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Edirol R-44 Recording Equipment User Manual

1. Convenient when recording the atmosphere in Omindirectional concert halls The built in microphones of the R 44 Microphones that have good sensitivity toward sound from the front of the microphone lA amp Unidirectional Convenient to record only a specific sound gt CS 50 Stereo CS 15R Stereo DR 80C DR 50 DR 30 These microphones have the highest sensitivity toward their front and rear gt Bi directional They can also be used together with a unidirectional microphone in an MS configuration to produce a stereo signal de Difference Between Sensitivity and Volume Noise can be controlled by adjusting Noise can be controlled by adjusting sensitivity to the largest value sensitivity to the largest value without without distortion distortion I IV gt 0010101001010110101 Analog Signal Digital ee Set LEVEL to the center and adjust using SENS WwW gt D D 5 a x 19 Stereo Microphones EDIROL CS Series Monaural Microphones Roland DR Series Headphone Microphone Stand AAR CS 15R DR 80C R 44 Specifications Channels Analog Input 4 Ch 1 4 XLR TRS Combo type Data Type XLR type phantom powered Format WAV BWE TRS type balanced unbalanced Stereo Built in Microphones Sampling Bit Rate 16 24 bit Analog Output Ch1 4 Sampling Frequency RCA Pin type line output 192 kHz Stereo Phone type 1 4 inch Limited to 2 channels for 192 kHz
2. a Digital In Out Any combination of sample RCA Pin type IEC 60958 3 size and sampling frequency can be used Input Impedance OR dind Medi XLR 4 k ohms or greater balanced aAA TRS 6 k ohms or greater balanced SDHC memory card B xy Nominal Input Level NU ames 8 GB Input SENS knob 4 2 8 14 20 26 32 38 44 50 56 dBu Recording Time using 8 GB eleven steps SDHC card minutes Input Level Knob Center 16 bit 44 1 kHz stereo Input Level Knob 16 bit 48 kHz stereo negative infinity to 8 dBu 24 bit 48 kHz stereo Maximum Input 24 bit 96 kHz stereo 24 dBu Input Sens Knob 4 dBu 24 bit 192 kHz stereo Output Impedance Line Output 600 ohms Recommended Load Impedance Line 4 k ohms or greater Headphone 16 ohms or greater Output Level Line output 20 dBu fixed Headphone 40 mW 40 mW Total Harmonic Distortion Noise Line output 0 02 input SENS knob at 4 dBu measured at 22 kHz Noise Level Line Output 10 dBu Input Sens 4 dBu Input Level Center 16 bit 44 1 kHz 4 ch 16 bit 48 kHz 4 ch 24 bit 48 kHz 4 ch 24 bit 96 kHz 4 ch 115 These recording times are approximate They may change depending on the specifications of the card you use If there is more than one recorded file the total recording time will be less than listed here Files up to 2 GB can be handled If the file size reaches 2 GB during recording
3. You need to balance the chorus with the volume of the piano accompaniment The balance with the chorus may be difficult depending on the location of the piano In these cases you should use auxiliary microphones for recording and adjust the balance later Auxiliary Microphones L anbiuydal asp Jed1 9e1g UOHeNINS anbiuyra paljddy Z W D gt me o D gt 2 x lt 13 Situation _ L anbiuyda asp N c te 2 gt as te A aa A Recording O tdoor Sounds at E af St Ce A ee You can fecord the sounds of hature like Bird at dog and other A ae a Soh t A i yE a n animal noises the sound of rain or the Babbling 6fialbrook ay a Here we describe several tips on How to record ifthe outdoors ny ie T pE hie Preparing to Record e Connect a stereo microphone to the R 44 e It is convenient to use a directional stereo microphone CS 15R or CS 50 to record only what you are pointing at Record Settings ain Directional Stereo Microphone CS 50 The following settings should be used if you are synching to video to make a DVD Also you should use the Pre Recording settings to prevent missing a recording Input Select Analog Sets the mode to record with an external microphone Rec Freq 48 kHz Use 48 kHz if ultimately you are synching to video to make a DVD Rec Bit 16 bit Or it may be convenient record with
4. only the sound of the snare You ll be able to easily emphasize just the bass drum sound by adjusting the volume of each channel if you use this setup R 44 Setting Rec Mode in STEREO X 4 About About 2 meters 2 meters About NOG d Where the beater hits PRACTICAL GJDETOTHE HARA R 44 L anbiuyda asp jed1 21g UOI JENIS L anbiuyda asp jed1 21g UOI JENIS anbiuyral paddy Z gt x go D 2 x Instrument Recording Techniques This section describes where to place microphones for various instruments gt For more about dynamic microphones and condenser microphones refer to Microphone Type on p 19 of this guide Vocals Ideally you should choose a place such as a studio where noise isn t introduced from the surroundings If recording in a room try to choose a room that doesn t have environmental noise automobile noise or city noises and that has the sound reflection that you want Mente s a Aim from Although the basic position for the microphone is the front t slightly below directly in front it is OK to aim it from slightly above or i slightly below This is because sound comes not only from the mouth but also from the head Although you can use a dynamic microphone we recommend using a condenser microphone to get a cleaner recording If Pop Guard some breathing noise is recorded try using a window screen or pop guard You can also try ch
5. record Project Name Date If you set the date it is easy to know the recording date and time lt gt For details on how to make recording settings refer to the owner s manual Matching the Recording Levels Before recording the band performance consider the song structure and find the place in the song where the volume is the loudest Adjust so that the R 44 level meter goes as high as possible but falls just short of the C clip level at maximum volume Volume is too loud if the C Clip Level lights up channel name lights up If the recording level is too low the entire recording is done at the low volume If it is too high the recording can be distorted popping noise or if even higher the sound can be severely distorted lt gt For details on setting the input level refer to the owner s manual Positioning the R 44 When rehearsing in a rehearsal studio the instruments are often located throughout the room You should position the R 44 in the middle of the studio to record the sound of each instrument equally You should also place the microphone at about table height If the microphone is placed on the floor the sound is muffled and unclear if it is placed too high you lose the bass range and the sound becomes tinny Place in the middle Guitar Amp e A PA Speaker for Vocals fi and Keyboard 4 channel Recording Record the band performance in one shot with four channels Because y
6. use different settings for example separating the two auxiliary microphones by a large distance and pointing them up for the auxiliary microphones to record the venue echoes Cs _ i A I I I I Y Main A V4 J Recording the Audience You should also record the audience to capture the live feel of a performance Set dedicated microphones for the audience to capture this feeling The microphones should be set near the center of the audience seating If you are using unidirectional microphones point them up to record the reverberations of the concert hall If the microphones are pointed down it is difficult to capture the live feel because only certain members of the audience are recorded You can also use stereo microphones but you can get a better live feel by using two monaural microphones placed apart Also you can consider the omnidirectional microphone as an option to record the atmosphere of the concert hall Auxiliary Microphones Orchestra or Brass Band Determined by the sza of the hall Y Auxiliary Auxiliary Microphones ho Main S Microphones Microphones 1 3 of the Orchestra or Brass Band Recording a Chorus Basically the microphones should be positioned as described above But choruses have lyrics You should be careful not to place microphones too far apart because the lyrics may not be clear although you can record the atmosphere of the chorus
7. 96 kHz if you want to save in high uality so that you can convert sounds to use with a DVD Rec Mode STEREO x 1 Setting to use one stereo system 2 channels to record Pre Recording 20 sec Project Name Date Set to 15 20 seconds to prevent missing recording something If you set the date it is easy to know the recording date and time lt gt For details on how to make recording settings refer to the owner s manual Matching the Recording Levels You should set the R 44 sensitivity microphone sensitivity high so you can record quiet sounds like wild bird song This setting makes the microphone sensitive and even the quietest sound is captured On the other hand lower sensitivity is an appropriate microphone setting for loud sounds that are almost just noise such as the sound a train makes as it passes Set SENS fairly high You should check the input level after making these settings Basically check to be sure the C at the right of the level meter clip level when the loudest sound is heard lt gt For details on setting the input level refer to the owner s manual Dealing with Wind Noise If a strong wind hits the microphone a muffled wind noise is recorded At worst the wind noise will be louder than the sound you want to record which is one reason for ruining a clear recording We introduce some ways of handling wind noise here 1 Put a wind screen on the microphone The wind screen should st
8. AUSE REC e Marker Buttons CLEAR lt 4 PI MARK Shared with cursor e Effect button e System button MENU e Display Button e A B Repeat Button Display 128 x 64 organic EL Power Supply AC adaptor PSB 1U AA type battery x 4 Alkaline or NiMH only Battery life Continuous approximately playback 4 0 hours Continuous approximately recording 4 0 hours When using alkaline batteries 44 1 kHz 16 bit stereo with phantom power off Effects can be during recording Current Draw and playback Effects are not available while sample rate is set to 192 kHz Control Section Control e Power Switch e Hold Switch e Input SENS Knobs e Input LEVEL Knobs SDHC Logo is a trademark DoD GIs Fugue 2008 Kyoto Software Research Inc All rights reserved ld Software 1 2 A Dimension 157 mm W x 183 mm D x 61 mm H 6 3 16 W 2 7 16 H x 7 1 4 D x Weight Weight 1 3 kg Including battery and SD card Research All product names mentioned in this document are trademarks or registered trademarks of their respective owners 0 4 9 0 8 9 3 4 0 1 04908934 08 02 1N
9. Amazing 24 bit 192 kHz ultra high sound quality Easy to transport Lightweight 4 channel recorder 4 channel simultaneous recording techniques are thoroughly explained R 44 Features Compact 4 channel Recorder The functions needed for 4 channel recording have been condensed into a unit the size of a palm With just one R 44 you can perform complete 4 channel recording It weighs a mere 1 3 kg even with four AA batteries and an SD card SD Card for Longer Recording Times The R 44 uses a SD card also supports SDHC cards for its recording media Over two hours of a CD quality recording can be saved on a 2GB SD card And you can record for four hours with four alkaline batteries or four nickel metal hydride NiMH batteries It can even be used outdoors Obsession with Quality You can record at 24 bit 192 kHz far better than the 16 bit 44 1 kHz for CDs 44 1 kHz s 192 kHz Sampling frequency more than 4x higher than a CD eT S 2 idl aul gt rr Highly Visible Easy to see Screen The organic EL display ensures high contrast wide viewing angle and fast screen response You can see all the data easily even in the outdoors or in concert halls The level meter responds quickly for stress free level adjusting Linking to a PC With USB 2 0 high speed support you can transfer sound data to a PC witha single USB cable The data can then be played on software
10. Output Sel settings refer to the owner s manual Guitar Guitar Amp Bass Amp 4 Channel Drums 3 Channel Bass Lh 2 Channel Guitar CA mn n 1 Channel Vocals TE IE i 1 Channel Vocals to PA system or amp c p LINE OUT COMBO INPUT Jack RCA Pin Standard phone plug PRACTICAL GUIDE TOTHE EDIROLR 44 L cw N e oe D S A 5S n Fo Qs c of v Situation an 3 Recording Concerts Preparing to Record e Connect two microphones DR 80C to the R 44 z It s convenient to use microphone stands Turn PHANTOM ON e Turn PHANTOM ON a F gt For details on phantom power refer to the owner s manual 4 9 AS 75 Record Settings iii 2 mf We recommend the following settings for making a CD Also you should do the Pre Recording settings to oo prevent missing a recording D Input Select Analog Sets the mode to record with an external microphone Rec Freq 44 1 kHz We recommend 44 1 kHz if you want to make a CD Rec Bit 16 bit We recommend 48 kHz if you want to synch to video to create a DVD Rec Mode STEREO x 1 Setting to use one stereo system 2 channels to record Pre Recording 15 sec Set to 10 15 seconds to prevent missing recording something Project Name Date If you set the date it is easy to know the recording date and time lt gt For details on how to make recording settings refer to the owner s manual Matching the Recording Levels Mi
11. String Instruments String instruments like the violin or double bass are in Aim from 1 to 1 5 some ways like an acoustic guitar so you should record meters above them by balancing the sound of the string vibrations Emphasize and the sound from the body You should aim the the bow impression microphone at the bridge or resonance aperture of the instrument from about 1 to 1 5 meters above You can then get a clean recording Although you can use a dynamic microphone we recommend using a condenser microphone to get a cleaner recording Emphasize the body sound L nb iuy2 SN Jed1 Ie1g UONe N IS anbiuyra p lddy Z Ww gt ke 5 oO 2 x L anbiuyda asp Situation N lt te 2 gt as te A aa A Recording Band Performances Youlan easily record band rehearsals using the R 44 internal microphone Here we describe several recording tips for using the internal microphones Preparing to Record e An external microphone is unnecessary because you are using the internal microphones Record Settings We recommend the following settings for making a CD when recording with the internal microphones Input Select IntMic Rec Freq 44 1 kHz Rec Bit 16 bit Rec Mode Pre Recording OFF No need to set this Sets the mode to record with the internal microphones We recommend 44 1 kHz if you want to make a CD STEREO x 1 Setting to use one stereo system 2 channels to
12. anging the direction or angle of the microphone Acoustic Guitar First the microphone is basically aimed directly atthe Sound Hole front of the sound hole However you can also adjust the distance and angle to the sound hole to find a sound that you like When placing the microphone Aim from the front at an angle we recommended doing so from the fret side This gives you a cleaner recording Although you can use a dynamic microphone we recommend using a condenser microphone to get a x cleaner recording NJ an angle from the fret side Electric Guitar or Bass When playing through a guitar amp or bass amp at a studio it is important to use the actual volume and Bass Amp settings used for performances Place the microphone a Qmm little off center from the speakers and aim it from point Capture the sound as heard in the room blank range Be sure to use a dynamic microphone that can withstand vibrations If you want the recording to give the feel of playing in a room use two microphones Paintblank at distances to record in stereo However be careful A because if you set the microphones too far there is too Move apart a little bit Guitar Amp much reflected sound and the sound contours become blurred Record the sound If you are recording in a room you can also using line of the guitar or bass directly recording by connecting an effecter with an amp modeling feature or an amp to the R 44 by cable This is becau
13. crophones Location You should find out the maximum volume during The sound is fuller the closer to the stage the rehearsals before the performance begins microphones are placed and the sound is softer the It is difficult to adjust the volume level after the further the microphones are because there are more performance begins You should match the reverberations You must check the microphone recording level before the actual performance placement during rehearsal because the placement is very important Volume is too loud if the C Clip Level lights up k channel name lights up u i e You also need to do a trial recording during T uN rehearsal to check the sound quality in the arena or concert hall in advance gt For details see Setting and Placing Microphones gt For details on setting the input level refer to in Arenas or Concert Halls on p 12 in this guide 10 the owner s manual 4 channel Recording Here we describe how to perform basic recordings using four channels These examples use four DR 80C microphones For details on microphone settings see Setting and Placing Microphones in Arenas or Concert Halls on p 12 in this guide Recording the Performance and Audience Simultaneously This describes how to make recordings with even more realism by using the 4 channel simultaneous recording feature If you record the performance and the audience separately in stereo you ca
14. d the room echoes Adjusting the brightness and softness L amp B See Instrument Recording Techniques on p 6 of this guide for how to record different instruments 4 channel Recording Since you can record on 4 channels simultaneously you can try setting microphones in different locations around the instrument For example you can record near the instrument on mic and far from the instrument to record echoes off mic at the same time You can then adjust the volume for each to create a mixed sound Recording a Grand Piano Unlike smaller instruments the piano produces sound throughout the instrument and emits sound in different directions So it can be difficult to record a piano But you can use the 4 channel simultaneous recording feature to record sound from different directions and distances Then you can mix down to create a piano recording that matches the genre of the performed song Also it is important to balance the sound of the string sound from the body sound reflected from the sound board and sound of the hammer hitting the strings when recording a piano In other words the trick to recording a piano is to set microphones in different locations to compare different sounds An example of setting the microphones is shown here As shown in the illustration set a total of four microphones use condenser microphones two to record the string sound and two to record the sound reflected fro
15. dithering to CD later Input Select Analog Rec Freq 44 1 kHz Rec Bit 16 bit Rec Mode STEREO x 1 Setting to use one stereo system 2 channels to record Pre Recording OFF No need to set this Project Name Date If you set the date it is easy to know the recording date and time lt gt For details on how to make recording settings refer to the owner s manual Matching the Recording Levels The first step in recording is to determine the input level by matching it to the loudest sound to record Play the phrase that is the loudest so the R 44 level meter goes as high as possible and then adjust the SENS LEVEL input level knobs so that the R 44 level meter falls just short of the C clip level on the right when the maximum volume is reached Volume is too loud if the C Clip Level lights up Sensitivity is too high if the channel name lights up When the input level is too low the dynamic feel of the sound is lost when it is too high the sound becomes distorted pops and clicks and other noise occurs lt gt For details on setting the input level refer to the owner s manual Aiming the Microphones The microphone records sounds for the right ear and left ear separately So it is important to directly face the person or instrument you are recording Also as you move closer to the sound source you get a crisper sound as you move away you get a softer sound because you also recor
16. he actual ambience of the location and use your computer to convert it to 5 1 channel surround You can set microphones in four locations and change their position freely to create more realistic sound Synching Video and Audio It is difficult to synchronize the video and audio during the editing process But with a little ingenuity you can synch them easily Play a Baseline Sound and then Record Video from the video camera Clap your hands as the video filming begins as a signal to start recording baseline you can easily areas sth synch the timing between video and audio during editing Recording Settings If the audio recorded for video will be used together with the video material to produce a DVD we recommend the following settings Also you should use the Pre Recording settings to prevent missing a recording Input Select Analog Sets the mode to record with an external microphone Rec Freq 48 kHz Use 48 kHz if ultimately you are making a DVD match to video o BA Rec Mode STEREOx2 Setting to use two stereo system 2 channels to record Pre Recording 10 sec Record ten seconds ahead so you don t miss anything To help distinguish your projects it s a good idea to give each scene its own unique project name ProjectName Name PRACTICAL Application Creating CDs Have you ever wanted to have someone listen to your music that you recorded If so CDs are better than cassette tapes A CD is more like
17. in the shadows and begin the recording as the birds begin to appear If you do this the birds won t notice that you are there and you ll be able to record the natural sound of the birds Also you can use an umbrella as shown in the illustration below in place of a parabola when recording distant sounds You can also make further use of the 4 channel simultaneous recording feature to set stereo microphones in two locations and select the sound from the microphones closest to the location of the birds An umbrella can be used in place of a parabola emain unnoticed Application nb uy gt paddy Z Recording Sound for Video When filming video the sound quality is often insufficient Using the R 44 allows you to record sound for video at a higher quality Here we describe several recording tips on how to record sound for video E i Advantages of Using the R 44 to Record Sound for Video Using the R 44 to record sound for video has the following merits You should try using the R 44 with video filming e Better sound than recording with the video camera s microphone Sampling rates up to 192 kHz are supported e You can record sounds difficult to record from the video camera location Sounds that cannot be recorded by the video camera s microphone can be picked up by the R 44 Sounds from another location can be recorded at the same time You can record environmental sounds and spoken lines separately You can capture t
18. ly to get heard because CD players and CD car stereos are really common Once you learn how making CDs is easy so you should learn how to do it Making a CD Transfer the sound file WAV Mix down with Cakewalk Copy the mixed down data on the SD card to a PC via a SONAR7 Producer Edition toa CD USB connection If you ve recorded four channels simultaneously on the R 44 and want to create a CD from your recording you ll need to adjust the volume of the four channels and combine them into two channel stereo data This process is called mixdown and will allow you to create a CD that sounds the way you want In this example we provide a simple explanation of using the Windows software Cakewalk SONAR7 Producer Edi tion sold separately to turn the four channels of data STEREO x 2 recorded by the R 44 into two channel stereo and use this data to create a CD For details refer to the owner s manual or Help file of the software you re using 2 Export the data 1 Manipulate the screen to adjust the volume The data format should be a WAV file at 16 bit of each channel 44 1 kHz rr ME m mE j oo 2 E Prp WS th te di B eri gt 5 E D a il m A am D SS r J 2 a c mag D i oie a arene z T mes een 19 ange If you know that you are going to create a CD from unl the beginning we recommend recording with 16 a bi
19. m the sound board In particular test changing the position and angle of the microphones recording the string sounds to adjust the range of the recording and the balance of the sound from the strings and sound board and also try changing the distance to adjust the balance between the sound of attack and reverberations to get the cleanest recording R 44 Setting Rec Mode in STEREO X 2 Sound reflected from the sourd boad Sound of the string Regulate the sound quality by changing the height and angle of the microphones Sound reflected from the sound board Pe D Regulate the sound vibrations with the distance and position of the microphones the string AN Adjust the spacing between the microphones to get the range you want to record Recording Drums The drum is an instrument that plays sound in several different directions We recommend using simultaneous recording with four channels Start by placing two microphones above the drum condenser microphones and one microphone each on the bass drum and snare dynamic microphones for a total of four recording locations You should use microphone stands above the drum and place the microphones at a height of about 2 meters At this height the sound from the entire drum set can be recorded For the bass drum place the microphone in front aimed at the place where the beater hits For the snare you should place the microphone about 10 cm above the snare so you can cleanly record
20. n record the actual experience of being at the arena Also you can easily make adjustments after the recording because the balance of each sound can be changed separately lt gt See Recording the Audience on p 13 in this guide for how to record the audience R 44 Setting Rec Mode in STEREO X 2 Performance Microphones Microphones oad 7 Audience 4N Y Audience Microphones Recording Multiple Input Levels Simultaneously Mistakes cannot be fixed at events like live performances But even if you set the input level during rehearsal in advance the recording can still fail because of unexpected sounds that are too loud or too soft For these times set combo input jacks 1 and 2 to the normal input level and combo input jacks 3 and 4 to a slightly lower input level If you do this you can avoid a recording mistake because even if the normal input level is clipped the sound in combo input jacks 3 and 4 is not clipped R 44 Setting Rec Mode in STEREO X 2 Slight Lower Recording Level Normal Recording Level PRACTICAL GUIDE TOTHE EDIROLR 44 L anbiuyda asp jed1 21g UOI JENIUS Setting and Placing Microphones in Arenas or Concert Halls Because sound can change just by changing the microphone positions microphone placement in arenas and concert halls is extremely important The best placement can be hard to find because the sound echoes differently for each arena or concert hall We introduce e
21. nt You can get an overall balanced recording by setting two microphones a small distance from the S shaped depression Also you can adjust the balance between the strings and the sound board with the angles of the microphones and adjust the balance between the sound of attack and reverberations to get the cleanest recording by moving the microphones closer in or farther out You can use 4 channel recording to capture even better sound See 4 channel Recording on p 5 for details Wind Instruments Basically you should place the microphone in front of the bell of the wind instrument When aiming at the bell you should use a wind screen because blowing noise is generated from the wind instrument Although you can use a dynamic microphone we recommend using a condenser microphone to get a cleaner recording When recording a solo performance woodwinds like the saxophone have some sound coming from the keys as well as from the bell and when all the keys are pressed the volume from the bell changes radically In this situation you should probably aim somewhere between the bell and the keys You can record a smooth performance this way When recording a horn section you should set a microphone for each horn and record with an on mike If you do this there will be no overlap of sound which gives you a cleaner recording The R 44 can simultaneously record 4 channels so we recommend setting a microphone for each horn
22. op most of the wind noise a Wind Screen 2 Turn LOW CUT ON Since wind noise is made up mostly of the low range the noise can be reduced by cutting out the low range PRACTICAL GUIDE TOTHE EDIROLR 44 4 channel Recording Recording with Surround Sound Recently words like surround sound and 5 1 channel have become common along with the popularization of DVDs With the ability to do 4 channel simultaneous recording the R 44 can make surround sound recordings Use four unidirectional microphones and set them on a microphone stand as shown in the photo to record the sound from four directions If you use this setup to record you can use a PC to convert to 5 1 channel surround sound Also use a wind screen to cut down wind noise as described earlier R 44 Setting Rec Mode in STEREO X 2 3s For details see Creating 5 1 Channel Sound Using a PC on p 18 in this guide L S YY a oe os a gt gt Q x c o Te D Simultaneously recording birdsong using multiple microphones Try to record a point as close to the bird as possible But if you get too close to the bird you won t be able to record the natural singing voice It is important to keep the bird from knowing that you are near You should check the time and place where birds normally gather and set up multiple microphones as shown in the illustration in advance Also use long cables to connect the microphones to the recorder hide
23. ou can record four channels simultaneously you can record all four parts vocals guitar bass and drums each on a separate channel at the same time You can also connect microphones or instruments directly into the four combo input jacks without using a mixer After recording you ll be able to adjust the volume of each part allowing you to check the performance of individual parts This is convenient since it allows you to check your own part as well as listen to the entire band s practice session R 44 Setting Rec Mode in MONO X 4 Input Select to Analog Matching the recording levels You can have a more perfect recording by setting recording levels for each part You can achieve good balance by first adjusting the microphone for the drums then the bass guitar and vocals in that order Also if you turn on the LIMITER described above you can prevent clipped sounds when there are very loud sounds Connections and Settings You should connect microphones and instruments to the R 44 as shown in the illustration See Instrument Recording Techniques on p 6 of this guide for microphone settings Vocals must be output from PA equipment or an amp so set the R 44 LINE OUT setting Output Sel to 4 indiv and set output to the same channel as the input channel Also you should use a microphone to record the sound from the guitar amp so that the characteristics of the amp sound can also be recorded lt gt For details on
24. se units that have amp modeling are designed to produce realistic sound even with a line connection Synthesizer or Organ You can record electronic instruments like synthesizers Standard Standard organs samplers or rhythm machines by connecting phone plug phone plug the instrument s line output jack directly to the R 44 combo input jack Some digital synthesizers have STEREO effecter or mastering features so the line recordings Lc can faithfully reproduce the created sounds E COMBO LINE You can record instruments played through an INPUT Jack OUT Jack amplifier by considering the distance to the amp just as with the electric guitar Drums You should use a stereo microphone or two microphones aimed from above the drums to record the sound of the entire kit It is generally recommend to record from a height of 2 meters but you can use a microphone stand and adjust the height and angle to find the sound you want You can also aim from a spot a little from the front You should be careful when using a unidirectional microphone because if it is pointed at a particular drum only the sound of that drum will be featured In this case adjust the angle of the microphone You can use 4 channel recording to capture even better sound See 4 channel Recording on p 5 for details Piano Unlike recording smaller instruments when you record sound from a piano you want to record the sound from the entire instrume
25. t 44 1 kHz on the R 44 Since this is the same as oe ae i the CD specifications it will take just a short time to convert the data 3 Write the exported data to a CD s 17 NJ gt Ke 2 Q D A Ke c D 18 Deleting Unnecessary Parts There are many cases when you ll want to edit the sound after recording for example to erase the first five seconds that aren t needed In these cases you can use the Windows version of the Cakewalk SONAR7 series sold separately to edit sound recorded with the R 44 Unnecessary sounds can be easily deleted by selecting them and erasing them as shown below For details on operations see the owner s manual or help for the software that you are using Deleting Unnecessary Parts Cakewalk SONAR7 Producer Edition Cakewalk SONAR7 Producer Edition Screen Although this software is music creation software it has plenty of editing features for sound files too For example you can easily create a non stop melody by connecting several edited passages Creating 5 1 Channels If you use the 4 channel recording as described in Recording with Surround Sound on p 15 you can convert the sound to the 5 1 channel surround sound used by DVD software And if you then synch it to video you will have a piece with the impact and realism of a movie We introduce the procedure to convert 4 channels to 5 1 channels below We use the Windows compa
26. t R with the project that recorded with channels 1 and 2 Determine the direction of sound for Rear L and Rear R with the project that recorded channels 3 and 4 For details on operations see the owner s manual or help for the software that you are using After making these settings the exported sound data is the 5 1 channel surround sound data Microphones Microphone Types There are two main types of microphone structures It is important to choose the microphone best suited for the recording situation For example a bass drum produces high sound pressure levels so it s best recorded using a dynamic microphones Type Structure Characteristic A voltage is applied to Although sound quality is superior in Condenser a electrodes and the change in high range attributes it is susceptible Microphone capacitance is converted to an to vibration and moisture and requires CS 50 CS 15R electronic signal phantom power Stereo Stereo DR 80C Although sound quality is not as good Dynamic Converts vibrations to an as a condenser microphone it is Microphone electronic signal resistant to vibrations and moisture and does not require phantom power DR 50 DR 30 Microphone Directivity Different microphones can capture sounds in different directions You should try changing the directivity of the microphone according to the recording Type Characteristic Microphones that have no directivity
27. t an angle from 90 to 120 degrees Be careful because t About 3 meters nbjuy gt paddy Z the angle between the microphones changes according to the size of the stage If the angle is too large the instruments in the center become faint if the angle is too small stereo sound is lost Adjust the vertical angle so that the microphones point to just below the front part of the stage The vertical direction of the microphones should be determined during the performance rehearsal We recommend using unidirectional microphones because it is easy to set the sound If you are using stereo microphones set them at an angle between 90 and 120 degrees to capture the orchestra or brass band The height and vertical angle is the same as when using two microphones Ultimately it is important to test the setup during rehearsal Y o a x As high as possible 90 120 degrees i x pu ddy 12 Recording in a Large Hall At large venues the sound from either end is always heard more faintly To help with this you can set auxiliary microphones by making use of the R 44 4 channel simultaneous recording feature The auxiliary microphones should be placed about 1 3 of the width of the orchestra or brass band from each end If you use these settings to record it will be easy to adjust the balance afterwards Also you should place the auxiliary microphones with some separation from the main microphones and also
28. that comes standard with the PC Some PC environments may not play 24 bit recordings PRACTICAL GUIDE TOTHE HARA R 44 1 Situation Practical Use Technique Situation 1 Recording Acoustic Instruments sseesssesssesssee p 4 cw Situation 2 Recording Band Performance csssssecesseeeees p 8 a 5 Situation 3 Recording Concerts acevo cetera en eee p 10 S Situation 4 Recording Outdoor SOUNAS ccsesecesesecscesseees p 14 2 A D 2 Applied Technique N Application 1 Recording Sound for Video ccessssessseeseees p 16 gt Application 2 Editing Your Recordings to E Createa CD Or DVD eree p 17 a S 2 Ke D 3 Appendix Ww Microphones gt Difference Between Sensitivity and VOIUME ccceeeeeeeeeee p 19 3 ODNO S reesei ey Sh ca Rene er ote prea ee on Oe a p 20 a R44 SpeciNCItONS annona R a aa uaaa p 20 L anbiuyda asp Situation N c te 2 gt K fe A maa A Recording Acoustic Instruments Preparing to Record Connect two microphones DR 80C to the R 44 e It s convenient to use a microphone stand e Turn PHANTOM ON 33 gt For details refer to the owner s manual Record Settings We recommend the following settings for making a CD Sets the mode to record with external microphones We recommend 44 1 kHz if you want to make a CD You can use 88 2 kHz for higher quality and perform accurate
29. the file is closed a new file is created and recording continues 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 Computer Inc Mac OS is a trademark of Apple Computer Inc EDIROLE by Roland Visit us online at www EDIROL com Copyright 2008 ROLAND CORPORATION All rights reserved No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION DR 50 DR 30 Residual Noise Level Line Output 103 dBu Input Sens 4 dBu Input Level Minimum Frequency Response 20 Hz 40 kHz 0 3 dB Dynamic Range AD 100 dB DA 104 dB Phantom Power 48V 4V 8 mA per 1 channel 20 mA or less for all channels Other Terminals USB Port Mini B Type Connector USB 1 1 or 2 0 High Speed Mass Storage Class Control Sync Jack Stereo Mini Type Jack Word clock sync and start stop remote control of 2 units Remote control function does not guarantee the exact same REC start time Built In Effects e 3 Band EQ e 6 Band Graphic EQ e Noise Gate e Enhancer e Comp amp DeEsser e MS Mic Mixing RH 300 ST 100MB e Monitor Level knob Phantom Power Switches CH1 2 3 4 e Limiter Switch e Low cut switch e Scrub Value e Transport Buttons PREV REW NEXT FWD STOP PLAY P
30. tible Cakewalk SONAR7 Producer Edition sold separately for conversion For details on operations see the owner s manual or help for the software that you are using 5 1 Channel Surround Sound The 5 1 channel surround sound system creates a realistic sound environment using 6 channels in a rectangle configuration The six channels are in front of the listener Center to the right in front Front R to the left in front Front L to the right in back Rear R to the left in back Rear L and the low frequency channel The low frequency channel is counted as 0 1 channel because it has a limited sound range Recording Settings iia Set Rec Mode to STEREO X 2 If this setting is used to convert to 5 1 channel 4 surround sound you can manipulate two bits of data in two channel units Beare to make the conversion operation easier Also set the microphones so that 4CH channel 1 is the front left channel 2 is the front right channel 3 is the rear left and channel 4 is the rear right See the illustration at right for how the area recorded by four channels corresponds to the area for 5 1 channels Converting to 5 1 Channel Surround Sound Load the data for the two projects sound data recorded in stereo to the PC and convert to 5 1 surround sound using the surround pan feature of Cakewalk SONAR 7 Producer Edition First display the screen shown in the illustration Set the direction of sound for Front L Center and Fron
31. xamples of setting microphones using general suspended microphones and using microphone stands Using Suspended Microphones Recording with Suspended Microphones Suspended microphones are microphones suspended from the ceiling and are set for recording public performances at authentic concert halls These microphones allow the Suspended performance to be taped without Microphones bothering the guests or filming You have to consult in advance with the performers about the height to suspend the microphones because if the microphones are too close they might interfere with the audience or filming The best recording is usually made by having the microphones closer to the performers L anbiuyda asp e 31 22e4d UOHeNINS Be sure to check beforehand whether you can use facility equipment such as the suspended microphones You also need to check how to use the equipment and the type and characteristics of the microphones Using Microphone Stands Microphone stands give you more freedom to adjust the microphone position than when using suspend ed microphones But you have to consult in advance with the performers about the microphone stands because they might Recording in a Small Hall Position two microphones near the center of stage about three meters in front of the stage Orchestra or Brass Band or behind the conductor using the highest F O a setting of the microphone stands Set the left and right microphones apart a

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