Boss Audio Systems BR-800 User Manual

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.

AFRICA

EGYPT

Al Fanny Trading O ce

9, EBN Hagar Al Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: [phone]

REUNION

MARCEL FO-YAM Sarl

25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: [phone]

SOUTH AFRICA

T.O.M.S. Sound & Music (Pty)Ltd.

2 ASTRON ROAD DENVER
JOHANNESBURG ZA 2195,
SOUTH AFRICA
TEL: [phone]

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: [phone]

ASIA

CHINA

Roland Shanghai Electronics
Co.,Ltd.

5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: [phone]

Roland Shanghai Electronics
Co.,Ltd. (BEIJING OFFICE)

3F, Soluxe Fortune Building
63 West Dawang Road, Chaoyang
District, Beijing, CHINA
TEL: [phone]

HONG KONG

Tom Lee Music

11/F Silvercord Tower 1
30 Canton Rd
Tsimshatsui, Kowloon,
HONG KONG
TEL: [phone]

Parsons Music Ltd.

8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: [phone]

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra Mahalaxmi
Flats Compound O . Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: [phone]

INDONESIA

PT. Citra Intirama

Ruko Garden Shopping Arcade
Unit 8 CR, Podomoro City
Jl.Letjend. S.Parman Kav.28
Jakarta Barat 11470, INDONESIA
TEL: [phone]

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: [phone]

MALAYSIA/
SINGAPORE

Roland Asia Paci c Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: [phone]

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: [phone]

TAIWAN

ROLAND TAIWAN ENTERPRISE
CO., LTD.

9F-5, No. 112 Chung Shan
North Road Sec. 2 Taipei 104,
TAIWAN R.O.C.
TEL: [phone]

THAILAND

Theera Music Co. , Ltd.

100-108 Soi Verng Nakornkasem,
New Road,Sumpantawong,
Bangkok 10100, THAILAND
TEL: [phone]

VIET NAM

VIET THUONG CORPORATION

386 CACH MANG THANG TAM ST.
DIST.3, HO CHI MINH CITY,
VIET NAM
TEL: [phone]

OCEANIA

AUSTRALIA/
NEW ZEALAND

Roland Corporation
Australia Pty.,Ltd.

38 Campbell Avenue
Dee Why West. NSW 2099,
AUSTRALIA

For Australia
TEL: [phone]
For New Zealand
TEL: [phone]

CENTRAL/LATIN
AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055
(1123) Buenos Aires, ARGENTINA
TEL: [phone]

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park
Wildey, St.Michael, BARBADOS
TEL: [phone]

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 211
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: [phone]

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: [phone]

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9
Medellin, COLOMBIA
TEL: [phone]

COSTA RICA

JUAN Bansbach Instrumentos
Musicales

Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: [phone]

CURAC AO

Zeelandia Music Center Inc.

Orionweg 30
Curacao, Netherland Antilles
TEL: [phone]

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
DOMINICAN REPUBLIC
TEL: [phone]

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma
Guayaquil - ECUADOR
TEL: [phone]

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda
Juan Pablo II,
Edi cio No.4010 San Salvador,
EL SALVADOR
TEL: [phone]

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala,
GUATEMALA
TEL: [phone]

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, HONDURAS
TEL: [phone]

MARTINIQUE

Musique & Son

Z.I.Les Mangle
97232 Le Lamantin,
MARTINIQUE F.W.I.
TEL: [phone]

Gigamusic SARL

10 Rte De La Folie
97200 Fort De France
MARTINIQUE F.W.I.
TEL: [phone]

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.,
MEXICO
TEL: [phone]

NICARAGUA

Bansbach Instrumentos
Musicales Nicaragua

Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, NICARAGUA
TEL: [phone]

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: [phone]

PAR AGU AY

Distribuidora De Instrumentos
Musicales

J.E. Olear y ESQ. Manduvira
Asuncion, PARAGUAY
TEL: [phone]

PERU

Audionet

Distribuciones Musicales SAC
Juan Fanning 530
Mira ores
Lima - PERU
TEL: [phone]

TRINIDAD

AMR Ltd

Ground Floor
Maritime Plaza
Barataria TRINIDAD W.I.
TEL: [phone]

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: [phone]

VENEZUELA

Instrumentos Musicales
Allegro,C.A.

Av.las industrias edf.Guitar import
#7 zona Industrial de Turumo
Caracas, VENEZUELA
TEL: [phone]

EUROPE

BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: [phone]

CROATIA

ART-CENTAR

Degenova 3.
HR - 10000 Zagreb, CROATIA
TEL: [phone]

CZECH REP.

CZECH REPUBLIC DISTRIBUTOR
s.r.o

Voctárova 247/16
180 00 Praha 8, CZECH REP.
TEL: [phone]

DENMARK

Roland Scandinavia A/S

Skagerrakvej 7 Postbox 880
DK-2100 Copenhagen,
DENMARK
TEL: [phone]

FINLAND

Roland Scandinavia As, Filial
Finland

Vanha Nurmijarventie 62
01670 Vantaa, FINLAND
TEL: [phone]

GERMANY/AUSTRIA

Roland Elektronische
Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt,
GERMANY
TEL: [phone]

GREECE/CYPRUS

STOLLAS S.A.
Music Sound Light

155, New National Road
Patras 26442, GREECE
TEL: [phone]

HUNGARY

Roland East Europe Ltd.

2045 Torokbalint, FSD Park,
building 3., HUNGARY
TEL: [phone]

IRELAND

Roland Ireland

E2 Calmount Park, Calmount
Avenue, Dublin 12,
Republic of IRELAND
TEL: [phone]

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: [phone]

NORWAY

Roland Scandinavia Avd.
Kontor Norge

Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo,
NORWAY
TEL: [phone]

POLAND

ROLAND POLSKA SP. Z O.O.

ul. Kty Grodziskie 16B
03-289 Warszawa, POLAND
TEL: [phone]

PORTUGAL

Roland Iberia, S.L.
Branch O ce Porto

Edifício Tower Plaza
Rotunda Eng. Edgar Cardoso
23, 9ºG
4400-676 Vila Nova de Gaia,
PORTUGAL
TEL: [phone]

ROMANIA

FBS LINES

Piata Libertatii 1,
535500 Gheorgheni, ROMANIA
TEL: [phone]

RUSSIA

Roland Music LLC

Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: [phone]

SERBIA

Music AP Ltd.

Sutjeska br. 5 XS - 24413 Palic,
SERBIA
TEL: [phone]

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18.
SK - 940 01 Nové Zámky,
SLOVAKIA
TEL: [phone]

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35
08005 Barcelona, SPAIN
TEL: [phone]

SWEDEN

Roland Scandinavia A/S
SWEDISH SALES OFFICE

Mårbackagatan 31, 4 tr.
SE-123 43 Farsta, SWEDEN
TEL: [phone]

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,
CH-4452 Itingen, SWITZERLAND
TEL: [phone]

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a.
Nedecey Str. 30
UA - 89600 Mukachevo, UKRAINE
TEL: [phone]

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, SWANSEA SA7 9FJ,
UNITED KINGDOM
TEL: [phone]

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha
Building Road 3931,
Manama 339, BAHRAIN
TEL: [phone]

IRAN

MOCO INC.

NO.16 End of Nike St. Shariaty
Ave, Roberouye Cerah Mirdamad
Teheran, IRAN
TEL: [phone]

ISRAEL

Halilit P. Greenspoon & Sons
Ltd.

8 Retzif Ha'alia Hashnia St.
Tel-Aviv-Yafo ISRAEL
TEL: [phone]

JORDAN

MUSIC HOUSE CO. LTD.
FREDDY FOR MUSIC

P. O. Box 922846
Amman 11192, JORDAN
TEL: [phone]

KUWAIT

EASA HUSAIN AL-YOUSIFI &
SONS CO.

Al-Yousi Service Center
P.O.Box 126 (Safat) 13002,
KUWAIT
TEL: [phone]

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine Bldg.,
Achra eh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: [phone]

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: [phone]

QATAR

AL-EMADI TRADING &
CONTRACTING CO.

P.O. Box 62, Doha, QATAR
TEL: [phone]

SAUDI ARABIA

aDawliah Universal Electronics
APL

Behind Pizza Inn
Prince Turkey Street
aDawliah Building,
PO BOX 2154,
Alkhobar 31952,
SAUDI ARABIA
TEL: [phone]

SYRIA

Technical Light & Sound Center

PO Box 13520 Bldg No.49
Khaled Abn Alwalid St.
Damascus, SYRIA
TEL: [phone]

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.33
Beyoglu, Istanbul, TURKEY
TEL: [phone]

U.A.E.

Zak Electronics & Musical
Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,
No. 14, Ground Floor, Dubai,
U.A.E.
TEL: [phone]

NORTH AMERICA

CANADA

Roland Canada Ltd.
(Head O ce)

5480 Parkwood Way Richmond B.
C., V6V 2M4, CANADA
TEL: [phone]

Roland Canada Ltd.
(Toronto O ce)

170 Admiral Boulevard
Mississauga On L5T 2N6,
CANADA
TEL: [phone]

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: [phone]

As of Oct. 1, 2010 (ROLAND)

* Microsoft and Windows are registered trademarks of Microsoft Corporation.

* Windows® is known officially as: “Microsoft® Windows® operating system.”

* Apple and Macintosh are registered trademarks of Apple Inc.

* Mac OS is a trademark of Apple Inc.

* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

* The SD logo ( ) and SDHC logo ( ) are trademarks of SD-3C, LLC.

* MMP (Moore Microprocessor Portfolio) refers to a patent portfolio concerned with microprocessor architecture, which

was developed by Technology Properties Limited (TPL). Roland has licensed this technology from the TPL Group.

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p. 4) and “IMPORTANT
NOTES” (p. 6). These sections provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new
unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.

Copyright © 2010 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written
permission of BOSS CORPORATION.
BOSS is a registered trademark of BOSS CORPORATION in the United States and/or other countries.

Recording Flow on the BR-800

Preparations for Recording

Record/Playback

Record with Effects Applied

Record while Listening to Rhythm

Edit Your Song

Make Connections (p. 32)
Turn the Power On/Off (p. 34)

Record (p. 36)
Playback (p. 41)

Turning the Insert Effect On/Off (p. 55)
Easily Edit the Insert Effect (p. 55)

Turn Rhythm On/Off (p. 90)
Play Patterns (p. 91)

Copy or Erase Tracks (p. 105)
Name Your Song (p. 108)

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

Master Your Song

Using Mastering in Creating a Song (p. 112)
Making Use of Songs After Mastering (p. 116)

3

Functions

Appendixes Quick StartGetting Ready

USING THE UNIT SAFELY

About WARNING and CAUTION Notices

Used for instructions intended to alert the
user to the risk of death or severe injury
should the unit be used improperly.

Used for instructions intended to alert the
user to the risk of injury or material
damage should the unit be used
improperly.

* Material damage refers to damage or

other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic animals
or pets.

ALWAYS OBSERVE THE FOLLOWING

002c

• Do not open (or modify in any way) the unit
or its AC adaptor.

.........................................................................................................

003

• Do not attempt to repair the unit, or replace
parts within it (except when this manual
provides specific instructions directing you to
do so). Refer all servicing to your retailer, the
nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.

.........................................................................................................

004

• Never install the unit in any of the following
locations.

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a
heating duct, on top of heat-generating
equipment); or are

• Damp (e.g., baths, washrooms, on wet

floors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

.........................................................................................................

007

• Make sure you always have the unit placed so
it is level and sure to remain stable. Never
place it on stands that could wobble, or on
inclined surfaces.

.........................................................................................................

008c

• Be sure to use only the AC adaptor supplied
with the unit. Also, make sure the line voltage
at the installation matches the input voltage
specified on the AC adaptor’s body. Other AC
adaptors may use a different polarity, or be designed for
a different voltage, so their use could result in damage,
malfunction, or electric shock.

.........................................................................................................

About the Symbols

The symbol alerts the user to important instructions or
warnings.The specific meaning of the symbol is
determined by the design contained within the triangle. In
the case of the symbol at left, it is used for general
cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be
carried out (are forbidden). The specific thing that must
not be done is indicated by the design contained within
the circle. In the case of the symbol at left, it means that
the unit must never be disassembled.

The symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In the
case of the symbol at left, it means that the power-cord
plug must be unplugged from the outlet.

009

• Do not excessively twist or bend the power
cord, nor place heavy objects on it. Doing so
can damage the cord, producing severed
elements and short circuits. Damaged cords
are fire and shock hazards!

.........................................................................................................

010

• This unit, either alone or in combination with
an amplifier and headphones or speakers, may
be capable of producing sound levels that
could cause permanent hearing loss. Do not
operate for a long period of time at a high volume level, or
at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should immedi­ately stop using the unit, and consult an audiologist.

.........................................................................................................

011

• Do not allow any objects (e.g., flammable
material, coins, pins); or liquids of any kind
(water, soft drinks, etc.) to penetrate the unit.

.........................................................................................................

012c

• If any of the following occurs, immediately
turn off the power, remove the AC adaptor
from the outlet, and disconnect the USB cable.
Then, request servicing by your retailer, the
nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.

• The AC adaptor or the power-supply cord has been

damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto

the unit; or

• The unit has been exposed to rain (or otherwise has

become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

.........................................................................................................

013

• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for
the safe operation of the unit.

.........................................................................................................

4

014

• Protect the unit from strong impact.
(Do not drop it!)

.........................................................................................................

015

• Do not force the unit’s power-supply cord to
share an outlet with an unreasonable number of
other devices. Be especially careful when using

—

extension cords

the total power used by all
devices you have connected to the extension cord’s outlet
must never exceed the power rating (watts/amperes) for
the extension cord. Excessive loads can cause the insulation
on the cord to heat up and eventually melt through.

.........................................................................................................

016

• Before using the unit in a foreign country,
consult with your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” page.

.........................................................................................................

019

• Batteries must never be recharged, heated,
taken apart, or thrown into fire or water.

.........................................................................................................

027

• Never expose Battery to excessive heat such as
sunshine, fire or the like.

101b

• The unit and the AC adaptor should be
located so their location or position does not
interfere with their proper ventilation.

.........................................................................................................

102d

• Always grasp only the output plug or the
body of the AC adaptor when plugging into,
or unplugging from, this unit or an outlet.

.........................................................................................................

103b

• At regular intervals, you should unplug the
AC adaptor and clean it by using a dry cloth
to wipe all dust and other accumulations
away from its prongs. Also, disconnect the
power plug from the power outlet whenever the unit is to
remain unused for an extended period of time. Any
accumulation of dust between the power plug and the
power outlet can result in poor insulation and lead to fire.

.........................................................................................................

104

• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.

.........................................................................................................

106

• Never climb on top of, nor place heavy objects
on the unit.

.........................................................................................................

107d

• Never handle the AC adaptor body, or its
output plugs, with wet hands when plugging
into, or unplugging from, an outlet or this unit.

.........................................................................................................

108b

• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.

.........................................................................................................

109b

• Before cleaning the unit, turn off the power
and unplug the AC adaptor from the outlet (p.

32).

.........................................................................................................

110b

• Whenever you suspect the possibility of
lightning in your area, disconnect the AC
adaptor from the outlet.

.........................................................................................................

111: Selection

• If used improperly, batteries may explode or
leak and cause damage or injury. In the
interest of safety, please read and observe the
following precautions (p. 19).

1

• Carefully follow the installation instruc-

tions for batteries, and make sure you
observe the correct polarity.

2

• Avoid using new batteries together with

used ones. In addition, avoid mixing
different types of batteries.

3

• Remove the batteries whenever the unit is to

remain unused for an extended period of time.

5

• If a battery has leaked, use a soft piece of cloth or paper

towel to wipe all remnants of the discharge from the
battery compartment. Then install new batteries. To
avoid inflammation of the skin, make sure that none of
the battery discharge gets onto your hands or skin.
Exercise the utmost caution so that none of the
discharge gets near your eyes. Immediately rinse the
affected area with running water if any of the discharge
has entered the eyes.

6

• Never keep batteries together with metallic objects such

as ballpoint pens, necklaces, hairpins, etc.

.........................................................................................................

112

• Used batteries must be disposed of in
compliance with whatever regulations for
their safe disposal that may be observed in the
region in which you live.

.........................................................................................................

118c

• Keep any screws or card cover you may
remove and the included SD card in a safe
place out of children’s reach, so there is no
chance of them being swallowed accidentally.

.........................................................................................................

120

• Always turn the phantom power off when
connecting any device other than condenser
microphones that require phantom power.
You risk causing damage if you mistakenly
supply phantom power to dynamic microphones, audio
playback devices, or other devices that don’t require such
power. Be sure to check the specifications of any micro­phone you intend to use by referring to the manual that
came with it.
(This instrument’s phantom power: 48 V DC, 10 mA Max)

.........................................................................................................

5

IMPORTANT NOTES

Power Supply:
Use of Batteries

301

• Do not connect this unit to same electrical outlet that is
being used by an electrical appliance that is controlled
by an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this
unit to malfunction or may produce audible noise. If it is
not practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.

302

• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.

303a

• The use of an AC adaptor is recommended as the unit’s
power consumption is relatively high. Should you prefer
to use batteries, please use the alkaline type.

304a

• When installing or replacing batteries, always turn off
the power on this unit and disconnect any other devices
you may have connected. This way, you can prevent
malfunction and/or damage to speakers or other
devices.

307

• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other
equipment containing large power transformers) may
induce hum. To alleviate the problem, change the orien­tation of this unit; or move it farther away from the
source of interference.

352a

• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.

352b

• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity
of this unit. Such noise could occur when receiving or
initiating a call, or while conversing. Should you
experience such problems, you should relocate such
wireless devices so they are at a greater distance from
this unit, or switch them off.

354a

• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.

355b

• When moved from one location to another where the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit.
Damage or malfunction may result if you attempt to use
the unit in this condition. Therefore, before using the
unit, you must allow it to stand for several hours, until
the condensation has completely evaporated.

360

• Depending on the material and temperature of the
surface on which you place the unit, its rubber feet may
discolor or mar the surface.
You can place a piece of felt or cloth under the rubber
feet to prevent this from happening. If you do so, please
make sure that the unit will not slip or move acciden­tally.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry
cloth or one that has been slightly dampened with water.
To remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to
wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.

Repairs and Data

452

• Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up on an SD
card, a computer, or written down on paper (when
possible). During repairs, due care is taken to avoid the
loss of data. However, in certain cases (such as when
circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and
Roland assumes no liability concerning such loss of data.

Additional Precautions

551

• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself
against the risk of loosing important data, we
recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory on
an SD card or a computer.

552

• Unfortunately, it may be impossible to restore the
contents of data that was stored in the unit’s memory or
an SD card once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its
jacks and connectors. Rough handling can lead to
malfunctions.

6

IMPORTANT NOTES

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.

558a

• To avoid disturbing your neighbors, try to keep the
unit’s volume at reasonable levels. You may prefer to
use headphones, so you do not need to be concerned
about those around you (especially when it is late at
night).

559a

• When you need to transport the unit, package it in the
box (including padding) that it came in, if possible.
Otherwise, you will need to use equivalent packaging
materials.

561

• Use only the specified expression pedal (Roland
EV-5, BOSS FV-500L/FV-500H; sold separately).
By connecting any other expression pedals, you risk
causing malfunction and/or damage to the unit.

562

• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level to
be extremely low, or impossible to hear. For information
on cable specifications, contact the manufacturer of the
cable.

Before Using SD Cards

Using SD Cards

704

• Carefully insert the SD card all the way in—until it is
firmly in place.

705

• Never touch the terminals of the SD card. Also, avoid
getting the terminals dirty.

708

• SD cards are constructed using precision components;
handle the cards carefully, paying particular note to the
following.

• To prevent damage to the cards from static
electricity, be sure to discharge any static electricity
from your own body before handling the cards.

• Do not touch or allow metal to come into contact
with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock
or vibration.

• Do not keep cards in direct sunlight, in closed
vehicles, or other such locations.

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

Handling DVD-ROMs

801

• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty DVD­ROM discs may not be read properly. Keep your discs
clean using a commercially available DVD cleaner.

Copyright

851

• Recording, duplication, distribution, sale, lease, perfor­mance, or broadcast of copyrighted material (musical
works, visual works, broadcasts, live performances, etc.)
belonging to a third party in part or in whole without the
permission of the copyright owner is forbidden by law.

852

• This product can be used to record or duplicate audio or
visual material without being limited by certain techno­logical copy-protection measures. This is due to the fact
that this product is intended to be used for the purpose
of producing original music or video material, and is
therefore designed so that material that does not infringe
copyrights belonging to others (for example, your own
original works) can be recorded or duplicated freely.

853

• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsi­bility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.

Operating Buttons

• The BR-800’s top panel employs touch sensors. To
prevent the touch sensors from malfunctioning, please
observe the following precautions.

• During the time from when you turn on the power
until the name of a song appears, do not touch the
top panel and do not allow any objects to come into
contact with it.

• While using the BR-800, keep all cables and similar
items away from the top panel, so they don’t come
into contact with it. Do not place any objects on the
panel.
Examples: Headphones or cables
Mic or guitar cables

• The buttons might not respond correctly in the following
situations.

• If you operate them wearing gloves

• If you operate them with a pen or any object other
than your finger

• If beads of water have formed on the BR-800

• If an object is resting on the BR-800

• If two or more buttons are being touched

7

Contents

Recording Flow on the BR-800 ...............3

USING THE UNIT SAFELY.................... 4

IMPORTANT NOTES.............................. 6

Main Features.......................................... 11

Panel Descriptions.................................. 12

Top Panel................................................... 12

Front Panel................................................ 16

Rear Panel ................................................. 17

Side Panel.................................................. 18

Installing Batteries ................................... 19

Quick Start ......................... 21

Listening to the Demo Songs ................22

1. Make Connections ............................... 22

2. Turn on the Power ............................... 23

3. Listen to the Demo Songs ................... 24

Recording with the EZ Recording

Function ...................................................26

1. Make Recording Settings .................... 26

2. Recording .............................................. 27

3. Playing Back ......................................... 29

EZ Recording Parameter List ................. 30

Getting Ready to Record ..... 31

Making Connections ..............................32

Using the Cord Hook .............................. 33

Turning the Power On/Off................... 34

Turning the Power On ............................ 34

Turning the Power Off ............................ 34

Recording/Playback ........... 35

Recording................................................. 36

Creating a New Song (SONG NEW)..... 36

Selecting a Song (SONG SELECT)......... 36

Selecting the Input Source ...................... 37

Adjusting the Input Sensitivity.............. 37

Adjusting the Recording Level .............. 38

Selecting the Track(s) for Recording ..... 38

Selecting V-Tracks.................................... 39

Adjusting the Stereo Feel of the Input

Sound (PAN)............................................. 40

Recording ..................................................40

Loop Recording ........................................ 41

Playback..................................................... 41

Recording Additional Performances

(Overdubbing) ........................................ 42

Playing Back Repeatedly (Repeat)....... 43

Specifying the Repeat Region................. 43

Setting the Repeat Region to an Exact

Interval....................................................... 44

Re-Recording Only Over a Mistake

(Punch-In/Out) ...................................... 45

Manual Punch-In/Out ............................45

Auto Punch-In/Out ................................. 46

Cancelling an Operation

(UNDO/REDO) ..................................... 48

Returning to the Previous State

(UNDO) .....................................................48

Canceling the Undo (REDO) ..................48

Viewing Information about the Song.. 49

Viewing the Remaining Recording

Time............................................................ 49

Viewing Song Information ..................... 49

Simple Recording (SONG SKETCH)... 50

Switching to Song Sketch Mode............. 50

Recording ..................................................50

Playback..................................................... 51

Erasing a WAV File.................................. 51

Naming a WAV File................................. 52

Viewing Information about the

WAV File ................................................... 52

8

Contents

Using Effects ....................... 53

Using Insert Effects ................................ 54

Effect Patches and Banks ........................ 54

Turning the Insert Effect On/Off .......... 55

Easily Creating an Insert Effect

(EZ TONE) ................................................ 55

Editing the Insert Effect Settings............ 56

Saving the Insert Effect Settings

(Write)........................................................ 57

Changing the Location of the

Insert Effect (LOCATION)...................... 58

Algorithm List .......................................... 59

Parameter List........................................... 64

Adding a Sense of Spaciousness .......... 83

Adjusting the Loop Effect Depth........... 83

Editing the Loop Effect ........................... 84

Parameter List........................................... 84

Adjusting the Tone of Each Track........ 86

Editing the Track EQ ............................... 86

Parameter List........................................... 86

Using Rhythm ..................... 87

Creating an Original Arrangement ..... 96

Inserting a Step......................................... 98

Erasing a Step ........................................... 98

Naming an Arrangement........................ 99

Copying an Arrangement ..................... 100

Erasing an Arrangement ....................... 101

Delaying the Pattern/Arrangement

Playback (OFFSET) .............................. 102

Editing ..............................103

Finding the Location at which a Sound

Begins or Ends (Scrub/Preview) ....... 104

Editing.................................................... 105

Track Editing .......................................... 105

Copying a Song (SONG COPY) ........... 107

Erasing a Song (SONG ERASE) ...........107

Naming a Song (SONG NAME) ..........108

Protecting a Song (SONG PROTECT)

Saving a Song

(SAVE CURRENT STATE) ...................109

Saving Memory on the SD Card ..........109

... 108

Mastering .........................111

Overview of the Rhythm Section .........88

Patterns and Arrangements.................... 88

About the Drum Sounds (Drum Kits)... 89

Turning the Rhythm On/Off ................. 90

Switching between Pattern Mode and

Arrangement Mode ................................. 90

Playing Patterns...................................... 91

Changing the Tempo............................... 92

Using [TAP TEMPO] Button to Set the

Tempo........................................................ 92

Playing an Arrangement .......................93

Changing the Tempo............................... 94

Using [TAP TEMPO] Button to Set the

Tempo........................................................ 94

Changing the Drum Sounds

(Drum Kit) ...............................................95

Selecting a Drum Kit................................ 95

Using Mastering in Creating a Song

Editing the Mastering Effect Settings

Saving the Mastering Effect Settings

(Write)...................................................... 115

Parameter List......................................... 115

... 112

... 114

Making Use of Songs After

Mastering............................................... 116

Making Use of Songs on Your

Computer ................................................ 116

Recording the Mastered Song to an

External Device....................................... 116

Using USB .........................117

Before Using USB ................................. 118

About the “BR-800 DVD-ROM” ..........118

Installing the USB Driver ...................... 118

Data Structure on the SD Card............. 118

9

Contents

Using the BR-800 as an

Audio Interface .....................................119

Recording Audio from the BR-800 on

Your Computer ...................................... 119

Using the BR-800 to Hear Songs

Played Back by Your Computer .......... 119

Using the BR-800 to Record Songs

Played Back by Your Computer .......... 119

Using the BR-800 as a

Control Surface .....................................120

Using SONAR LE................................... 121

Controllers that Can Be Used in

Control Surface Mode ........................... 121

Exchanging Data with Your

Computer............................................... 122

Using BOSS BR Series Wave

Converter................................................. 122

Transferring WAV Files ........................ 122

Saving Data on Your Computer

(Backup/Recover) ................................124

Making Settings for

USB Functionality.................................126

Parameter List......................................... 126

Convenient Functions ........ 129

Adjusting the Display Contrast.......... 130

Using a Foot Switch/Expression

Pedal ....................................................... 131

Using an Expression Pedal ................... 131

Using a Foot Switch............................... 131

Adjusting the Headphone Volume

(PHONES LEVEL).................................. 135

Practicing Phrases

(PHRASE TRAINER)........................... 136

Slowing Down the Speed

(TIME STRETCH)................................... 136

Minimizing Sounds in the Center

(CENTER CANCEL).............................. 137

Restoring the Factory Settings

(FACTORY RESET).............................. 138

Initializing an SD Card (FORMAT)... 139

Viewing the SD Card Usage

(SD CARD INFORMATION) ............. 140

Reducing the Battery Consumption

(POWER SAVE).................................... 141

Using a Condenser Microphone

(PHANTOM POWER)......................... 142

Adjusting the Sensitivity of the

Touch Sensors....................................... 143

Appendixes.......................145

SD Cards that Can Be Used

with the BR-800 .................................... 146

BR-800 Effect Patch List....................... 148

Insert Effects............................................ 148

Mastering Effects.................................... 149

Arrangement / Pattern List................ 150

Preset Arrangement List .......................150

Preset Pattern List ..................................151

Tuning Your Instrument (TUNER).... 132

Switching to the Tuner.......................... 132

Tuning...................................................... 132

Specifying the Tuner’s Reference

Pitch ......................................................... 133

Mixing the Sound from an

Audio Device (LINE IN MIX)............. 134

Output Settings (OUTPUT)................. 135

Output Settings for LINE OUT and

Headphone (OUTPUT MODE)............ 135

10

Troubleshooting ................................... 152

Problems with the Power Supply ........ 152

Problems with the Sound...................... 152

Problems with the SD Card .................. 153

Problems with USB ................................ 154

Problems with the Buttons.................... 154

Error Message List ............................... 155

Specifications ........................................ 158

Index....................................................... 159

Main Features

The BR-800 is a digital recorder that allows even the beginner to create songs easily.

From recording to mastering, this convenient device makes it easy for you to start enjoying the benefits of digital recording.

Four-Track Simultaneous
Recording/Eight-Track
Simultaneous Playback

The BR-800 provides recording capabilities to meet a

wide range of needs.

Numerous High-Quality
Effects (p. 53, p. 111)

• COSM effects for electric guitar/bass are taken from

the BOSS GT-10/10B.

• Effects for vocals which provide for pitch correction,

and those that realistically model the sound of an

acoustic guitar are provided.

• Since the BR-800 comes equipped with mastering

effects that you can use at anytime, as well as loop

effects, it alone is just about all you need for creating

some truly high-quality songs.

Rhythm Function (p. 87)

Comes with Rhythm production functionality that

offers high-quality drum sounds.

You can use this as a guide during recording, or create

your own original rhythm part and record it along

with your performance.

Connecting via USB (p. 117)

There are three ways of powering the unit: with an AC

adaptor, with batteries, or by connecting it to a USB

bus. This means that you can use the BR-800 just about

anywhere.

Built-in Stereo Microphones

The built-in stereo microphones provide a convenient

way to record your band performance or acoustic

instruments.

Three-Way Power Supply

The BR-800 can be operated using an AC adaptor,

batteries, or USB bus power.

EZ Recording Function (p. 26)

The EZ Recording function provides quick setup for

various types of recording.

Song Sketch Function (p. 50)

The Song Sketch function lets you record and play back

stereo WAV files.

This is a convenient way to record audio memos of

your musical ideas and phrases.

About COSM (Composite Object Sound

Modeling)

Composite Object Sound Modeling–or “COSM” for

short–is BOSS/Roland’s innovative and powerful

technology that’s used to digitally recreate the sound

of classic musical instruments and effects. COSM

analyzes the many factors that make up the original

sound–including its electrical and physical

characteristics–and creates a digital model that

accurately reproduces the original.

11

Panel Descriptions

Top Panel

fig.TopPanel.eps

1

2

3

4

1

MIC L/R (internal stereo microphones L/R)

You can use these microphones to record in stereo.

“Selecting the Input Source” (p. 37)

* Speakers are not built in. In order to hear the sound, you’ll

need to use headphones or connect amplified speakers to

LINE OUT jacks.

8

7

6

5

PEAK indicators

These indicate whether distortion is occurring with respect

to INPUT 1–4 jacks or with the internal stereo microphones

(input sources).

The indicator will light approximately -6 dB below the

level at which distortion begins. Use the INPUT SENS

knobs to adjust the input sensitivity so that the PEAK

indicators light occasionally when you play strongly.

2

[INPUT SENS (Input sensitivity) [1], [2] knobs

These knobs adjust the input sensitivity of the devices

connected to INPUT 1 and 2 jacks.

INPUT SENS (Input sensitivity)
[3/MIC L], [4/MIC R] knobs

These knobs adjust the input sensitivity of the devices

connected to INPUT 3 and 4 jacks, or of the internal stereo

microphones.

“Adjusting the Input Sensitivity” (p. 37)

12

“Adjusting the Input Sensitivity” (p. 37)

[REC LEVEL] (Recording level) knob

This knob adjusts the volume of the recording on the track.

* If you turn down the [REC LEVEL] knob during recording

in order to decrease the monitoring volume, the input source

will be recorded at a lower volume. This will cause noise to

be more noticeable when you raise the track’s volume during

playback.

If you want to decrease the monitoring volume, you should

use the [MASTER] fader to lower the volume. If you want to

change the volume during playback, adjust the [TRACK]

faders of each track.

“Adjusting the Recording Level” (p. 38)

3

5

Track [1]–[7/8] faders

These faders adjust the playback volume of each track.

[RHYTHM] fader

This fader adjusts the volume of the rhythm.

“Playing Patterns” (p. 91)

“Playing an Arrangement” (p. 93)

[MASTER] fader

This fader adjusts the overall volume.

4

Track 1–7/8 [PLAY] buttons

These buttons select the tracks that will play.

Unlit:

Lit:

Blinking:

Track 1–7/8 [REC] buttons

These buttons select the tracks that will be recorded.

Unlit:

Lit:

Blinking:

[TAP TEMPO] button

You can set the tempo of the rhythm by repeatedly pressing

this button at the desired timing.

[MASTER FX] (Mastering effect) button

This button accesses a screen where you can turn the

mastering effect on/off and edit its settings.

Track that contains no data (unrecorded)

Track that will play (contains data)

Track that will not play (contains data)

Track that will not be recorded

Track that will be recorded

Track that will be loop-recorded

“Recording” (p. 36)

“Using [TAP TEMPO] Button to Set the Tempo” (p.

92), (p. 94)

Panel Descriptions

[RETRY] button

This button returns to the time location at which you last

started recording.

[REPEAT] button

Use this button to specify a desired section for repeated

listening.

“Playing Back Repeatedly (Repeat)” (p. 43)

[ZERO] button

This button moves you to the 00:00:00-00:0 time location.

[REW] (Rewind) button

The song will continue rewinding while you hold down this

button.

[FF] (Fast-forward) button

The song will continue fast-forwarding while you hold

down this button.

[STOP] button

This button stops recording/playback.

“Recording” (p. 40)

“Playback” (p. 41)

[PLAY] button

This button plays the song. If the [REC] button is blinking,

pressing [PLAY] button will start recording. This button

will light green during recording or playback.

“Recording” (p. 40)

“Playback” (p. 41)

[REC] (Recording) button

This is the Recording button. In addition to the normal

Recording operation, it is also used to punch-in/out. While

in recording standby, this button will blink red, and will

change to steadily lit red during recording.

“Mastering” (p. 111)

“Recording” (p. 40)

“Manual Punch-In/Out” (p. 45)

13

Panel Descriptions

7

fig.TopPanel.eps

1

2

3

4

6

[TRACK] button

This button allows you to adjust each track’s tone quality or

edit the track (p. 105).

[MENU] button

This button accesses various functions, such as settings for

the entire BR-800.

[EXIT] button

This button returns you to the previous screen, or cancels an

operation.

[ENTER] button

This button confirms a selection or finalizes an entry.

Dial

Use this to move the current location of the song (fast-

forward or rewind). When making settings for various

functions, this dial is used to edit values.

CURSOR buttons

These buttons move the cursor.

8

7

6

5

[EFFECTS] button

This button accesses a screen in which you can turn the

insert effect (p. 54) on/off and edit its settings.

[RHYTHM] button

This button accesses a screen in which you can turn the

rhythm on/off and edit its settings.

“Overview of the Rhythm Section” (p. 88)

[SONG SKETCH] button

This button takes you to Song Sketch mode.

“Simple Recording (SONG SKETCH)” (p. 50)

[EZ REC] (EZ recording) button

This button enters EZ Recording mode.

“Recording with the EZ Recording Function” (p. 26)

14

8

Display

fig.Display.eps

2 3

1

This shows various types of information depending on the

settings you’re making, such as volume levels, menu

screens, and parameter editing screens.

If you find the display screen difficult to read, refer to

“Adjusting the Display Contrast” (p. 130).

1

Song

This shows the song name.

2

Time

This shows the current time location in the song in

terms of “** hours (h) ** minutes (m) ** seconds (s).”

3

Frame

This shows the frame number of the current position in

the song.

The BR-800 is set to use a frame rate of 30 frames per

second (non-drop). This protocol setting is defined as

part of the MTC (MIDI Time Code) specifications. To

synchronize the performance of this device with

another device, using MIDI, you will need to set the

other device so it operates at 30 frames per second

(non-drop).

4

5

6

7

Panel Descriptions

5

Power

This indicates the power supply status.

Indication

6

Tempo

This indicates the tempo of the rhythm.

7

Level meter

This indicates the volume.

Item

INPUT

TRACK

RHY

L R

Explanation

Power is being supplied from the AC
adaptor.

Power is being supplied from the com­puter.

The batteries are in good condition.

The batteries are running low.

The batteries are almost empty. Install
fresh batteries as soon as possible.

The batteries are empty. Install fresh
batteries.

Explanation

This indicates the volume of the input.
This indicates the volume of the output

from each track.
This indicates the volume of the output

from the rhythm.
This indicates the volume of the output

following the [MASTER] fader.

About the Play Screen

On the BR-800, the main screen that appears (for example)

immediately after the power is turned on (see below) is

called the “Play screen.”

D_Play.eps

4

Measure

This shows the current location in the song.

From the left, the values indicate the “measure

number” – “beat number.”

The explanations in this manual include

illustrations that depict what should typically be

shown by the display. Note, however, that your

unit may incorporate a newer, enhanced version of

the system (e.g., includes newer sounds), so what

you actually see in the display may not always

match what appears in the manual.

15

Panel Descriptions

Front Panel

fig.FrontPanel.eps

1

1

PHONES jack (stereo phone type)

Connect separately sold stereo headphones here. Connecting headphones will allow you to hear the same sound as the

LINE OUT jacks outputs.

Use the [MASTER] fader to adjust the headphone volume.

If the OUTPUT MODE (p. 135) is set to “SPLIT,” only the sound of the rhythm track will be output from the

PHONES jack.

2

GUITAR/BASS jack

Connect your guitar or bass here. This is a high-impedance input jack.

2

16

Rear Panel

fig.RearPanel.eps

Panel Descriptions

2

1

Security Slot ( )

http://www.kensington.com/

2

LINE OUT jacks

These are analog audio output jacks. You can connect them to external audio equipment (e.g., a stereo amp), or to a CD

recorder or similar device to record the BR-800’s analog output (p. 116).

3

FOOT SW/EXP PEDAL (Foot switch/Expression pedal) jack

A separately sold foot switch (BOSS FS-5U, Roland DP-2) or expression pedal (Roland EV-5, BOSS FV-500L/FV-500H)

can be connected here.

If a foot switch is connected, you can use your foot to start/stop song playback or to punch-in/out.

If an expression pedal is connected, you can use your foot to control the insert effect.

“Using a Foot Switch/Expression Pedal” (p. 131)

4

LINE IN jack

This is an input jack for analog audio signals. You can connect the output of your portable audio player or similar device

to this jack.

5

INPUT 1–4 jacks

These are microphone/line input jacks/connectors. Two types are provided: mono phone jacks (TRS balanced input)

and XLR connectors (balanced input).

The XLR connector of INPUT 4 is able to provide 48V phantom power. The mono phone jacks accept both balanced and

unbalanced connections.

4

31

5

“Using a Condenser Microphone (PHANTOM POWER)” (p. 142)

* You can’t use the mono phone jack and the XLR connector simultaneously for the same input. Do not connect plugs to both

simultaneously.

17

Panel Descriptions

Side Panel

fig.SidePanel.eps

1

1

MEMORY CARD (SD card) slot

Insert an SD card. Recording is not possible unless an SD card is inserted.

“SD Cards that Can Be Used with the BR-800” (p. 146)

2

USB connector

This connector lets you connect the BR-800 to your computer via a USB cable. When connected to a computer, you’ll be

able to do the following things.

• Use the BR-800 as an audio interface and control surface

• Transfer audio data to and from the computer

• Create original rhythms and drum kits

• Back up your data

“Using USB” (p. 117)

3

[POWER] switch

This is the power switch. It turns the BR-800’s power on/off (p. 34).

Position

ON
OFF Power is off

USB

Explanation

Power is on, when using the included AC adaptor or batteries

Power is on, when connected via USB cable.
USB (bus power) can be used when the BR-800 is connected to your computer via a USB cable.
Power is supplied from your computer via the USB cable. If using bus power, set the power switch to
the USB position.

* Before you can power the unit via a USB bus, you first need to install the appropriate driver in your computer

(p. 118).

* Depending on your computer, the BR-800 might not be able to operate using bus power. If so, please use the

included AC adaptor.

2

4

3

4

DC IN (AC adaptor) jack

Connect the included AC adaptor here (p. 32).

• Use only the included AC adaptor. Using any other adaptor may cause overheating and malfunction.

• Important data may be damaged if the AC adaptor is disconnected during use.

18

Installing Batteries

1

Make sure that the [POWER] switch is “OFF.”

Panel Descriptions

2

Turn the BR-800 upside down.

3

Detach the battery cover.

fig.Batt01.eps

Battery cover

4

Insert six AA batteries into the battery compartment,

taking care to observe the correct polarity (+/-

orientation).

fig.Batt02.eps

5

Attach the battery cover.

• When turning the unit upside-down, get a bunch

of newspapers or magazines, and place them

under the four corners or at both ends to prevent

damage to the buttons and controls. Also, you

should try to orient the unit so no buttons or

controls get damaged.

• When turning the unit upside-down, handle with

care to avoid dropping it, or allowing it to fall or

tip over.

• If used improperly, batteries may explode or leak

and cause damage or injury. In the interest of

safety, please read and observe the following

precautions.

• Carefully follow the installation instructions for

batteries, and make sure you observe the

correct polarity.

• Avoid using new batteries together with used

ones. In addition, avoid mixing different types

of batteries.

• Remove the batteries whenever the unit is to

remain unused for an extended period of time.

• If a battery has leaked, use a soft piece of cloth

or paper towel to wipe all remnants of the

discharge from the battery compartment. Then

install new batteries. To avoid inflammation of

the skin, make sure that none of the battery

discharge gets onto your hands or skin. Exercise

the utmost caution so that none of the discharge

gets near your eyes. Immediately rinse the

affected area with running water if any of the

discharge has entered the eyes.

• Never keep batteries together with metallic

objects such as ballpoint pens, necklaces,

hairpins, etc.

• We recommend that you use alkaline batteries,

which have a longer life span.

• When the batteries run low, the display will

indicate “Battery Low!” When this message

appears, replace the batteries as soon as possible.

• The battery life will depend on the conditions of

use and on the model of batteries. It will also be

affected by the type and capacity of the SD card.

19

MEMO

20

Quick

Start

21

Listening to the Demo Songs

The SD card included with the BR-800 contains demo songs. Here’s how to play back the demo songs.

1. Make Connections

With the power switched off on both the BR-800 and your monitor speakers, make connections as shown below.

fig.Quick_EZ1-e.eps

Monitor speakers

AC adaptor

To the LINE OUT jacks

Stereo headphones

If you’re using headphones,
connect them to the
PHONES jack.

To the GUITAR/BASS jack

Electric guitar

22

Listening to the Demo Songs

2. Turn on the Power

* You must use the following procedure to turn on the power. Using an incorrect order may cause malfunction or speaker damage.

Lower the BR-800’s [MASTER] fader.

1

fig.Quick_DemoSong2-1.eps

Turn on the [POWER] switch.

2

fig.Quick_DemoSong2-2.eps

Turn on the power of your monitor speakers.

3

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

Turning the Power Off

Make sure that song playback is stopped.

1

If the song is playing, press the [STOP] button to stop playback.

Turn off the power of your monitor speakers.

2

Turn off the [POWER] switch.

3

* Don’t turn off the power if the “Keep power on!” indication is shown.

23

Functions

Appendixes Quick StartGetting Ready

Listening to the Demo Songs

3. Listen to the Demo Songs

Press the [MENU] button.

1

The MENU screen will appear.

D_Menu_Input.eps

Use the CURSOR [ ] [ ] buttons to move the cursor to “SONG,” and press the

2

[ENTER] button.

The SONG screen will appear.

D_Song_New.eps

Use the CURSOR [ ] [ ] buttons to move the cursor to “SELECT,” and press the

3

[ENTER] button.

The SONG SELECT screen will appear.

Use the CURSOR [ ] [ ] buttons to move the cursor to “DemoSong,” and press the

4

[ENTER] button.

The play screen will appear.

24

Set the faders to the positions shown below.

5

fig.Quick_DemoSong3-5-e.eps

Listening to the Demo Songs

Track faders to nominal position.

[MASTER] fader at minimum.

Press the [PLAY] button.

6

Song playback will start. Slowly raise the [MASTER] fader to adjust the volume.

fig.Quick_DemoSong3-6.eps

Move the track faders to adjust each track’s volume as desired.

7

Press the [STOP] button to stop playback.

8

fig.Quick_DemoSong3-5.eps

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

• Use of the demo song supplied with this product for any purpose other than private,

personal enjoyment without the permission of the copyright holder is prohibited by law.

Additionally, this data must not be copied, nor used in a secondary copyrighted work

without the permission of the copyright holder.

• Music Data Copyright: © 2010 BOSS Corporation

25

Functions

Appendixes Quick StartGetting Ready

Recording with the EZ Recording Function

EZ Recording is a function that makes it easy to start recording. Simply select a recording source and the desired musical

style, and the most suitable effect and rhythm settings will be made automatically.

As an example, here how to record your guitar.

For details on connections and turning on the power, refer to “1. Make Connections” (p. 22) and “2. Turn on the Power”

(p. 23).

1. Make Recording Settings

Press the [EZ REC] button.

1

The EZ REC-1 screen will appear.

D_EZ_Rec_New.eps

Use the CURSOR [ ] [ ] buttons to move the cursor to “NEW SONG,” and press the

2

[ENTER] button.

The EZ REC-2 screen will appear.

D_EZ_Rec_Souce.eps

26

A new song will be created if you select “NEW

SONG” (p. 36).

If you want to use EZ Recording with the currently

selected song, select “CURRENT SONG.”

Use the CURSOR [ ] [ ] buttons and the dial to choose the “SOURCE” and

3

“CATEGORY.”

Since you’ll be inputting your guitar, choose “E. GUITAR” as the SOURCE.
As the CATEGORY, choose the style that’s closest to what you have in mind for your song.

D_EZ_Rec_Category.eps

For details on the parameters for SOURCE and

CATEGORY, refer to “EZ Recording Parameter

List” (p. 30).

Press the [ENTER] button.

4

The EZ REC-3 screen will appear.
The effect and rhythm for the selected SOURCE and CATEGORY are shown.

D_EZ_Rec_Result_Guitar.eps

Press the [ENTER] button.

5

This completes the recording settings.

2. Recording

Set the faders to the positions shown below.

1

fig.Quick_DemoSong3-5-e.eps

Recording with the EZ Recording Function

You can use the CURSOR [ ] [ ] buttons

and the dial to change the effect or rhythm.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

Track faders to nominal position.

[MASTER] fader at minimum.

Turn the [REC LEVEL] knob to adjust the recording level.

2

Adjust the level so that the INPUT level meter moves within the range of -12 (between -24 and -6)–0
dB.

fig.Quick_EZ2-2.eps

Adjust
to -12–0 dB

EditingMasteringUsing USBConvenient

Functions

27

Appendixes Quick StartGetting Ready

Recording with the EZ Recording Function

Slowly increase the [MASTER] fader to adjust the volume to the appropriate level for

3

monitoring.

fig.Quick_EZ2-3.eps

Press the [REC] button.

4

The [REC] button will blink red; the BR-800 is now in recording-standby mode.

fig.Quick_EZ2-4-e.eps

Blinking

Press the [PLAY] button.

5

The [PLAY] button will light green, the [REC] button will light red, and recording will begin.
At the same time that recording begins, the rhythm will start sounding.

fig.Quick_EZ2-5-e.eps

Lit

Press the [STOP] button to stop recording.

6

The track 1 [PLAY] button will light green, indicating that recording has been performed on track 1.

fig.Quick_EZ2-6.eps

28

3. Playing Back

Press the [ZERO] button to return to the beginning of the song.

1

The current time location will change to 00:00:00-00:0.

fig.Quick_EZ3-1.eps

Press the [PLAY] button.

2

Song playback will start. Use the [MASTER] fader to adjust the playback volume.

fig.Quick_EZ3-2.eps

Recording with the EZ Recording Function

to Record

Playback

Recording/

Using

Effects

This completes recording using the EZ Recording function.
Go ahead and try using the same procedure for other instruments or the internal microphones.

Using

Rhythm

EditingMasteringUsing USBConvenient

Functions

29

Appendixes Quick StartGetting Ready

Recording with the EZ Recording Function

EZ Recording Parameter List

SOURCE

Choose the setting that’s appropriate for the input source

you’re recording.

Parameter

E.GUITAR

AC.GUITAR
(GTR IN)

AC.GUITAR
(MIC)

BASS

VOCAL (MIC)

VOCAL (IN4)

SIMUL
(E+IN4)

SIMUL
(AC+IN4)

SIMUL
(E+MIC)

KEYBOARD

MIC

IN1&IN2

LINE IN

USB

4CH INPUT

Explanation

Choose this when recording an electric
guitar connected to the GUITAR/
BASS jack.

Choose this when recording an acous­tic guitar connected to the GUITAR/
BASS jack.

Choose this when recording an acous­tic guitar via the internal stereo micro­phones.

Choose this when recording an electric
bass connected to the GUITAR/BASS
jack.

Choose this when recording vocals via
the internal stereo microphones.

Choose this when recording vocals via
a microphone connected to the
INPUT4 jack.

Choose this when recording a guitar
connected to the GUITAR/BASS jack
simultaneously with the vocals via a
microphone connected to the INPUT4
jack.

Choose this when recording an acous­tic guitar connected to the GUITAR/
BASS jack simultaneously with the vo­cals via a microphone connected to the
INPUT4 jack.

Choose this when recording a guitar
connected to the GUITAR/BASS jack
simultaneously with the vocals via the
internal stereo microphones.

Choose this when recording a key­board connected in stereo to the IN­PUT 1 jack and INPUT 2 jack.

Choose this when using the internal
stereo microphones.

Choose this when recording via micro­phones connected to the INPUT 1 jack
and INPUT 2 jack.

Choose this when recording sound
from a portable audio player or other
device connected to the LINE IN jack.

Choose this when recording sound
that’s input via the USB connector.

Choose this when recording via micro­phones or other devices connected to
the INPUT 1–4 jacks.

CATEGORY

Choose the style of music that’s closest to what you have in

mind for your song.

Parameter

ROCK
METAL
POP
BALLAD
BLUES
R&B
JAZZ
FUSION
COUNTRY

30

Getting

Ready

to Record

31

Making Connections

Make connections as shown in the illustrations below. Make sure that the power to all of your equipment is switched off

before you make connections.

fig.panel-e.eps

■ Front Panel

■ Rear Panel

speakers etc.

Monitor

Stereo headphone

Foot switch

(FS-5U etc.)

Portable audio

Expression pedal

(Roland EV-5 etc.)

player etc.

Electric guitar

or

Electric bass

Microphone

Keyboard etc.

■ Side Panel

32

AC adaptor

Computer

Making Connections

• To prevent malfunction and/or damage to speakers

or other devices, always turn down the volume, and

turn off the power on all devices before making any

connections.

• Howling could be produced depending on the

location of microphones relative to speakers. This

can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance

from speakers.

3. Lowering volume levels.

• This instrument is equipped with balanced (XLR/

TRS) type jacks. Wiring diagrams for these jacks are

shown below. Make connections after first checking

the wiring diagrams of other equipment you intend

to connect.

The XLR connector of INPUT 4 can provide 48 V

phantom power, allowing you to connect a

phantom-powered condenser microphone (p. 142).

fig.XLR/TRSJack.eps

• Some connection cables contain resistors. When

connection cables with resistors are used, the sound

level may be extremely low, or impossible to hear.

For information on cable specifications, contact the

manufacturer of the cable.

• When using the FS-5U foot switch (sold separately),

set the polarity switch as shown below.

fig.00-130.eps

Polarity Switch

• Use only the specified expression pedal (Roland

EV-5, BOSS FV-500L/FV-500H; sold separately).

By connecting any other expression pedals, you risk

causing malfunction and/or damage to the unit.

• When using an expression pedal, set the pedal’s

MIN volume to “0.”

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

Using the Cord Hook

A slot (cord hook) for securing the AC adaptor cord is built

into the bottom of the BR-800.

To prevent the inadvertent disruption of power to your unit

(should the plug be pulled out accidentally), and to avoid

applying undue stress to the AC adaptor jack, anchor the

power cord using the cord hook, as shown in the

illustration.

fig.CordHook02.eps

• Do not use excessive force when pressing the cord

into the cord hook. Doing so may break the cord.

• When turning the unit upside-down, get a bunch

of newspapers or magazines, and place them

under the four corners or at both ends to prevent

damage to the buttons and controls. Also, you

should try to orient the unit so no buttons or

controls get damaged.

• When turning the unit upside-down, handle with

care to avoid dropping it, or allowing it to fall or

tip over.

33

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Functions

Appendixes Quick StartGetting Ready

Turning the Power On/Off

Turning the Power On

Once the connections have been completed (p. 32), turn on

power to your various devices in the order specified. By

turning on devices in the wrong order, you risk causing

malfunction and/or damage to speakers and other devices.

1

Check the following before you turn on the power.

❒

Have connections with your external equipment

been made correctly?

❒

Are the volume controls of the BR-800 and the

connected equipment set to the minimum position?

❒

Is the SD card inserted? (p. 146)

2

Lower the BR-800’s [MASTER] fader.

fig.P-On01.eps

3

Switch on the power to the equipment connected to

the input jacks (GUITAR/BASS, INPUT, LINE IN).

4

Turn on the [POWER] switch located on the side

panel.

fig.P-On02.eps

5

Switch on the power to the equipment connected to

LINE OUT jacks.

Turning the Power Off

1

Make sure that song playback is stopped.

2

Turn off your equipment in the reverse order of when

you turned them on.

3

Make sure that the BR-800’s display does not indicate

“Keep power on!”

4

Turn the BR-800’s [POWER] switch off.

• Make sure that the recorder is stopped before you
switch off the BR-800’s power. If you turn off the
power during recording or playback, the data,
mixer settings, or effect patch data will be lost.

• When using the AC adaptor, take care that the AC
adaptor is not unplugged during use. Data may be
lost if the AC adaptor is unplugged during
operation.

• When powering the unit on power from a USB
bus, exercise due caution in preventing the USB
cable from being disconnected during use of the
unit. You risk damaging your data should the
USB cable get disconnected.

• Turning the power off while the display indicates
“Keep power on!” will result in loss of data. Never
turn off the power while this indication is shown.

• This unit is equipped with a protection circuit. A
brief interval (a few seconds) after power up is
required before the unit will operate normally.

• When the BR-800 is shipped from the factory, an
SD card is inserted in the MEMORY CARD slot.

• Always make sure to have the volume level
turned down before switching on power. Even
with the volume all the way down, you may still
hear some sound when the power is switched on,
but this is normal, and does not indicate a
malfunction.

• Do not touch the buttons while turning on the
BR-800’s power.
The unit might malfunction if you turn on the
power while touching a button.

34

Recording/

Playback

35

Recording

Creating a New Song (SONG NEW)

The BR-800 manages your recordings in units called

“songs.”

To record a new song, carry out the procedure below.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SONG,” and press the [ENTER] button.

D_Song_New.eps

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “NEW,” and press the [ENTER] button.

The SONG NEW screen will appear.

D_SongNew.eps

Selecting a Song (SONG SELECT)

Select the song that you want to record.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SONG,” and press the [ENTER] button.

D_Song_New.eps

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SELECT,” and press the [ENTER] button.

The SONG SELECT screen will appear.

D_Song_Select.eps

4

Press the [ENTER] button.

The display will ask “Are you sure?”

5

Press the [ENTER] button.

A new song will be created, and you will return to the

play screen.

* The display will indicate “Keep power on!” while the data is

being updated. Never turn off the power while this message

is shown.

36

An “*” is displayed next to the currently selected song.

4

Use the CURSOR [ ] [ ] buttons to select a song.

5

Press the [ENTER] button.

The song will be selected, and you’ll return to the play

screen.

* The display will indicate “Keep power on!” while the data is

being updated. Never turn off the power while this message

is shown.

Recording

Selecting the Input Source

Here’s how to select the input source you’ll be recording,

and specify the number of tracks that you want to record.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the cursor

to “INPUT SELECT,” and press the [ENTER] button.

D_Input.eps

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “INPUT,” and use the dial to choose the

input source that you want to record.

Setting

GUITAR/
BASS

MIC L/R

INPUT
1 & 2

INPUT4

LINE IN

USB

GTR &
MIC L/R

GTR &
INPUT4

INPUT 1-4

Explanation

Choose this when recording a guitar
or bass connected to the GUITAR/
BASS jack.

Choose this when using the internal
stereo microphones.

Choose this when recording micro­phones or instruments connected to
the INPUT 1 jack and INPUT 2 jack.

Choose this when recording a micro­phone or instrument connected to the
INPUT4 jack.

Choose this when recording the sound
from a portable audio player or other
device connected to the LINE IN jack.

Choose this when recording the sound
that’s being input via the USB connec­tor.

Choose this when recording a guitar or
bass connected to the GUITAR/BASS
jack simultaneously with the vocals via
the internal stereo microphones.

Choose this when recording a guitar
or bass connected to the GUITAR/
BASS jack simultaneously with the vo­cals via a microphone connected to the
INPUT4 jack.

Choose this when recording micro­phones or other devices connected to
the INPUT 1–4 jacks.

4

Use the CURSOR

cursor to “MODE,” and use the dial to choose the

number of tracks that you’ll be recording.

Setting Explanation

INPUT
OFF

MONO
REC

STEREO
REC

SIMUL
REC

4TRACK
REC

* The available MODE settings will depend on the input

source you choose in INPUT.

5

Press the [EXIT] button a number of times to return to

the play screen.

[ ] [ ]

Input will be off (recording will not
occur).

Recording will occur on one track.

Recording will occur on two tracks
(stereo).

Each input will be recorded on a sepa­rate track simultaneously.

Four tracks will be recorded simulta­neously.

buttons to move the

Adjusting the Input Sensitivity

Adjust the input sensitivity as appropriate for your input

source.

Input

INPUT 1–4 jacks

Internal stereo
microphones

GUITAR/BASS
jack

LINE IN jack
USB connector

To adjust the sensitivity

Use the INPUT SENS knob for
each input to adjust the input sen­sitivity.
Adjust the sensitivity so that the
PEAK indicator lights briefly at
the loudest sounds.

Adjust the volume on the external
device that’s connected. The input
sensitivity cannot be adjusted on
the BR-800.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

Functions

37

Appendixes Quick StartGetting Ready

Recording

Adjusting the Recording Level

Here’s how to adjust the volume of the recording on the

track.

1

Lower the [MASTER] fader.

2

Turn the [REC LEVEL] knob to approximately the

center position, and slowly raise the [MASTER]

fader.

3

Use the [REC LEVEL] knob to adjust the recording

level.

Adjust the level so that the INPUT level meter moves

within the range of -12 (between -24 and -6)–0 dB.

I

Try to record at the highest volume possible before

the sound begins to distort. If you want to decrease

the monitoring volume, lower the [MASTER] fader.

4

Use the [MASTER] fader to adjust the volume

appropriately for monitoring (listening).

* If you use a connection cable that contains a built-in resistor,

the volume on the connected device may be insufficient. In

this case, please use a connection cable that does not contain

a built-in resistor (such as one from the Roland PCS series).

Selecting the Track(s) for Recording

1

Press one of the track 1–7/8 [REC] buttons to select the

track(s) on which recording will occur.

The indicators on the buttons show the track status as

follows.

Indicator Explanation

Unlit Track that will not be recorded
Lit Track that will be recorded
Blinking Track that will be loop-recorded (p. 41)

fig.Rec01.eps

The track(s) that can be selected will depend on the

MODE you selected for INPUT.

MODE

MONO REC

STEREO REC

SIMUL REC

4TRACK REC

Explanation

Mono recording using one track.
You can choose one of the tracks
1–4.
You can also record in stereo by
pressing the track 5/6 [REC] or
track 7/8 [REC] button.

Stereo recording using two tracks.
Press the track 1 [REC] or track 2
[REC] button to select the pair of
tracks 1 and 2, or press the track 3
[REC] or track 4 [REC] button to
select the pair of tracks 3 and 4.

Simultaneous recording using two
tracks.
Press the track 1 [REC] or track 2
[REC] button to select the pair of
tracks 1 and 2, or press the track 3
[REC] or track 4 [REC] button to
select the pair of tracks 3 and 4.

Simultaneous recording using
four tracks.
Press any one of the track 1–4
[REC] buttons to select the four
tracks 1–4, or press the track 5/6
[REC] or track 7/8 [REC] button to
select the four tracks 5–8.

38

Recording

Selecting V-Tracks

Each of the BR-800’s tracks contains eight “V-tracks,” and

you can choose one of these V-tracks for recording or

playback.

By using V-tracks, you can record and compare multiple

takes of a guitar solo or vocal, and then use the take you

think is best.

1

Press the [TRACK] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “V-TRACK,” and press the [ENTER] button.

The V-TRACK screen will appear.

D_V-Track.eps

Indication

Explanation

Currently selected V-track
(recorded data exists)

Currently selected V-track
(no recorded data)

V-track containing recorded data

What are V-Tracks?

Each track consists of eight virtual tracks, and you

can choose any one of these tracks for recording or

playback. This means that you can record to up to a

maximum of 64 tracks, and then select any eight of

them to play back. These virtual tracks that make up

the actual tracks are called “V-Tracks.”

V-Track1
V-Track2
V-Track3
V-Track4
V-Track5
V-Track6
V-Track7
V-Track8

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

V-track containing no recorded data

3

Use the track 1–7/8 [REC] buttons or the CURSOR

[ ] [ ] buttons to select the track whose V-track

you want to switch.

4

Use the dial to switch the V-track.

* V-MST of track 7/8 is the V-track for mastering. It can also

be used for conventional recording.

5

Press the [EXIT] button a number of times to return to

the play screen.

39

Functions

Appendixes Quick StartGetting Ready

Recording

Adjusting the Stereo Feel of the Input Sound (PAN)

You can adjust the stereo feel (pan) of your instruments’

input sound.

1

Press the [TRACK] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “PAN,” and press the [ENTER] button.

The PAN screen will appear.

D_Pan.eps

3

Use the CURSOR [ ] [ ] buttons to select the

input or track whose setting you want to edit.

* You can move the cursor to each track by pressing that

track’s track [REC] button.

4

Use the dial to adjust the pan while listening to the

input sound.

The pan setting you make here is automatically

applied to the pan of the recording-destination track.

This means that when you play back, you’ll hear the

sound with the same panning as during recording.

Recording

1

Press the [REC] button.

The [REC] button will blink red, and the BR-800 will

enter recording-standby mode.

fig.Rec03-e.eps

Blinking

2

Press the [PLAY] button.

Recording will begin.

The [PLAY] button will light green, and the [REC]

button will light red.

fig.Rec04-e.eps

LitLit

3

To stop recording, press the [STOP] button.

The track [PLAY] button will light green, indicating

that sound has been recorded on that track.

* It’s not possible to play back sound that is shorter than one

second of recording time.

* The display will indicate “Keep power on!” while the data is

being updated. Never turn off the power while this message

is shown.

5

Press the [EXIT] button a number of times to return to

the play screen.

If you’re recording new material while listening to

the playback of previously recorded material, there

may be cases in which the sound you’re playing

now is buried in the previously recorded sound,

making it difficult to hear. In such cases, adjusting

the pan will make it easier to hear yourself.

You might find it helpful to pan the playback tracks

to the left (or right) and pan your own current

performance to the right (or left).

40

If you want to re-record

Press the [RETRY] button to return to the time

location at which you most recently started

recording. You can also press this button to return

even during recording or playback.

This is convenient when you want to re-record

immediately.

Recording

Loop Recording

Loop recording is a function that copies the recorded data

when you stop recording, making it occupy approximately

200 measures.

By using Loop recording you can easily create looped

phrases that repeat the same phrase a number of times.

fig.looprec-e.eps

Start recording

Stop recording

1

Press the desired track 1–7/8 [REC] button a number

of times to make track 1–7/8 [REC] button blink.

fig.LoopRec.eps

Blinking

Approximately

200 measures

Playback

1

Press the [ZERO] button.

The time location of the song will return to 00:00:00-

00:0.

2

Press the [PLAY] button.

The [PLAY] button will light green, and playback will

begin.

You can use the track faders to adjust the playback

volume of each track.

3

To stop playback, press the [STOP] button.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

2

Record as described in “Recording” (p. 40).

When recording ends, the recorded data will be copied

so that it occupies approximately 200 measures.

41

EditingMasteringUsing USBConvenient

Functions

Appendixes Quick StartGetting Ready

Recording Additional Performances (Overdubbing)

Tracks whose track [PLAY] button is lit or blinking already

contain recorded sound.

The process of listening to previously recorded sound while

you record additional material on another track is called

“overdubbing.” This allows you to record parts such as

bass, guitar, and vocals on separate tracks, and then adjust

their volume balance and panning afterward, or re-record

the performance of a specific part.

1

Press one of the track 1–7/8 [PLAY] buttons to select

the track that you want to play back.

The status of each track is shown by how its track

[PLAY] button is lit.

Indicator Explanation

Unlit
Lit Track that will be played
Blinking Track that will not be played

2

Use the track faders to adjust the volume of the tracks

that will be playing.

3

Press the [REC] button of a track from 1 to 7/8 to select

the track to record.

4

Press the [REC] button.

[REC] will blink red, and the BR-800 will enter

recording-standby mode.

5

Press the [PLAY] button.

Recording will begin.

The [PLAY] button will light green, and the [REC]

button will light red.

Only the sound you’re performing now will be

recorded on the new track; the sound of the tracks that

are playing back will not be recorded.

* If you turn down the [REC LEVEL] knob during recording

to lower the monitoring volume of the input source, the

sound will be recorded on the track at a lower volume. This

might cause noise to be more obtrusive when you raise the

track’s volume during playback.

If you want to lower the monitoring volume of the input

Track that contains no data (unrecorded)

source during recording, use the [MASTER] fader to lower

the volume. If you want to adjust the volume of the

performances that are playing back, use the track faders of

each track.

6

When you’ve finished recording, press the [STOP]

button.

• Be aware that if you record on a track that already

contains recorded sound, the previous recording

will be erased.

• If you record sound that’s shorter than one

second, that sound cannot be played back.

A useful tip for overdubbing

When recording new material while listening to

previously recorded material, the sound you’re

currently playing can be buried in the previously

recorded sounds that are playing back, making it

difficult to hear yourself. If this is the case, you can

make it easier to hear yourself by slightly lowering

the faders of the playback tracks, or by turning the

pan of the playback tracks all the way to the left

(right) while turning the pan of the sound you’re

currently playing all the way to the right (left).

“Adjusting the Stereo Feel of the Input Sound

(PAN)” (p. 40)

42

Playing Back Repeatedly (Repeat)

Specifying the Repeat Region

By using the “repeat” function you can repeatedly play

back a specified region.

The repeat region will repeatedly play back as follows.

fig.01-570

Repeat

Time

Repeat Start

(A)

1

Press the [REPEAT] button at the point where you

want to start repeating (point A).

fig.Repeat01.eps

The Repeat A symbol ( ) will appear in the screen,

indicating that the beginning of the repeat (point A)

has been specified.

Repeat End

(B)

4

If you want to save the repeat region you specified,

save the song.

“Saving a Song (SAVE CURRENT STATE)” (p. 109)

• There must be at least one second between the

repeat start (A) and end (B) points. You can’t set

the end point closer than one second from the

start point.

• If you press the [REPEAT] button at a location

closer than one second from the repeat start point

(A), the repeat start point (A) will be re-set at that

location.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

2

Press the [REPEAT] button at the point where you

want to stop repeating (point B).

fig.Repeat01.eps

The Repeat B symbol ( ) will appear in the screen,

indicating that the repeat region (A-B) has been

specified.

3

When you want to clear the repeat setting, press the

[REPEAT] button once again.

The repeat settings will be cleared, and the repeat

symbol will disappear from the screen.

43

EditingMasteringUsing USBConvenient

Functions

Appendixes Quick StartGetting Ready

Playing Back Repeatedly (Repeat)

Setting the Repeat Region to an Exact Interval

Normally, the repeat start/end points will be set to the

moments at which you press the [REPEAT] button,

meaning that the repeat region might not be set precisely as

you intended.

In such cases, you can use the “Quantize” feature so that the

repeat region will be set in precise one-measure units

regardless of the timing at which you press the [REPEAT]

button.

To use Quantize, make the following settings.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SYSTEM,” and press the [ENTER] button.

By pressing the [REPEAT] button twice at the same

location, you can set the repeat region to a single

measure.

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “AB QUANTIZE,” and use the dial to

change the setting to “ON.”

If this if OFF, Quantize will not be applied.

D_System_AB.eps

4

Press the [EXIT] button a number of times to return to

the play screen.

If you use Quantize when specifying the repeat

region, and you change the tempo after making the

setting, the repeat start/end points will no longer

match the beginning and end of the measure.

44

Re-Recording Only Over a Mistake (Punch-In/Out)

When recording, there may be times when you made a

mistake or were unable to play as you intended. In such

cases, you can use punch-in/out to re-record only the

region you specify.

While the track plays, you can “punch-in” to switch from

playback to record; then you can “punch-out” to resume

playback, all without stopping.

Punch-in at the point where you want to start re-recording,

and then punch-out when you want to stop re-recording.

fig.01-170

Playback PlaybackRecording

Time

Start

[

PLAY

On the BR-800, you can use either “manual punch-in/out”

or “auto punch-in/out.”

Punch-In

][

REC

][

Punch-Out

REC

Stop

][

STOP

]

Manual Punch-In/Out

This method lets you use the [REC] button or a foot switch

to perform punch-in/out operations.

* When using manual punch-in/out, make sure that there is at

least 1.0 seconds between punch-in and punch-out.

■

Using the [REC] button

In this example, we’ll explain how you can use manual

punch-in/out to re-record a portion of the previously

recorded track 1.

1

Press the track 1 [REC] button.

The track 1 [REC] button will light.

2

Set the track [1] fader to the position shown in the

illustration.

fig.Panchin01.eps

3

Play back the song, and use the [REC LEVEL] knob to

adjust the volume of the input source.

While listening to compare the track to be re-recorded

with the input source, use the [REC LEVEL] knob to

adjust the input source so that there is no difference in

volume.

4

Move to a position in the song earlier than the point

where you want to start re-recording, and then press

the [PLAY] button to start playback.

5

At the moment you want to start re-recording, press

the [REC] button.

Punch-in will occur, and you’ll be in record mode.

6

When you want to punch-out, press the [REC] button

once again (or press the [PLAY] button).

Each time you press the [REC] button, you’ll alternate

between punching-in and punching-out; you can

repeat this procedure as many times as you like if there

are other regions that you want to re-record.

7

To stop recording, press the [STOP] button.

* While the data is being updated, the display will indicate

“Keep power on!” Do not turn off the power while this

message is shown.

8

Listen to the re-recorded result.

Return to a point earlier than where you began re-

recording, and play back.

Use the track [1] fader to adjust the volume of track 1.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

You can use the Undo function (p. 48) to return to

the state prior to re-recording.

45

Functions

Appendixes Quick StartGetting Ready

Re-Recording Only Over a Mistake (Punch-In/Out)

■

Using a foot switch

If you’re recording an instrumental performance by

yourself and simultaneously operating the recording

system, it’s convenient to use a separately sold foot switch

(e.g., BOSS FS-5U or Roland DP-2) so that operations can be

performed using your foot.

Connect your foot switch to the FOOT SW/EXP PEDAL

jack, and change the function of the FOOT SW/EXP PEDAL

jack as follows.

Auto Punch-In/Out

“Auto punch-in/out” is the operation of automatically

punching-in/out at the locations you specify beforehand.

This is useful when you want to punch-in/out at precise

locations, or when you want punch-in/out to occur

automatically so that you can concentrate on your playing.

* When using auto punch-in/out, there must be more than 1.0

seconds between the punch-in and punch-out points.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SYSTEM,” and press the [ENTER] button.

D_System_LCD.eps

3

Use the CURSOR [ ] [ ] buttons to select “FOOT

SWITCH.”

4

Use the dial to select “REC.”

D_System_FS_Rec.eps

5

Press the [EXIT] button a number of times to return to

the play screen.

■

Specifying the locations

You’ll need to specify the punch-in and punch-out locations

before you begin recording.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “AUTO PUNCH IN/OUT,” and press the

[ENTER] button.

D_Punch_On.eps

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “ON/OFF,” and turn the dial to choose

“ON.”

Setting

ON
OFF Auto punch-in/out will be off.

Explanation

Auto punch-in/out will be on.

You can punch-in by pressing the foot switch

during song playback, and punch-out by pressing

the foot switch once again.

46

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “DISP,” and turn the dial to choose the units

in which you’ll specify the locations.

Re-Recording Only Over a Mistake (Punch-In/Out)

■

Recording

In this example, we’ll explain how to specify the auto
punch-in/out locations beforehand, and then re-record a
specified region of the previously recorded track 1.

Setting Explanation

TIME Specify the locations in units of time.

MEASURE

After specifying the time in the procedure above, a

“+” may appear to show that there is a discrepancy

between the actual current position and the position

displayed.

If you specify the locations using measures, specify

the locations at each screen using the dial to

eliminate the discrepancy.

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to “IN,” and turn the dial to specify the punch-

in location.

You can move to the current location by pressing

the [ENTER] button.

Specify the locations in units of mea­sures.

1

Press the track 1 [REC] button.

The track 1 [REC] button will light.

2

Set the track [1] fader to the position shown in the

illustration.

fig.Panchin01.eps

3

Play back the song, and use the [REC LEVEL] knob to

adjust the volume of the input source.

While listening to compare the track to be re-recorded
with the input source, use the [REC LEVEL] knob to
adjust the input source so that there is no difference in
volume.

4

Move to a location earlier than where you want to

start re-recording.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

6

Use the CURSOR [ ] [ ] buttons to move the

cursor to “OUT,” and turn the dial to specify the

punch-out location.

7

Press the [EXIT] button a number of times to return to

the play screen.

The display will indicate “A. PUNCH,” indicating that

the punch-in/out locations have been specified.

5

Press the [REC] button to enter recording-standby

mode, and then press the [PLAY] button.

Punch-in will automatically occur at the location you
specified; re-record your performance.

Playback will automatically resume at the punch-out
location you specified.

6

When you’ve finished recording, press the [STOP]

button to stop.

* While the data is being updated, the display will indicate

“Keep power on!” Do not turn off the power while this
message is shown.

7

Listen to the re-recorded result.

Return to a point earlier than where you began re­recording, and play back.

Use the track [1] fader to adjust the volume of track 1.

47

Functions

Appendixes Quick StartGetting Ready

Cancelling an Operation (UNDO/REDO)

There may be times when you would like to cancel the

result of an operation; for example, when recording, you

might not have been able to record as you intended, or you

might have made a mistake when making editing settings.

In such cases, you can use “Undo.”

Undo means to return to the state prior to the most recent

operation. If you decide to cancel Undo, you can use

“Redo.”

For example, let’s suppose that you were using punch-in

recording, and recorded the same region twice in

succession. If you wanted to cancel the most recent

recording and return to the state just after the first

recording, you would execute the Undo operation.

After executing Undo, you could execute Redo to cancel the

Undo and return to the state just after the second recording.

Returning to the Previous State (UNDO)

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the cursor

to “UNDO/REDO,” and press the [ENTER] button.

The UNDO/REDO will appear.

D_Undo.eps

• After executing Undo, only Redo can be executed.

• Undo applies to audio data recorded on a track.

3

To execute Undo, press the [ENTER] button.

When you press the [ENTER] button, the most recent

recording or editing operation will be cancelled.

If you decide not to Undo, press the [EXIT] button.

Canceling the Undo (REDO)

If you decide to cancel the Undo operation you just

performed, you can execute Redo.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the cursor

to “UNDO/REDO,” and press the [ENTER] button.

The UNDO/REDO screen will appear.

D_Redo.eps

48

3

To execute the Redo, press the [ENTER] button.

The previous Undo operation will be canceled.

If you decide not to Redo, press the [EXIT] button.

Viewing Information about the Song

Viewing the Remaining Recording Time

Here’s how you can make the recording-standby or

recording screen show the remaining recording time.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SYSTEM,” and press the [ENTER] button.

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “REMAIN INFO,” and use the dial to

choose “ON.”

D_System_Remain.eps

Setting

ON

OFF

Explanation

The remaining recording time is
shown in “hours : minutes : seconds.”

The remaining recording time is not
shown.

Viewing Song Information

Here’s how to view information about the song.

1

Press the [MENU] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “SONG,” and press the [ENTER] button.

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “INFORMATION,” and press the [ENTER]

button.

D_Song_Info.eps

Song information will be displayed.

SONG
INFORMATION

NAME

SIZE

Explanation

Name of the currently selected
song

Space consumed used by the
song

to Record

Playback

Recording/

Using

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Using

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4

Press the [EXIT] button a number of times to return to

the play screen.

From the play screen, press the [REC] button to enter

recording-standby mode (the [REC] button will blink);

the TIME display area will show the remaining time.

fig.Remain.eps

* The actual size of the song is shown in megabyte units, each

one consisting of 1,048,576 bytes. The displayed amount is

an approximation.

4

Press the [EXIT] button a number of times to return to

the play screen.

49

Functions

Appendixes Quick StartGetting Ready

Simple Recording (SONG SKETCH)

By putting the BR-800 in Song Sketch mode, you can use it

as a stereo WAV file recorder/player.

This provides an easy way to record your song ideas and

phrases.

Switching to Song Sketch Mode

Press the [SONG SKETCH] button to enter Song Sketch

mode. The SONG SKETCH screen will appear.

Press the [EXIT] button to return to normal mode.

The SONG SKETCH screen displays the following

information.

fig.SongScketch-e.eps

During playback: length of the file

During recording: remaining recording time

File name

Current time

Rhythm

You can edit the following settings by moving the cursor to

the file name, current time, or rhythm and then turning the

dial.

Item

File name
Current time

Rhythm

• You can store/play up to 999 songs.

• You can use the Repeat function (p. 43) to

repeatedly play back a specified region.

• You can record the sound from each input as

WAV format data. WAV format is recorded as

44.1 kHz 16-bit data.

• Audio is recorded in stereo.

• If you record while playing a rhythm, the sound

of the rhythm will be recorded as well.

Explanation

Select the file to play back.
Move the time location.

fig.SongScketch_Rhythm-e.eps

Turn the rhythm on/off.

Set the tempo.

During playback:
output level

During recording:
input level

Select a pattern.

Recording

1

Press the [SONG SKETCH] button.

The SONG SKETCH screen will appear.

D_Song_Sketch.eps

2

Press the [MENU] button.

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “INPUT SELECT,” and press the [ENTER]

button.

4

Use the dial to select the input source that you want to

record.

Setting

GUITAR/
BASS

MIC L/R

INPUT
1 & 2

INPUT4

LINE IN

5

Press the [EXIT] button a number of times to return to

the SONG SKETCH screen.

Explanation

Choose this when recording a guitar
or bass connected to the GUITAR/
BASS jack.

Choose this when using the internal
stereo microphones.

Choose this when recording micro­phones or instruments connected to
the INPUT 1 jack and INPUT 2 jack.

Choose this when recording from a
microphone or instrument connected
to the INPUT 4 jack.

Choose this when recording the sound
from a portable audio player or other
device connected to the LINE IN jack.

50

Simple Recording (SONG SKETCH)

6

Press the [REC] button.

Recording will begin.

The [PLAY] button will light green, and the [REC]

button will light red.

fig.Rec04-e.eps

LitLit

7

When you’re finished recording, press the [STOP]

button.

The recorded data is saved in the SKETCH folder (p.

118).

The recorded data can be imported into a track.

“Importing song sketch data into a track” (p. 106)

About file names

When a WAV file is saved, a file name will be

automatically assigned as follows.

(Ex.)

_BR_001.WAV

:

_BR_999.WAV

The file name will consist of _BR_ followed by a

sequential number and a file extension of .WAV.

Erasing a WAV File

Here’s how to erase a WAV file.

1

Press the [SONG SKETCH] button.

The SONG SKETCH screen will appear.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to the file name, and use the dial to select the

file that you want to erase.

3

Press the [MENU] button.

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “FILE,” and press [ENTER].

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to “ERASE,” and press [ENTER].

The FILE ERASE screen will appear.

D_Song_Sketch_File_Erase.eps

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

Playback

Here’s how to play back a WAV file that was saved in the

SKETCH folder.

1

Press the [SONG SKETCH] button.

The SONG SKETCH screen will appear.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to the file name, and use the dial to select the

file that you want to play back.

3

Press the [PLAY] button.

Playback will begin.

4

To stop playback, press the [STOP] button.

6

If you want to erase the file, press the [ENTER]

button.

The screen will ask “Are you sure?”

7

Press the [ENTER] button

The file will be erased.

* The display will indicate “Keep power on!” while the data is

being updated. Do not turn off the power while this message

is shown.

51

Functions

Appendixes Quick StartGetting Ready

Simple Recording (SONG SKETCH)

Naming a WAV File

You are free to assign a name to a WAV file.

1

Press the [SONG SKETCH] button.

The SONG SKETCH screen will appear.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to the file name, and use the dial to select the

file that you want to rename.

3

Press the [MENU] button.

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “FILE,” and press the [ENTER] button.

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to “NAME,” and press the [ENTER] button.

6

Press the [ENTER] button.

The FILE NAME screen will appear.

D_Song_Sketch_Name.eps

Viewing Information about the WAV File

Here’s how to view information about the WAV file.

1

Press the [SONG SKETCH] button.

The SONG SKETCH screen will appear.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to the file name, and use the dial to select the

file whose information you want to view.

3

Press the [MENU] button.

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “FILE,” and press the [ENTER] button.

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to “INFORMATION,” and press the [ENTER]

button.

D_Song_Sketch_Info.eps

7

Use the CURSOR [ ] [ ] buttons to move the

cursor to the character that you want to change.

8

Turn the dial to choose the desired character.

9

When you’ve finished specifying the file name, press

the [EXIT] button a number of times to return to the

SONG SKETCH screen.

52

Information about the file will be displayed.

FILE
INFORMATION

NAME

SIZE Space occupied by the file

* The actual size of the song is shown in megabyte units, each

one consisting of 1,048,576 bytes. The displayed amount is

an approximation.

6

Press the [EXIT] button a number of times to return to

the SONG SKETCH screen.

Explanation

Name of the currently selected
file

Using

Effects

53

Using Insert Effects

The BR-800 has independent processors for four different

kinds of effects: insert effects, loop effects, track EQ, and

mastering effects.

You can use these simultaneously, and make settings for

each as appropriate for your needs.

This chapter explains how to edit the insert effect processor,

and how to save your edited settings.

“Adding a Sense of Spaciousness” (p. 83)

“Adjusting the Tone of Each Track” (p. 86)

Not only can you use an insert effect during

recording, you can also apply an effect to the sound

of each track during mixdown.

For details, refer to “Changing the Location of the

Insert Effect (LOCATION)” (p. 58).

Effect Patches and Banks

By calling up “effect patches,” you can switch the effects

used by the insert effect and the parameters of each effect.

The BR-800 provides a variety of effect patches suitable for

use with vocals and a variety of instruments. These effect

patches are organized by their type into six “banks.”

fig.03-010.eps

BANK

Effect patches are further organized within each bank as

follows.

Preset patches

Preset patches already contain patch data; although you are

free to edit these settings, you cannot write modified

settings into the preset patches.

User patches

User patches can be rewritten, and the user patch data is

stored in the BR-800’s internal memory. If you’ve created a

patch and would like to use it in another song as well, it’s

convenient to store it as a user patch.

Song patches

Song patches can be rewritten in the same way as user

patches, but the patch data is stored on the SD card along

with the song data.

This is convenient if you used the patch when recording a

performance, and would like to save it together with the

song.

fig.03-020.eps

SD Card

Song

Song

Patch

Preset

Patch

BR-800

User

Patch

Song patches (S) cannot be selected if no SD card is

inserted.

Preset
Patch

User
Patch

Song
Patch

54

P01

P80

U01

U80

S01

S80

MICRO­PHONE

P01

P01

P01

P15

U01

U15

S01

S15

P01

.

.

.

.

P05

U01

.

.

.

.

U05

S01

.

.

.

.

S05

.

.

.

P30

U01
.
.

U30

S01
.
.

S30

.

.

.

P25

U01

.

.

.

.

U25

S01

.

.

.

.

S25

GUITAR LINE SIMUL 4INPUT

8TRACK

COMP

P01

.
.

P05

U01

.
.

U05

S01

.
.

S05

When the BR-800 is shipped from the factory, each

bank’s user patches (U) and song patches (S)

contain the same patches as the preset patches (P).

Using Insert Effects

Turning the Insert Effect On/ Off

1

Press the [EFFECTS] button.

The [EFFECTS] button will light, and the insert effect

will turn on.

fig.effect_on_off.eps

Press the [EFFECTS] button once again to turn the

insert effect off. The [EFFECTS] button will go out.

Easily Creating an Insert Effect (EZ TONE)

EZ Tone makes it easy to create your sound without having

to edit parameters in detail.

* EZ Tone is not available if 4INPUT or 8TRACK COMP is

selected as the effect bank (p. 54).

1

Press the [EFFECTS] button.

The EFFECT screen will appear.

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “EZ TONE,” and press the [ENTER] button.

The EZ TONE screen will appear.

4

Use the [CURSOR] buttons to operate the tone grid to

get the desired sound.

For the GUITAR bank

EZ-Tone_Guitar1-e.eps

Suitable for soloing

Hard soundSoft sound

Suitable for backing

EZ-Tone_Guitar2-e.eps

Warm sound Bright sound

For the MICROPHONE or LINE banks

EZ-Tone_Mic-e.eps

Warm sound Bright sound

or

More body-resonance

Less body-resonance

Delay sound: loud

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

2

Select the effect patch that’s closest to the sound you

have in mind.

Use the [CURSOR] buttons and dial to select the bank,

preset/song/user, and number.

P: preset / S: song / U: user

Number

Bank
Patch name
Algorithm name

For the SIMUL bank

EZ-Tone_Sim-e.eps

Soft sound

Delay sound: soft

Delay sound: loud

Delay sound: soft

Hard sound

55

Functions

Appendixes Quick StartGetting Ready

Using Insert Effects

5

If you want to save the current effect settings, proceed

as described in “Saving the Insert Effect Settings

(Write)” (p. 57).

The effect settings you edit are temporary. If you

exit the effect edit screen without saving the edited

effect patch, an “*” is displayed in front of the patch

name. If you select a different effect patch when this

“*” indication is shown, the edited effect patch will

revert to its original state, and the changes you

made will be lost.

Editing the Insert Effect Settings

To create a new effect sound, choose an existing patch that’s

close to what you have in mind, and then edit it. When

saving the edited patch, save it as a user patch or song patch.

If there’s a specific effect that you want to use, you

should choose a patch whose algorithm includes

that effect.

The available effects differ for each algorithm. For

details on the effects for each algorithm, refer to

“Algorithm List” (p. 59).

1

Press the [EFFECTS] button.

The EFFECT screen will appear.

56

2

Select an effect patch.

Use the CURSOR buttons and dial to select the bank,

preset/song/user, and number.

P: preset / S: song / U: user

3

Use the CURSOR [ ] [ ] buttons to move the

cursor to “PATCH,” and press the [ENTER] button.

The effect edit screen will appear, and the algorithm

(the available effects and their connection order) will

be displayed.

D_Effect_Edit.eps

Number

Bank
Patch name
Algorithm name

Using Insert Effects

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to each effect, and use the dial to specify the

on/off status of each effect.

The icons show the status of each effect as follows.

Indication Explanation

Effect on (selected)

Effect on

Effect off (selected)

Effect off

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to the effect whose parameters you want to

edit, and press the [ENTER] button.

The parameter edit screen for that effect will appear.

D_Effect_Comp.eps

Saving the Insert Effect Settings (Write)

Here’s how to assign a name (patch name) to the effect
settings you edited, and save them as a new effect patch.

1

Press the [EFFECTS] button.

2

Use the CURSOR [ ] [ ] buttons to move the cursor
to “NAME/WRITE,” and press the [ENTER] button.

The write screen will appear.

D_Effect_Write.eps

3

If you want to enter a patch name, press the CURSOR
[ ] button.

If you don’t need to change the patch name, proceed to

step 6.

D_Effect_Name.eps

to Record

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Effects

Using

Rhythm

6

Use the CURSOR [ ] [ ] buttons to select a

parameter, and use the dial to edit its value.

7

If there are other effects that you want to edit, press

the [EXIT] button to return to the previous screen,

and repeat steps 5–6.

8

If you want to save the current effect settings, proceed

as described in “Saving the insert effect settings” (the

following section).

The effect settings you edit are temporary. If you

exit the effect edit screen without saving the edited

effect patch, an “*” is displayed in front of the patch

name. If you select a different effect patch when this

“*” indication is shown, the edited effect patch will

revert to its original state, and the changes you

made will be lost.

4

Use the CURSOR [ ] [ ] buttons and the dial to
enter the desired patch name.

5

When you’ve finished entering the patch name, press
CURSOR [ ].

6

Using the CURSOR buttons and the dial, choose the
Effect Patch that is to become the destination of the write.

7

Once you’ve specified the destination at which to
write the effect patch, press the [ENTER] button.

The confirmation message “Are you sure?” will appear.

8

If you’re sure you want to save the settings, press the
[ENTER] button. If you decide to cancel without
saving, press the [EXIT] button.

When the data has been written, you will return to the
EFFECT screen.

* The display will indicate “Keep power on!” while the data is being

updated. Do not turn off the power while this message is shown.

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Using Insert Effects

Changing the Location of the Insert Effect (LOCATION)

The BR-800 lets you change the location of the insert effect,

allowing you to use it for a variety of different purposes.

1

In the EFFECT screen, press the CURSOR [ ]

button to move the cursor to “LOCATION,” and

press the [ENTER] button.

The LOCATION screen will appear.

D_Effect_Location.eps

2

Turn the dial to specify the location in which the

insert effect will be connected.

■

INPUT <REC DRY>

This setting lets you monitor the sound that has passed

through the insert effect, but the sound unprocessed by the

effect (i.e., the dry sound) will be recorded. Use this setting

if you want to try out various effects after recording.

fig.03-120.eps

TRACK 1

(REC)

■

TRACK 1–8, 1/2, 3/4, 5/6, 7/8,
1–4, 5–8, 1–8

These settings apply the insert effect to the sound played

back from the track. Use these settings when you want to

try various effects after recording the dry sound, or when

you want to apply an effect only to a specific track.

* Depending on the selected combination of effect and bank,

the effect might not apply to all tracks.

fig.03-130.eps

TRACK 1

(PLAY)

3

Press the [EXIT] button a number of times to return to

the play screen.

* The display will indicate “Keep power on!” while the data is

being updated. Do not turn off the power while this message

is displayed.

Insert Effect Connection Locations

■

INPUT <NORMAL>

This setting lets you monitor the sound that has passed

through the insert effect, and the sound that has passed

through the insert effect will be recorded. Normally, you

should use this setting.

fig.03-110.eps

TRACK 1

(REC)

■

RHYTHM

This setting applies the insert effect to the rhythm sound.

fig.03-140.eps

RHYTHM

■

MASTER

This setting connects the insert effect immediately before

the mastering effect (p. 112). Use this setting when you

want to apply the insert effect to the overall sound, such as

when adjusting the tone quality during mastering, or to

obtain a special effect.

fig.03-150.eps

TRACK 1

(PLAY)

TRACK 8

(PLAY)

58

RHYTHM

Using Insert Effects

Algorithm List

The algorithms (the available effects and their connection order) that can be used as an insert effect are shown below.

The algorithms that can be selected will differ for each bank. To select the algorithm that you wish to use, first select the effect

bank that includes that algorithm, and select a patch that uses the desired algorithm.

The line or lines connecting the algorithm indicate whether the effect features mono output (single line) or stereo output

(two lines).

(Ex.)

fig.03-160

Output: Mono

–[

COMP/LM

]–[

WAH

BANK : GUITAR

1. E.GUITAR MULTI

]–

Output: Stereo

–[

MOD

]=[

DLY

]=

2. ACOUSTIC SIM

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Effects

This is a multi-effect designed for electric guitar.

This provides an amp sound using a preamp and speaker

simulator.

fig.EGuitarMulti.eps

-[COMP/LM]-[WAH]-[DIST]-[AMP]

[EQ]-[NS]-[MOD]=[DLY]=

Compressor/Limiter
Wah
Distortion
Amp
Equalizer
Noise Suppressor
Modulation

- Enhancer

- Guitar Sim

- Slow Gear

- Sitar Sim

- Octave

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Rotary

- Uni-v

- Pan

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

This is a multi-effect designed for electric guitar. It allows

you to use an electric guitar to produce sounds similar to

those of an acoustic guitar.

fig.AcousticSim.eps

-[ASIM]-[COMP/LM]-[EQ]-[NS]

[CHO]=[DLY]=

Acoustic Simulator

Compressor/Limiter

Equalizer

Noise Suppressor

Chorus

Delay

Using

Rhythm

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Appendixes Quick StartGetting Ready

Using Insert Effects

3. GUITAR TO BASS

Simulates the sound of a bass guitar.
Obtain the sound of a bass guitar while playing an electric
guitar.

* You should avoid playing chords when using the GUITAR

TO BASS.

fig.GuitarToBass.eps

-[G->B]-[COMP/LM]-[WAH]-[DIST]

[AMP]-[EQ]-[NS]-[MOD]=

Guitar to Bass

Compressor/Limiter

Wah

Distortion

Amp

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Slow Gear

- Defretter

- Octave

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Pan

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

5. BASS MULTI

This is a multi-effect designed for bass guitar.

Appropriate for creating standard bass sound.

fig.BassMulti.eps

-[COMP/LM]-[WAH]-[DIST]-[AMP]

[EQ]-[NS]-[MOD]=[DLY]=

Compressor/Limiter

Wah

Distortion

Amp

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Bass Sim

- Slow Gear

- Defretter

- Octave

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Pan

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

4. A.GUITAR MULTI

This is a multi-effect designed for acoustic guitar.
Even when an electric-acoustic guitar is connected at line
level, this provides a warm sound similar to what is
obtained through a microphone.

fig.AGuitarMulti.eps

-[ACP]-[COMP/LM]-[EQ]-[NS]-[CHO]=[DLY]=

Acoustic Processor

Compressor/Limiter

Equalizer

Noise Suppressor

Chorus

Delay

60

Using Insert Effects

BANK : MICROPHONE

6. VOCAL MULTI

This is a multi-effect for vocals.

It provides effects that are optimized for vocals.

fig.VocalMulti.eps

-[PCR]-[DYN]-[SFX]-[EQ]-[NS]

[DB/HR]=[DLY]=

Pitch Correct

Dynamics

Tone/SFX

Equalizer

Noise Suppressor

Double/Harmony

Delay

7. MIC MULTI

This is a multi-effect for microphone.

It provides the basic effects needed for a microphone.

fig.MICMulti.eps

-[L. CUT]-[COMP/LM]-[EQ]-[NS]

[MOD]=[DLY]=

Low Cut

Compressor/Limiter

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Pan

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

BANK : LINE

8. STEREO MULTI

This algorithm connects seven types of effect, all in full

stereo.

fig.StereoMulti.eps

=[COMP/LM]=[LOFI]=[EQ]=[NS]

[MOD]=[CHO]=[DLY]=

Compressor/Limiter

Lo-fi

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Slow Gear

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Rotary

- Pan

- Vibrato

- Ring Mod

- Doubling Delay

Chorus

Delay

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Appendixes Quick StartGetting Ready

Using Insert Effects

BANK : SIMUL

9. VO + GT.AMP

This algorithm is for use when simultaneously recording a vocal and electric guitar.

For the guitar, you can produce an amp sound using a preamp and speaker simulator.

(GUITAR)

fig.VOGTAMPGuitar.eps

(MIC)

fig.VOGTAMPMic.eps

-[COMP/LM]-[AMP]-[EQ]-[NS]-[MOD]-[DLY]- -[COMP/LM]-[EQ]-[NS]-[MOD]-[DLY]-

Compressor/Limiter

Amp

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Guitar Sim

- Slow Gear

- Sitar Sim

- Octave

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Rotary

- Uni-v

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

Compressor/Limiter

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

62

Using Insert Effects

10. VO + AC.SIM

This algorithm is for use when simultaneously recording a

vocal and electric guitar.

For the guitar, you can make the electric guitar sound like

an acoustic guitar.

(GUITAR)

fig.VOACSIMGuitar.eps

-[ASIM]-[COMP/LM]-[EQ]-[NS]-[CHO]-[DLY]-

Acoustic Simulator

Compressor/Limiter

Equalizer

Noise Suppressor

Chorus

Delay

(MIC)

fig.VOACSIMMic.eps

-[COMP/LM]-[EQ]-[NS]-[MOD]-[DLY]-

Compressor/Limiter

Equalizer

Noise Suppressor

Modulation

- Enhancer

- Pitch Shifter

- Phaser

- Flanger

- Tremolo

- Vibrato

- Ring Mod

- Chorus

- Doubling Delay

Delay

11. VO + ACOUSTIC

This algorithm is for use when simultaneously recording a

vocal and acoustic guitar.

For the guitar, you can produce a warm sound as though a

microphone were being used, even when an electric-

acoustic guitar is connected by a direct line.

(GUITAR)

fig.VOAcousticGuitar.eps

-[ACP]-[COMP/LM]-[EQ]-[NS]-[CHO]-[DLY]-

Acoustic Processor

Compressor/Limiter

Equalizer

Noise Suppressor

Chorus

Delay

(MIC)

fig.VOAcousticMic.eps

-[COMP/LM]-[EQ]-[NS]-[DLY]-

Compressor/Limiter

Equalizer

Noise Suppressor

Delay

to Record

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Functions

Appendixes Quick StartGetting Ready

Using Insert Effects

BANK : 4INPUT

12. 4-INPUT MULTI

This is an effect for four-channel microphone recording.

It provides the effects needed for recording with multiple

microphones.

fig.4-InputMulti.eps

-[L.CUT]-[COMP/LM]-[EQ]-[NS]-

-[L.CUT]-[COMP/LM]-[EQ]-[NS]-

-[L.CUT]-[COMP/LM]-[EQ]-[NS]-

-[L.CUT]-[COMP/LM]-[EQ]-[NS]-

Low Cut

Compressor/Limiter

Equalizer

Noise Suppressor

BANK : 8TRACK COMP

13. 8-TRACK COMP/LIM

This provides an independent compressor/limiter for each

track.

It allows you to make the playback volume of each track

more consistent.

fig.8trackComplim.eps

-[COMP/LM]-

-[COMP/LM]-

-[COMP/LM]-

-[COMP/LM]­=[COMP/LM]=
=[COMP/LM]=

Compressor/Limiter

Parameter List

The trademarks listed in this document are trademarks
of their respective owners, which are separate
companies from BOSS.
affiliated with BOSS and have not licensed or
authorized BOSS’s BR-800. Their marks are used
solely to identify the equipment whose sound is
simulated by BOSS’s BR-800.

COMPRESSOR/LIMITER

This is an effect that produces a long sustain by evening out

the volume level of the input signal. You can switch it to a

limiter to suppress only the sound peaks and prevent

distortion.

Parameter/
Range

ON/OFF

OFF, ON

MODE

Selects the COMPRESSOR/LIMITER mode.

COMPRESSOR The effect operates as a compressor.

LIMITER The effect operates as a limiter.

TYPE

BOSS COMP

HI-BAND

LIGHT This is a compressor with a light effect.

D-COMP This models a MXR DynaComp.

ORANGE

COMPRESSOR

FAT

MILD

BOSS LIM This selects a stereo limiter.

RACK 160 D This models a dbx 160X.

VTG RACK U This models a UREI 1178.

LIMITER

SUSTAIN *1

0–100

Those companies are not

Explanation

Turns the COMPRESSOR/LIMITER
effect on/off.

Models the BOSS CS-3 compact effects
processor.

This is a compressor that adds an even
stronger effect in the high end.

This models a DAN ARMSTRONG
ORANGE SQUEEZER.

When applied heavily, this compressor
effect provides a fat tone with a boost­ed midrange.

When applied heavily, this compressor
effect produces a sweet tone with the
high end cut.

Adjusts the range (time) over which
low-level signals are boosted. Larger
values will result in longer sustain.

64

Using Insert Effects

Parameter/
Range

Explanation

ATTACK

Adjusts the strength of the picking at-

0–100

tack when the strings are played. High­er values result in s sharper attack,
creating a more clearly defined sound.

TONE *1

-50–+50

Adjusts the tone.

THRESHOLD *2

Adjust this as appropriate for the input

0–100

signal from your guitar. When the in­put signal level exceeds this threshold
level, limiting will be applied.

RATIO *2

This selects the compression ratio used

1:1–∞:1

with signals in excess of the threshold
level.

RELEASE *2

Adjusts the time from when the signal

0–100

level drops below the threshold until
when limiting is removed.

LEVEL

0–100

Adjusts the volume.

*1 Setting available when MODE is set to COMPRESSOR.

*2 Setting available when MODE is set to LIMITER.

With “BASS MULTI” algorithms

Parameter/
Range

ON/OFF

OFF, ON

TYPE

BOSS COMP

D-COMP This models a MXR DynaComp.

COMPRESSOR

BOSS LIM This selects a stereo limiter.

RACK 160 D This models a dbx 160X.

VTG RACK U This models a UREI 1178.

LIMITER

Explanation

Turns the COMPRESSOR/LIMITER
effect on/off.

Models the BOSS CS-3 compact effects
processor.

Parameter/
Range

MULTI BAND

LIMITER

NATURAL

SUSTAIN *1

0–100

ATTACK *2

0–100

TONE

-50–+50

THRESHOLD *3

0–100

RATIO *3

1:1–∞:1

Explanation

This limiter lets you divide the input
signal into four separate bands—ultra
low, low, high, and ultra high frequen­cy ranges—and apply different settings
to the low and high frequency ranges.
You can set the frequencies separating
each band using the XOVER F L, M,
and H parameters.

XOVER F M

XOVER F L

Ultra Low

Frequency Range

Low Frequency

High Frequency

Range

XOVER F H

Range

Ultra High

Frequency Range

Frequency

The limiter is applied neither to the

ultra low range, which is critical to

the bass’s sound, nor to the ultra

high range, which affects the

nuance of the attack.

This compressor is configured using
the same frequency divisions as
MULTI BAND, but with simplified pa­rameter settings.

Adjusts the range (time) over which
low-level signals are boosted.
Larger values will result in longer sus­tain.

Adjusts the strength of the picking at­tack when the strings are played.
Higher values result in s sharper at­tack, creating a more clearly defined
sound.

Adjusts the tone.

When the input signal level exceeds
this threshold level, limiting will be ap­plied.

This selects the compression ratio used
with signals in excess of the threshold
level. Higher values create a stronger
compression effect.

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Parameter/
Range

Explanation

RELEASE *3

Adjusts the time from when the signal

0–100

level drops below the threshold until
when limiting is removed.

LO THRES *4

In the Low Frequency Range, when the

0–100

input signal level exceeds this thresh­old level, limiting will be applied.

LO RATIO *4

In the Low Frequency Range, this se­lects the compression ratio used with

1:1–∞:1

signals in excess of the threshold level.
Higher values create a stronger com­pression effect.

HI THRES *4

In the High Frequency Range, when

0–100

the input signal level exceeds this
threshold level, limiting will be ap­plied.

HI RATIO *4

In the High Frequency Range, this se-

1:1–∞:1

lects the compression ratio used with
signals in excess of the threshold level.
Higher values create a stronger com­pression effect.

XOVER F L (Crossover Frequency Low) *4

32Hz–315Hz

This sets the frequency dividing the ul­tra low- and low-frequency ranges.

XOVER F M (Crossover Frequency Middle) *4

100Hz–4.00kHz

This sets the frequency dividing the
low- and high-frequency ranges.

XOVER F H (Crossover Frequency High) *4

2.50kHz–10.0kHz

This sets the frequency dividing the
high- and ultra high-frequency ranges.

DRIVE *5

Adjusts the range (time) over which

0–100

low-level signals are boosted.
Larger values will result in longer sus­tain.

LEVEL

0–100

*1 Setting available when TYPE is set to BOSS COMP

or D-COMP.

*2 Setting available when TYPE is set to BOSS COMP,

D-COMP, BOSS LIM, RACK 160 D, or VTG RACK U.

*3 Setting available when TYPE is set to BOSS LIM, RACK

160 D, or VTG RACK U.

*4 Setting available when TYPE is set to MULTI BAND.

*5 Setting available when TYPE is set to NATURAL.

Adjusts the volume.

WAH

The wah effect creates a unique tone by changing the

frequency response characteristics of a filter.

Parameter/
Range

ON/OFF

ON, OFF Turns the WAH effect on/off.

MODE

Selects the wah mode.

TOUCH

PEDAL

TYPE

Selects the wah mode.

LPF

BPF

TOUCH

CRY WAH

VO WAH This models the sound of the VOX V846.

FAT WAH This is a wah sound featuring a bold tone.

LIGHT
WAH

7STR WAH
*1

PEDAL

BASS
WAH *2

RESO
WAH

POLARITY *3

Selects the direction in which the filter will change in re­sponse to the input.

DOWN The frequency of the filter will fall.

UP The frequency of the filter will rise.

SENS (Sensitivity) *3

0–100

Explanation

You can produce a wah effect with the fil­ter changing in response to the guitar/
bass level.

The wah effect will be controlled in real
time by an expression pedal connected to
the FOOT SW/EXP PEDAL jack.

This creates a wah effect over a wide fre­quency range.

This creates a wah effect in a narrow fre­quency range.

This models the sound of the CRY BABY
wah pedal popular in the ‘70s.

This wah has a refined sound with no un­usual characteristics.

This expanded wah features a variable
range compatible with seven-string and
baritone guitars.

This wah has been specially adapted for
use in the bass registers.
Inclusion of the low-frequency range in
the wah sound produces a robust wah ef­fect, with no dilution of the sound.

This completely original effect offers en­hancements on the characteristic reso­nances produced by analog synth filters.

Adjusts the sensitivity at which the filter
will change in the direction determined by
the POLARITY setting.
Higher values will result in a stronger re­sponse. With a setting of 0, the strength of
picking will have no effect.

66

Using Insert Effects

Parameter/
Range

Explanation

FREQUENCY *3

0–100

Adjusts the center frequency of the Wah
effect.

PEAK *3

Adjusts the way in which the wah effect applies to the area
around the center frequency.

Higher values will produce a stronger tone

0–100

which emphasizes the wah effect more.
With a value of 50 a standard wah sound
will be produced.

PEDAL POS (Pedal Position) *4

0–100

Adjusts the position of the wah pedal.

PEDAL MIN (Pedal Minimum) *4

0–100

Selects the tone produced when the heel of
the pedal is depressed.

PEDAL MAX (Pedal Maximum) *4

0–100

Selects the tone produced when the toe of
the pedal is depressed.

E.LEVEL (Effect Level)

0–100

Adjusts the volume of the effect sound.

D.LEVEL (Direct Level)

0–100

*1

Setting available when the algorithm is set to GUITAR MULTI.

*2 Setting available when the algorithm is set to BASS MULTI

or GUITAR TO BASS.

*3 Setting available when MODE is set to TOUCH.

*4 Setting available when MODE is set to PEDAL.

Adjusts the volume of the direct sound.

DISTORTION

This effect distorts the sound to create long sustain.

Parameter/
Range

ON/OFF

OFF, ON

TYPE

Selects the type of distortion.

MID BOOST

CLN BOOST

BOOSTER

TREB BOOST

Explanation

Turns the DISTORTION effect on/off.

This is a booster with unique character­istics in the midrange.
Making the connection before the
COSM amp produces sound suitable
for solos.

This not only functions as a booster,
but also produces a clean tone that has
punch even when used alone.

This is a booster that has bright charac­teristics.

Parameter/
Range

BLUES OD

CRUNCH

BLUES

NATURAL ODThis is an overdrive sound that pro-

OD-1

T-SCREAM This models an Ibanez TS-808.

OD

TURBO OD

WARM OD This is a warm overdrive.

DISTORTION

MILD DS

DIST

MID DS

RAT This models a Proco RAT.

GUV DS This models a Marshall GUV’ NOR.

DST+ This models a MXR DISTORTION+.

CLASSIC

MODERN DS

SOLID DS

MODERN

STACK

LOUD

METAL
ZONE

METAL

LEAD

’60s FUZZ

OCT FUZZ This models an ACETONE FUZZ.

FUZZ

MUFF FUZZ

Explanation

This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully
reproduces the nuances of picking.

A lustrous crunch sound with an add­ed element of amp distortion.

vides distortion with a natural feeling.

This is the sound of the BOSS OD-1.
This produces sweet, mild distortion.

This is the high-gain overdrive sound
of the BOSS OD-2.

This gives a basic, traditional distortion
sound.

This is a distortion sound that provides
a mild distortion.

This distortion sound features a boost­ed midrange.

This is the deep distortion sound of a
large high-gain amp.

This is a distortion sound featuring an
edge effect.

A fat sound with an added element of a
stack amp’s distortion.

This is distortion sound that is ideal for
performances of heavy riffs.

This is the sound of the BOSS MT-2.
It produces a wide range of metal
sounds, from old style to slash metal.

Produces a distortion sound with both
the smoothness of an overdrive along
with a deep distortion.

This models a FUZZFACE.
It produces a fat fuzz sound.

This models an Electro-Harmonix big
Muff π.

DRIVE

0–120

Adjusts the depth of distortion.

BOTTOM

Adjusts the tone for the low frequency

-50–+50

range. Turning this to the left (counter­clockwise) produces a sound with the
low end cut; turning it to the right
boosts the low end in the sound.

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Using Insert Effects

Parameter/
Range

Explanation

TONE

-50–+50

Adjusts the tone.

E.LEVEL (Effect Level)

0–100

Adjusts the volume of the effect sound.

D.LEVEL (Direct Level)

0–100

Adjusts the volume of the direct sound.

With “BASS MULTI” or “GUITAR TO
BASS” algorithms

Parameter/
Range

ON/OFF

OFF, ON

TYPE

Selects the type of distortion.

BOOSTER

NATURAL

BASS DRIVER

BASS OD

BLUES OD

BASS DS

GUV DS This models a Marshall GUV’ NOR.

BASS MT Wild, radical distortion sound.

METAL
ZONE

BASS FUZZ Fuzz tuned especially for use with basses.

MUFF FUZZ

HI BAND
DRV

DRIVE

0–100

TONE

-50–+50

Explanation

Turns the DISTORTION effect on/off.

This not only functions as a booster, but
also produces a clean tone that has punch
even when used alone.

This is an overdrive sound that provides
distortion with a natural feeling.

Models the TECH21 SANSAMP BASS
DRIVER DI.

Overdrive tuned especially for use with
basses.

This is a crunch sound of the BOSS BD-2.
This produces distortion that faithfully re­produces the nuances of picking.

Distortion tuned especially for use with
basses.

This is the sound of the BOSS MT-2.
It produces a wide range of metal sounds,
from old style to slash metal.

This models an Electro-Harmonix big Muff

π

.

With this effect, distortion is applied only
to the high frequency sounds, and not to
the sounds in the low frequency range.

Adjusts the depth of distortion.

Adjusts the tone.

Parameter/
Range

Explanation

E.LEVEL (Effect Level)

0–100

Adjusts the volume of the effect sound.

D.LEVEL (Direct Level)

0–100

Adjusts the volume of the direct sound.

BOTTOM

Extracts the low-frequency components of

0–100

the sound input to this effect, and adjusts
the amount added to the effect sound.

AMP

COSM technology simulates different preamp

characteristics, speaker sizes, and cabinet shapes.

Parameter/
Range

ON/OFF

OFF, ON

TYPE

This sets the type of the preamp.

BOSS CLEAN

JC-120 This is the sound of the Roland JC-120.

JAZZ COMBO This is a sound suited to jazz.

JC CLEAN

FULL RANGE

CLEAN TWIN This models a Fender TWIN REVERB.

PRO CRNCH This models a Fender PRO REVERB.

TWEED

TW CLEAN

DELUX
CRNCH

BOSS CRNCH

BLUES This is a sound suited to blues.

WILD
CRNCH

CRUNCH

STACK
CRNCH

VO DRIVE

VO LEAD

COMBO

VO CLEAN

Explanation

Turns the AMP effect on/off.

This is a clean sound that is smooth and
warm.

This is a sound with flat response.
Good for acoustic guitar.

This models a Fender Bassman 4 x 10”
Combo.

This models a Fender DELUXE RE­VERB.

This is a crunch sound that can faithful­ly reproduce the nuances of picking.

This is a crunch sound with wild dis­tortion.

This is a crunch sound with high gain.

This models the drive sound of a VOX
AC-30TB.
This is a sound that it suited to sixties­style British rock.

This models the lead sound of the VOX
AC-30TB.

This models the clean sound of the
VOX AC-30TB.

68

Using Insert Effects

Parameter/
Range

Explanation

This models the sound input to left in-

MATCH
DRIVE

put on a Matchless D/C-30.
A simulation of the latest tube amp
widely used in styles from blues and
rock.

MATCH

FAT MATCH

MATCH
LEAD

This models the sound of a Matchless
with a modified high gain.

This models the sound input to right
input on a Matchless D/C-30.

This models the lead sound of the

BG LEAD

MESA/Boogie combo amp.
The sound of a tube amp typical of the
late ‘70s to ‘80s.

BG DRIVE

BG LEAD

BG RHYTHM

This models a MESA/Boogie with
TREBLE SHIFT SW on.

This models the rhythm channel of a
MESA/Boogie.

This models the sound input to Input I

MS1959 I

on a Marshall 1959.
This is a trebly sound suited to hard
rock.

The sound of connecting inputs I and II

MS CLASSIC

MS1959 I+II

of the guitar amp in parallel, creating a
sound with a stronger low end than I.

MS HIGAIN

This models the sound of a Marshall
with a modified midrange boost.

This is a Marshall sound that’s been

MS SCOOP

tweaked for metal sound.

MS MODERN

Models the sound of the Channel 2

R-FIER VNT

VINTAGE Mode on the MESA/Boogie
DUAL Rectifier.

Models the sound of the Channel 2

R-FIER MDN

R-FIER

MODERN Mode on the MESA/Boogie
DUAL Rectifier.

Models the sound of the Channel 1

R-FIER CLN

CLEAN Mode on the MESA/Boogie
DUAL Rectifier.

T-AMP LEAD

T-AMP
CRNCH

T-AMP

T-AMP
CLEAN

BOSS DRIVE

SLDN

LEAD STACK This is a lead sound with high gain.

HI-GAIN

HEAVY LEAD

This models a Hughes & Kettner Tri­amp AMP3.

This models a Hughes & Kettner Tri­amp AMP2.

This models a Hughes & Kettner Tri­amp AMP1.

This is a drive sound producing awe­some distortion.

This models a Soldano SLO-100.
This is the typical sound of the eighties.

A powerful lead sound featuring ex­treme distortion.

Parameter/
Range

BOSS METAL

5150 DRIVE

METAL LEAD This is a lead sound suited to metal.

METAL

EDGE LEAD

Explanation

This is a metal sound suited to heavy
riffs.

This models the lead channel of a
Peavey EVH 5150.

This is a sharp sound suited for lead
play.

GAIN

0–120

Adjusts the distortion of the amp.

BASS

0–100

Adjusts the tone for the low frequency
range.

MIDDLE

0–100

Adjusts the tone for the middle fre­quency range.

TREBLE

0–100

Adjusts the tone for the high frequency
range.

PRESENCE

0–100

Adjusts the tone for the ultra high fre­quency range.

LEVEL

Adjusts the volume of the entire

0–100

preamp.

* Be careful not to raise the Level setting

too high.

BRIGHT

Turns the bright setting on/off.

* The BRIGHT parameter setting is only partially available

with some JC CLEAN, TW CLEAN, CRUNCH, or BG
LEAD settings in Preamp Type.

OFF

ON

Bright is not used.

Bright is switched on to create a lighter
and crisper tone.

GAIN SW

Provides for selection from three levels
of distortion: LOW, MIDDLE, and
HIGH.

LOW,
MIDDLE,
HIGH

Distortion will successively increase
for settings of LOW, MIDDLE and
HIGH.

* The sound of each Type is created on the

basis that the Gain is set to MIDDLE.
So, normally set it to MIDDLE.

SP TYPE (Speaker Type)

Select the speaker type.

OFF This turns off the speaker simulator.

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Parameter/
Range

ORIGINAL

1x8”

1x10”

1x12”

2x12”

4x10”

4x12”

8x12”

Explanation

This is the built-in speaker of the amp
you selected with PREAMP TYPE.

This is a compact open-back speaker
cabinet with one 8-inch speaker.

This is a compact open-back speaker
cabinet with one 10-inch speaker.

This is a compact open-back speaker
cabinet with one 12-inch speaker.

This is a general open-back speaker
cabinet with two 12-inch speakers.

This is an optimal speaker cabinet for a
large enclosed amp with four 10-inch
speakers.

This is an optimal speaker cabinet for a
large enclosed amp with four 12-inch
speakers.

This is a double stack of two cabinets,
each with four 12-inch speakers.

MIC TYPE

This setting selects the simulated microphone type.

This is the sound of the SHURE SM-57.

DYN57

DYN421

CND451

CND87

FLAT

General dynamic microphone used for
instruments and vocals. Optimal for
use in miking guitar amps.

This is the sound of the SENNHEISER
MD-421.

Dynamic microphone with extended low end.

This is the sound of the AKG C451B.
Small condenser microphone for use
with instruments.

This is the sound of the NEUMANN
U87.

Condenser microphone with flat response.

Simulates a microphone with perfectly
flat response. Produces a sonic image
close to that of listening to the sound
directly from the speakers (on site).

MIC DIS (Mic Distance)

Simulates the distance between the microphone and speaker.

OFF MIC

ON MIC

This setting points the microphone
away from the speaker.

Provides conditions whereby the micro­phone is directed more towards the speaker.

MIC POS (Mic Position)

This simulates the microphone position.

CENTER

1–10

Simulates the condition that the microphone
is set in the middle of the speaker cone.

Simulates the condition that the micro­phone is moved away from the center
of the speaker cone.

Parameter/
Range

Explanation

MIC LEV (Mic Level)

0–100

Adjusts the volume of the microphone.

D.LEVEL (Direct Level)

0–100

Adjusts the volume of the direct sound.

With “BASS MULTI” or “GUITAR TO
BASS” algorithms

Parameter/
Range

ON/OFF

OFF, ON

TYPE

This sets the type of the preamp.

SUPER FLAT An amp with flat response.

FLIP TOP Models the Ampeg B-15.

B MAN Models the Fender Bassman 100.

CONCERT 810

BASS 360 Models the acoustic 360.

T.E. Models the Trace Elliot AH600SMX.

SESSION Models the SWR SM-400.

AC BASS An amp ideal for ACOUSTIC BASS.

GAIN

0–100

BASS

0–100

MIDDLE

0–100

MID FREQ (Middle Frequency) *1

220Hz, 800Hz,

3.0kHz

TREBLE

0–100

PRESENCE *2

0–100

LEVEL

0–100

Explanation

Turns the AMP effect on/off.

Models the Ampeg SVT.

Adjusts the distortion of the amp.

Adjusts the tone for the low frequency
range.

Adjusts the tone for the middle frequency
range.

Specifies the center of the frequency range
that will be adjusted by the Mid Freq.

Adjusts the tone for the high frequency
range.

Adjusts the tone for the ultra high frequen­cy range.

Adjusts the volume of the entire preamp.

* Be careful not to raise the Level setting too

high.

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Using Insert Effects

Parameter/
Range

Explanation

BRIGHT *3

Turns the bright setting on/off.

OFF Bright is not used.

ON

Bright is switched on to create a lighter and
crisper tone.

DEEP *4

OFF, ON

This switch changes the character of the
lower range.

ULTRA LO *5

-, 0, +

This controls the character of the lower
range.

ULTRA HI *5

OFF, ON

This controls the ultra high-frequency
range lying beyond treble.

PRE SHAPE *6

OFF, 1, 2

This is a shape switch that adds a particular
nuance to the midrange.

ENHANCER *7

0–100

This controls the clarity and presence of the
sound.

RESPONSE *1

This controls the overall amp characteris-

BASS, FLAT

tics. Select the position corresponding to
the characteristics for one of the two types
of sound.

SP TYPE (Speaker Type)

Select the speaker type.

OFF This turns off the speaker simulator.

ORIGINAL

1x15”

1x18”

2x15”

4x10”

8x10”

This is the built-in speaker of the amp you
selected with PREAMP TYPE.

This is a compact open-back speaker cabi­net with one 15-inch speaker.

This is a compact open-back speaker cabi­net with one 18-inch speaker.

This is a general open-back speaker cabinet
with two 15-inch speakers.

This is an optimal speaker cabinet for a
large enclosed amp with four 10-inch
speakers.

This is a double stack of two cabinets, each
with four 10-inch speakers.

MIC POS (Mic Position)

This simulates the microphone position.

Simulates the condition that the micro-

CENTER

phone is set in the middle of the speaker
cone.

Parameter/
Range

1–10

Explanation

Simulates the condition that the micro­phone is moved away from the center of
the speaker cone.

MIC LEV (Mic Level)

0–100

Adjusts the volume of the microphone.

D.LEVEL (Direct Level)

0–100

*1 Setting available when TYPE is set to FLIP TOP, B MAN,

CONCERT 810, T.E., or SESSION.

*2 Setting available when TYPE is set to SUPER FLAT or AC

BASS.

*3 Setting available when TYPE is set to FLIP TOP,

CONCERT 810, or BASS 360.

*4 Setting available when TYPE is set to B MAN.

*5 Setting available when TYPE is set to CONCERT 810.

*6 Setting available when TYPE is set to T.E.

*7 Setting available when TYPE is set to SESSION.

Adjusts the volume of the direct sound.

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EQUALIZER

This adjusts the tone as a equalizer. A parametric type is

adopted for the high-middle and low-middle range.

Parameter/
Range

ON/OFF

OFF, ON

LOW CUT (Low Cut Filter)

FLAT,
55Hz–800Hz

LOW GAIN

-20–+20dB

LOW-MID F (Low Middle Frequency)

20.0Hz–

10.0kHz

LOW-MID Q (Low Middle Q)

0.5–16

LOW-MID G (Low Middle Gain)

-20–+20dB

HI-MID F (High Middle Frequency)

20.0Hz–

10.0kHz

HI-MID Q (High Middle Q)

0.5–16

HI-MID G (High Middle Gain)

-20–+20dB

HIGH GAIN

-20–+20dB

HIGH CUT (High Cut Filter)

700Hz–

11.0kHz,
FLAT

LEVEL

-20–+20dB

Explanation

Turns the EQUALIZER effect on/off.

This sets the frequency at which the low cut
filter begins to take effect. When “FLAT” is
selected, the low cut filter will have no ef­fect.

Adjusts the low frequency range tone.

Specifies the center of the frequency range
that will be adjusted by the LO-MID G.

Adjusts the width of the area affected by
the EQ centered at the LO-MID F.
Higher values will narrow the area.

Adjusts the low-middle frequency range
tone.

Specifies the center of the frequency range
that will be adjusted by the HI-MID G.

Adjusts the width of the area affected by
the EQ centered at the HI-MID F.
Higher values will narrow the area.

Adjusts the high-middle frequency range
tone.

Adjusts the high frequency range tone.

This sets the frequency at which the high
cut filter begins to take effect. When
“FLAT” is selected, the high cut filter will
have no effect.

Adjusts the overall volume level of the
equalizer.

NOISE SUPPRESSOR

This effect reduces the noise and hum picked up by guitar

pickups. Since it suppresses the noise in synchronization

with the envelope of the guitar sound (the way in which the

guitar sound decays over time), it has very little effect on

the guitar sound, and does not harm the natural character of

the sound.

Parameter/
Range

ON/OFF

OFF, ON

THRESHOLD

0–100

RELEASE

0–100

Explanation

Turns the NOISE SUPPRESSOR effect on/
off.

Adjust this parameter as appropriate for
the volume of the noise.
If the noise level is high, a higher setting is
appropriate. If the noise level is low, a low­er setting is appropriate. Adjust this value
until the decay of the guitar sound is as nat­ural as possible.

* High settings for the threshold parameter

may result in there being no sound when
you play with your guitar volume turned
down.

Adjusts the time from when the noise sup­pressor begins to function until the noise
level reaches “0.”

72

Using Insert Effects

MODULATION

Use TYPE to select the effect that you want to use.

Parameter/
Range

ON/OFF

OFF, ON

MOD TYPE (Modulation Type)

This selects the type of modulation.

* The available types will depend on the algorithm. For details

on the types that can be used with each algorithm, refer to
“Algorithm List” (p. 59).

ENHANCER

GTR SIM Guitar Simulator P.73

BASS SIM Bass Simulator P.74

SLOW GEAR Slow Gear P.74

DEFRETTER Defretter P.74

SITAR SIM Sitar Simulator p. 75

OCTAVE Octave p. 75

P SHIFTER Pitch Shifter p. 75

PHASER Phaser p. 76

FLANGER Flanger p. 76

TREMOLO Tremolo p. 76

ROTARY Rotary p. 77

UNI-V Uni-Vibe p. 77

PAN Pan p. 77

VIBRATO Vibrato p. 77

RING MOD Ring Modulator p. 77

CHORUS Chorus p. 78

DBL DELAY Doubling Delay p. 78

ENHANCER

This is an effect that clarifies the contour of the input sound

by emphasizing the attack of the sound following changes

in the input level.

Parameter/
Range

SENS (Sensitivity)

0–100

LOW FREQ (Low Frequency)

31.5Hz–125Hz

Explanation

Turns the MODULATION effect on/off.

Enhancer P.73

Explanation

This adjusts the Enhancer sensitivity.
The more the value is increased, the more
softly you can play and still have the effect
applied.

Sets the low frequency range for the en­hanced sound.

Parameter/
Range

Explanation

LOW LEVEL

0–100

Adjusts the enhancer volume for the low
frequency range.

HIGH FREQ (High Frequency)

800Hz–

8.00kHz

Sets the high frequency range for the en­hanced sound.

HIGH LEVEL

0–100

Adjusts the enhancer volume for the high
frequency range.

GTR SIM (Guitar Simulator)

Simulation of the characteristics of particular guitar

components such as pickups and different guitar bodies

allows you to switch among a number of different guitar

types all while using a single guitar.

Parameter/
Range

TYPE

Selects the type of the guitar simulator.

S→H

H→S

H→HF

S→HOLLOW

H→HOLLOW

LOW

-50–+50

HIGH

-50–+50

BODY

0–100

LEVEL

0–100

Explanation

Changes from a single-coil pickup tone to a
humbucking pickup tone.

Changes from a humbucking pickup tone
to a single-coil pickup tone.

Changes from a humbucking pickup tone
to a single-coil pickup half tone.

Changes a single-coil pickup tone to a full­acoustic guitar tone with the body
resonance added.

Changes a humbucking pickup tone to a
full-acoustic guitar tone with the body res­onance added.

Adjusts the tone for the low frequency
range.

Adjusts the tone for the High frequency
range.

Adjusts the way the body sounds when
Type is set to S → HOLLOW or
H → HOLLOW.
The body sound increases as the value is
raised; reducing the value produces a tone
similar to that from a piezo pickup.

Adjusts the volume.

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BASS SIM (Bass Simulator)

Simulation of the characteristics of particular bass

components such as pickups and different bass bodies

allows you to switch among a number of different bass

types all while using a single bass.

Parameter/
Range

TYPE

Selects the type of the bass simulator.

PAS→ACT

ACT→PAS

SGL→HUM

HUM→SGL

SLD→HLW

SGL→ACO

HUM→ACO

LOW

-50–+50

HIGH

-50–+50

BODY

0–100

LEVEL

0–100

Explanation

Changes from a passive type pickup tone to
an active type pickup tone.

Changes from an active type pickup tone to
a passive type pickup tone.

Changes from a single-coil pickup tone to a
humbucking pickup tone.

Changes from a humbucking pickup tone
to a single-coil pickup tone.

Changes a solid body bass tone to a hollow
body bass tone with the body resonance
added.

Changes a single-coil pickup tone to an
acoustic bass tone.

Changes a humbucking pickup tone to an
acoustic bass tone.

Adjusts the tone for the low frequency
range.

Adjusts the tone for the high frequency
range

Adjusts the way the body sounds when
Type is set to SLD → HLW, SGL → ACO, or
HUM → ACO.
The body sound increases as the value is
raised; reducing the value produces a tone
similar to that from a piezo pickup.

Adjusts the volume.

SLOW GEAR

This produces a volume-swell effect (“violin-like” sound).

Parameter/
Range

Explanation

SENS (Sensitivity)

Adjusts the sensitivity of the slow gear.
When it is set to a lower value, the effect of
the slow gear can be obtained only with a

0–100

stronger picking, while no effect is ob­tained with a weaker picking.
When the value is set higher, the effect is
obtained even with a weak picking.

RISE TIME

Adjusts the time needed for the volume to

0–100

reach its maximum from the moment you
begin picking.

DEFRETTER

This simulates a fretless bass guitar.

Parameter/
Range

TONE

-50–+50

SENS (Sensitivity)

0–100

ATTACK

0–100

E.LEVEL (Effect Level)

0–100

D.LEVEL (DIRECT Level)

0–100

Explanation

Adjusts the amount of blurring between
the notes.

This controls the input sensitivity of the de­fretter.

Adjusts the attack of the picking sound.

Adjust the volume of the defretter sound.

Adjust the volume of the direct sound.

74

Using Insert Effects

SITAR SIM (Sitar Simulator)

This simulates the sound of the sitar.

Parameter/
Range

Explanation

TONE

This adjusts the tone.

-50–+50

The high end is boosted as the value in­creases.

SENS (Sensitivity)

Adjusts the sensitivity of the sitar.
When it is set to a lower value, no effect of
the sitar is obtained with weaker picking,

0–100

while stronger picking produces the effect.
When it is set to a higher value, the effect of
the sitar can be obtained whether the pick­ing is weak or strong.

DEPTH

0–100

This adjusts the amount of effect applied.

RESONANCE

0–100

This adjusts the undulation of the reso­nance.

BUZZ

0–100

Adjusts the amount of characteristic buzz
produced by the “buzz bridge” when the
strings make contact with it.

E.LEVEL (Effect Level)

0–100

Adjust the volume of the sitar sound.

D.LEVEL (Direct Level)

0–100

Adjust the volume of the direct sound.

OCTAVE

This adds a note one octave lower, creating a richer sound.

Because of the need to analyze the pitch, chords (two or

more sounds played simultaneously) cannot be played.

Parameter/
Range

OCT LEVEL (Octave Level)

0–100

D.LEVEL (Direct Level)

0–100

Explanation

Adjusts the volume of the sound one octave
below.

Adjusts the volume of the direct sound.

P SHIFTER

This effect changes the pitch of the original sound (up or

down) within a range of two octaves.

Parameter/
Range

TYPE

Selects either manual pitch shifter “MANUAL” or pedal
pitch shifter “PEDAL.”

MANUAL This is a simple pitch shifter.

PEDAL

MODE

Selection for the pitch shifter mode.

FAST,
MEDIUM
SLOW

PITCH

-24–+24

FINE

-50–+50

PRE DELAY

0ms–300ms

FBK (Feedback)

0–100

LEVEL

0–100

D.LEVEL (Direct Level)

0–100

Explanation

The effect will function as a pedal pitch
shifter.
The effect of the wah pedal can be obtained
by operating the Expression pedal.
For a detailed explanation, see “Using an
Expression Pedal” (p. 131).

The response is slower in the order of

,

FAST, MEDIUM and SLOW, but the mod­ulation is lessened in the same order.

Adjusts the amount of pitch shift (the
amount of interval) in semitone steps.

Make fine adjustments to the interval.
The amount of the change in the Fine 100 is
equivalent to that of the Pitch 1.

Adjusts the time from when the direct
sound is heard until the pitch shifted
sounds are inputted. Normally you can
leave this set at 0ms.

Adjusts the feedback amount of the pitch
shift sound.

Adjusts the volume of the pitch shifter

Adjusts the volume of the direct sound.

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PHASER

By adding varied-phase portions to the direct sound, the

phaser effect gives a whooshing, swirling character to the

sound.

Parameter/
Range

TYPE

Selects the number of stages that the phaser effect will use.

4 STAGE

8 STAGE

12 STAGE

BI-PHASE

RATE

0–100

DEPTH

0–100

MANUAL

0–100

RESONANCE

0–100

STEP RATE

OFF, 0–100

E.LEVEL (Effect Level)

0–100

D.LEVEL (Direct Level)

0–100

Explanation

This is a four-phase effect. A light phaser
effect is obtained.

This is an eight-phase effect. It is a popular
phaser effect.

This is a twelve-phase effect. A deep phase
effect is obtained.

This is the phaser with two phase shift cir­cuits connected in series.

This sets the rate of the phaser effect.

Determines the depth of the phaser effect.

Adjusts the center frequency of the phaser
effect.

Determines the amount of resonance (feed­back). Increasing the value will emphasize
the effect, creating a more unusual sound.

This sets the cycle of the step function that
changes the rate and depth.
When it is set to a higher value, the change
will be finer. Set this to “OFF” when not us­ing the Step function.

Adjusts the volume of the phaser.

Adjusts the volume of the direct sound.

FLANGER

The flanging effect gives a twisting, jet-airplane-like

character to the sound.

Parameter/
Range

Explanation

RATE

0–100

This sets the rate of the flanging effect.

DEPTH

0–100

Determines the depth of the flanging effect.

MANUAL

0–100

Adjusts the center frequency at which to
apply the effect.

RESONANCE

Determines the amount of resonance (feed-

0–100

back).
Increasing the value will emphasize the ef­fect, creating a more unusual sound.

SEPARATION

0–100

Adjusts the diffusion. The diffusion in­creases as the value increases.

E.LEVEL (Effect Level)

0–100

Adjusts the volume of the flanger.

D.LEVEL (Direct Level)

0–100

Adjusts the volume of the direct sound.

TREMOLO

Tremolo is an effect that creates a cyclic change in volume.

Parameter/
Range

WAVE SHAPE

0–100

RATE

0–100

DEPTH

0–100

Explanation

Adjusts changes in volume level.
A higher value will steepen wave’s shape.

Adjusts the frequency (speed) of the
change.

Adjusts the depth of the effect.

76

Using Insert Effects

ROTARY

This produces an effect like the sound of a rotary speaker.

Parameter/
Range

Explanation

SPEED SEL (Speed Select)

SLOW, FAST

This parameter changes the simulated
speaker’s rotating speed (SLOW or FAST).

RATE-SLOW

0–100

This parameter adjusts the SPEED SEL of
rotation when set to “SLOW.”

RATE-FAST

0–100

This parameter adjusts the SPEED SEL of
rotation when set to “FAST.”

RISE TIME

This parameter adjusts the time it takes for

0–100

the rotation SPEED SEL to change when
switched from “SLOW” to “FAST.”

FALL TIME

0–100

This parameter adjusts the time it takes for
the rotation SPEED SEL to change when
switched from “FAST” to “SLOW.”

DEPTH

0–100

This parameter adjusts the amount of
depth in the rotary effect.

UNI-V (Uni-Vibe)

This models a Uni-Vibe.

Although this resembles a phaser effect, it also provides a

unique undulation that you can’t get with a regular phaser.

Parameter/
Range

RATE

0–100

DEPTH

0–100

LEVEL

0–100

Explanation

Adjusts the rate of the UNI-V effect.

Adjusts the depth of the UNI-V effect.

Adjusts the volume.

PAN

With the volume level of the left and right sides alternately

changing, when playing sound in stereo, you can get an

effect that makes the guitar sound appear to fly back and

forth between the speakers.

Parameter/
Range

Explanation

WAVE SHAPE

0–100

Adjusts changes in volume level.
A higher value will steepen wave’s shape.

RATE

0–100

Adjusts the frequency (speed) of the
change.

DEPTH

0–100

Adjusts the depth of the effect.

VIBRATO

This effect creates vibrato by slightly modulating the pitch.

Parameter/
Range

Explanation

RATE

0–100

Adjusts the rate of the vibrato.

DEPTH

0–100

Adjusts the depth of the vibrato.

RING MOD (Ring Modulator)

This creates a bell-like sound by ring-modulating the guitar

sound with the signal from the internal oscillator. The

sound can be unmusical and lack distinctive pitches.

Parameter/
Range

FREQUENCY

0–100

E.LEVEL (Effect Level)

0–100

D.LEVEL (Direct Level)

0–100

Explanation

Adjusts the frequency of the internal oscil­lator.

Adjusts the volume of the effect sound.

Adjusts the volume of the direct sound.

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Using Insert Effects

CHORUS

In this effect, a slightly detuned sound is added to the

original sound to add depth and breadth.

Parameter/
Range

MODE

Selection for the chorus mode.

MONO

STEREO1

STEREO2

RATE

0–100

DEPTH

0–100

PRE DELAY

0.0ms–40.0ms

E.LEVEL (Effect Level)

0–100

Explanation

This chorus effect outputs the same sound
from both L channel and R channel.

This is a stereo chorus effect that adds dif­ferent chorus sounds to L channel and R
channel.

This stereo chorus uses spatial synthesis,
with the direct sound output in the L
channel and the effect sound output in the
R channel.

Adjusts the rate of the chorus effect.

Adjusts the depth of the chorus effect.

To use it for doubling effect, set the

value to 0.

Adjusts the time needed for the effect
sound to be output after the direct sound
has been output.
By setting a longer pre delay time, you can
obtain an effect that sounds like more than
one sound is being played at the same time
(doubling effect).

Adjusts the volume of the effect sound.

DBL DELAY (Doubling Delay)

By adding a slightly time-delayed sound to the direct

sound, this produces the impression that multiple sources

are sounding together (a “doubling” effect). Best results will

be achieved when stereo recording.

Parameter/
Range

DLY TME (Delay Time)

0.5–50.0 ms

SEPARATION

-50–+50

E.LEVEL (Effect Level)

0–120

Explanation

This parameter adjusts the delay time (i.e.,
the interval for which sound is delayed).

Adjusts the diffusion. The panning of the
direct sound and effect sound can be
spread to left and right.
This effect is obtained with stereo record­ing (using two tracks).

This adjusts the volume of the delay sound.

78

Using Insert Effects

DELAY

This effect adds delayed sound to the direct sound, giving

more body to the sound or creating special effects.

Parameter/
Range

ON/OFF

OFF, ON

TYPE

This selects which type of delay.

STANDARD This is a simple delay.

PAN

DLY TIME (Delay Time)

1ms–3400ms

FEEDBACK

0–100

HIGH CUT (High Cut Filter)

700Hz–11kHz,
FLAT

E.LEVEL (Effect Level)

0–120

D.LEVEL (Direct Level)

0–100

TAP TIME

0–100%

*1 Setting available when TYPE is set to PAN.

Explanation

Turns the DELAY effect on/off.

This delay is specifically for stereo output.
This allows you to obtain the tap delay ef­fect that divides the delay time, then deliv­er them to L and R channels.

fig.04-050

E.LEVEL

INPUT

This determines the delay time.

This sets the amount of delay sound re­turned to the input.
A higher value will increase the number of
the delay repeats.

Feedback is returning a delay signal to the

input.

This sets the frequency at which the high
cut filter begins to take effect. When
“FLAT” is selected, the high cut filter will
have no effect.

Adjusts the volume of the delay sound.

Adjusts the volume of the direct sound.

Adjusts the delay time of the left channel
delay.
This setting adjusts the L channel delay
time relative to the R channel delay time
(considered as 100%).

DELAY

FEEDBACK

TAP TIME
OUTPUT L

DLY TIME
OUTPUT R

ACOUSTIC SIMULATOR

Simulation of the characteristics of particular guitar

components such as pickups and different guitar bodies

allows you to switch among a number of different guitar

types all while using a single guitar.

Parameter/
Range

Explanation

ON/OFF

OFF, ON

Turns the ACOUSTIC SIMULATOR effect
on/off.

TYPE

Selects the type of the acoustic simulator.

S→AC

H→AC

Changes a single-coil pickup tone to an
acoustic guitar tone.

Changes a humbucking pickup tone to an
acoustic guitar tone.

LOW

-50–+50

Adjusts the tone for the low frequency
range.

HIGH

-50–+50

Adjusts the tone for the high frequency
range

BODY

Adjusts the way the body sounds when

0–100

Type is set to S → AC or H → AC.
The body sound increases as the value is
raised; reducing the value produces a tone
similar to that from a piezo pickup.

LEVEL

0–100

Adjusts the volume.

GUITAR TO BASS

Simulates the sound of a bass guitar. Obtain the sound of a

bass guitar while playing an electric guitar.

You should avoid playing chords when using the

GUITAR TO BASS.

Parameter/
Range

ON/OFF

OFF, ON

Explanation

Turns the GUITAR TO BASS effect on/off.

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Parameter/
Range

Explanation

TYPE

Select the type of GUITAR TO BASS processor.

JB The sound of a Fender Jazz Bass.

PB The sound of a Fender Precision Bass.

REAR VOL (Rear Volume) *1

0–100

Sets the volume of the rear pickup. With a
setting of 0, there will be no sound.

FRONT VOL (Front Volume) *1

0–100

Sets the volume of the front pickup. With a
setting of 0, there will be no sound.

TONE

0–100

Adjusts the tone.

LEVEL

0–100

*1 Setting available when TYPE is set to JB.

Adjusts the volume.

ACOUSTIC PROCESSOR

This transforms the pickup output of an electro-acoustic

guitar into a richer sound, as though it had been recorded

using a microphone.

Parameter/
Range

ON/OFF

OFF, ON

TYPE

Select the type of acoustic processor.

BRIGHT

WARM

BODY

0–100

LEVEL

0–100

Explanation

Turns the ACOUSTIC PROCESSOR effect
on/off.

This is a bright sound that emphasizes the
string resonances.

This is a warm sound that emphasizes the
body resonances.

This adjusts the sound of the body reso­nances. It controls the tonal warmth that is
distinctive of an acoustic guitar.

Adjusts the volume.

PITCH CORRECT

Corrects inaccuracies in the pitch.
With certain settings, pitch correct can make the pitch
change in a coarse “stair-step” fashion to produce a
mechanical vocal tone.

Parameter/
Range

Explanation

ON/OFF

OFF, ON

Turns the PITCH CORRECT effect on/off.

TYPE

Select the type of PITCH CORRECT.

SOFT The pitch will be corrected smoothly.

HARD The pitch will be corrected quickly.

ELECTRIC

ROBOT Corrects the pitch to the specified note.

Corrects pitch variation to a stair-step
change.

SCALE *1

CHROMATIC

MAJ (MIN)

The pitch is corrected to the nearest chro­matic semitone.

The pitch is corrected according to the Key
setting.

KEY *2

C–B, Cm–Bm

Specifies the key of the song you’re singing.

NOTE *3

C–B

Fixes the pitch.

GENDER

-10–0–+10

Changes your voice to a masculine or fem­inine character.

OCTAVE

-1OCT, 0,
+1OCT

*1 Setting available when TYPE is set to SOFT, HARD,

or ELECTRIC.

*2 Setting available when SCALE is set to MAJ (MIN).

*3 Setting available when TYPE is set to ROBOT.

Specifies the amount by which the pitch
will change.

DYNAMICS

Makes the volume more consistent.

Parameter/
Range

ON/OFF

OFF, ON

DEPTH

0–100

ENHANCE

0–10

Explanation

Turns the DYNAMICS effect on/off.

Adjusts the depth of DYNAMICS.

Adjusts the depth of the Enhance effect.
Higher settings will give the sound sharper
definition.

80

Using Insert Effects

TONE/SFX

Adjusts the tonal character or applies special effects.

Parameter/
Range

Explanation

ON/OFF

OFF, ON

Turns the TONE/SFX effect on/off.

TYPE

DISTORTION

RADIO Produces a radio voice.

STROBE Finely slices the voice.

CHORUS Adds richness to the voice.

FLANGER Adds a “swooshing” modulation.

Produces a distorted voice.

DRIVE *1

0–100

Adjusts the degree of distortion.

TONE *1

-50–0–+50

Adjusts the tonal character.

SPEED *2

0–100

Specifies the speed.

DEPTH *3

0–100

*1 Setting available when TYPE is set to DISTORTION.

*2

Setting available when TYPE is set to STROBE or FLANGER.

*3 Setting available when TYPE is set to CHORUS.

Adjusts the depth of CHORUS.

DOUBLE/HARMONY

Produces a double-tracked effect or harmony effect. You

can layer up to two parts (PART 1 and PART 2).

What is double-tracking?

This is a popular recording studio technique in which a

vocalist records a melody, then overdubs a second

performance of the same melody along with the first

recording. When the two performances are played back

together, it gives the effect of a thick and rich single

voice.

Parameter/
Range

ON/OFF

OFF, ON

PART1TYPE

DOUBLE

Explanation

Turns the DOUBLE/HARMONY effect
on/off.

Produces a double-tracking effect.

Parameter/
Range

-1OCT– +1OCT

UNISON

Explanation

If you’ve specified the key of your song,
harmony that is suitable for that key will
be added at the interval you specify here.

By changing the vocal character, this pro­duces the impression that another person
is singing the same melody along with
you.

PART1DBL (Part 1 Double) *1

LIGHT,
NORMAL,
DEEP

Adjusts the intensity of the Double effect
in three levels (LIGHT / NORMAL /
DEEP).

PART1LEVEL *2

0–100

Adjusts the volume of the part.

PART1GENDER *2

-10–0–+10

Transforms the voice by giving it a mascu­line or feminine character.

PART1PAN

L50–CENTER–
R50

Specifies the panning (stereo position) of
the sound.

PART2TYPE

DOUBLE

-1OCT– +1OCT

UNISON

Produces a double-tracking effect.

If you’ve specified the key of your song,
harmony that is suitable for that key will
be added at the interval you specify here.

By changing the vocal character, this pro­duces the impression that another person
is singing the same melody along with
you.

PART2DBL (Part 2 Double) *1

LIGHT,
NORMAL,
DEEP

Adjusts the intensity of the Double effect
in three levels (LIGHT / NORMAL /
DEEP).

PART2LEVEL *2

0–100

Adjusts the volume of the part.

PART2GENDER *2

-10–0–+10

Transforms the voice by giving it a mascu­line or feminine character.

PART2PAN

L50–CENTER–
R50

Specifies the panning (stereo position) of
the sound.

KEY *2

C–B, Cm–Bm

*1 Setting available when TYPE is set to DOUBLE.

*2 Setting available when TYPE is set to -1OCT – +1OCT or

UNISON.

Specifies the key of the song you’re sing­ing.

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Using Insert Effects

LOW CUT

This filter cuts out vocal pop and other unwanted low-band

noise.

Parameter/
Range

Explanation

ON/OFF

OFF, ON

Turns the LOW CUT effect on/off.

DEPTH

This parameter sets the frequency below

20 –2000 Hz

which vocal pop and other undesirable
lower-range noises will be filtered out.

LO-FI

This effect is used to produce a lo-fi sound.

Parameter/
Range

ON/OFF

OFF, ON

TYPE

Select the type of lo-fi box.

RADIO

VINYL

DIGITAL

TUNING *1

0–100

WOW FLUTTER *2

0–100

NOISE *3

0–100

Explanation

Turns the LO-FI effect on/off.

The audio will sound as if it is being played
on an AM radio.
By adjusting “TUNING,” you can simulate
the transient sounds that would occur as
you adjust the radio’s tuning frequency.

The audio will sound as if it is being played
on a gramophone.
Needle noise caused by scratches and dust
on the record is also simulated.

This setting allows you to create a lo-fi
sound by lowering the sample rate and/or
decreasing the number of bits.
A bank of series-connected real-time modify
filters allow the sound to be freely reshaped.

This parameter is used with the RADIO set­ting.
It simulates the transient sounds that would
occur as you adjust the AM radio’s tuning
frequency.

This parameter is used with the VINYL set­ting.
It simulates the wow and flutter that occur
when the speed of the turntable is not con­stant.

This parameter is used to simulate noise.

Parameter/
Range

Explanation

FILTER *3

0–100 This parameter adjusts the filter.

D:E *3

100:0–0:100

This adjusts the balance of the direct and ef­fect volumes.

PRE FILTER *4

This filter reduces the amount of digital dis-

OFF, ON

tortion. When turned off, it allows you to
create an intense lo-fi sound that includes
digital distortion.

SAMPLE RATE *4

OFF,
1/2–1/32

This parameter allows you to modify the
sampling rate.

BIT *4

Modifies the number of data bits. When
turned off, the number of data bits will re­main unchanged.

OFF, 15–1

If an extremely low number of bits is select­ed, certain input sources may result in loud
noises being input, even when there is no in­put sound. In such a case, raise the noise
suppressor’s threshold.

POST FILTER *4

This filter reduces the amount of digital dis-

OFF, ON

tortion produced by the lo-fi. By turning this
off, you can create an extremely lo-fi sound.

E.LEVEL (Effect Level) *4

0–100

Adjusts the overall volume of the lo-fi
sound.

D.LEVEL (Direct Level) *4

0–100

Adjusts the volume of the direct sound.

MODIFY FIL (Modify Filter) *4

Select the effect of modify filter.

OFF No modify filter will be used.

LPF A low-pass filter will be used.

BPF A band-pass filter will be used.

HPF A high-pass filter will be used.

CUTOFF F *4

0–100

This parameter adjusts the cutoff frequency.

RESONANCE *4

0–100

This parameter adjusts the resonance.

GAIN *4

0– +24 dB

*1 Setting available when TYPE is set to RADIO.

*2 Setting available when TYPE is set to VINYL.

*3 Setting available when TYPE is set to RADIO or VINYL.

*4 Setting available when TYPE is set to DIGITAL.

Adjusts the volume level of the sound that
has passed through the modify filter.

82

Adding a Sense of Spaciousness

By making use of the BR-800’s onboard “Loop Effects,” you

can add a sense of spaciousness and depth to your sounds.

You can adjust the effect depth by adjusting the send level

from each input or track to the loop effect.

Since each input and track has its own independent send

level, you can make adjustments separately; for example,

you might apply deep reverberation to the vocal, but

shallow reverberation to the drums.

Adjusting the Loop Effect Depth

Here’s how to adjust the send level of each track to change

the depth of the loop effect.

1

Press the [TRACK] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “REVERB” or “CHO/DLY,” and press the

[ENTER] button.

The send level edit screen will appear.

For REVERB

D_Reverb_Track1.eps

3

Use the CURSOR [ ] [ ] buttons and the dial to

adjust the send level of each track.

* You can move the cursor to each track by pressing that

track’s track [REC] button.

To adjust the send level of the input source, move the cursor

to “INPUT.” To adjust the send level of the rhythm, move

the cursor to “RHY.” Then use the dial to edit the setting.

4

When you’ve finished adjusting the send levels,

press the [EXIT] button a number of times to return to

the play screen.

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For CHO/DLY

D_Chorus.eps

83

Functions

Appendixes Quick StartGetting Ready

Adding a Sense of Spaciousness

Editing the Loop Effect

1

Press the [TRACK] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “REVERB” or “CHO/DLY,” and press the

[ENTER] button.

The send level screen will appear.

D_Reverb.eps

3

Press the [ENTER] button.

The loop effect parameter edit screen will appear.

For REVERB

D_Reverb_Edit.eps

For CHO/DLY

D_Chorus_Edit.eps

4

Use the CURSOR [ ] [ ] buttons to select a

parameter, and use the dial to edit the value.

For details on the parameters for each effect, refer to

“Parameter List” (p. 84).

5

When you’ve finished editing, press the [EXIT]

button a number of times to return to the play screen.

The loop effect does not have “patches.” Loop effect

settings are saved as part of the song data.

Parameter List

REVERB

This effect adds reverberation to the sound.

Parameter/
Range

TYPE

Select the type of reverb.
Various different simulations of space are offered.

AMBIENCE

ROOM

HALL 1

HALL 2

PLATE

SPRING

MODULATE

REV TIME (Reverb Time)

0.1s–10.0s

PRE DELAY

0ms–500ms

LOW CUT (Low Cut Filter)

FLAT,
55Hz–800Hz

HIGH CUT (High Cut Filter)

700Hz–11kHz,
FLAT

DENSITY

0–10

Explanation

Simulates an ambience microphone (off-mic,
placed at a distance from the sound source)
used in recording and other applications.
Rather than emphasizing the reverberation,
this reverb is used to produce a sense of
openness and depth.

Simulates the reverberation in a small
room. Provides warm reverberations.

Simulates the reverberation in a concert
hall. Provides clear and spacious reverber­ations.

Simulates the reverberation in a concert
hall. Provides mild reverberations.

Simulates plate reverberation (a reverb unit
that uses the vibration of a metallic plate).
Provides a metallic sound with a distinct
upper range.

This simulates the sound of a guitar amp’s
built-in spring reverb.

This reverb adds the wavering sound
found in hall reverb to provide an extreme­ly pleasant reverb sound.

Adjusts the length (time) of reverberation.

Adjusts the time until the reverb sound ap­pears.

This sets the frequency at which the low cut
filter begins to take effect. When “FLAT” is
selected, the low cut filter will have no ef­fect.

This sets the frequency at which the high
cut filter begins to take effect. When
“FLAT” is selected, the high cut filter will
have no effect.

Adjusts the density of the reverb sound.

84

Adding a Sense of Spaciousness

Parameter/
Range

Explanation

E.LEVEL (Effect Level)

0–100

Adjusts the volume of the reverb sound.

SPRG SENS (Spring Sensitivity) *1

Adjusts the sensitivity of the spring reverb

0–100

*1 Setting available when TYPE is set to SPRING.

effect. When the value is set higher, the ef­fect is obtained even with a weak picking.

CHORUS/DELAY

Parameter/
Range

TYPE

Select the type of effect.

CHORUS

DELAY

RATE *1

0 – 100

DEPTH *1

0 – 100

PRE DLY (Pre Delay) *1

0.5 – 50.0ms

E.LEVEL (Effect Level) *1

0 – 100

DLY TME (Delay Time) *2

10 – 1000ms

FEEDBACK *2

0 – 100

E.LEVEL (Effect Level) *2

0 – 100

REV SEND (Reverb SEND) *2

0 – 100

*1 Setting available when TYPE is set to CHORUS.

*2 Setting available when TYPE is set to DELAY.

Explanation

A sound with a subtly shifted pitch is add­ed to the direct sound, making the final out­put sound thicker and broader.

This creates a thicker sound by applying a
delayed sound to the direct sound.

Adjusts the rate of the Chorus effect.

Adjusts the depth of the Chorus effect.

Adjusts the time needed for the effect
sound to be output after the direct sound
has been output.

Adjusts the volume of the effect sound.

This parameter adjusts the delay time (i.e.,
the interval for which sound is delayed).

This parameter adjusts the amount of feed­back. Changing the amount of feedback
causes the number of time the delayed
sound is repeated to change as well.

This adjusts the volume of the delay sound.

Adjust the volume of the reverb that is ap­plied to the delayed sound.

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Functions

Appendixes Quick StartGetting Ready

Adjusting the Tone of Each Track

The BR-800 provides a three-band equalizer that’s

independent for each track. You can use this to adjust the

tone quality of each track.

Editing the Track EQ

1

Press the [TRACK] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “EQ,” and press the [ENTER] button.

The EQ edit screen will appear.

D_EQ.eps

3

Use the CURSOR [ ] [ ] buttons and the dial to

turn each track’s EQ on or off.

* You can move the cursor to each track by pressing that

track’s Track [REC] button.

4

Press the [ENTER] button.

The EQ parameter edit screen will appear.

D_EQ_Edit.eps

Parameter List

Parameter/
Range

ON/OFF

OFF, ON

LOW GAIN

-12–+12dB

LOW FREQ (Low Frequency)

40Hz–1.6kHz

MID GAIN (Middle Gain)

-12–+12dB

MID FREQ (Middle Frequency)

20Hz–10kHz

MID Q (Middle Q)

0.5–16

HIGH GAIN

-12–+12dB

HIGH FREQ (High Frequency)

400Hz–16kHz

Explanation

Turns the EQUALIZER effect on/off.

Adjusts the low frequency range tone.

Specifies the center of the frequency range
that will be adjusted by the LOW GAIN.

Adjusts the middle frequency range tone.

Specifies the center of the frequency range
that will be adjusted by the MID GAIN.

Adjusts the width of the area affected by
the EQ centered at the MID FREQ.
Higher values will narrow the area.

Adjusts the high frequency range tone.

Specifies the center of the frequency range
that will be adjusted by the HIGH GAIN.

5

Use the CURSOR [ ] [ ] buttons to select a

parameter, and use the dial to edit the value.

For more about the track EQ parameters, refer to

“Parameter List” (p. 86).

6

When you’ve finished editing, press the [EXIT]

button a number of times to return to the play screen.

The track EQ does not have “patches.” Track EQ

settings are saved as part of the song data.

86

If you adjust the equalizer while listening to the

sound, you may notice a clicking noise. This is not a

malfunction. If the noise is objectionable, make

adjustments while the sound is not playing.

Using

Rhythm

87

Overview of the Rhythm Section

The BR-800 provides a dedicated rhythm generator that is

separate from the audio tracks 1–7/8.

You can use this rhythm as a guide during recording, or

create an original rhythm backing by arranging various

internal rhythms to match the structure of your song.

Patterns and Arrangements

Broadly speaking, the BR-800’s rhythms consist of

“patterns” and “arrangements.”

■

Patterns

Typically, a drummer playing in a band repeatedly plays

fixed sequences one or two measures in length.

On the BR-800, these basic repeated units are called

“patterns.”

An example of a pattern

For a four-beat rhythm, performance data such as the

following will be played repeatedly.

fig.04-onpu.eps

Snare drum

Repeat

Kick drum

Pattern

Song patterns (S001–S100)

One hundred patterns can be stored for each song on an SD

card.

The preset patterns include patterns for intro, verse,

fill, and ending. The various types can be

distinguished by the characters at the end of the

pattern name.

(Ex)

ROCK1-IN (intro)

ROCK1-V1 (verse 1)

ROCK1-V2 (verse 2)

ROCK1-F1 (fill 1)

ROCK1-F2 (fill 2)

ROCK1-E (ending)

“Preset Pattern List” (p. 151)

IN (intro)

These patterns are suitable for an intro

(introduction).

V (verse) 1, 2

These are the main patterns.

1 is the basic pattern, and 2 is a variation of 1.

F (fill) 1, 2

These are ornamental patterns inserted between

phrase changes. Choose 1 or 2 depending on the

pattern that will follow the fill.

E (ending)

These patterns are suitable for the end of a song.

* You can’t edit the preset patterns or rewrite the data.

Preset patterns (P001–P327)

The BR-800 provides 327 “preset patterns” (P001–P327) that

are suitable for various musical styles such as rock or jazz.

* You can’t edit these patterns or rewrite the data.

For details on how to play patterns, refer to “Playing

Patterns” (p. 91).

88

Using BR-800 Rhythm Editor

By using “BR-800 Rhythm Editor” you can create

your own original patterns, arrangements, and drum

kits using a computer.

“BR-800 Rhythm Editor” is provided on the “BR-800

DVD-ROM.” For details on where to find “BR-800

Rhythm Editor,” refer to “ReadmeEN.txt” on the

“BR-800 DVD-ROM.”

* You won’t be able to create patterns or drum kits

using just the BR-800.

* You must install the USB driver before you connect

the BR-800 to your computer (p. 118).

■

Arrangements

Although a pattern can be used by itself like a metronome

to guide your practicing, that would mean that the rhythm

does not change from the beginning to the end of the song.

If you want to create a song that has musical variation,

you’ll want to place different patterns in an appropriate

order such as intro ➝ chorus ➝ break ➝ ending.

On the BR-800, data that places patterns in a specific order

for performance is called an “arrangement.”

fig.04-010.eps

Intro
Tempo: 120.0

Verse
Tempo: 110.0

Fill
Tempo: 130.0

Preset arrangements (P01–P50)

The BR-800 contains fifty “preset arrangements” (P01–P50)

that are suitable for styles such as rock or jazz.

* You can’t edit the preset arrangements or rewrite the data.

The preset arrangements (except for Metro 4/4) have a

three measure BREAK (rest) following E (ending), and will

then repeat V1 (verse 1).

Overview of the Rhythm Section

About the Drum Sounds (Drum Kits)

Typically, a drum performance uses a set that includes a

variety of percussion instruments (such as kick drum and

snare drum) suitable for that musical style.

The BR-800 provides nine different drum sets that are

suitable for various styles. Each set is called a “drum kit.”

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

“Preset Arrangement List” (p. 150)

Song arrangements (S01–S05)

You can store five arrangements for each song on an SD

card.

In order to play arrangements, the BR-800 must be in

Arrangement mode.

For more about this, refer to “Playing an

Arrangement” (p. 93).

EditingMasteringUsing USBConvenient

Functions

89

Appendixes Quick StartGetting Ready

Overview of the Rhythm Section

Turning the Rhythm On/Off

1

Press the [RHYTHM] button.

The [RHYTHM] button will light, and the rhythm will

turn on.

fig.rhythm_on_off-e.eps

Lit

When you press the [RHYTHM] button once again, the

[RHYTHM] button will go out; rhythm will be off.

Switching between Pattern Mode and Arrangement Mode

The BR-800 lets you use rhythm in either of two modes:

Pattern mode and Arrangement mode.

Pattern mode

The selected pattern will play repeatedly from the

beginning to the end of the song.

Arrangement mode

Patterns will switch as the song progresses, according to the

order of patterns specified in the arrangement.

1

Press the [RHYTHM] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

When in Pattern mode

D_Type_Pattern.eps

90

When in Arrangement mode

D_Type_Arrange.eps

3

Turn the dial to select the desired rhythm mode.

Setting Explanation

PATTERN Pattern mode is selected.
ARRANGE Arrangement mode is selected.

4

Press the [EXIT] button a number of times to return to

the play screen.

Playing Patterns

Here’s how to select one of the internal patterns and make it

play repeatedly.

1

Press the [RHYTHM] button.

The [RHYTHM] button will light, indicating that

Rhythm is turned on.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

3

Turn the dial to select “PATTERN.”

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “PATRN.”

5

Use the CURSOR [ ] [ ] buttons and the dial to

select the pattern that you want to play.

D_Rhythm_Pattern.eps

8

Use the [RHYTHM] fader and the [MASTER] fader to

adjust the volume appropriately.

9

To stop playback, press the [STOP] button.

• When the BR-800 is shipped from the factory, the

song patterns (S001–S100) contain no data, so

nothing will play even if you select them.

• The pattern “P327: BREAK” contains only rests.

No sounds will be heard if you select this pattern.

to Record

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Effects

Using

Rhythm

Setting

P001–P327
S001–S100 Song patterns 1–100 *1

*1 On your computer, you can create your own

original patterns using “BR-800 Rhythm Editor.”

“Using BR-800 Rhythm Editor” (p. 88)

6

Press the [EXIT] button a number of times to return to

the play screen.

7

Press the [PLAY] button.

The recorder will begin playback, and the rhythm will

also play.

Explanation

Preset patterns 1–327

91

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Functions

Appendixes Quick StartGetting Ready

Playing Patterns

Changing the Tempo

Here’s how to change the pattern playback tempo when

you’re in the play screen.

1

Use the CURSOR [ ] [ ] buttons to move the

cursor to the tempo indication.

D_Play_Tempo.eps

2

Turn the dial to adjust the tempo.

The pattern playback tempo will change.

Using [TAP TEMPO] Button to Set the Tempo

You can change the pattern playback tempo by pressing the

[TAP TEMPO] button at the desired timing.

Press the [TAP TEMPO] button at least four times in

succession; the tempo will be set to the timing at which you

pressed the button.

fig.04-290.eps

• The pattern tempo will be saved when recording

ends or when you save the song (p. 109).

One tempo setting is saved for each song.

• The tempo is common to all patterns. You can’t

specify a different tempo for each pattern.

• You can adjust the tempo in a range of 25.0–250.0.

92

Playing an Arrangement

Here’s how to select and play one of the internal

arrangements.

1

Press the [RHYTHM] button.

The [RHYTHM] button will light, indicating that

Rhythm is on.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

3

Turn the dial to select “ARRANGE.”

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “ARRNG.”

5

Use the CURSOR [ ] [ ] buttons and the dial to

choose the arrangement that you want to play.

D_Rhythm_Arrange.eps

9

Use the [RHYTHM] fader and the [MASTER] fader to

adjust the volume appropriately.

10

To stop playback, press the [STOP] button.

When the unit left the factory, “Metro”

(Metronome) was set for the Song Arrangements

(S01--S05).

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

Setting Explanation

P01–P50 Preset arrangements 1–50
S01–S05 Song arrangements 1–5

6

Press the [EXIT] button a number of times to return to

the play screen.

7

Press the [ZERO] button.

You will return to the beginning of the song.

8

Press the [PLAY] button.

The recorder will begin playing, and the selected

arrangement will also play.

93

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Functions

Appendixes Quick StartGetting Ready

Playing an Arrangement

Changing the Tempo

Here’s how to change the playback tempo of an

arrangement when you’re in the play screen.

1

Use the CURSOR [ ] [ ] buttons to move the

cursor to the tempo indication.

D_Play_Tempo.eps

2

Use the dial to adjust the tempo.

The arrangement’s playback tempo will change.

Using [TAP TEMPO] Button to Set the Tempo

You can temporarily change the arrangement playback

tempo by pressing the [TAP TEMPO] button at the desired

timing.

Press the [TAP TEMPO] button at least four times in

succession; the tempo will be set to the timing at which you

pressed the button.

fig.04-290.eps

• The tempo that’s specified for the arrangement

will be temporarily ignored.

• The tempo change is temporary. If you want to

change the tempo of the arrangement and save it,

refer to “Creating an Original Arrangement” (p.

96).

• You can adjust the tempo in a range of 25.0–250.0.

94

Changing the Drum Sounds (Drum Kit)

A drum kit is a set containing various rhythm instrument

sounds. The BR-800 contains nine “preset drum kits.”

By using “BR-800 Rhythm Editor” you can create five of

your own original drum kits. Drum kits are saved for each

song on the SD card.

Selecting a Drum Kit

1

Press the [RHYTHM] button.

to Record

“Using BR-800 Rhythm Editor” (p. 88)

The arrangements and patterns are played using the

instrumental sounds of the drum kit.

fig.04-030.eps

BR-800

Preset Drum Kit 9

Preset Drum Kit 3

Preset Drum Kit 2

Preset Drum Kit 1

Kick

Snare

Closed Hi-hat

Open Hi-hat

• The drum kit is stored for each arrangement.

• The drum kit cannot be changed if a Preset

Arrangement is selected for Arrange mode.

SD Card

SONG

SONG

SONG

Song Drum Kit

Kick

Snare

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “KIT.”

In Pattern mode

D_Kit_Pattern.eps

In Arrangement mode

D_Kit_Arrange.eps

3

Turn the dial to select a drum kit.

Setting

P1

STD 1

P2 STD 2

P3 ROOM

P4 HARD

P5 JAZZ A drum kit suitable for jazz
P6 HIP-HOP
P7 HOUSE
P8 REGGAE A drum kit suitable for reggae

P9 808

S1 SongKit1
S2 SongKit2
S3 SongKit3
S4 SongKit4
S5 SongKit5

Explanation

Standard drum kits

A drum kit with an appropri­ate amount of ambience

A drum kit suitable for hard
rock

A drum kit suitable for dance
music

A drum kit based on the classic
Roland TR-808 rhythm
machine

The original drum kits stored
in each song

Playback

Recording/

Using

Effects

Using

Rhythm

EditingMasteringUsing USBConvenient

Functions

4

Press the [EXIT] button a number of times to return to

the play screen.

95

Appendixes Quick StartGetting Ready

Creating an Original Arrangement

The BR-800 lets you place patterns in the desired order to

make an arrangement, thus creating the structure of your

entire song from intro to ending. Once you’ve created an

arrangement, you can save it as a song arrangement.

An arrangement can contain up to 999 measures.

Steps

You create a song arrangement by specifying

“steps.” Each step consists of a pattern number and

the measure number at which that step will start.

For example, suppose you want to create a song

that has the following structure:

Section Measure length Pattern
Intro 2 measures Pattern P001

Melody A 16 measures Pattern S002

Melody B 8 measures Pattern S003

Break 8 measures Pattern S099

Ending 2 measures Pattern P006

To create the song structure described above, you

would place the following steps in the arrangement.

Step number Starting measure Pattern number

Step 1 1 P001: ROCK-1 IN

➝

➝

➝

➝

➝

Now let’s try actually creating an arrangement.

1

Press the [RHYTHM] button.

The [RHYTHM] button will light.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

3

Turn the dial to select “ARRANGE.”

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “EDIT,” and press the [ENTER] button.

* If you select a preset arrangement, you won’t be able to

continue with the rest of this procedure.

5

Use the CURSOR [ ] [ ] buttons to move the

cursor to “STEP,” and press the [ENTER] button.

The ARRANGE STEP screen will appear.

fig.04-510-e.eps

Step

Starting

measure

Pattern number

Tempo

Step 2 3 S002: OriginalA

Step 3 19 S003: OriginalB

Step 4 27 S099: OriginalC

Step 5 35 P006: ROCK-1 E

Step 6 37 P327: BREAK

The sections of even a long song’s structure can be

specified using only a few steps. The BR-800 lets

you use up to fifty steps.

➝

➝

➝

➝

96

Pattern time signature

6

Use the CURSOR [ ] [ ] buttons to move the

cursor to the “step” position, and use the dial to select

the step that you want to edit.

You can move to the previous step by pressing the

[REW] button, or to the next step by pressing the [FF]

button.

Pattern name

7

Use the CURSOR [ ] [ ] buttons to move the

cursor to the parameter that you want to edit, and use

the dial to edit the value.

By pressing the [PLAY] button you can audition the

pattern of the currently selected step (the current

pattern).

Starting measure

This specifies the measure at which the current pattern

will begin playing.

fig.04-520.eps

Starting

Measure

Starting

Measure

Step 1 Step 2

Intro

(4 measures)

001 005

Step 1 Step 2

Intro

(6 measures)

001 007

Verse

(4 measures)

005

Step 3

Fill

(4 measures)

009 013

Set the starting measure
to “007” in step 2

Step 3

Verse

(2 measures)

Fill

(4 measures)

009 013

Pattern number

This selects the pattern. As shown in the illustration

below, it specifies the pattern for each step.

fig.04-530.eps

Step 1 Step 2 Step 3

Starting

Measure

Intro
(2 measures)
Tempo: 120.0

001 003 004

Verse
(1 measure)
Tempo: 110.0

Fill
(1 measure)
Tempo: 110.0

Time signature

This indicates the time signature of the current pattern.

Creating an Original Arrangement

• The starting measure of step 1 will always be

“001.” You can’t change this.

• The starting measure cannot be the same as the

previous step or any earlier measure.

• You can’t make a setting that would extend

beyond the starting measure of the next step.

• When you play back an arrangement in the play

screen, and it has played all the way to the end of

the arrangement, the pattern assigned to the last

step will continue repeating.

If you want the arrangement to stop playing at the

last step, assign preset pattern “P327 BREAK

(rest)” to the last step. This will cause rests to be

played repeatedly, which is essentially the same

as stopping arrangement playback.

fig.04-540.eps

(Ex.)

Step 1 Step 2

Intro Verse

Step 20 Last step

Ending

P327

BREAK

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Rhythm

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Tempo

This specifies the tempo at which the current pattern

will play.

Range:

25.0–250.0

8

When you’re finished creating the arrangement, press

the [EXIT] button a number of times.

You will return to the play screen, and the

arrangement you created will be saved.

* The display will indicate “Keep power on!” while the data is

being updated. Do not turn off the power while this message

is shown.

97

Functions

Appendixes Quick StartGetting Ready

Creating an Original Arrangement

Inserting a Step

Here’s how to insert a new step at the current step.

fig.04-550.eps

Insert

Vers e

Step 1 Step 2 Step 3

Intro Verse Fill

Step 1

Intro

1

Access the ARRANGE STEP screen as described in

steps 1–5 of “Creating an Original Arrangement” (p.

96).

2

Use the CURSOR [ ] [ ] buttons and the dial to

select the location (step number) at which you want to

insert a step.

D_Arrange_Step.eps

Step 2 Step 3 Step 4

Vers e

Verse Fill

Erasing a Step

Here’s how to erase the selected step. The erased step will

inherit the contents of the following step.

fig.04-570.eps

Step 1 Step 2

Intro Verse Fill

Step 1

Intro

1

Access the ARRANGE STEP screen as described in

steps 1–5 of “Creating an Original Arrangement” (p.

96).

2

Use the CURSOR [ ] [ ] buttons and the dial to

select the step that you want to erase.

D_Arrange_Step.eps

Step 2 Step 3

Vers e

Vers e

Step 4Step 3

Vers e

Erase

3

Press the CURSOR [ ] button.

A message will ask “Insert?”

4

Press the [ENTER] button.

The selected step will be copied and inserted. When

the operation has been completed, you will

automatically return to the ARRANGE STEP screen.

98

3

Press the CURSOR [ ] button.

A message will ask “Erase?”

4

Press the [ENTER] button.

The data will be erased. When the operation has been

completed, you will automatically return to the

ARRANGE STEP screen.

Creating an Original Arrangement

Naming an Arrangement

You can freely assign a name (arrangement name) of up to

eight characters to a song arrangement.

1

Press the [RHYTHM] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

3

Turn the dial to select “ARRANGE.”

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “ARRNG.”

D_Rhythm_Arrange.eps

9

Press the [EXIT] button a number of times to return to

the play screen.

The screen will indicate “Keep power on!” and the

edited arrangement name will be saved.

You can’t edit the name of a preset arrangement.

to Record

Playback

Recording/

Using

Effects

Using

Rhythm

5

Use the CURSOR [ ] [ ] buttons and the dial to

select a song arrangement (S01–05).

6

Use the CURSOR [ ] [ ] buttons to move the

cursor to “EDIT,” and press the [ENTER] button.

7

Use the CURSOR [ ] [ ] buttons to move the

cursor to “NAME,” and press the [ENTER] button.

The ARRANGE NAME screen will appear.

D_Arrange_Name.eps

8

Use the CURSOR [ ] [ ] buttons and the dial to

edit the characters.

EditingMasteringUsing USBConvenient

Functions

99

Appendixes Quick StartGetting Ready

Creating an Original Arrangement

Copying an Arrangement

If you want to slightly modify a preset arrangement, or

create a variation of an existing arrangement, you can do so

by copying it as a song arrangement and then editing the

copy.

1

Press the [RHYTHM] button.

2

Use the CURSOR [ ] [ ] buttons to move the

cursor to “TYPE.”

3

Turn the dial to select “ARRANGE.”

4

Use the CURSOR [ ] [ ] buttons to move the

cursor to “ARRNG.”

5

Use the CURSOR [ ] [ ] buttons and the dial to

select the copy-source arrangement (P01–P50, S01–05).

9

Press the [ENTER] button.

The copy confirmation screen will appear.

D_Arrange_Erase_Sure.eps

10

Press the [ENTER] button once again.

The screen will indicate “Keep power on!” and the

copy will be executed.

11

Press the [EXIT] button a number of times to return to

the play screen.

You can’t copy to a preset arrangement.

6

Use the CURSOR [ ] [ ] buttons to move the

cursor to “EDIT,” and press [ENTER].

7

Use the CURSOR [ ] [ ] buttons to move the

cursor to “COPY,” and press the [ENTER] button.

The ARRANGE COPY screen will appear.

D_Arrange_Copy.eps

8

Use the dial to select the copy-destination song

arrangement (S01–S05).

100