs will toggle
between absolute and relative time modes. When in Absolute Mode,
the display reflects the actual tape time (ABSOLUTE LED lit). When
in Relative Mode, the display reflects the tape time referenced to the
relative zero time (RELATIVE LED lit). The RESET 0 button is used
to set the relative zero time. When this button is pressed, the tape
location is set to zero. If the display was in absolute mode when
RESET 0 was pressed, the display will now be set to relative mode
(RELATIVE LED lit).

The DISPLAY MODE button does not have any effect on the upper or
lower displays when the Display Type is set to SMPTE or BARS, and

9

the ABSOLUTE and RELATIVE LEDs will both be off. This is because
when the Display Type is set to SMPTE, the counter is referenced to
the SMPTE Start Offset (see section 5.0B) you have chosen to
represent the start position of the current song (see section 4.6A).
When the Display Type is set to BARS, the counter is referenced to
bar 1, which is the start position of the current song. Therefore, these
two Display Types are always in a “Relative” mode. The Bars counter
is also referenced to the tempo you have set in the TEMPO MAP (see
section 5.1).

1.4D LED Indicators

In addition to specific LED indicators (such as those that indicate
when a track is record-enabled), several switches have built-in LEDs.
These are referred to as toggle function buttons. When a toggle
function button’s LED is on, it either means it has been activated, or it
has been selected for editing (if the EDIT button LED is also lit).

1.4E EDIT Button

The EDIT button (located to the right of the GEN SYNC button) is
labeled in blue ink to differentiate it from the other toggle buttons
around it. It is used to display and edit the currently stored value(s)
for the toggle function buttons, which are: AUTO-PUNCH, PRE­ROLL, POST-ROLL, LOOP, TAPE OFFSET, TRACK DELAY TIME,
DIGITAL I/O, FORMAT, EXT SYNC and GEN SYNC. These buttons
(with the exception of EXT SYNC and FORMAT) are grouped
together with the EDIT button, and are used by themselves to toggle
their associated function on and off. The value(s) associated with a
toggle button function can be accessed for viewing and edited by
pressing the EDIT button followed by the desired button.

• When the EDIT button is pressed for the first time, its LED will

light and the display will read:

Select function to

edit

You are now in edit mode. You can view and edit the currently stored
value(s) of the functions within an edit group by pressing the desired
toggle function button.

• As long as the user is in edit mode (EDIT LED lit), pressing a toggle

function button will display the currently stored value(s) for that
function and will not toggle the function on and off.

10

• To exit from edit mode, press the EDIT button again (the EDIT LED

will turn off) and the LCD will return to its state prior to entering
edit mode. Pressing a toggle function button now will toggle that
function on or off.

Note: While in EDIT mode, only the currently selected function’s

LED will be lit (along with the EDIT LED). The current on/off
status of all of the other functions is retained, but is not visible on
the LEDs until EDIT mode is exited.

1.4F Cursor Buttons

The left and right cursor buttons located directly beneath the lower
display are used to move the cursor’s position in the lower display.
The cursor is the single underline character that appears underneath
a word or value, and indicates that it is selected for editing. Values
may be edited using the Numeric Keypad and the UP/DOWN
buttons (see sections 1.4G and 1.4H).

1.4G Numeric Keypad

The 10 numeric keys (0–9) centered beneath the Cursor buttons are
used for entering parameter values and for editing locate names and
song names in the lower display (see sections 4.1D and 4.6B). When
editing a parameter value, pressing a key will enter its numeric value
into the display (0–9). When editing a name, pressing a key
repeatedly will cycle through its numeric value (0–9) and the
characters screened on the keypad button.

The following is a list of alpha-numeric characters that are available
for creating a name:

ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789
!@#$%^&*()-_+=;’¥,./<>?:

1.4H UP/DOWN Buttons

The UP/DOWN buttons are used to increment or decrement
numeric values. They are located on either side of the 0 key at the
bottom of the Numeric Keypad. Holding down either button will
cause the selected value to scroll through a list of choices. When
editing the name of a locate point or song in the lower display, the
UP/DOWN buttons may be used to select uppercase or lowercase
characters from the Numeric Keypad. When either button is pressed,
the character which has the cursor directly beneath it will

11

immediately change case.

1.4I NAME Button

This button is used to edit the names of Songs and Cues. When you
locate a Cue or Song, the name field in the display is not accessible
using the cursor buttons. To edit a name, you must press the NAME
button to select the name field. Pressing the NAME button will
always position the cursor at the first character of the name. Once the
name field is selected, the cursor buttons will function to select
individual characters within the name field or other displayed fields.

To edit a name:

1. Press the NAME button;

2. Use the cursor buttons to position the cursor under the character

to be edited;

3. Use the keypad buttons to change the value. While a name is

selected, repeatedly pressing a keypad button will cycle through its
numeric value and the characters shown on that key;

4. To select uppercase characters, press the UP button. To select

lowercase characters, press the DOWN button;

5. Press the NAME button again to store the name and return the

cursor to its original position.

Note: When editing locate names, an additional editing option is

available. If the NAME button is held down while using the
UP/DOWN buttons, a default set of 16 pre-stored names can be
scrolled through (such as “Verse A1”, “Chorus 2”, “Bridge”, etc.).
These names can be edited, so that they represent the names that
you wish to use, such as “TurnArnd” (turnaround), “BreakDwn”
(breakdown), etc.

For more information about selecting and editing pre-stored names,
see section 4.1D.

1.4J COPY TAPE LOCATION Button

Pressing this button copies the currently displayed TAPE LOCATION
from the upper display into the lower LCD display for storing as a
locate point or song start position. This button has two modes
(Normal and Manual), which can be selected from by pressing the
MIDI/UTIL button repeatedly (see section 5.3F). In Normal mode, the

12

current tape location is copied into the currently display locate point
(Locate 01–20) or Song Start (01–20). In Manual mode, when the
COPY TAPE LOCATION button is pressed, the current tape location is
copied to the manual locate point (Locate 00), and the display
automatically goes to the Locate 00 page. This is useful when you
want to be absolutely sure you don’t accidentally write over a Locate
that you wanted to keep.

For more information on locating and storing locate points, see
section 4.1.

13

CHAPTER 2: HOOKUP

2.0 POWER

The BRC works with any AC voltage from 90 to 250 volts, 50 to 60 Hz.
This eliminates the need for transformers or voltage switches. The
BRC comes with a line cord for the destination to which the BRC is
shipped.

The BRC’s IEC-spec AC cord (do not substitute any other AC cord) is
designed to feed an outlet that includes three pins, with the third,
round pin connected to ground. The ground connection is an
important safety feature designed to keep the chassis of electronic
devices such as the BRC and ADAT at ground potential. Un­fortunately, the presence of a third ground pin does not always
indicate that an outlet is properly grounded. Use an AC line tester to
determine this. If the outlet is not grounded, consult with a licensed
electrician. When AC currents are suspected of being highly unstable
in VAC and Hz, a professional power conditioner should be used.

2.1 SYNCHRONIZING MULTIPLE
ADATS

2.1A Hooking Up Multiple ADATs

Synchronization requires a dual male, 9-pin D connector to connect
the BRC to the first ADAT in your system, and an additional dual
male, 9 pin D connector for each additional ADAT to be
synchronized. This connection can be made while power is on or off,
and the ADATs do not need to be turned on in any particular order
(see figure 1). The maximum cable length allowed is 50 feet, between
the BRC and the first ADAT in the system.

1. Connect one end of the cable to the BRC’s sync out jack;

2. Connect the other end of the cable to the sync in jack of the first

ADAT in the system (this unit will serve as tracks 1–8);

3. For each additional ADAT slave, connect one end of an additional

dual male, 9-pin D connector to the first ADAT slave’s sync out
jack, and the other end to the second ADAT slave’s sync in jack. Its
sync out jack then connects to the third ADAT slave’s sync in jack,
and so on;

Note: In a multiple ADAT system, if power is turned off on one of

14

the ADATs in the middle of the chain, all ADATs following it will
no longer sync to the BRC, as the sync information will not pass
through a unit that is turned off.

Figure 1

2.1B ADAT ID (identification) Numbers

After you have connected multiple ADATs and turned the machines
on (they can be turned on in any order), you may now turn on the
BRC, which will in turn assign ID numbers for each slave ADAT in
the system. This is done automatically. You will see each ADAT
momentarily display its assigned ID number. The ID numbers are
assigned in ascending order, according to the order that the slave
units are connected. So the first unit in the chain is assigned ID 1, the
second is ID 2, and so on. Anytime an ADAT or the BRC is turned on
or off, the ADATs will evaluate the situation and determine a master,
which will in turn re-assign ID numbers.

2.1C Independent Slave Mode

The BRC remote is a master controller that is used to control several
ADATs chained together to form a single multitrack recorder. The
fact that there are several slaves chained together should be
transparent, as all control will come from the BRC. However, should
you desire to operate a slave unit independently from the other units,
you may do so when the BRC remote is in one of the two STOP
modes (STOP LED on steady or flashing).

15

Each slave ADAT’s front panel will indicate the status of the
record/input enables and transport controls, and the track LED bar
graphs to reflect the corresponding track input/tape levels. The
numeric display on each slave ADAT unit will always show the
NORMAL time (absolute or relative) location of each tape, regardless
of the Display Type on the BRC (Normal, SMPTE or Bars; see section

1.4B).

2.2 DIGITAL I/O

With analog recording, bouncing tracks or backing up from one
multitrack to another loses one generation, which adds hiss and
distortion. With digital recording, such procedures will produce a
“clone” of the original. This makes it easy to create extra copies of
tracks or safety copies of entire tapes, or make multiple copies for
distribution. This is all done via the fiber optical digital bus, which
can carry as many as eight tracks from one ADAT to any other
ADAT(s) in the system, or to an Alesis AI-1 Digital Interface for
exporting to other digital recording equipment using AES/EBU or
S/PDIF formats.

For more information on digital busing, see section 4.7.

2.2A Connecting the Digital Bus

Digital busing requires a fiber optic cable for each ADAT in the system
(the digital bus does not connect to the BRC). This connection can be
made while power is on or off, and ADATs do not need to be turned
on in any particular order (see figure 1).

To connect the digital optical network:

1. Connect one end of the fiber optic cable into the optical output of

the first ADAT in the system. The cable is non-polarized, so either
end can be inserted into the optical output;

Note: If the other end of the cable is disconnected and a signal is being

sent through the cable, you will be able to see a red light at the
output. This is an LED and not a laser light, so you don’t have to
worry about damage to your eyes.

2. Connect the other end of the fiber optic cable to the optical input

of the second ADAT in the system;

3. For each additional ADAT, connect one end of an additional fiber

optic cable to the first ADAT’s optical out jack, and the other end

16

to the second ADAT’s optical in jack. Its optical out jack then
connects to the third ADAT’s optical in jack, and so on;

4. Finally, connect one end of a fiber optic cable to the last ADAT’s

optical out jack, and the other end to the first ADAT’s optical in
jack. This last step creates a loop, and thus makes the digital bus
accessible to all ADATs that are connected to it.

Note: Always connect the optical cables in the same order as the sync

cables, so that the digital routing will work correctly.

2.2B Connecting the AI-1

To connect an Alesis AI-1 module, simply insert it into the digital bus
loop that was described above in 2.2A, at the end of the ADAT chain.
You must also connect the sync cables so that the AI-1 is inserted
between the BRC and the first ADAT in your system (see figure 2).

1. Connect one end of the fiber optic cable into the optical output of

the last ADAT in the system;

2. Connect the other end of the fiber optic cable to the ADAT optical

input of the first AI-1 in the system;

3. Connect one end of a fiber optic cable to the AI-1’s ADAT optical

out jack, and the other end to the first ADAT’s optical in jack. This
step creates a loop, and thus makes the digital bus accessible to all
ADATs and all AI-1 modules connected to it;

4. Finally, connect one end of a dual male, 9-pin D connector to the

BRC’s sync out jack, and the other end to the AI-1’s sync in jack.
The AI-1’s sync out jack must then be connected to the sync in jack
of the first ADAT in your system;

Figure 2

17

5. When recording audio from AES/EBU or S/PDIF source, the
ADAT(s) must be synchronized to the incoming digital signal.
This means you will not only need to connect the AI-1 to the
digital bus (as described above), but you must also connect the AI­1’s 48 KHz output to the BRC’s 48 KHz input, using a standard
shielded BNC cable.

For more information about sample rate conversion and interfacing
the AI-1 with other digital audio equipment, please refer to the AI-1’s
owners manual.

2.3 SMPTE IN/OUT

The SMPTE input and output connectors are 1/4" jacks. SMPTE
input is for syncing to an external device. SMPTE output is for
generating sync to an external device.

For more information about SMPTE, see section 5.0.

2.4 MIDI IN/OUT

18

The MIDI input and output connectors are 5-pin DIN jacks. MIDI
input is provided for receiving various MIDI messages. MIDI output
is provided for generating MTC, MIDI Clock, and system exclusive
messages.

For more information about MIDI, see section 5.3.

2.5 48 KHZ CLOCK IN/OUT

The 48 KHz output signal is a 75Ω TTL level square wave output.
The input can accept a TTL or CMOS level square wave input. Both
input and output are provided via BNC-type connectors.

For more information about synchronizing to 48 KHz clock, see
section 5.0C.

2.6 VIDEO SYNC IN

This BNC-type connector input can accept composite video as well as
black burst video inputs. The BRC will automatically recognize the
type of video signal (NTSC, PAL or SECAM) and its sample clock can
be synchronized to the incoming video signal.

For more information about video sync, see section 5.0C.

2.7 RMB REMOTE METER BRIDGE

To connect the Alesis RMB Remote Meter Bridge, use dual male, 9­pin D connector cables from the Bridge Out connector of up to four
ADATs to each of the RMB’s four input connectors. Please refer to the
RMB Owner’s Manual for more information on hook-up and
operation.

2.8 FOOTSWITCHES

Any momentary single-pole/single-throw footswitch, normally open
or normally closed, will work for the two footswitch functions. These
should be plugged in prior to power-up so that the BRC can configure
itself for the type of footswitch being used.

2.9 RACK-MOUNTING

The four end blocks surrounding the BRC may be removed, if you

19

wish to rack-mount the unit using the rack ears included on the BRC.
The figure below indicates the rack ears' locations and the screws that
mount the end blocks. The front and back end blocks each use three
1" hexagonal screws, while the side end blocks use two 1-1/4"
hexagonal screws each. If you should ever wish to remount the end
blocks, it is important to note each screw’s original location when
they are removed since the screw lengths vary between the side end
blocks and the front and back end blocks. Do not substitute any of the
screws provided with the BRC, since their lengths are critical to their
specific locations.

Figure 3

2.10 ROLLAROUND STAND

The BRC may be mounted onto the optional rollaround stand. This
may be done using the four 1/2" hexagonal screws provided with the
stand. Be sure not to tighten these screws too much, as they can
physically damage the BRC. Please refer to the installation
instructions provided with the rollaround stand for more detailed
information.

20

CHAPTER 3: GETTING READY TO
RECORD

3.0 POWERING-UP

After all connections are made, turn on the power of each ADAT in
the system, and then turn on the BRC. Its main power switch is
located on the far left side of the back panel, when you are facing the
front panel.

When power is first turned on, the BRC checks to see how many
slave ADAT units are connected to it. If at least one ADAT is
connected, the BRC automatically becomes the master and assigns an
ID number to each of the connected ADAT slaves. The ID numbers
are assigned in ascending order according to the order that the slave
units are connected (see section 2.1A and figure 1). While assigning
ID numbers, the BRC’s display will count the number of ADATs it
recognizes. For example: if you have four ADATs connected (32
tracks), the BRC will recognize each one at a time, and the display will
look like this:

ALESIS BRC

01 ADAT slaves

ALESIS BRC

02 ADAT slaves

ALESIS BRC

03 ADAT slaves

ALESIS BRC

04 ADAT slaves

The BRC will continue searching for ADATs until it is sure there are
no more connected. Eventually, after about five seconds, the BRC will
come on-line, and the display will look like this:

ALESIS BRC

Copyright 1993

After assigning ID numbers, the BRC queries each of the devices to
find out its current status.

21

• If the first ADAT doesn’t have a tape in its drive, the Tape
Location counter on the BRC will display "-- -- -- -- --" (the slave
ADATs will display "-- --").

• The BRC will query each unit that contains an inserted tape as to
its format status.

• If the first ADAT’s tape is formatted, the BRC will display the
current real-time location of the first slave unit and locate all
slaves to this same location.

• If the first ADAT’s tape is unformatted, the BRC will display
"noFO".

Note: The BRC’s transport controls are not active for a unit without

tape. They are active for an unformatted tape, but an unformatted
tape will not be controlled as accurately as a formatted tape. If an
unformatted tape is inserted, the ADAT’s tape counter will display
"noFO", no audio will sound and the FORMAT LED will flash on
the ADAT(s).

3.1 FORMATTING TAPES

Just as formatting a floppy disk lets a computer know where to place
data, formatting an ADAT tape time-stamps the tape to single-sample
accuracy so that audio is referenced to an accurate time base. This
allows for simplified synchronization, accurate tape counter readings,
and intelligent autolocation.

When formatting begins, ADAT writes some setup data during the
first two minutes and fifteen seconds of tape, then at time -00:05, it
writes the time in minutes and seconds onto a special sync track. This
does not use up any of the eight audio tracks. The time-stamping
continues until the end of the tape is reached, or STOP is pressed.

To format a new tape (or to reformat/erase an old tape):

1. Press the FORMAT button. The FORMAT LED should now be lit
solid;

2. To select a single tape machine to format, press the EDIT button
followed by the FORMAT button.

The display will show the following:

22

Format Tape

A ll

If you wish to format all tapes, jump ahead to step 6a. If you wish to
perform a selective format, continue to step 3.

3. Press the Right Cursor button;

The display will now look like this:

Format Tape x x

Disable

…where XX is a tape machine number 1–16.

4. Use the UP/DOWN buttons to choose any of the ADATs in your

system;

5. Use the Right Cursor button to move the cursor to the lower field,
and use the UP/DOWN buttons to Enable or Disable formatting;

Note: If no tapes are enabled for formatting and the FORMAT button

is pressed, the following message will appear:

Selective Format

no tapes enabled

If Format mode is enabled for one or more ADATs, the FORMAT
LED will light solid on all format enabled ADATs to indicate that
format mode will be entered if recording is started. Also, all track
RECORD LEDs of the format enabled ADATs will be flashing to
indicate that all tracks on those tapes will be erased. Pressing the
RECORD ENABLE buttons will have no effect while the format LED
is lit solid.

6a. To perform a complete format: Rewind all tapes to the beginning

and initiate a record (hold RECORD and press PLAY);

When performing a complete format, the ADAT places 15 seconds of
leader (display reads "LEAd") at the start of the tape(s), followed by 2
minutes of data (display reads "data"). Also note that any record­enabled tracks will not go into record until the tape counter reads
00:00, which occurs after the pre-audio LEAD and DATA portions.

6b. To perform a format extend: Make sure all tapes are playing in

sync; and initiate a record (hold RECORD and press PLAY);

23

When performing a format extend, the ADAT begins "time­stamping" from the last valid time-stamp read from the formatted
tape. This allows a partially formatted tape to have its format
extended by entering format mode before the end of the previously
formatted section. When formatting, all previous information on the
tape portion being formatted will be lost.

7. Press the STOP button to disengage formatting;

Note: The only way to stop formatting is to press STOP (i.e. you

cannot punch-out the way you can from a normal record).

8. After the format is complete (because either the end of the tape
was reached or you stopped recording), the FORMAT LED turns
off .

If you try to initiate a format when tapes are at various locations, then
the type of format that is performed on each ADAT is dependent
upon the current tape status as follows:

If the tape is unformatted:

• If at the start-of-tape (i.e. rewound to the very beginning), then a
complete format (FORMAT 0) will be performed.

• If not at start-of-tape, then format will be disabled and no
recording will take place.

If the tape has already been formatted:

• If in the pre-audio portion of tape (before 00:00), then the tape will
be automatically rewound to the start-of-tape and a complete
format (FORMAT 0) will be performed. While the tape is being
auto-rewound, the ADAT display will read “-FO-” and the rewind
LED will flash. This indicates that it must “FORMAT OVER” from
the LEAD or beginning portion of the tape.

• If in the audio portion of the tape (past 00:00), then the tape will be
format extended after entering record.

3.1A Additional Formatting Considerations

• Blank tapes must be rewound to the very beginning in order to be
formatted.

Caution: Do not re-format over a previously formatted tape, and then

stop re-formatting. When the tape transitions from the newly-

24

formatted part to the previously formatted part, there will be
timing discontinuities and the audio will do unpleasant things.
Also, during that transition the tape will be non-functional and
you will not be able to record anything over it. When in doubt,
either re-format the tape all the way to the end, or back up a bit
and perform a format extend (see previous section) when you
need to re-format over the transition zone.

• It’s a good idea to format a tape from start to finish, but this isn’t
necessary. To extend the format on a partially formatted tape,
enter format mode before the end of the previously formatted
section. Everything on the tape will be erased from that point on.

• Audio can be recorded while formatting is taking place, just in
case you have a hot musical idea you wish to preserve in a hurry,
but have no formatted tapes. Simply put the desired tracks into
record-ready (see section 3.2B) before pressing the FORMAT
button. Tracks not record-enabled prior to pressing the FORMAT
button will be recorded with silence, and cannot be record-enabled
once formatting begins.

• Tapes can be bulk-erased with a bulk tape eraser designed to erase
VCR cassette tapes..

3.2 TRACK/RECORD MONITOR
CONTROLS

These controls determine which tracks will be recorded on in record
mode, and whether tracks will monitor the input or taped signal.

3.2A Track Bank Select

The four buttons located just below the track enable buttons (labeled
TRACK 1–32, TRACK 33–64, TRACK 65–96 and TRACK 97–128),
determine which group of tracks the track enable buttons will control.
The selected group’s LED will be lit. To put a track into record, you
must first select the appropriate group which that track belongs to.

Note: The Track Bank Select buttons will not function if no ADATs

for a group are connected. For example, if you only have four
ADATs in your system (32 tracks), the TRACK 1–32 button’s LED
will always be lit but the TRACK 33–64, TRACK 65–96 and
TRACK 97–128 buttons will not respond when pressed.

25

3.2B Record Enables

To record enable a track, press the track’s associated record enable
button. The track’s RECORD LED will flash to indicate the track is
record-ready. If the transport is put into record mode (see section

3.3C), recording will begin, as indicated by the track’s RECORD LED
being steadily lit. To turn off record enable, press the track’s associated
record enable button again. Its RECORD LED will turn off.

Note: Record enable buttons cannot be turned on or off while you’re

in record, or on tracks where ADATs are not connected.

3.2C Auto Input

This switch toggles between two tape/input options. When a track
monitors the input signal, its associated INPUT LED is lit.

• With Auto Input OFF (AUTO INPUT LED off), all record-enabled

tracks will monitor their respective input signals, while all other
tracks will monitor the taped signal.

• With Auto Input ON (AUTO INPUT LED lit), the tape/input

monitor is automatically set as follows: All tracks are monitored
from tape when playing and monitored from input otherwise.
Additionally, any record-ready tracks are monitored from input
while recording.

3.2D All Input

With this function on (ALL INPUT MONITOR LED lit), the auto
input monitor setting is overridden so that all tracks monitor their
input signals regardless of their record enable status. All tracks’
INPUT LEDs will be lit.

With All Input Monitor off, the Auto Input Monitor setting
determines track monitoring.

3.2E All Safe

When this button is pressed (ALL SAFE LED lit), all track record ready
LEDs, as well as any auto-enabled track input LEDs, will be turned off.
All track record ready buttons will also be disabled, thus preventing
any tracks from being recorded onto.

When the ALL SAFE button is pressed again, the LED in the button
will turn off, all track record ready and input LEDs will return to their