User manual ROLAND MICRO BR

[. . . ] Owner's Manual 201a Before using this unit, carefully read the sections entitled: "USING THE UNIT SAFELY" (p. 2­3) and "IMPORTANT NOTES" (p. 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. [. . . ] A high gain and powerful metal sound. Depth 0 ­ 100 Determines the depth of the Phaser effect. Manual 0 ­ 100 Adjusts the center frequency of the phaser effect. Resonance 0 ­ 100 Determines the amount of resonance (feedback). Increasing the value will emphasize the effect, creating a more unusual sound. Preamp Adjust the distortion and tone of the guitar sound. * When all Bass, Middle and Treble are set to "0, " no sound may be produced depending on the "Type" setting. Volume 0 ­ 100 Adjusts the volume and 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. * If you have selected "MATCH" or "VO DRV" as the type, the middle control will have no effect. On/Off Turns the preamp effect on/off. OFF, ON Type This sets the type of the preamp. The distortion and tone characteristics of each amp are as shown below: JC-120 The sound of the Roland "JC-120, " a favorite of pro musicians around the world. The sound of a conventional built-in tube amp. Allows you to obtain a crunch effect that creates a natural distortion. A simulation of the tube amp widely used in styles from blues and rock. Allows you to obtain the Liverpool sound of the 60's. A lead sound with a rich middle ideal for Blues. The sound of a tube amp typical of the late '70s to '80s, characterized by a distinctive mid-range. Treble 0 ­ 100 Adjusts the tone for the high frequency range. Presence 0 ­ 100 Adjusts the tone for the ultra high frequency range. * If you have selected "MATCH" or "VO DRV" as the type, raising presence will cut the high range (the value will change from "0" to "-100"). CLEAN CRUNCH MATCH VO DRV BLUES BG LEAD Master 0 ­ 100 Adjusts the volume of the entire preamp. Bright OFF, ON (with JC-120, CLEAN, CRUNCH, BLUES, BG LEAD) Turns the bright setting on/off. Parameter OFF ON Explanation Bright is not used. Bright is switched on to create a lighter and crisper tone. 70 Section 3. Using effects Speaker Simulator This simulates the characteristics of various types of speakers. When the output of the MICRO BR is connected directly to a mixer, etc. , this can be used to create the sound of your favorite speakers system. On/Off OFF, ON This parameter turns the speaker simulator effect on/off. Type Selects the type of speaker that will be simulated ( See following table). "On Mic" simulates the sound when a dynamic SP Simulator Type SMALL MIDDLE JC-120 TWIN twin MATCH match VO DRV vo drv BG STK bg stk MS STK ms stk METAL Cabinet Small open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Open-back enclosure Large Sealed enclosure Large Sealed enclosure Large Sealed enclosure Large Sealed enclosure Large dual stack Speaker Unit 10 inch 12 inch 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) 12 inch (two units) microphone is used, and "Off Mic" simulates the sound when a condenser microphone is used. Mic Set CENTER, 1 ­ 10 (cm) This simulates the microphone position. [. . . ] 56 Track Exchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Track Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Tempo tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]