Roland Corporation BR-1180, BR-1180CD Owner's Manual

The BR-1180 Digital Recording Studio.

Part I.

Getting Started Record Modes Inputting a Signal Outputs Microphones Signal Flow Gain Structure Recording a Track Bounce Mode V-Tracks Punch In/Punch Out Effects Equalization Panning Compression Track Editing Scenes Mixdown Mastering Burning a CD

Part II.

The Rhythm Arranger

Synchronization

Part III.

Drive Maintenance and Data Management

Optimize Backup and Recovery Formatting a Drive Wave and AIFF files.

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The Boss BR-1180 Digital Recording Studio.

Most of us have acquired the BR-1180 because we are aspiring songwriters and want to get our music recorded to share with anyone that will listen. Much of our success will depend on our skills as songwriters and musicians but since we have all decided to also take on the role of recording, mixing and mastering engineers we will have to develop an additional set of skills. Fortunately, the tools given to us in the BR-1180 arguably surpass anything that was even available at any level 10 to 15 years ago. And the interface is one of the easiest and most intuitive of any recorder available to date. Keeping that in mind, we should be able to create some great recordings by developing some understanding of basic recording concepts and through some “hands on” experience. Let’s start with some basic navigation.

How do we get around?

• The 4 CURSOR buttons above the MASTER FADER allow us to navigate to

different positions on the BR-1180’s LCD screen.

• The TIME/VALUE wheel will allow us to change the value of any number or

character that is underscored by the CURSOR.

• The EXIT/NO and ENTER/YES buttons are used for entering and exiting menus as

well as for responding to prompts that will display during certain functions.

Getting started with a new song.

All of the BR-1180’s menus that are not CD or effects related can be found under the UTILITY button. That includes SONG and TRACK menus as well as menus that take us to SYSTEM related and many other functions.

To create a new song:

1. Press UTILITY.

2. CURSOR to SONG.

3.Press ENTER.

4. CURSOR to NEW.

5. Press ENTER.

6. Turn the VALUE wheel to select LIN.

7. CURSOR to GO

8.Press ENTER.

9.Press YES to Save the current song or press NO to not save the current song.

About recording modes.

There are 5 different record modes to chose from when you create a new song. LIN (linear), MT1 (Multitrack 1), MT2 (Multitrack 2), LV1(Live 1), LV2 (Live 2). The LIN mode is a linear 16 bit mode. The same as a CD. It is the highest quality yet it will give

you approximately 60 hours worth of total tracking time. The other 4 modes use various degrees of RDAC encoding to increase that time even further with minimal degradation.

Inputting a Signal.

There are 4 types of audio inputs and 3 different types of audio outputs on your BR-1180.

Inputs connections.

• The LINE IN inputs are unbalanced RCA connections. These can be used as stereo

inputs from the left and right outputs of a stereo instrument such as a keyboard or a drum machine. These cables can have ¼” on one end and RCA on the other end or they can have RCA on both ends depending on what you need for your particular instrument.

• The XLR inputs will typically be the inputs that you will use for microphones. These

inputs are balanced inputs. A Balanced cable uses an extra wire internally as a shield to help prevent noise from being picked up by the cable as it carries sound from its source to the input of the BR-1180.

• The ¼ inch MIC inputs are also balanced inputs that can be used instead of the XLR

inputs for microphones or they can be used to connect instruments that have balanced or unbalanced outputs. There really is not any benefit to using a balanced cable for connecting a balanced output to a balanced input. Check the specs on your instrument find out what type of output that it has. Typically most keyboards and drum machines have unbalanced outs.

• The GUITAR/BASS jack is a high impedance input that will allow you to directly

connect an electric guitar or bass.

Input Select.

To select a source input to record from press the corresponding input select button. It will light red.

• GUITAR/BASS, MIC 2- Select this when recording sounds from an instrument

connected to the GUITAR/BASS jack or a mic connected to the MIC 2 jack or XLR connector.

You will not be able to select both MIC 2 and the GUITAR/BASS at the same time.

• MIC 1- Select this when connected to the MIC 1 jack or XLR connector.

• LINE- Select this when connected to the LINE IN connectors.

• SIMUL- By depressing both the GUITAR/BASS (MIC 2) and MIC 1 buttons

simultaneously, you can record a signal from both mic inputs or from the GUITAR/BASS and the MIC 1 input at the same time. Each signal will be recorded to its own discreet track if 2 tracks are selected to record to. Also note that if an instrument and a mic are connected to both the GUITAR/BASS jack and MIC respectively, the GUITAR/BASS jack will take priority.

Output Connections.

To monitor a signal or to send the signal to an external destination such as a cassette recorder, CD recorder or computer interface there are 3 different types of connections.

• The PHONES output is a ¼” stereo output for headphones. The volume is controlled

by the knob located next to the jack.

• The left and right LINE OUT RCA outputs can be used to send your main mix to

analog inputs on powered monitor speakers or an amplifier. They could also be connected to inputs on other recording devices. Also, depending on the quality of the sound card on your computer , you can connect a stereo “Y” cable from the left and right LINE OUT to the 1/8” Line Input on your sound card to record into software.

• The DIGITAL OUT is a 2 channel SPDIF (Sony Phillips Digital Interface) Optical

output. Through this connection can carry your main mix to Digital speakers, “Stand alone” CD burners that have SPDIF optical inputs and computer interfaces that have SPDIF optical.

Microphones.

A microphone-or mic- is what your recorder uses to capture live sounds, turning them into electric signals that can then be converted into digital audio through the BR-1180’s 24bit converters.

There are basically two categories of transducer microphones. Dynamic mics and condenser mics.

How a dynamic microphone works.

A sound wave strikes a thin plastic membrane called a diaphragm causing it to vibrate. A small coil of wire attached to the back of the diaphragm called a voice coil subsequently vibrates along with it. The voice coil itself is surrounded by a magnetic field created by a small magnet in the microphone. As the voice coil moves through this magnetic field it creates an electrical signal that corresponds with sound that is being picked up by the microphone.

Dynamic microphones can withstand extremely high sound levels and they do not require any external power to operate. They are generally very rugged and can serve multipurposes. Shure SM-57’s are probably the most common instrument mics found in the mic cabinets of professional studios. Dynamic mics are most useful for close miking of instrument amplifiers and close miking of drums.

How a condenser microphone works.

Condenser mics are more sensitive and allow for a wider frequency response than dynamic mics. They’re also usually more expensive and more delicate as well. You will want to use condensers for vocals and for most acoustic instruments. A condenser microphone works by utilizing an electrically charged diaphragm and a metal backplate placed closely together to form a capacitor. A capacitor, also called a condenser, has the ability to store an electrical charge. The sound waves strike the thin metal or metal coated plastic diaphragm , causing it to vibrate, thus creating corresponding variations in the spacing between the diaphragm and back plate. In turn this causes the stored electrical charge to change generating an electrical signal that corresponds with the incoming sound. Condenser mics require a phantom power supply or a battery to operate. The BR-1180 can supply phantom power through its XLR inputs to condenser mics. Generally it is ok to connect a dynamic mic to a phantom power supply if you find yourself in a situation that would require connecting a condenser mic to one of the BR-1180’s inputs and a dynamic to the other. To turn on the phantom power supply use the following procedure:

1) Press UTILTY

2) CURSOR to “System” and Press ENTER.

3) CURSOR to “Phantom” then rotate the VALUE wheel to “On.”

4) Press EXIT 2 times.

Microphone Directionality.

A mic’s directionality helps determine its usefulness in a specific recording environment. You can tell how a mic will “hear” by noting its pickup or polar pattern. There are three basic types of pattern.

Omnidirectional

An omnidirectional (or omni) microphone is sensitive to sound a full 360 degrees around the head of the mic, its capsule. Omnidirectional microphones are good for recording room sound.

Unidirectional

A Unidirectional microphone captures most of its signal from one direction, the front. The most common type of unidirectional microphone is called a cardioid, based on its heart-shaped pickup pattern.

There can be variations in cardioid patterns. A hypercardioid pickup pattern will register sound from its front at greater distances but less from its sides. This provides a more narrow pattern than a cardioid A supercardioid mic registers sound at great distances from its front but is also sensitive from its back yet picks up almost nothing from its sides. These “special” types of cardioid mics can be useful for capturing sound without being close to its source.

In general a unidirectional microphone is most often used for recording sounds that need to be isolated, such as vocals, guitar amps, woodwinds etc. It is the most commonly used mic in recording.

Bi-directional

A bidirectional microphone is equally sensitive to sound from both the back and front. This type of mic is often used for capturing the sound of two vocalists facing each other.

And finally, a multidirectional microphone uses multiple diaphragms. This will allow you to switch to between different pickup patterns.

A Few things to consider when selecting the right mic for the right situation.

• Use a microphone with a frequency response that’s suited to the frequency response

of the sound that you are recording.

• Place the microphone at various distances and positions until you find a spot that

gives you the best tonal balance and desired amount of room acoustics.

• If you don’t like what you hear, try another mic position, try another microphone, try

isolating the mic further, or change the sound of the instrument itself. Replacing worn out strings will change the sound of a guitar. Replacing or retuning drum heads will change the sound of drums.

• Not every microphone is right for every situation. The more versatile your mic

cabinet the more recording situations you will be prepared for. (Also consider what microphones your friends might have, to borrow.)

Great Sounds have come from experimentation and seemingly unconventional techniques. Here are just a few ideas for a good starting place.

Microphone Placement

Common Microphone Situations

Individual Vocalist

A good, clean vocal recording usually requires isolation from other instruments and the use of a unidirectional mic. Also remember that a condenser mic is going to be more sensitive than a dynamic mic and probably should be your first choice for recording vocals in most situations. Generally you will want to place the microphone somewhere between the mouth and nose of the vocalist. You will also may want to put a little bit of distance between the microphone and the vocalist. Approximately 8 inches. This will help reduce “boominess” that is created due to what is called the proximity effect.

Use a Pop Filter to reduce the amount of “pops” created from harsh consonants such as “p,” “b,” “d,” and “t.” An extremely effective pop filter can be made by stretching nylon stocking over an embroidering hoop or even a coat hanger. Then place it a couple inches from the microphone between the vocalist and the mic.

The consonant “s” can be desirable to help create clarity in a vocal line but it can be potentially harsh or piercing. The emphasis of “s” and “sh” sounds, called sibilance can be reduced by cutting the high EQ for the vocal channel around at 8kHz. The BR-1180 also has a de-esser as part of its vocal multi effects.

Acoustic Guitar

For acoustic guitar you will want to use one or even two unidirectional condenser

microphones. If you are using only one mic, try placing it three to six inches from the front of the guitar’s sound hole. You could also place the mic 6 to 12 inches from the

fret of the fretboard. Use your ears as a guide. For 2 microphones, try placing one

microphone at the 12

fret and another at the bridge or in front of the sound hole. Another option would be to stereo mic the guitar from about 3 to even 6 feet away to also capture your room’s natural reverb. And again, your ears will be the best judge as to how you want to capture the sound of the guitar.

Note: When using microphones in close proximity to each other you may experience an undesirable effect known as phase cancellation. Phase cancellation occurs when two microphones inadvertently capture the same soundwave but with opposite sound pressures. As one mic’s soundwave gets stronger, the other’s gets weaker. If microphones are out of phase you may hear a “swirling” sound when you listen to them together. You may also notice a significant drop in volume. Two microphones that are 180 degrees outof-phase will cancel each other out completely.

To correct phase cancellation simply change the positions of the mics. As a general rule, the distance between microphones should be at least three times the distance from each other in relation to their intended sound source. For example, if two mics are 1 foot away from their sound source then they should be placed 3 feet from each other This is actually known as the 3-to-1 rule.

Singer/Guitarist

You would usually want to overdub vocals and acoustic guitar separately however if you choose to record both at once there are a few different techniques that you could try out.

• Use a pickup on the guitar and a mic for the vocals.

• Try isolating the guitar and vocal sources by angling the vocal mic upward and

the guitar mic down towards the sound hole.

• You could use a stereo pair of mics 1 to 2 feet away and raise or lower the mics to get the desired balance between the vocals and guitar.

Guitar and Bass Amps

It is possible to plug a guitar or bass directly into the GTR/BASS input on the BR-1180 but if you wanted to capture the color of your favorite amp you can record it by miking it. Place a single cardioid dynamic such as an SM-57 about an inch away from the speaker cone. Not exactly center of the cone but on the outside edge where it meets the dome.

For Bass or for guitar you might want to move the mic as far away six inches from the speaker to get the desired colors.

Saxophone

To capture the most natural sound of a saxophone, place a unidirectional mic about 1 ½ feet away from the front of the horn and point the microphone at the player’s left hand. For a harder and brighter sound mike the sax near the bell. A condenser or dynamic mic can be used for miking a saxophone. It is possible to record an entire sax section around one mic.

Brass Instruments

Place a microphone 1 to 2 feet directly in front of the horn’s bell for a brighter sound. For a mellower sound place the microphone off-axis from the bell. If you are using a condenser microphone you may want record off axis to avoid overloading the mic. As with saxophones you can record an entire section around one microphone.

Woodwinds

For most woodwinds, aim a microphone about 1 foot away from its key holes. If you are miking a section try pointing a bidirectional mike down over the section.

For miking a single flute place the mike a few inches away from the head joint between the mouthpiece and the left hand. You can also mike directly in front of the mouth piece if you want to capture more of the breath sounds. You might need to use a pop filter for this scenario

Acoustic Grand Piano

There can be several different possibilities for recording an acoustic grand depending on your situation. To capture a solo piano performance in a concert hall you will also want to capture the sound of the hall itself. Open the piano lid to its highest peg and ideally you will want to place a stereo pair of mics approximately 7 feet away and 7 feet high. Experiment with distances closer or farther away to find the desired reverb amount.

To capture a jazz or pop performance there are some close miking techniques that will probably work better for you. If you are using only one mic, try placing it about 12 inches above the middle strings and about 8 inches horizontally from the hammers with the lid in its most open position. Ideally, removing the lid altogether will reduce possible “boominess.”

With two cardioid or even two omni directional condensers you can place one mic center over the upper strings and one center over the bass strings. Again, place the microphones about 8 inches horizontally from the hammers and 8 to 12 inches above the strings.

Acoustic Upright Piano

Most of us typically do not have grand pianos at our disposal so if you want to record that upright piano sitting in your den here are a few suggestions.

• Move the piano away from the wall remove the top lid. Then position a stereo pair of mics about a foot above and a foot in from of the top of the piano.

• Remove the front panel and place a mic approximately 8 inches in front of the bass strings and a second mic 8 inches in front of the upper strings.

• Mike the back of the piano using dynamic microphones positioned a couple of inches from the soundboard. Put one of them in the bass area and the other in the treble area. Make sure the piano’s back is facing out into the room.

Miking live drums with two microphones.

Many great recordings in the past have been made using few microphones. You can actually achieve a bigger drum sound in many instances because you will be capturing more room ambience than you would be using close miking techniques. Try using a stereo pair of cardioid or omnidirectional microphones 10 to 20 feet out in front of the kit. Another method would be to use a large diaphragm cardioid dynamic such as an AKG D-112 to close mic the kick drum and then place an omnidirectional condenser in the center of the drummer’s setup. Experiment with positions to dial in the best balance.

For the kick drum microphone use a boom stand and place the mic inside the drum near where the beater hits. The closer to the beater the more attack you will get. If the drum has a head on the front place the mike close to the head or just inside the hole if it has one. Again, experiment with positions to get the best sound.

Stereo Microphone Techniques

As mentioned earlier, the BR-1180 is capable of recording one or two channels at one time. We could record two different signals at one time or we can actually employ stereo mic techniques if a situation calls for it. Here are the three most common methods for microphone placement in stereo:

A/B or Spaced Pair

This method uses two identical cardioid or omni microphones spaced several feet apart, pointed directly at the sound source and panned hard right and hard left. The farther the two microphones are placed apart the greater the stereo image that is created. This type of miking is useful for recording an ensemble as well as for some instruments.

X/Y or Coincident Pair

To record in stereo using this method take two identical unidirectional (cardioid or otherwise) and mount one on top of the other with the capsules placed as close as possible to each other. The grilles of the two microphones can actually touch. From there adjust the microphones so that they cross to form an angle of anywhere from 90 to 140 degrees. The wider the angle, the wider the stereo spread.

Near-Coincident Pair

To record stereo using the near-coincident pair method, mount two identical unidirectional microphones but angle the capsules away from each other. The greater the space between their grilles or the greater the angle, the larger the stereo image that is created. Try mounting the mics about 7 inches apart and angle the mics to about 110 degrees. (This will form an “X”.)

Recording Direct

For instruments such as electric keyboards synthesizers, drum machines, samplers and even guitars and basses you will get the cleanest single recording directly through the BR-1180’s inputs. For guitars and basses use the GTR/BASS input. For Keyboards and modules and drum machines use the stereo line inputs as most of these instruments are stereo. Always use good quality cables. Most likely the cables that you need will have a ¼” for the end that connects to your keyboard and an RCA type connection to connect to the line inputs. Use separate cables for each of the left and right connections.

Now that we have an idea as to how to input sound to our BR-1180s lets discuss two important recording concepts-signal flow and gain structure.

Signal Flow.

Signal flow refers to exactly that. How and where a signal travels. An audio signal is captured from a live source through a microphone or it is generated from a keyboard or guitar directly plugged into inputs on the BR-1180. The signal reaches the recorder’s preamps and then is converted from an analog signal into a digital signal.

All incoming signals as well as all recorded signals are bussed to the MASTER so that they can be sent to the LINE OUT for monitoring as well as to the DIGITAL OUT and HEADPHONE outputs. Keeping that in mind know that you will need to have your MASTER FADER turned up in order to hear anything.

Signals can also be sent to tracks for recording and to effects for processing. We use a combination of INPUT SELECT, REC MODE select and REC TRACK select buttons to route signals to tracks for recording.

• INPUT SELECT selects where the initial signal is coming from.

• The REC MODE buttons determine whether the signal is being routed from an

INPUT to a track to record or from an existing track (BOUNCE) to another track or pair of tracks to record.

• The MASTERING button is a special button for routing your final mixed tracks to Master tracks.

• The individual REC TRACK buttons that are located beneath each fader in the AUDIO TRACK MIXER section can be used to determine the track or tracks that a signal will be recorded on to. Pressing a REC TRACK button will cause it to flash. This will let you know that this is your destination track. To record to 2 tracks press adjacent buttons.

NOTE: There will always be at least one or two buttons flashing at all times.

To send signals to loop effects we will be using effect sends. We can also manipulate the signal with EQ, PAN and COSM. We will discuss that in detail when we get into effects.

Gain Structure.

A signal’s level or volume or gain is controlled by knobs and faders at various stages in its path. It is a crucial part of the recording process to be aware how these are set as they will affect the quality of your recording.

For starters we will discuss gain structure as it applies to INPUT MODE.

The first stage of gain happens at the source. That’s the keyboard’s volume or the loudness of the vocalist etc. To get the best recording from a direct instrument you will generally want to have its volume turned up to maximum. Of course you may need to bring it down according to how hard the player hits the keys or strings or pads. Because in the end setting gains is going to be about give and take to get the best sound. When recording live sounds, the level is going to depend on the loudness of the instrument as well as the sensitivity, settings and placement of your microphone or microphones.

When you press INPUT select for MIC 1, the SENS knob above that button becomes the next stage of gain control. Think of it as a faucet of sorts that as you slowly turn it clockwise you are allowing more signal to come in. Turn the SENS knob up as you are checking the source at its loudest until you get the PEAK LED to flash occasionally but not continuously. This will insure that you are getting the maximum amount of signal.

The next stage of gain is determined by the INPUT LEVEL knob. As you bring this knob up you will be adjusting the amount of signal being sent to record. As you turn this knob up, watch the IN meter on your LCD screen. Ideally you will want the meter to bounce above -12db and below 0db. (DB or decibel is the standard reference measurement for volume, named after Alexander Graham Bell.)

You’ll notice that the L-LINE-R input does not have a SENS knob. Therefore the record level will be determined by the volume of the source and then the INPUT LEVEL knob.

The TRACK FADER will determine what you are listening to but will not affect the record level.

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