Korg Musical Instrument D3200 User Manual

Owner’s Manual

E 1

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Handling of the internal hard disk

This professional device is intended only for use

with works for which you yourself own the copy-

right, for which you have received permission from

the copyright holder to publicly perform, record,

broadcast, sell, and duplicate, or in connection with

activities which constitute “fair use” under copy-

right law. If you are not the copyright holder, have

not received permission from the copyright holder,

or have not engaged in fair use of the works, you

may be violating copyright law, and may be liable

for damages and penalties. If you are unsure about

your rights to a work, please consult a copyright

attorney. KORG TAKES NO RESPONSIBILITY

FOR ANY INFRINGEMENT COMMITTED

THROUGH USE OF KORG PRODUCTS.

Do not apply physical shock to this device. In particu-

lar, you must never move this device or apply physi-

cal shock while the power is turned on. This can cause

part or all of the data on disk to be lost, or may dam-

age the hard disk or interior components.

When this device is moved to a location where the

temperature is radically different, water droplets may

condense on the hard disk. If the device is used in this

condition, it may malfunction, so please allow several

hours to pass before operating the device.

Do not turn the power on and off repeatedly. This may

damage the D3200.

This device begins to access the hard disk immedi-

ately after the power is turned on.

Never turn off the power while the HDD access indi-

cator is lit or blinking. Doing so can cause all or part of

the data on hard disk to be lost, or may cause malfunc-

tions such as hard disk damage.

If the hard disk has been damaged due to incorrect

operation, power failure, or accidental interruption

of the power supply, a fee may be charged for

replacement even if this device is still within its

warranty period.

Data handling

Incorrect operation or malfunction may cause the contents of

memory to be lost, so we recommend that you save impor-

tant data on a CD or other media. Please be aware that Korg

will accept no responsibility for any damages which may re-

sult from loss of data.

Also, when digitally recording copyrighted audio material

from a DAT or CD etc., you must obtain permission for use.

Please be aware that Korg will accept no responsibility for

any copyright violations which may occur through your use

of this product.

* Company names, product names, and names of for-

mats etc. are the trademarks or registered trademarks

of their respective owners.

iii

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Cautions when using the CD-R/

RW drive

Printing conventions in this

manual

• During CD reading and writing operations, keep the unit

in a horizontal position.

Faders, knobs, and keys on the panel

• Do not use the unit in extremely cold or hot locations.

• Do not use the unit in extremely humid locations.

• Do not use the unit in dusty or smoky locations.

• Do not subject the unit to vibration or strong physical

shock. In particular, this unit is vulnerable to shock during

CD reading and writing operations.

In this manual, “faders,” “knobs,” and “keys” refer to

controls on the panel. The names shown on the panel are

printed in boldface in the manual.

Examples: MASTER fader, TRIM knob, REC/ PLAY key

Items in the LCD screen

• Normally, you will be able to open the CD tray by press-

ing the eject button. However if this fails, you can forcibly

eject the tray by inserting a thin object (such as a straight-

ened paper clip) into the emergency eject hole.

• Do not store the unit in hot or humid locations.

• Never touch the focusing lens.

• Do not use commercially available lens cleaners.

• Do not transport the unit with a disc left in the tray.

• Do not leave the unit with the disc tray open.

“Buttons” and “dialog boxes” are displayed in the LCD

screen. The names shown in the screen are printed in

boldface in the manual.

Items printed in “boldface” are parameters or tab page

names shown in the LCD screen.

Examples: OK button, Rename dialog box, “SetUp” tab

page

Other items printed in boldface

Boldface is also used to indicate the names of non-

selectable parameters shown in the LCD screen, or to

indicate content in the text that we wish to emphasize.

CD-R/ RW handling

Please observe the following points when handling discs.

Failure to observe these points may cause problems such as

data not being written correctly, loss of recorded data, or

drive malfunction.

• Do not leave discs in direct sunlight, or in locations of

high temperature or high humidity.

Steps (1) (2) (3) ...

Steps in a procedure are indicated as (1) (2) (3) ...

(→p.■■)

• Do not touch the surface of a disc. Hold a disc by its

edges.

This indicates a reference page within this manual.

• Remove dust or dirt from the surface of a disc. To remove

dust, use an air duster or cleaner.

• Do not afﬁx labels to a disc, or write on a disc in locations

other than speciﬁed.

These symbols respectively indicate points of caution,

notes of advice, or examples.

• Do not use chemicals or detergent to wipe a disc.

• Do not bend or drop a disc.

…, “XX” tab page

This refers to a page shown in the LCD screen. To access

this page, press the top panel … key, and then click the

“XX” tab in the LCD screen (→p .13).

Responsibility for loss of data

Korg Corporation will accept no responsibility for any dam-

ages (direct or indirect, whether sustained by the customer or

by a third party) resulting from loss of or damage to data

written on a CD-R or CD-RW disc.

You can also use the panel √TAB PAGE/ TAB PAGE® keys

to move between tab pages.

…, …, “XX” tab page

The top panel MIXER key and CD key display a page

jump menu in the LCD screen before the tab pages

appear, so click the page button (→p .13) and then click

the “XX” tab (→p .13). Pressing the MIXER key or CD

key will take you back to the page jump menu screen.

LCD screens

The parameter values shown in the LCD screens printed

in this manual are explanatory examples, and may not

necessarily match the displays that appear on your

D3200.

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5. R e cordin g ................................................. 25

Preparations for recording ...............................25

Start recording....................................................26

Table of Contents

6. P l a y ba c k .................................................. 26

Step 3: Overdubbing ...................................27

IMPORTANT SAFETY INSTRUCTIONS...............ii

H a nd l ing of the intern a l hard d i sk ................... iii

D a t a h a nd l in g ................................................. iii

C O P Y RI G HT WA R N I N G................................... iii

C a utions when using the C D-R/ RW d rive ......... iv

Printing conventions in this m a nual.................. iv

1. R e cordin g ................................................. 27

Preparations for recording ...............................27

Start recording....................................................27

2. P l a y ba c k .................................................. 27

Step 4: Mixdown a nd mastering ..................28

1. Applying effects and EQ to individual

ch a nne l s ................................................... 28

I n troduction ................................... 1

Applying effects to individual channels/ tracks

(Insert Effect) ......................................................28

I n cluded items..................................................1

B e fore using the D 3 200 f or the first time ........ 1

Power on/ off...................................................1

Setting the c a l e ndar .........................................2

C o nnection ex a m ple.........................................3

M a i n fe a t ures ............................................... 4

P a rts and their function ................................. 6

T o p panel ........................................................6

R e ar panel.....................................................11

A b out the C D-R/ RW d rive ..............................12

It e ms and functions in the L C D screen........... 13

B a s ic operatio n ........................................... 15

E x amp l e s of operation ...................................17

Applying EQ to each channel/ track ...............28

Ad j u sting the pan ..............................................29

Using the channel/ track sends to apply effects

(Master Effects)...................................................29

Selecting a master effec t ....................................2 9

Adjusting the Master Effect 1 Send amount for

each track ............................................................30

Checking and ad j u sting the master effect ......30

2. Applying Final (or mastering) effects and EQ to

the entire song.......................................... 31

Set the meters to display the post fader

levels. ...................................................................31

Applying an effect to the master bus

(Final Effect)........................................................31

Applying EQ to the master bus (Master EQ).32

3. R e cording the m a s ter tr a c k ........................ 33

4. Writing to a CD ........................................ 34

S a v ing your song........................................... 34

Quick St a rt .................................. 18

Operation ....................................35

Step 1: Prep a ra t ions ................................... 18

1. C o nnections ..............................................18

2. T u rn the D 3 200 on ....................................18

3. L i sten to the demo song .............................19

Step 2: Quick recording .............................. 20

1. C r eate a new song ....................................20

2. Name the song .........................................20

Song, L o c a t e................................................35

1. S electing/ cre a t ing a song.......................... 35

1-1. C r eating a new son g ......................... 35

1-2. R e naming a song .............................. 36

Using the name library ................................36

1-3. Selecting a song................................ 36

Selecting a song from the song list .............36

Selecting a song from another song drive ..3 6

2. L o c a t ion ................................................... 37

3. Connect your audio sources to the mixer

inputs .......................................................21

2-1. Switching the counter displ a y ............ 37

S w i tching the information display area ....37

Connect mics and instruments to the INPUT

j a cks......................................................................2 1

2-2. M o ving to a different loc a t ion............ 38

Using the counter to move ...............................38

Assign the inputs to channels ..........................2 2

Using the FF and REW keys to move .............38

Moving to a point later in the song

4. A d ding E Q a nd E FFECT S ............................23

Applying EQ to the input sound .....................2 3

Applying effects to the input sound ...............2 4

(fast-forward) ................................................38

Moving to a point earlier in the song

(rewind)..........................................................38

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Moving to the beginning/ end of the song .... 38

Moving to the beginning of the song ........ 38

Moving to the end of the song ................... 38

3-9. Solo settings ..................................... 48

Soloing just one channel.............................. 48

Soloing more than one channel.................. 48

Cancelling solo.............................................. 48

Sending the soloed audio from the master

bus .................................................................. 48

Using the Locate keys to move........................ 38

Assigning locations to the Locate keys ..... 38

Moving to a location registered to a Locate

key .................................................................. 38

3-10. M uting a ch a nnel............................. 48

Moving using assignable Marks ..................... 38

Registering a mark ....................................... 38

Moving to the location assigned to a

3-11. M ixer Setup..................................... 49

Storing a mixer setup ................................... 49

Recalling a mixer setup ............................... 49

mark ............................................................... 39

Using the MARK keys to move.................. 39

Deleting a mark ............................................ 39

Renaming a mark ......................................... 39

4. S toring/ rec a l ling a scene .......................... 50

4-1. Storing a scene ................................. 50

4-2. R e c a l ling a scene .............................. 50

4-3. R e naming a scene............................. 50

4-4. D e l e ting a scene ............................... 50

4-5. E d iting a nd overwriting a scene......... 51

2-3. F i n ding a precise loc a t ion (SCRUB) .....40

Finding a zero-cross point .......................... 40

3. S ong editing .............................................41

3-1. Song editing procedure .....................41

Copying a son g .................................................. 41

Moving a song ................................................... 41

Deleting a song .................................................. 41

Protecting a song ............................................... 42

Protect On...................................................... 42

Protect Off ..................................................... 42

Saving a song ..................................................... 42

4-6. Specifying parameters that will be

dis a b l e d for a n i ndividu a l s cene ........ 51

4-7. Specifying parameters that will be

dis a b l e d for a l l scenes....................... 51

4-8. C o ntrolling scenes via MIDI ............... 51

MIDI output .................................................. 51

MIDI input..................................................... 51

5. A utom a t ion .............................................. 52

Mixer ..........................................................42

1. I n putting a ud i o to the mixer ......................42

5-1. Scene a utomation ............................. 52

Using scene automation .............................. 52

Storing a scene at a different location........ 52

E d i ting the location of a stored scene........ 52

1-1. A n a l og input.....................................42

Inputting audio from a guitar .................... 42

Using the tuner ............................................. 43

5-2. E v ent a utomation .............................. 52

Recording mixer operations ....................... 52

Playing back the events ............................... 53

E d i ting events ............................................... 53

1-2. D i g it a l i nput ......................................44

Inputting the digital audio signal from a MD

or DAT ........................................................... 44

1-3. Sub input ..........................................44

2. A udio outputs from the mixer ....................44

3. M ixer settings ...........................................45

E f fect s ......................................................... 54

Effect type and size ........................................... 54

How D S P p ower is allocated to the effects.... 54

1. U sing insert effect s .................................... 55

3-1. A d justing the volum e .........................45

Adjusting the volume level of each

1-1. Applying insert effects during

channel........................................................... 45

Inputting a source at the maximum level .. 45

Ad j u sting the overall volume level ........... 45

recording.......................................... 55

1-2. Applying insert effects during

p l a y ba c k .......................................... 55

3-2. A d justing the p a n..............................45

2. U sing m a s ter effect s .................................. 55

3. U sing the fin a l e f fect ................................. 55

3-3. E Q (E q ua l izer) ...................................45

Channel EQ ........................................................ 45

Applying EQ to an audio input ................. 45

Applying EQ to the playback ..................... 46

Master E Q ........................................................... 46

4. E d iting the effects...................................... 56

E d i ting the effect parameters........................... 56

For an insert effec t ........................................ 56

For a master effect or final effec t ................ 56

Storing an effect program................................. 56

3-4. EQ library (Storing and recalling EQ

settings) ............................................46

Storing EQ settings....................................... 46

Recalling EQ settings ................................... 46

5. C o ntrolling effects from a n external device 57

6. U sing extern a l e f fects................................ 57

Session D r ums™ ......................................... 58

3-5. Pairing..............................................46

3-6. Group settings...................................47

Fader groups ................................................. 47

CH ON groups.............................................. 47

1. L i stening to drum p a t terns ......................... 58

If you ’v e selected Metronome as the

3-7. M o nitor settings ................................47

3-8. A d justing the cue level.......................48

group .............................................................. 58

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2. Creating a drum track for an entire song

(P a t tern M a p)............................................58

Auditioning the pattern map ......................5 9

3-1. T r a c k editing procedures ................... 69

Copy a track (CopyTrk) ....................................69

Copying tracks within the same song........69

Using the clipboard to copy data to another

song.................................................................70

3. R e cording with Session D r ums ...................59

Recording additional tracks as you listen to the

drum track ..........................................................5 9

Insert blank space (InsertTrk) ..........................71

Erase a track (EraseTrk) ....................................72

Delete a track (DeleteTrk).................................72

Deleting track data........................................72

Deleting all data of a track...........................72

Exchange tracks (SwapTrk)..............................73

Reverse a track (ReverseTrk)............................73

Optimizing a track (OptimizeTrk) ..................74

Ex p and/ compress a track (ExpCmpTrk).......74

Recording patterns on a track ..........................5 9

Recording Session Drums to a channel

track ................................................................5 9

Recording directly to the master track ......60

4. E d iting a drum kit .....................................60

Selecting a drum kit...........................................6 0

E d i ting the sound of a drum kit .................6 0

Preserving drum kit changes and drum

Copy an entire track/ Copying to a Virtual track

(CopyWholeTrk) ................................................75

Copying to a virtual track............................75

sound edits.....................................................6 0

5. P a t tern m a ps ............................................61

Exchange two entire tracks (SwapWholeTrk) 76

S w apping entire tracks.................................76

Fade-in/ fade-out (FadeTrk).............................76

Creating a fade-in .........................................76

Creating a fade-out .......................................77

Creating a pattern map .....................................6 1

E d i ting a pattern map .......................................6 2

Inserting a new event into the pattern

map .................................................................6 2

Replacing an event .......................................6 2

Overwriting a portion of an existing

event ...............................................................6 2

Deleting an event ..........................................6 2

Boosting the maximum volume to the specified

level (Normalize: NormalizeTrk) ....................77

Eli m i nating noise (NoiseReduction )...............7 8

Erasing punch noise (ErasePunchNoise) .......78

Erase a silent region (EraseSilence ).................7 9

6. T e mpo .......................................................62

Playing the entire song at the same tempo .6 2

Changing the tempo during the song........63

The Song Guide function ..................................6 3

4. Naming a track ........................................ 79

CD ..............................................................79

1. T r a c k At O nce........................................... 79

6-1. T e mpo track.......................................63

Recording MIDI Clock data from an external

MIDI sequencer, and using it as the tempo

track ................................................................63

Tap temp o ......................................................6 3

2. D isc At O nce............................................. 80

2-1. A l b um C D Project.............................. 80

2-2. C r eating a live CD............................. 82

6-2. Pattern map tempo ............................64

3. R i p ping a C D ............................................. 82

D a t a ...........................................................83

1. B a c king up a nd restoring .......................... 83

R e corder..................................................... 64

1. R e cording .................................................64

B o unce recording ...............................................6 4

1-1. B a s ic recording .................................64

1-2. Switching virtu a l t r a c ks......................65

1-1. B a c king up ....................................... 83

B a cking up 1Song .........................................83

B a cking up All Data .....................................84

B a cking up User Data...................................84

1-3. Overdubbing (Recording additional

tr a c ks during pl a y ba c k).....................65

1-2. R e storing b a c ked-up data ................. 85

2. A udio file s ................................................ 86

1-4. T r igger recording ..............................65

1-5. Punch-in Recording

(R e -recording a specific a rea ).............66

2-1. I m porting a n aud i o fil e ...................... 86

Importing an audio track into the beginning

of a trac k .........................................................8 6

Importing an audio file into the middle of a

track ................................................................87

Manual punch-in/ out .......................................6 6

Using a foot switch for manual punch-in/

out ...................................................................6 6

Auto punch-in/ out............................................6 6

Loop recording...................................................6 7

2-2. E x porting a n aud i o fil e ...................... 87

Ex p orting an audio file ................................87

Ex p orting multiple audio files ....................88

1-6. C r eating a master track .....................67

2. P l a y ba c k ..................................................68

2-1. Normal p l a y ba c k ..............................68

2-2. L o op p l a y ba c k ..................................68

2-3. Pl a y ing b a c k a n a l b um C D p roject .....69

3. Drive and data compatibility with the Digital

Recording Studio series ............................. 88

Using D32XD and D16XD data ..................88

Using D3200 data on a different model.....88

Using data from a different model on the

3. T r a c k editing .............................................69

D3200 ..............................................................8 8

Registering the edit region ..........................6 9

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D r ive ...........................................................89

1. S p ecifying the drive size ............................89

R e ference .................................... 98

C o unter....................................................... 98

C o unter displ a y ........................................ 98

1-1. Partitioning the hard drive into separate

song drives (P a rtitions) ......................89

R e name ...................................................... 99

E d iting a n a m e ......................................... 99

1-2. Specifying the PC drive size ...............89

2. R e naming a song drive .............................90

3. C h ecking the h a rd d i s k ..............................90

4. F o rmatting the h a rd d i sk ...........................90

5. L o ad system..............................................91

6. C r eating a system recovery C D ..................91

1. M ETER ..................................................... 99

M e ter/ T r a c k Vi e w..................................... 99

2. M IXER ................................................... 100

2a. C H I N PU T / S ubMixe r .............................. 101

2a -1. C h annel A ssign.............................. 101

2a -2. Sub Mixer 1–4............................... 101

2a -3. Sub Mixer 5–8............................... 101

2a -4. Sub Mixer 9–12............................. 101

7. D r ive c a pa c it y ...........................................91

To keep only the audio data that you are

actually using................................................ 91

To erase A and B that remain from the first

take, and recover disk space....................... 92

2b. P AIR/ GR O U P ........................................ 102

2b-1. C h annel Pair ................................. 102

2b-2. F a der Group.................................. 102

2b-3. C h annel On Group ........................ 102

Deleting the Undo data .................................... 92

S h aring event data ............................................ 92

8. P C d rive....................................................92

C h ecking, renaming, or deleting files .........92

2 c . FADER/ PA N / AU T O M A T I O N ................... 103

2 c -1 . F a der P a n ...................................... 103

2 c -2 . A utom a t io n .................................... 103

2 c -3 . E v ent L i st........................................ 104

2 c -4 . E d it Scene ...................................... 105

2 c -5 . S cene F ilt e r .................................... 106

2 c -6 . M ixer View .................................... 106

USB .............................................................93

1. S a v ing/ lo a d i n g .........................................93

Windows users (Windows Me/ 2000 or later). 93

Macintosh users (Mac OS9.0.4 or later).......... 93

MIDI............................................................94

1. M IDI c o nnection s .......................................94

MIDI channel settings....................................... 94

2d. E Q / A T T/ P HASE ..................................... 107

2d-1. E Q / A T T ......................................... 107

2d-2. E Q L i br a ry..................................... 107

2d-3. Phas e ............................................ 108

2d-4. M a s ter E Q ..................................... 108

2. M IDI m essages used by the D 3 200 ............94

About the MIDI implementation chart .......... 94

3. U sing MIDI................................................94

Controlling the D3200 from a MIDI

sequencer ............................................................ 94

Synchronizing two D3200 units ................. 95

2e. S E N D (EFF/ AUX/ REC)............................. 109

2e-1. E f fect 1 Send.................................. 109

2e-2. E f fect 2 Send.................................. 109

2e-3. A ux1 Send .................................... 109

2e-4. A ux2 Send .................................... 109

2e-5. R e c Send ....................................... 110

Using MIDI to control the mixer..................... 95

U p grad i ng the system ..................................96

1. D o wnloading the operating syste m ............96

Upgrading via CD-ROM/ R/ RW............... 96

Upgrading via U S B ...................................... 96

2 f . SO L O / M O N I T O R .................................... 110

2 f -1 . S olo ............................................... 110

2 f -2 . M o nito r .......................................... 111

2 f -3 . C u e L e vel ....................................... 111

2. U p grad i ng the system ...............................96

Using a recovery CD to recover the system....96

Preserving non-system data when you

recover ........................................................... 96

If an error appears and the recovery is

unsuccessfu l .................................................. 96

2g. M IXER SETU P ......................................... 111

3. C H VIE W ............................................... 112

3-1. C h Vi e w .......................................... 112

3-2. C h annel R o uting V i e w ..................... 112

ClickPoint c a l i b ration ...................................97

4. E FFECT .................................................. 113

4-1. E f fect R o uting .................................. 113

4-2. I n sert E FF ......................................... 114

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4-3. M a s ter E FF1 .....................................115

4-4. M a s ter E FF2 .....................................116

4-5. F i n al E F F ..........................................116

E f fect p a rameters .......................150

Al g orithm list.............................................150

Progr a m l ist ..............................................150

5. S E N D .................................................... 116

6. E Q ........................................................ 116

7. P AN ..................................................... 116

8. S ONG .................................................. 117

A b out the effect a l g orithms .......................... 152

Stereo-typ e ............................................. 152

Category: Reverb&Delay

Reverb/ delay-type effects ..............................152

Category: Modulation&Pitch

Modulation/ Pitch-type effects ......................155

9. S Y S T EM/ MIDI ....................................... 119

9-1. C o ntrol ............................................119

9-2. D isk Utility .......................................120

9-3. E d it PC F il e .......................................122

9-4. B a c kup ............................................123

9-5. R e store ............................................123

9-6. M IDI/ MMC ......................................124

Category: Dynamics&Filter

Dynamics/ Filter-type effects .........................156

Category: SFX&etc

SFX/ Etc effects .................................................158

M o naura l -type........................................ 159

Category: Reverb&Delay

Reverb/ delay-type effects ..............................159

Category: Modulation&Pitch

Modulation/ Pitch-type effects ......................160

10. T RACK ................................................ 126

10-1. V irtu a l T r a c k 1 –32 .........................126

10-2. M a s ter T r a c k ..................................126

10-3. E d it T r a c k ......................................126

10-4. I m port F ile .....................................135

10-5. E x port F ile .....................................136

Category: Dynamics&Filter

Dynamics/ Filter-type effects .........................161

Category: SFX&etc

SFX/ Etc effects .................................................162

Category: Multi

Multi Effect .......................................................163

11. C D ...................................................... 137

11a. A l b um C D ............................................138

11b. T r a c k a t on c e .......................................139

11 c . CD P L A YE R ...........................................140

12. U N D O ................................................ 141

13. T U N E R ................................................ 141

A p pendices ................................164

T r oubleshooting.........................................164

Power does not turn on................................ 164

Nothing a ppears i n the displ a y .................... 164

V e rtic a l l ines a re visible in the displ a y .......... 164

No sound .................................................... 164

F a ders don ’t w ork ....................................... 164

C a n ’t record ................................................ 165

C a n ’t use digit a l i nput.................................. 165

14. S E S SI O N D RUMS ................................ 142

14-1. Session D r ums ...............................142

14-2. D r ums T r a c k Mixer.........................143

14-3. Pattern M a p...................................144

14-4. T e mpo T r a c k ..................................145

Playback level is lower than the level during

recording ............................................... 165

15. S T O R E ................................................ 145

16. S CE N E................................................ 145

17. M ARK ................................................. 145

18. S CRUB ................................................ 146

The input or recorded sound is noisy or

distorte d ................................................. 165

E f fects do not a pp l y ..................................... 165

Session D r ums ............................................. 166

A key does not function when presse d .......... 166

MIDI ............................................................ 166

CD-R/ RW .................................................... 167

Audio file s ................................................... 167

USB ............................................................. 167

St a rtup ........................................................ 167

19. L O C 1/ I N , … L O C 4/ E N D ................... 147

MIXER N a v ig a t ion T o ols ...............................147

20. R EC/ P L A Y M O D E ................................ 147

20-1. R e c M o de ......................................147

20-2. Pl a y / Stop Mode.............................149

V a r i ous mess a ges......................................168

Confirmation messages...................................170

Serious error messages....................................170

21. T r ansport keys .................................... 149

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M o re about drives and files........................171

D r ives..........................................................171

CD-R/ RW d rive ......................................... 171

PC (USB) d rive............................................ 171

Audio CDs a nd f iles......................................172

Audio CDs........................................................ 172

Playing an audio CD.................................. 172

Creating an audio CD................................ 172

Files.................................................................... 172

Writin g ......................................................... 172

Loading........................................................ 173

S p ecific a t ions ............................................174

Main sections ................................................... 174

Principal specifications................................... 174

Analog/ digital input and output

specifications.................................................... 175

Included items ................................................. 175

Se p arately sold options .................................. 175

V a r i ous lists...............................................176

D r um P a t tern L i st..........................................176

EQ L i br a ry L i st .............................................177

Name L i br a ry L i st.........................................177

D e mo Song L i st ............................................177

Shortcut key s .............................................178

Gloss a ry....................................................179

I n dex ........................................................184

Bl o ck di a gram ...........................................188

MIDI im p l e mentation ch a rt .........................189

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Introduction

Thank you for purchasing the Korg D3200 Digital Recording Studio.

To take full advantage of the D3200’s functions, and to enjoy trouble-free use,

please read this manual carefully and use this product only as directed. Keep this

manual in a safe place for future reference.

Included items

Make sure that the following included items are present.

• Owner’s Manual (this document)

• Power cable

Before using the D3200 for the ﬁrst time

Important

Please observe the following points when using the D3200.

Power on/ off

The D3200 is a precision instrument, similar to a personal computer, equipped

with an internal hard disk drive and a CD-R/ RW drive. When turning the power

on and off, follow the procedures shown below.

Before you turn on the power, make sure that the power cable is firmly plugged into the D3200

and into an AC outlet.

(3)

● Power-on

(1)

(4)

(1)Lower the D3200’s MONITOR LEVEL knob to the

–∞ position. Set the volume controls of your external equip-

ment to their lowest position.

(2)Turn on the power of external input devices such as key-

boards that are sending audio to the D3200.

(3)Turn on the main power switch (POWER ON) located on the

rear panel of the D3200.

The STANDBY indicator will light. The D3200 is now in the

“standby” condition.

A certain amount of time will be required from when you turn on the main power until the

STANDBY indicator lights.

(4)Press the power (ON) key located on the top panel to turn

the D3200 on.

The opening screen (D3200)

The opening screen will appear in the LCD, and then the

SONG page will appear.

A certain amount of time from when you press the power-on key until

the opening screen appears.

The next time you turn the power on, the song that had been

selected prior to the previous power-off will be selected.

(5)Turn on the power of your external output devices, such as

the monitor system to which the D3200 is sending audio.

If the power is turned off accidentally while the D3200 is being used, the

D3200 itself or its internal hard disk drive may be damaged.

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● Power-off

(1)Lower the D3200’s MONITOR LEVEL knob to the –∞ position.

(2)Turn off any devices connected to the D3200’s outputs, such as your moni-

tor system.

(3)Hold down the D3200’s power (ON) key (for 2–3 seconds)

and the shutdown LCD screen appear.

If you click the Yes button (or press the panel YES key) in the

LCD screen, the song will be saved automatically, and the

D3200 will enter the standby state. This process is called

“shutdown.”

If you click the No button (or press the panel YES key), you will return to the

previous screen.

(4)Press the main power switch (POWER ON) located on the rear panel of the

D3200 to turn off the power.

(5)Turn off any devices (such as keyboards) connected to the D3200’s inputs.

When turning the power off, you must perform the shutdown process. Never turn off the main

power switch or disconnect the power cable before shutdown has been completed.

If you turn off the main power switch or disconnect the power cable before shutdown has been

completed, data or user settings will be lost, and the hard disk may be damaged.

The audio you record into the D3200 and the mixer and effect settings you make are automat-

ically saved when you select a song or perform the shutdown process.

Perform the shutdown process when you have finished all activities such as playback or recording.

If you will not be using the D3200 for an extended period of time, turn off the main power switch

on the back of the D3200.

Setting the calendar

When a song is saved, the file is time-stamped with the date and time provided

by the internal calendar.

You will need to set the calendar the first time you use the D3200 after purchasing

it, if the main power switch has been turned off, or if you need to change the cal-

endar time for any other reason.

If you haven’t set the calendar, the calendar area (A) of the information display is shown in

gray.

(1)Press the SYSTEM/MIDI key.

(2)Click the “Control” tab.

(3)Click the Date/Time button to

open the Calendar dialog box.

(6) (7) (4), (5)

(4)Click the four-digit year ﬁeld to

highlight it.

(7)

(8)

(5)Use the value dial or the +/– keys

to set the year.

(A)

(6)Click the month ﬁeld at left to

(1)

highlight it, and set the month in

the same way.

(8)

(7)In the same way, set the day, hour

(in 24-hour format), minute, and

second areas of the Date ﬁeld.

(5)

(6)

(7)

(8)Click the OK button (or press the

panel YES key) to apply the date

and time you speciﬁed.

(2)

(3)

The calendar clock continues to run when you power-off to the Standby mode. However, if you

turn off the main power switch, the calendar will need to be reset.

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Connection example

This diagram shows typical connections when using the D3200.

Connect your equipment as appropriate for your system.

Master recorder (Analog: cassette tape recorder, etc.)

Monitor speakers etc.

INPUT L/ R

MASTER

OUT

MONITOR

OUT

AUX

OUT

MIDI

sequencer

Headphones

Master recorder (Digital: DAT, MD, etc.)

DIGITAL IN

MIDI

OUT/ IN

DIGITAL OUT

EXP-2

Foot controller

MIDI

IN/ OUT

Computer

S/ P DIF

IN/ OUT

USB

PS-1

Pedal switch

INPUT 1–8

Guitar

to the AC outlet

Mic

Power supply connection

You must use the included

AC power cable

INPUT 1–12

OUTPUT

Keyboard

Cautions when making digital connections

If any of the synchronization settings of the D3200 do not match those of the connected device,

noise may occur. Turn down the faders or minimize the volume of your monitor speakers before

you change settings.

If you select a song that has a different sampling frequency, noise may occur when the change

occurs. Turn down your monitors before you make such a change.

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Main features

♦ 32-track digital multi-track recorder

The D3200 provides studio-quality sound with 64-bit internal processing, 24/ 16-bit recording and

playback, and 48 kHz/ 44.1 kHz uncompressed recording.

❖1

When using 48 kHz/ 44.1 kHz sampling and 16-bit depth

Maximum simultaneous recording/ playback

16* tracks/ 32 tracks

❖1

When using 48 kHz/ 44.1 kHz sampling and 24-bit depth

Maximum simultaneous recording/ playback

12** tracks/ 16 tracks

*16 channels is the maximum, combining 12 analog inputs, + 2 digital inputs (S/P DIF L,R), + 2 Session Drums (L,R).

**12 channels using any combination of analog inputs, digital inputs and Session Drums.

Each track (including the master track) has eight virtual tracks, allowing you to use a total of 256 +

16 tracks for each song.

❖1 The number of simultaneously recordable tracks will be different when you use punch recording.

♦ Session Drums™

The D3200 is equipped with Korg’s unique Session Drums™. Using the Session Drums™ to con-

trol the internal drum sounds you can play, create, modify and record a drum track for your song.

The Session Drums™ even have their own dedicated fader. For added realism, you can access a

number of real-time control elements - such as shufﬂe, dynamics and humanize - all using the con-

venient Knob Matrix.

♦ XLR input jacks with +48V phantom power, analog inputs, dedicated guitar input jack,

and digital connectors

To maximize the beneﬁt of the D3200’s full-digital processing, all of the analog inputs use high-per-

formance balanced preamps.

The eight +48V phantom-powered XLR input jacks contain high-performance mic preamps. Each

of the phantom power supplies can be switched on/ off individually, so you are free to mix con-

denser mics and dynamic mics.

All phone jack inputs (except for the guitar input jack) are the TRS balanced type. Unbalanced

inputs may also be connected to these jacks. A wide range of audio sources can be connected, rang-

ing from mic level all the way up to +4 dBu, exceeding normal professional levels. A dedicated gui-

tar input jack is also provided.

The S/ P DIF digital input supports sampling frequencies of 48 kHz/ 44.1 kHz, and 24- and 16-bit

depths.

♦ Mixer section provides four-band EQ on each channel/ track and four-band master EQ

The 44-channel 12-bus mixer section provides four-band full parametric EQ on mixer channels 1–

24, and two-band shelving EQ on mixer channels 25–32 and on the sub-mixer.

The EQ applied to the input during recording is independent from the EQ applied to the track dur-

ing playback, so there is no danger of applying the same EQ twice – a problem that often occurs on

MTR units containing conventional analog mixers.

Four-band full parametric equalization is provided for the master EQ, allowing you to make

detailed adjustments to the tone during mastering.

♦ 100 mixer scene memories, plus MIDI control of mixer parameters

For each song, you can store one hundred scenes containing the fader, EQ, pan, and effect settings

of the mixer section. Scenes can be easily recalled when desired as general-purpose settings. You

can also use MIDI to switch scenes, and to transmit and receive mixer parameters such as fader

and pan.

♦ Scene and event mixer automation

Scene changes and mixer events such as fader movements and panning operations can be recorded

and reproduced according to elapsed playback time. Scene automation can be used to switch

scenes automatically.

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♦ Powerful modeling effects featuring real-time control via the Knob Matrix

The built-in effects utilize Korg’s proprietary “

” modeling technology to deliver precise and

powerful modeling sounds.

You can use the sixteen real-time controllers of the Knob Matrix to edit effect parameters quickly

and intuitively. The modeling effects include simulations of vacuum tube preamps, classic amps

and cabinets from around the world, and mic simulators for vintage tube mics and modern studio

condenser mics.

♦ Three independent effect systems provide eleven simultaneous effects

You can use up to a total of eleven effects, each with internal 56-bit processing: 8 insert effects, 2

master effects, and 1 ﬁnal effect.

For each effect, you can select an effect program created using one of 52 different effect algorithms

(combinations of basic effects).

The effect programs include 128 preset programs created by professional musicians and studio

engineers, and 128 user effect programs that you can use to create, edit and store your own custom

effect settings.

In addition, each song has 32 editable song effect programs.

You can also control effects in real time from an external MIDI controller or from an expression

pedal (EXP-2, XVP-10: sold separately).

♦ Sophisticated digital editing tools

Non-destructive editing functions (possible only on digital recorders) allow you to perform

numerous edits without compromising the high audio quality. In addition to auto and manual

punch-in/ out, there are Undo and Redo functions that allow you to audition the “before” and

“after” versions of any edit, before making it permanent. You can use Undo to retrace your steps

through the sixteen most recent recording or editing operations! A total of twelve types of track

editing operation are provided, including a convenient Time Expansion/ Compression function

that lets you match up phrases of differing tempo after recording, and a Normalize function that

appropriately boosts the volume and increases the dynamic range of low-level recordings.

For each song you can assign one hundred markers (with names) and six locate points to keep

track of (and instantly access) the locations of all your edits.

♦ Intuitive interface designed for ease-of-use

The D3200 is designed for enhanced usability and ease of operation. Controllers such as the center-

click ClickPoint™ and cursor keys can be used to quickly select parameters and tabs in the 320

240 pixel high-resolution LCD screen. The Knob Matrix is located below the high-resolution LCD

screen, and allows you to edit parameter values quickly, in real time and on the ﬂy.

♦ Internal hard drive

A high-capacity hard disk drive is built-in, providing approximately three hours of recording time

per GB (16-bit, 44.1 kHz, single track recording).

♦ CD-R/ RW drive for creating backup disk and audio CDs

You can use the CD drive to backup/ restore song and effect data, import/ export audio ﬁles, and

create audio CDs. You can also place an audio CD in the drive and use the CD Player function to

play it. You can create an audio CD either by writing songs individually using Track At Once;

or by using the Album CD Project and Disc At Once functions.

♦ USB connection lets you easily share ﬁles with your computer

The USB connector makes it easy to exchange data with your computer. You can connect the D3200

to your computer and partition a 2, 4, or 8 GB area of the D3200’s hard drive as a PC drive for shar-

ing data.

What is

(Resonant structure and Electronic circuit Modeling System) is Korg’s proprietary technology for digitally

recreating the numerous factors that produce and influence a sound, ranging from the sound-production mecha-

nisms of acoustic instruments and electric/ electronic musical instruments, to the resonances of an instrument body

or speaker cabinet, the sound field in which the instrument is played, the propagation route of the sound, the elec-

trical and acoustic response of mics and speakers, and the changes produced by vacuum tubes and transistors.

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Parts and their function

Top panel

7 8 9 10 11 12 22

13 14

15 17

20 21

1 INPUT 1, INPUT 2...INPUT 12 jacks

Connect mic or line sources (such as keyboards) to these input jacks.

Both XLR jacks and balanced 1/ 4" TRS phone jacks are provided.

You may also connect unbalanced phone plugs to the 1/ 4" jacks.

You can use either XLR connectors or TRS phone connectors for INPUT 1 through 8.

If you need to supply phantom power to condenser mics, connect them to the XLR connector.

Each XLR jack can provide +48V phantom power for condenser mics. The LED located below each

XLR jack will light if phantom power is switched on for that jack.

2: HOT

1: GND

Balanced phone plug

Unbalanced phone plug

3: COLD

GND COLD HOT

GND HOT

Phantom power LED

The balanced XLR jacks for INPUT 1–8 provide +48V phantom power for use by condenser mics; you can switch

this on/off independently for each channel.

Your equipment may be damaged if you connect or disconnect a condenser mic with phantom power turned on. You

must turn phantom power off before connecting or disconnecting condenser mics.

2 Phantom power switch

INPUT 1–8 jacks provide +48V phantom power so that condenser mics can be used. Phantom

power is supplied to the balanced XLR jacks, and can be selected independently for each channel.

Turn this switch on only for channels that use a condenser mic.

If a condenser mic is connected or disconnected with the phantom power switch on, damage to your equipment

may occur. For this reason, always turn the phantom power switch off before connecting or disconnecting a con-

denser mic.

If the phantom power switch is on, you must never connect any device other than a condenser mic. Doing so may

damage your equipment.

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3 GUITAR IN jack

You can plug a guitar or bass into this jack. The GUITAR IN jack shares the same audio path as the

INPUT 1 jack; if both jacks are connected to an audio source, the GUITAR IN jack will take priority.

This is an unbalanced 1/ 4" phone jack with 1 MΩ input impedance.

4 PAD buttons

The pad will reduce the input level by 26 dB. The pad is on when the switch is pressed in. You can

extend the adjustable range of the TRIM knob by turning the pad on when using a line input.

Leave the pad switched off for a low-output device such as a mic or guitar.

5 TRIM knobs

These knobs adjust the input level. The markings indicate the input level.

Adjust the TRIM knob as appropriate for your input device so that the LED located at the upper

left of the knob does not light even at the maximum loudness.

The TRIM knob has a range of +4 to –34 dBu when PAD is on, or –22 to –60 dBu when PAD is off.

The input level will depend on the instrument or performance, but the approximate ranges are as

follows.

–60 – –40 dBu: mic input

–30 dBu: guitar, bass guitar

–10 dBu: consumer audio devices such as a CD player

+4 dBu: keyboards or studio equipment

If the TRIM knob is raised when nothing is connected to the input, hum or noise may result. Keep the trim knob

at its lowest setting when the channel is not in use.

6 AUX 1/ 2 jacks

These jacks output the external send audio signals from the mixer channels (

nect these to the input jacks of an external effect processor.

These are 1/ 4" unbalanced phone jack outputs.

→p .109). You can con-

7 MASTER L/ R jacks

These jacks provide the analog audio signal from the master bus, or the audio signals selected by

the SOLO function. You can select the solo source in MIXER SOLO/MONITOR, “Solo” tab

page.

These jacks are primarily used to connect the D3200 to an external recording device. These jacks

provide an analog version of the audio being sent to the S/ P DIF OUT jack.

These are 1/ 4" balanced/ unbalanced TRS phone jack outputs.

8 MONITOR L/ R jacks

Connect these jacks to your external monitor system. In MIXER

SOLO/MONITOR, “Monitor”

tab page ( p .47 , 111) you can select the bus that will be monitored from these outputs. These jacks

→

output the same audio as the PHONES jacks.

These are 1/ 4" balanced/ unbalanced TRS phone jack outputs.

9 PHONES jack

A set of headphones can be connected to each of these jacks.

This is a 1/ 4" stereo phone jack.

The headphone output is the same signal as the MONITOR L/R jacks.

10 MONITOR LEVEL knob

This knob sets the volume level of the signal being sent from the MONITOR L/R jacks.

11 PHONES LEVEL knob

This knob adjusts the volume level of the signal being sent from the PHONES jack.

12 MONITOR MUTE key

This switch mutes the audio output from the MONITOR L/R jacks. The setting will alternate on/

off each time you press the key. The audio from the PHONES jack will not be muted. This feature

is very useful if you are recording using a microphone, and do not want the microphone to pick up

the sound from your monitor speakers.

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13 1–16 key, 17–32 key

Use these keys to select whether the channel faders channel keys, and LCD screen will be used

to operate channels 1–16 or channels 17–32. The key you select will light.

14 REC/ PLAY key

Turn this key on (lit) and use the channel keys to switch each channel of the track recorder

between record and playback status. The status of the track will alternate each time you press its

channel key. If the master track channel key is set to PLAY, all tracks will automatically be muted

(silent).

15 CH ON key

Turn this key on (lit) and use the channel keys to enable or disable each channel. You can use this

as a Mute function.

16 SOLO key

Turn this key on (lit) and use the channel keys to turn Solo on/ off for each channel. You may turn

Solo on for more than one channel at a time.

17 CH SELECT key

Turn this key on (lit), and use the channel keys to specify the track that will be selected in the “Ch

View,” “EQ/ATT,” or send tab pages.

18 Channel keys (1–16/ 17–32)

These keys switch the status of each channel.

If the 1–16 key is lit, these keys correspond to channels 1 through 16; if the 17–32 key is lit, these

keys correspond to channels 17 through 32.

CH SELECT key on: Use these keys to select channels (lit if selected).

SOLO key on: Use these keys to select the soloed channels (lit if selected).

CH ON key on: Switch each channel between enabled/ disabled (muted) (lit if enabled).

REC/PLAY key on: Switch each channel between recording/ playback status (red for record, green

for playback).

19 Channel faders (1–16/ 17–32)

These faders specify the recording/ playback volume of each channel. If the 1–16 key is lit, the fad-

ers control channels 1–16; if the 17–32 key is lit, the faders control channels 17–32.

20 DRUMS fader, DRUMS key

This fader adjusts the recording/ playback volume of the Session Drums. When the DRUMS key

located above the fader is on (lit), you can use the Session Drums to produce a rhythm during

recording or playback.

21 MASTER fader, MASTER key

This fader adjusts the overall volume of all channels. When recording the master track, this sets the

recording level of the recording-destination track. Each time you press the MASTER key located

above the fader, the status will alternate between record (lit red)/ play (lit green)/ off (dark).

Normally, you will leave the MASTER fader set to 0 dBu while recording on the individual tracks, and use the

channel faders to adjust the mix so the output does not distort.

22 LCD screen

This displays information such as the recording/ playback volume (level meters), time data (loca-

tion), and various parameters. You can use the edit controllers to select buttons, cells, pages, and

tabs; and to edit parameters and their values.

23 LCD CONTRAST knob

This knob adjusts the contrast of the LCD screen.

The appearance of the LCD screen may differ depending on your viewing angle, so adjust the con-

trast using this knob for the best visibility. Turning this knob toward the right will make the text

darker, and toward the left will make the text lighter.

Depending on the content that is displayed in the LCD screen, you may notice vertical lines in the screen. This

is not a malfunction.

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24 METER key

This key accesses a screen that shows the audio lev-

els of the song, the presence or absence of audio

events, and a list of virtual tracks. You can also

switch this to a “FaderView” that lets you change

the position at which the level meters are inserted, or

check the fader or pan positions.

24 25

25 MIXER key

Press this key to access the Mixer page jump menu

screen.

26 AUTOMATION indicator

When this indicator is lit, automation is on; when

automation is being recorded, it will blink.

27 JUMP/ MATCH key

The faders and Knob Matrix can be set to behave in a

JUMP or MATCH style when moving a parameter

from its stored value, by changing the Fader/ Knob

Control setting (

If this is set to JUMP, the key will be dark.

→p .119) in the Control tab page.

When the key is lit the MATCH setting is selected. The key will blink slowly if the position of the

control knob or fader you’re moving is distant from the stored value. When the knob or fader posi-

tion approaches the stored value, the blinking will become a rapid ﬂicker, and will change to be

solidly lit when you reach the actual speciﬁed value.

By holding down this key while moving a control knob or fader, you can temporarily switch to

JUMP operation.

28 Direct keys

By pressing these keys you can select the current function of the Knob Matrix, and access the corre-

sponding tab pages.

29 Knob Matrix

These 16 multi-function knobs provide real-time control of the Effects, EQ, Session Drums™, etc.

30 SCRUB key

Accesses the Scrub page. Use the value dial to control the selected function. (→p .40 , 146)

31 MARK key

You can register a desired location within a song as a “mark,” and instantly recall that registered

location whenever you want. You can also rename or delete existing marks. ( p .38 , 145)

keys, you can successively recall the locations

→

By holding down this key and pressing the

that were registered at each mark.

–

32 SCENE key

This key stores mixer settings such as the channel faders, pan knobs, EQ, and effect sends as a

“scene” at the desired location in a song. If you play back with automation turned on, the stored

scenes will be recalled and changed automatically. You can also edit scenes by rearranging, renam-

ing, or deleting them. (→p .50 , 105)

33 STORE key

Press this key to register the current time location as a locate point, a mark, or for a scene. (→p .38,

39, 50, 145)

34 SESSION DRUMS key

This key accesses the Session Drums tab page, which you can use to create a drum track for your

song.

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35 LOC 1/ IN, LOC 2/ OUT, LOC 3/ TO, LOC 4/ END key

These keys are used to register a speciﬁc time location within a song, or to instantly jump to a reg-

istered time location.

The time locations registered here can be used as the punch-in/ out locations, and to specify the

editing range for track editing operations such as copy or delete. (

You can also assign each key to a speciﬁc tab page within the MIXER page, so that pressing the key

will take you to that tab page ( p .147).

→p .38 , 147)

→

36 LOOP, TRIGGER, AUTO PUNCH indicators

These indicators will light to show which operation - loop record/ playback, trigger recording, or

auto punch recording - is selected.

37 REC/ PLAY MODE keys

Use this key to select the recording mode, or to turn loop playback on/ off.

38 Transport keys

Use the REC

PLAY, STOP, REW, and FF keys to perform playback or recording operations on the

recorder. ( p .149)

→

39 DISPLAY UP/ DOWN

By pressing this button on the back edge of the display, you can adjust the angle of the LCD screen

over ﬁve steps for best visibility.

Do not use excessive force to move the screen.

40 HDD/ CD access and MIDI indicators

The HDD/ CD indicator will light to indicate that the hard drive is being accessed for recording,

playback or editing, or when the CD-R/ RW drive is operating. The MIDI indicator will light when

MIDI messages are received from the MIDI IN connector.

Never subject the D3200 to vibration or impact while this HDD/CD indicator is lit.

41 ON key, standby indicator

Pressing this key will turn the D3200 power on/ off. When the standby indicator is lit, pressing the

ON key will turn the D3200 on.

When the D3200 is operating, hold down the ON key to access the Power Off dialog box.

42 Page mode keys

Pressing one of these keys will call up the corresponding page mode. When you press the CD key,

the corresponding page menu screen will appear.

43 UNDO key

The Undo function allows you to go back and listen to the audio as it was before an Edit was per-

formed. The Redo function brings back the edited result.

You can retrace your steps through as many as sixteen prior recording or editing operations.

(→p .141).

44 TUNER key

Press this key to access the Tuner screen, where you can check the tuning of the audio source that’s

connected to the GUITAR IN jack.

45 Edit controller

Use these controllers to select a button, cell, or tab in the LCD screen, and to edit parameters and

values. The center-click ClickPoint, cursor (π†√®) keys, TAB PAGE / YES key, TAB PAGE / NO

key, and ENTER key let you edit quickly and efﬁciently.

46 +, – keys

These keys edit the value of the selected parameter as an alternative to using the value dial. These

keys are convenient when you want to adjust the value in single increments.

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47 Value dial

Use this dial to edit the value of the selected parameter or to change the current time location.

When the Scrub page is displayed, rotating this dial will play back the track at the corresponding

speed (up to a maximum of double speed).

Rear panel

3 4

7 8

1 AC connector

Connect the power supply cable (included) here.

2 Main power switch (POWER ON)

This turns the main power on/ off.

When the Main power switch is turned on, the D3200 will be in the standby mode. In the standby

mode, pressing the ON key will turn the D3200 on. While the D3200 is operating, hold the ON key

to access the Power Off dialog box and select Yes to shutdown the D3200 and return to the

standby mode. Then you can use the main power switch to turn the power off completely.

To turn off the power, you must first press the ON key to perform the shutdown operation. Never turn off the

Main power switch or disconnect the power cable until shutdown has been completed.

If you turn off the Main power switch or disconnect the power cable before shutdown has been completed, data

and user settings may be lost, and the hard disk may be damaged.

3 FOOT SW jack

When your hands are busy playing an instrument, you can use a foot switch to control basic oper-

ations of the D3200 recorder.

A foot switch can be used to start/ stop the playback, start/ end manual punch-in recording, regis-

ter a mark, or to record tap tempo. (

Connect a foot switch (optional PS-1) to this jack.

→p .26 , 63, 66, 1 19)

4 EXPRESSION PEDAL jack

You can use a pedal to control a speciﬁed parameter of an insert effect. You can control the param-

eter in real time while you play or record. (→p .57 , 119)

Connect an expression pedal (separately sold option, EXP-2, XVP-10 etc.) to

this jack.

5 MIDI OUT connector

MIDI messages are transmitted from this connector. Use this when you wish to use the D3200 to

control an external device via MIDI. (→p .94 , 119)

6 MIDI IN connector

MIDI messages are received at this connector. Use this when you wish to control the D3200 from an

external MIDI device. (→p .94 , 119)

7 S/ P DIF OUT jack

This is an optical-type S/ P DIF format (IEC60958, EIAJ CP-1201) digital output jack (stereo).

Use an optical cable to connect this jack to the optical digital input of your DAT, MD or other

equipment.

This output provides the same audio as the MASTER L/R jacks, but as a digital signal at the same

sampling frequency and bit depth as the current song.

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8 S/ P DIF IN jack

This is an optical-type S/ P DIF format (IEC60958, EIAJ CP-1201) digital input jack (stereo).

Use an optical cable to connect this jack to the optical digital output of your DAT, MD or other equip-

ment.

This input provides a digital audio signal at the same sampling frequency and bit depth as the current

song.

9 USB connector

You can use a USB cable to connect the D3200 to your computer.

USB peripheral devices such as external hard disks and CD-R/RW drives cannot be connected to the D3200.

About the CD-R/ RW drive

The D3200’s front panel contains a CD-R/ RW drive that you can use to backup and restore data, im-

port and export WAV audio files, and to play or write audio CDs.

The disc drive is a precision device; always use it in a horizontal position that is not subject to vibration.

Inserting a disc

Make sure that the D3200 is on.

(1)Press the eject button of the CD-R/ RW drive to open the disc tray.

(2)Place the disc accurately in the tray, label side up.

(3)Press the eject button to close the CD-R/ RW drive.

Removing a disc

(1) Press the eject button to open the disc tray.

(2)Gently remove the disc from the disc tray.

(3)Press the eject button to close the CD-R/ RW drive.

Manual eject pinhole

Eject button

Emergency disc removal

Normally you will be able to remove the disc as described above. However, if this is not possible due

to a power failure or other problem, you can also remove the disc as follows.

Insert a pin-like object of less than 1 mm diameter, such as a straightened paper clip, into the manual

eject pinhole and push. The disc tray will be forced open.

Excessive use of this method may cause the disc drives to malfunction.

This procedure must be performed with the power off.

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Items and functions in the LCD screen

Use the ClickPoint to move the pointer (p) to a button or icon displayed in the

LCD screen. Then press the center of the ClickPoint to select that button or icon.

In many operations, you can use the pointer (p) to select the item or parameter

to be edited or saved, such as the page, parameter value, or song name.

In this manual, references to the … button, … tab, … cell, or … icon refer to items

shown in the LCD screen. Move the pointer (p) and press the center of the Click-

Point to select the desired item. We’ll use the term “click” to describe this process.

You can also use the cursor keys of the edit controller to move to the item you

want to edit, or use the YES/NO (TAB PAGE) keys instead of the Yes (OK)/No

(Cancel) buttons in the LCD screen, or use the ENTER key to confirm a setting or

operation.

References to “... key,” “... knob,” “... dial,” or “... slider” indicate controls on the

top panel; use the corresponding physical controller to access these items.

a: Song/counter/location/calendar display

f: Popup button

e: Edit cell

b: Page name display

d: Edit icon

c: Tab

Pointer

a: Song/ counter/ location/ calendar display

This area displays the currently selected song, the counter (song position),

and the date.

This is displayed in any page mode, and you can modify the counter/ calen-

dar setting.

You cannot modify these settings while a dialog box is displayed.

If you haven’t set the date and time, this area is shown in gray.

b: Page name display

This indicates the name of the currently selected page, or editing information.

This item does not appear in certain pages such as the effect pages or “Mixer

View.”

c: Tab

Use the pointer or the TAB PAGE keys of the edit controller to select a tab page.

d: Edit icon

When you click an icon such as a fader or knob shown in the LCD screen, a

frame will appear (in most cases) around the icon. This is called the edit icon;

changes you make will apply to the parameter whose icon is enclosed by the

frame.

e: Edit cell

When you click a parameter in the LCD screen, the parameter value will be

highlighted. This is called the edit cell; changes you make will apply to the

highlighted area.

f: Popup button

When you click one of these buttons, a dialog box will appear, displaying

parameters and values for you to select.

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When you’ve ﬁnished selecting a parameter or editing a value, press the front

panel YES key or NO key to close the dialog box and return to the previous

tab page. You can also close the dialog box by clicking the Yes (or OK) button

or No (or Cancel) button in the LCD screen.

g: List button

h: Scroll bar

When you click this button, a menu list will appear, allow-

ing you to select an item from this list.

h: Scroll bar/ scroll buttons

Use these to move up and down through a list of parameter

values that extends beyond the window in the display.

i: Conﬁrmation button

When you click this button, a dialog box will open, asking

whether you are sure you want to execute the settings or

the operation. Some dialog boxes may contain an edit cell

Menu list

h: Scroll buttons

for you to specify a value.

Press the front panel YES key or NO key to close the dialog box and return to

the original tab page.

You can also close the dialog box by clicking the Yes (or OK) button or No (or

Cancel) button in the LCD screen.

j: Radio buttons

Use the radio buttons to chose one of the displayed items.

k: Toggle button

This type of button will either change function or toggle between on/ off each

time you click it.

l: Check box

Each time you click one of the check boxes, a check mark will either be added

or removed. Add a check mark if you want to enable that function.

* Other

In addition to the items listed above, the Drive button will open a dialog box

where you can select a drive for editing, and the Rename button will open a

dialog box where you can rename a song or program.

There are also certain screens, such as the routing conﬁrmation screen, that

provide valuable information, but contain no editable items.

Drive button Rename button i:Confirmation

button

Confirmation dialog box

j: Radio buttons

k: Toggle button

l: Check box

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Basic operation

1. Selecting the page mode

If you want to edit a setting or function while watching it in the LCD screen,

you’ll need to press a key to access the page mode that contains that function.

The MIXER key and CD key will display a page jump menu in the LCD

screen; click the page mode buttons shown in the LCD screen to select the

desired mode. Each time you press the MIXER key or CD key, you will return

to this page jump menu.

For details on the functions of each page mode, refer to “Reference” (→p.98–).

2. Selecting a tab page

The numerous parameters contained in each page mode are in turn divided

into tabs. Use the TAB PAGE keys of the edit controller to select a tab page.

You can also move to a tab page by clicking its tab in the LCD screen. Some

pages contain only one tab.

3. Selecting and setting parameters

Selecting a parameter

To select a parameter, click the edit icon, edit cell, or button shown in the LCD

screen.

In most cases, you can use the cursor keys to move between parameters and

press the ENTER key to select one.

You cannot use the cursor keys to move between a dialog box and the original tab page.

Setting a parameter

There are different methods of setting a parameter, depending on the type of

parameter.

Edit icons, edit cells, buttons

Click the edit icon, edit cell, or button in the LCD screen to highlight it, and

then turn the value dial (or use the +/– keys) to set the value. If

buttons

are displayed in the LCD screen, you can click these buttons as well.

Popup buttons, dialog boxes

Click the popup button in the LCD screen to access the dialog box, and then

select the parameter value in the LCD screen. You can also use the value dial

(or +/– keys) to select the parameter value.

Toggle buttons

Toggle buttons in the LCD screen will alternate between on and off each time

you press them. You can also use the cursor keys to highlight the button and

then press the ENTER key to switch the function on and off.

Radio buttons

Click a button in the LCD screen to select it. In addition, you can use the cur-

sor keys to highlight the button and then press the ENTER key to select it.

Selecting one item from a menu list

• Click the desired item from the list shown in the LCD screen to select it.

• Click the

buttons in the LCD screen to move the highlighted area.

• Use the value dial or +/– keys to make your selection.

Fader or pan settings

You can adjust the fader of each channel independently. To adjust the pan,

press the PAN key to access the “FADER PAN” tab page, and use the Knob

Matrix.

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Send and equalizer

When you’re in a tab page where you can edit parameters, or if you’ve

pressed the SEND key or EQ key to access the tab page, you can use the

Knob Matrix to edit the parameters or values.

Editing effects

When the effect parameter knobs are shown in the LCD screen, or if you’ve

pressed the EFFECT key to access the tab page, you can use the Knob Matrix

to select parameters or edit their value.

Selecting a channel

If the CH SELECT key is lit, you can press the channel key of the desired

channel to directly select it for editing.

Switching between channels 1–16 and 17–32

In the case of parameters for which the LCD screen cannot display all 32 chan-

nels at once, sixteen channels will be displayed at a time, depending on

whether the 1–16 key or 17–32 key is lit.

4. Panel key combination shortcuts

By pressing two of the panel keys simultaneously, you can use various short-

cuts such as moving between pages, switching functions, or changing the

location.

Some examples of shortcuts

• Hold down the SONG key and press the + key or – key to increment/

decrement the song number.

• Hold down the MIXER key and press the LOC 1, 2, 3, or 4 key to recall

the memory page.

• Hold down the MIXER key and press the π key or √ key to increment

the MIXER page.

• Hold down the MIXER key and press the † key or ® key to decrement

the MIXER page.

• Hold down the π key and press the SYSTEM/MIDI key to display the

calendar dialog box.

• Hold down the π key and press the SESSION DRUMS key to switch

the TimeDispType.

• Hold down the SYSTEM/MIDI key and press the ENTER key to enter

USB mode.

There are many other shortcuts in addition to those listed above. Refer to the

list of shortcuts (→p .178).

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Examples of operation

You can use the sixteen control knobs of the Knob Matrix in the following tab pag-

es. In pages where there are seventeen or more knob icons, you can hold down

the JUMP key and use the cursor keys to switch between groups of sixteen knobs

for editing.

CH VIEW page

EFFECT page

SEND page

Ch View tab page

InsertEFF, MstrEFF1, MstrEFF2, and FinalEFF tab pages

EFFSend1, EFFSend2, Aux1Send, and Aux2Send tab

pages

EQ page

EQ/ ATT and MasterEQ tab pages

Fader Pan and Mixer View tab pages

CueLevel tab page

FADER page

SOLO page

CH INPUT page

DRUMKIT screen

SubMix1-4, SubMix5-8, and SubMix9-12 tab pages

METER screen (when FaderView is selected)

Figure 1 shows the EFFECT, “MstrEFF1” tab page.

To select this tab page, press the top panel EFFECT key, and then click the

“MstrEFF1” tab in the LCD screen.

In this screen, the knob icons are linked with the Knob Matrix below; you can

move a knob to edit the value directly. Knobs for which no knob icon is shown

have no effect.

Figure 2 is the MIXER, FADER/PAN/AUTOMATION “Fader Pan” tab page. To

select this tab page, press the direct key PAN. Alternatively, you can press the

MIXER key and then click the screen.

In this screen, moving the fader or Knob Matrix (corresponding to pan for each

channel) of the desired channel will automatically select that channel, and change

its fader or pan value.

Figure 3 is the CH VIEW, “Ch View” tab page.

To select this tab page, press the direct key CH VIEW.

You can also click the screen to select this tab page after pressing the CH VIEW

key.

In this screen, the fader, EQ, and Send are controlled directly by the fader of that

channel and by the Knob Matrix.

Figure 1

Figure 2

Figure 3

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Quick Start

This Quick Start is designed to provide a few examples of some common tasks,

while helping you get familiar with the operations of the D3200.

Step 1: Preparations

The ﬁrst step explains how to connect your monitor speakers or headphones,

how to turn the D3200 on, and how to listen to the demo songs.

Step 2: Quick recording

This step will cover how to connect a guitar, keyboard, or mic to the D3200,

how to record your performance on to a track, and how to play back the

recording and listen to the results.

Step 3: Overdubbing

Overdubbing allows you to record additional tracks as you play along with

the performance you recorded in step 2.

Step 4: Mixdown and mastering

In this step you can apply effects and EQ to each track to adjust the overall

balance.

Finally, you can apply effects and EQ to the entire song to add overall com-

pression and tonal adjustments, and mix your song down to the stereo master

track.

Step 1: Preparations

1. Connections

Please note the following items before you begin.

The D3200 automatically stores the date and time each time a song is saved, so

that you can tell when a song was updated. Before you begin, we recommend that

you set the date and time (→p .2 “Setting the calendar”).

If you’re not sure how to use the buttons or icons that appear in the LCD screen,

refer to “Items and functions in the LCD screen” (→p .13).

Connections

Monitor speaker etc.

Headphones

(1)Connect the MONITOR L/R jacks to your

monitor speaker system, or connect a set

of headphones to the PHONES jack.

(1)

(2)Set the MONITOR LEVEL knob to –∞. If

you are using headphones, set the head-

phone PHONES LEVEL knob 1 all the

way to the left.

(1)

(2)

2. Turn the D3200 on

Connect the AC power cable (included), and turn on the power.

Be s u re to use the procedure described in “● Power-on” (→p .1).

Use an independent AC outlet whenever possible. If a circuit breaker should trip for some rea-

son, any unsaved data will be lost and the internal hard drive or CD-R/RW may be damaged.

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3. Listen to the demo song

When it ships from the factory, the D3200 contains pre-recorded demo songs.

This section explains how to listen to one of the demo songs.

(1)Press the SONG key.

(2)Make sure that the demo song is

shown in the upper part of the

screen.

(2)

(3)Set all the channels to play mode.

Press the REC/PLAY key, and check

that the track 1 through 16 channel

keys are set to Play (lit green). Press

the 17–32 key and make sure that

the track 17 through 32 channel keys

are also set to Play (lit green).

(1)

If any key is set to Record (lit red), press that key to change the status to Play

(lit green).

If the key located above the master fader is lit, press it several times to make it

go dark.

(4)Press the PLAY key to start playing the demo song.

(5)Adjust the Monitor Level.

Slowly turn the MONITOR LEVEL knob toward the right to adjust the play-

back volume. If you have connected headphones, turn both the MONITOR

LEVEL knob and the PHONES LEVEL knob slowly toward the right to

adjust the volume.

(6)Adjust the “mix.”

While the song plays, operate the channel faders and notice how the balance

between the tracks changes.

(7)When the demo song ends, press the STOP key.

Hold down the STOP key and press the REW key to return to the beginning

of the song (→p .37 “2. Location”).

(5)

(3)

(6)

(4)

(7)

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Step 2: Quick recording

1. Create a new song

In order to begin recording, you must first create a new song.

(1)Press the SONG key to access the SONG page.

(2)Click the New button. The New Song dialog box will appear.

(2)

(1)

(2)

(3)

In the “Select New Song Type” area, select the desired sampling frequency

and bit depth for the song that you want to create.

For this example, click 44.1 kHz/16 bit.

(3)Create the song.

Click the OK button in the screen (or press the panel YES key). A new song

named “Song

”* will be created following the last existing song.

The newly created song will be selected, and will appear in the SONG page.

You can change the location (song drive) in which the song is created (→p.36 “Selecting a

song from another song drive”).

2. Name the song

Here’s how to rename the newly created song.

Before you start recording, we recommend that you give your song a name that

will help you recognize the content of the song.

(1)Press the SONG key to access the SONG page.

Here you can edit the name of the song that’s displayed. If you want to select

a different song, refer to “1-3. Selecting a song” (→p .36).

(2)Click the Rename button to display the Rename dialog box.

(4)

(3)

(1)

(3)

(2)

(3)Edit the song name.

When you press a character or numeral button, the highlighted character in

the song name will change.

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The highlighted area will then move one step toward the right. Repeat this

step to edit the song name.

If you want to edit only a portion of the song name, click the

buttons to

move the highlighted area, and then click a character or numeral button.

Use the buttons in the LCD screen to perform the following operations.

“0...9”: Input a numeral (e.g., “0”)

“A...@_...”: Input an alphabetical character (e.g., “A”) or symbol (e.g., @, _).

: Input a space.

: Switch the alphabet buttons between lower case and upper case.

: Insert a space, and move the subsequent characters backward.

: Delete the character at the cursor location.

: Erase the entire name.

(4)Conﬁrm the changes.

When you have ﬁnished naming your song, click the OK button in the LCD

screen (or press the panel YES key).

If you decide to discard the change you made, click the Cancel button in the

LCD screen (or press the panel NO key).

3. Connect your audio sources to the mixer inputs

The mixer can accept twelve channels of analog in-

(3)

OUTPUT

puts, two channels (one stereo pair) of digital (S/ P

DIF) input (→p .44 “1-2. Digital input”), and a stereo

input from the internal Session Drums (→p .59 “Re-

cording patterns on a track”). Here we'll explain

how to connect analog audio sources to channels 1-4.

Keyboard

Mic

(2)

Connect mics and instruments to the INPUT jacks

Guitar

Microphones, guitars & basses, and keyboard/ syn-

thesizer instruments all have different output levels

and require different input connections. Here, we’ll

give an example of each type.

(1)

(1)Connect a guitar to the guitar input.

Rotate the INPUT 1 TRIM knob all the way to the

left, and connect your guitar to the GUITAR IN jack.

The GUITAR IN jack is shared with INPUT 1, and

the two cannot be used simultaneously. (→p .7 “3

GUI T A R IN jack”)

Connection example

Keyboard

Mic

Guitar

(2)Connect a microphone to one of the analog inputs.

Rotate the INPUT 2 TRIM knob all the way to the

left, and connect a mic to one of the INPUT 2 jacks.

Microphones will generally connect to the XLR

inputs, although some will have plugs that can con-

nect to the TRS balanced phone jacks. Additionally,

some microphones require phantom power from the

mixer. Each of the D3200’s XLR inputs are equipped

with switchable phantom power supplies. Be sure

and choose the right connection for your micro-

phone. And never connect or disconnect a micro-

phone while the phantom power is on.

S/P DIF L, R

INPUT2

INPUT4

INPUT3

INPUT12

INPUT11

INPUT1

INPUT5

CH32

CH1

CH2

CH3

CH4

Recorder

(3)Connect the stereo outputs from a keyboard to a

pair of TRS phone jack inputs.

32Tr

1Tr

3Tr

4Tr

2Tr

Rotate the INPUT 3 and 4 TRIM knobs all the way to the left, and connect the

outputs of your keyboard to the INPUT 3 and 4 phone jacks.

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Assign the inputs to channels

Each of the inputs needs to be assigned to a channel. First, let’s assign the guitar input to channel 1.

(1)Call up the input assignment page.

Press the MIXER key, and then click the page jump menu CH INPUT/ SubMixer button to

access the “Ch Assign” tab page.

(2)Select a channel.

In the tab page, click the CH1 SOURCE channel icon. The icon will be enclosed by a frame.

(3)Select an input.

Click the

buttons to assign “1” (INPUT 1) as the input source for channel 1 (CH1

SOURCE).

You can also use the value dial or the +/– keys to change this setting.

(1)

(2)

(1)

(3)

(1)

Adjust the CH 1 input level to verify that the sound of the

guitar has been assigned.

(4)Set the fader levels.

Lower the CH1 fader to “–∞”, and raise the MASTER

fader to the “0” position.

(5)

(5)Using the input PADs.

(7)

The pad lowers the input signal by an additional 26dB.

For a mic or guitar, leave the PAD key unpressed when

making your settings. For a line-level output, such as

from a keyboard, press the PAD key to the in position

(on) when making your settings.

(6)

(6)Arm channel 1 so you can monitor the input.

Turn on the REC/ PLAY key, and press the CH1 chan-

nel key to select Record (key lit red).

(4)

(8)

(7)Set the trim level.

As you play your guitar, the INPUT 1 peak indicator (the LED at the upper left of TRIM) will

light. Adjust the TRIM knob so that your loudest playing does not cause the LED to light red.

(8)Set the fader level for monitoring.

Gradually raise the CH1 fader while playing your guitar, and you will hear sound from your

monitor speakers.

If you are using headphones, adjust both the PHONES LEVEL knob and the MONITOR

LEVEL knob.

Using these same methods, we can assign the mic and keyboard

inputs to their own channels.

(9)Assign input 2 to channel 2.

Click the CH2 SOURCE channel icon, and assign “2” (INPUT

2) as the input source for channel 2 (CH2 SOURCE).

Using this setting, the sound of the mic connected to INPUT

2 will be sent to CH2. Set and check the mic level as described

in steps (4)–(8).

(10)Assign input 3 to channel 3.

Click the CH3 SOURCE channel icon, and assign “3” (INPUT 3) as the input source for channel

3 (CH3 SOURCE). Repeat this step and assign “4” (INPUT 4) as the input source for channel 4

(CH4 SOURCE).

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Using these settings, the keyboard connected to INPUT 3 and 4 will be assigned to CH 3 and 4.

Set the pan knob of channel 3 all the way to the left; set the pan knob of channel 4 all the way to

the right. Now you can monitor your keyboard in stereo.

Check the keyboard sound and set the level as described in steps (4)–(8).

4. Adding EQ and EFFECTS

If you want to record without any further processing, proceed to “5. Recording.” If you want to use

each inputs’s 4-band parametric EQ and/ or apply the D3200’s internal effects as you record, read

the following sections: “Applying EQ to the input sound” and “Applying effects to the input

sound.”

Applying EQ to the input sound

On the D3200 it’s also easy to apply EQ after recording.

Channels 1–23 are equipped with a four-band parametric EQ to shape the tonal characteristics of

the sound. Channels 24–32 feature a two-band shelving EQ. In the next example, you can apply EQ

to your guitar.

(1)Press the EQ key to access the “EQ/ATT” tab page.

(2)Choose a channel.

Click the CH cell, and use the value dial or the panel + or – keys to select channel 1, the channel

assigned to your guitar input.

Alternatively, you can press the CH SELECT key and turn on a channel key to select the channel.

EQ window

(2)

(3)

(1)

(3)Use the Knob Matrix to adjust the EQ.

As you play, use the Knob Matrix to adjust the gain, center frequency, and Q values for each of

the EQ bands.

The resulting EQ curve will be displayed in the EQ window.

If the level meter clips, press the ATT knob icon in the LCD screen and adjust it to a value that does not cause clip-

ping. Keep in mind that if you are boosting the gain in multiple bands, you are increasing the level of the signal

overall, and you will need to use the ATT knob to control the level. Instead of increasing the gain in multiple bands,

you might try decreasing certain bands, but keeping the difference in gain between the bands the same. This will

keep the level more consistent and avoid distortion.

You can apply EQ to the mic and keyboard inputs as using the same method.

(4)Adjust the EQ settings of channel 2.

Click the CH cell and use the value dial or the panel + or – keys to select the channel assigned to

your microphone input 2 (channel 2).

Now you can apply EQ to the mic connected to INPUT 2. Adjust the EQ as described in step (3).

(5)Adjust the EQ settings of channel 3.

Click the CH cell and use the value dial or the panel + or – keys to select the ﬁrst channel

assigned to your keyboard. In this example, input 3 (channel 3).

Now you can apply EQ to one channel of the stereo keyboard connected to INPUT 3. Adjust the

EQ as described in step (3).

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(6)Adjust the EQ settings of channel 4.

Click the CH cell and use the value dial or the panel + or – keys to select the other channel

assigned to your keyboard. In this example, input 4 (channel 4).

You can apply EQ to the other channel of the stereo keyboard connected to INPUT 3. Adjust the

EQ as described in step (3).

The D3200 allows you to “pair” adjacent pairs of channels (odd, even). If you pair the two keyboard

channels, the EQ settings you make for one channel will also be applied to the other channel as well,

so you do not need to EQ each channel separately. (→p .46 “3-5. Pairing”).

Applying effects to the input sound

It’s also easy to apply the D3200’s effects after recording the sound (→p.28).

Here’s how to apply effects to the input from your guitar. First, let’s assign insert effect 1 to

channel1; the guitar’s input channel.

(1)Press the EFFECT key and select the “EFFRouting” tab page.

(2)Assign the effect routing.

Click the InsEFF1 IN/ TR cell (it will become highlighted) and use the value dial or the +/ – keys

to select “IN.”

IN stands for Input, and TR stands for Track; choose IN if you want to apply the effect to the

input sound, or TR if you want to apply the effect to the playback.

(3)Select a channel.

Click the InsEFF1 CH cell (highlighted) and use the value dial or the +/ – keys to select “1.”

Insert Effect 1 is now assigned to the guitar’s input channel. Next, let’s choose an effect.

(4)Choose an effect type.

Select the InsEFF1 edit cell (highlighted), click the Select button. The Select EFF Category dialog

box will appear. Here you can select what type of effect you want to use on the guitar.

For this example, click “Dynamics&Filter” from the “Mono” category.

(2) (3)

(4)

(1)

(5)Choose an effect program.

The Select EFF Program dialog box will appear. Now you can

select the effect.

For this example, click “Compressor” and then click the OK

button in the LCD screen (or press the panel YES key).

Insert effect 1 is now applying a “Compressor” to the guitar

(5)

sound assigned to channel 1.

You can apply effects to the mic and keyboard inputs in the same

way. Here are a couple more examples.

(5)

(6)Assign insert effect 2.

Set InsEFF2 to IN, and set the CH to 2.

Click the InsEFF2 edit cell and select the “Room” effect from “Reverb&Delay” in the “Mono”

category.

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(7)Assign insert effect 3.

Set InsEFF3 to IN and CH to 3, and set InsEFF4 to IN and CH

to 4.

In the InsEFF3 edit cell, select the “Rotary Speaker” effect

from “SFX&etc” in the “Stereo” category.

Because this is a stereo effect, the same effect will automati-

cally be selected for InsEFF4. (→p .54 “Effects”)

For details on editing the parameters of the effects you selected,

refer to “4. Editing the effects” (→p .56).

5. Recording

Now you’re ready to record. In this example, let’s record the guitar.

Preparations for recording

(1)Setting the recording mode

Press the REC/PLAY MODE key. In the “RecMode” tab page, click the radio button to select

“Normal.”

(2)Select the recording status.

On the D3200, the recording signal of each channel can be sent from either Before (PRE) the

fader, or after the fader (PST). Press the SEND key, and in the “RecSend” tab page, make sure

that the channel you’re recording is set to PRE. If it is set to PST, click the button to change the

setting to PRE.

(1)

(3)Set a meter view.

Press the METER key.

Click the popup button in the screen to display the Meter/ Track Type dialog box.

(3)

Using the radio buttons, select “PreFader” as the Meter Position, and “TrackView” as the view.

Then click the OK button (or press the panel YES key).

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Start recording

The location currently shown in the counter is where the recording will begin.

(→p .37 “2. Location”)

(1)Set the D3200 to record-ready.

Press the REC key (the key will blink).

(2)Press the PLAY key.

The D3200 will begin recording, both the REC and PLAY keys will

light.

(4) (2)

(1)

(3)Begin playing your instrument.

(4)When you have ﬁnished playing, press the STOP key to stop recording (the

keys will go dark).

The track view will display a bold line to indicate the region where recording took

place. This line indicates the event data. Event data is displayed even for recorded

areas where you did not actually play your instrument.

6. Playback

(1)Set channel 1 to play.

Turn the REC/PLAY key on. Then press the channel key of track 1 (the track

you just recorded) to set it to Play (key lit green).

(2)Return to the beginning of the song.

Hold down the STOP key and press the REW key to return to the beginning

of the song (→p .37 “2. Location”).

(1)

(2)

(2)(4) (3)

(3)Press the PLAY key to begin playback (the key will light).

• You can apply EQ to the playback audio (→p .46 “Applying EQ to the play-

back”).

• You can ad j u st the level and pan of the playback audio (→p .45 “3-1. A d j u st-

ing the volume,” →p .45 “3-2. A d j u sting the pan”).

• You can apply effects to the playback audio (→p .54 “Effects”).

• You can play internal rhythms along with the playback (→p .58 “Session

Drums™”).

(4)Press the STOP key to stop the playback (the PLAY key goes dark).

Even if there is no event data, playback will not stop until you press the STOP key.

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Step 3: Overdubbing

Overdubbing allows you to layer multiple performances. This way, you can

record additional tracks, as you listen to the previously recorded tracks play back.

In this example, record your mic or keyboard on a new track while listening to the

guitar performance that you recorded in the preceding steps.

1. Recording

Connection example

First, let’s arm track 2 to record, and set track 1 to play

back.

Keyboard

Mic

Guitar

Preparations for recording

(1)Arm track 2 for recording.

Turn the REC/PLAY key on.

Press the channel key of track 2, and set it to

record; REC (key lit red).

S/P DIF L, R

Drums L, R

INPUT4

INPUT5

INPUT2

INPUT3

INPUT1

(2)Set Channel 1 to play.

Press the channel key of track 1 and set it to play

back; PLAY (key lit green).

CH32

CH1

CH2

CH3

CH4

(3)Return to the beginning of the song.

Hold down the STOP key and press the REW key

to return to the beginning of the song (→p .37 “2.

Location”).

Rec

Play

Rec

Already

recorded

1Tr

Recorder

3Tr

Start recording

32Tr

4Tr

2Tr

(1)Set the D3200 to record-ready.

Press the REC key (the key will blink).

(2)Press the PLAY key.

recording will begin (REC and PLAY keys will light).

(3)While listening to the playback, record an additional part.

(4)When you have ﬁnished performing, press the STOP key to stop recording

(the key will go dark).

2. Playback

Play back the song to verify that your performance was recorded correctly.

(1)Follow steps (1)–(4) of “6. Playback” in the previous section “Step 2: Quick

recording.”

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Step 4: Mixdown and mastering

“Mixdown” refers to the process of mixing all the individual

Recorder

tracks together to create a stereo mix of your song. In addition

32Tr

1Tr

3Tr

4Tr

2Tr

to adjusting the pan and level of each track’s playback, during

mixdown you can also apply insert effects to individual

CH32

CH1

CH2

CH3

CH4

tracks, add master effects, and adjust the EQ settings of the re-

corded tracks.

After you’ve mixed-down your song, the next step is to use

Pan

the master EQ and the final effect to enhance the overall tone

and dynamic character of your song to create a finished mas-

ter; this process is called “mastering.”

On the D3200, you can perform mixing and mastering at the

same time.

Master

Track

Master

Recorder

1. Applying effects and EQ to individual channels

Applying effects to individual channels/ tracks (Insert Effect)

You can apply an effect to the playback of an individual track by assigning an in-

sert effect to that mixer channel.

(1)Press the EFFECT key to access the “EFFRouting” tab page.

(2)Assign effect routing to the playback.

Click the IN/ TR cell (it will become highlighted), and use the value dial or the

panel + or – keys to select “TR.”

Perform the actions described beginning with step (3) under “Applying EQ to

the input sound” (→p .23).

(2)

(1)

(2)

Applying EQ to each channel/ track

(1)Press the EQ key to access the “EQ/ATT” tab page.

Alternatively, you can access the “EQ/ATT” tab page by clicking the EQ/ATT/PHASE

button of the page jump menu.

(2)

(4)

(3)

(1)

(4)

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(2)Select a track for EQ.

Click the CH cell, and use the value dial or the panel + or – keys and select

one of your recorded tracks that needs more EQ.

Alternatively, you can press the CH SELECT key and press a channel key to

select the channel to which you want to apply EQ.

(3)Set the meters to monitor the input and prefader levels (IN/PRE).

Click the position cell and set it to read IN/PRE. These settings allow you to

simultaneously check the input signal level, and the level of the signal imme-

diately after the EQ has been applied.

(4)While listening to the playback, use the Knob Matrix to adjust the EQ.

If the track you want to EQ is not playing back, turn the REC/PLAY key on, be

sure the channel key for that track is set to Play (key lit green).

If the level meter (PRE) clips, click the ATT knob icon in the LCD screen and adjust it to a

value that does not cause clipping.

Adjusting the pan

Adjust the stereo position of the playback tracks.

Press the PLAY key, press the PAN key, and use the Knob Matrix to adjust the

stereo position of each track.

Using the channel/ track sends to apply effects

(Master Effects)

From the EQ

output of

each ch.

Master bus

Pan

Post-fader

The D3200 contains two master effects that can be

used to apply spatial effects such as reverb.

You can control how much signal from each channel

is being sent to each of the master effects. In addition

to individual sends, the overall effects balance is also

controlled by the effect return level.

Send

Pre-fader

Master

Effect 1

Master

Effect 2

Selecting a master effect

(1)Press the EFFECT key to access the “MstrEFF1” tab page.

(2)

(3)

(1)

(2)Select an effect type.

Click the popup button beside the effect name, and the

Select EFF Category dialog box will appear.

(3)Select an effect program.

Click a category button in the LCD screen, and the Select

EFF Program dialog box will appear.

For this example press “Club” and then click the OK but-

ton. If you want to go back and look in another category,

click Cancel button.

(3)

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Adjusting the Master Effect 1 Send amount for each track

(1)Press the SEND key to access the “EFF1Send” tab page.

(2)Set the master effect 1 sends to pre-fader.

You can choose to send either the pre-fader signal (PRE) or the post-fader sig-

nal (PST) to master effect 1.

Pan

Master bus

From the EQ output of

each channel/track

Post-fader

Send

Pre-fader

Master

Effect 1

Click the PRE (PST) button beside the knob icon to make your choice. For this

example, select “PRE” for all tracks that will be using master effect 1.

(3)Adjust the send amount of each track.

Using the Knob Matrix adjust the send value for your recorded tracks.

(2)

(3)

(1)

Set the send value to “0” for any tracks that you don’t want to use master

effect 1.

(4)Make settings for master effect 2 in the same way, using the “MstrEFF2”

and “EFFSend2” tab pages.

Checking and adjusting the master effect

(1)Play back the song.

As the song plays, listen to the output of the master bus to hear the results of

your effect settings.

(2)Adjust the return form the master effects.

Press the EFFECT key and the“MstrEFF1” (or “MstrEFF2”) tab page. Adjust

the return level and return balance from the master effect to the master bus.

For this example, set “Return Level” to “100,” and “Return Balance” to “C.”

(3)If the output level meter is clipping, click the TRIM knob icon in the LCD

screen, and use value dial or the + or – keys to adjust the trim so that clip-

ping does not occur.

For details on editing the parameters of the selected effect, refer to “4. Editing

the effects” (→p .56) in the Operation section.

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2. Applying Final (or mastering) effects and EQ to the entire song

Set the meters to display the post fader levels.

Press the METER key.

Click the popup button to open the “Meter/Track Type” dialog box.

Using the radio buttons, set the Meter Position to “Post Fader,” and set Select

View to “Track View.” Now the meters will show the level for each fader.

Applying an effect to the master bus (Final Effect)

(1)Press the EFFECT key and select the “FinalEFF” tab page.

(2)Choose an effect category.

Click the popup button to open the Select EFF Category window, and select a

ﬁnal effect category.

For this example select “Reverb&Delay.”

(2)

(1)

(3)Choose a ﬁnal effect.

For this example click “Smooth Hall” and then click the OK

button (or press the panel YES key).

(4)Play back the song.

(3)

Press the PLAY key and listen to the output of the master

bus or the headphones to hear the results of the ﬁnal effect.

(5)Make the desired adjustments, and then press the STOP

key.

For details on editing the parameters of the effect that you

selected, refer to “4. Editing the effects” (→p .56) in the Oper-

ation section.

(3)

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Applying EQ to the master bus (Master EQ)

(1)Press the EQ key to access the “MasterEQ” tab page.

(2)Link the channels to share settings.

For this example, click the Link button to turn it on (highlighted).

When the Link button is on, adjusting either side (left or right channel) will

make the same settings for both channels (→p .46).

(3)Make sure that the L button is on (highlighted); the display will show the

left channel master EQ screen.

(4)Press the PLAY key.

(5)Adjust the master EQ as the song plays.

While listening to the output of the master bus or headphones, adjust the

master EQ parameters using the Knob Matrix.

The EQ window displays the EQ curve. You can switch the master EQ on/ off

by clicking the ON/OFF button in the LCD screen.

If you want to make independent settings for the left and right master EQ, turn off the Link

button and use the R or L button to select right or left.

(6)When you‘re done adjusting the master EQ, press the STOP key.

EQ window

(5)

(3)

(5)

(1)

(2)

(1)

(6) (4)

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3. Recording the master track

To create an audio CD, you need to create a stereo master track.

There are eight virtual master tracks (per song). This way, you can create various

mixes of your song, and compare them before choosing your favorite.

(1)Specify a virtual track.

Press the TRACK key, select the “MasterTrk” tab page, and click the V-Level

buttons to select a virtual master track (A–H).

(2)Arm the master track for recording.

Press the MASTER key located above the MASTER fader to select Record

mode (key lit red). The REC/PLAY key will automatically be turned on, and

the channel keys of each track will automatically be set to Play mode (key lit

green).

(3)Adjust the recording level.

• Set the MASTER fader to “0.”

• Press the METER key.

• Press the PLAY key to play back the song.

• While watching the master bus level meter, adjust the MASTER fader so

that clipping does not occur.

(1)

(3)

(1)

(2)

(3)

(4)

(5)(6)(5)(6) (5)

(4)Return to the beginning of the song. (→p .38)

(5)Record the master track.

Press the REC key to enter record-ready condition (LED blinking), and then

press the PLAY key to begin recording (LED lit).

When you ﬁnish recording, press the STOP key.

(6)Listen to the recorded result.

Press the MASTER key located above the master track to set it to play (key lit

green).

The channel keys of tracks 1–16 will automatically change to muted (key

unlit).

Return to the beginning of the song. (→p .38)

Press the PLAY key and enjoy your song.

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4. Writing to a CD

You can use the disc drive to create an audio CD from the master tracks you re-

corded.

For details, refer to the Operation section, “CD” (→p .79).

Saving your song

On the D3200, the song data that you have recorded or edited and the parameters

that you have set are automatically saved during the power-off operation when

you return the D3200 to the standby mode. These settings are also saved when

you select a different song. This is called “auto-save.”

You can also save data manually (→p .42 “Saving a song”).

The auto-save that occurs when you select a song does not save the scene or effect settings you

were editing. If you want to keep the settings you were editing, you must first return to the

appropriate edit screen and Store them (→p.50 “4. Storing/recalling a scene,” p.56 “4. Editing

the effects”).

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Operation

Maximum number of simultaneously usable tracks for

each Song Type

Song, Locate

Each song drive on the D3200’s internal hard disk can store

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

Recording

Playback

Punch recording

up to one hundred songs.

16*

How the hard disk, drives, and songs are related

12**

Hard disk

Song drive: A

*16 channels is the maximum, combining 12 analog inputs,

+ 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).

**12 channels using any combination of analog inputs, digital in-

puts and Session Drums.

Drive: A

Drive: B

Drive: C

(4) Click the OK button (or press the panel YES key).

The new song will be created following the last existing

song, and will be added to the song list. It will also be

selected as the current song.

Drive: D

PC Drive

The song name will automatically be “Song

*”

(“

*” will be a consecutive number starting from

001.).

The sampling frequency, bit depth, and date and time of

last modiﬁcation (in this case, the date and time of crea-

tion) will be stored, and displayed next to the song

name.

1. Selecting/ creating a song

Here’s how to create, rename, or select a song.

If you want to create the new song on a different song drive,

click the song list button. In the Select Song dialog box, click

the Drive button to select a different song drive (→p .36 “Se-

lecting a song from another song drive”).

1-1. Creating a new song

In order to begin a new recording, you will first need to cre-

ate a new song.

(1) Press the SONG key and select the song page.

The upper part of the tab page shows which song is

selected as the current song.

If the Song Type is 48 kHz/24-bit and you record multiple tracks

(four or more tracks) simultaneously, there is a increased possibil-

ity that the state of the hard disk recording area (i.e., fragmenta-

tion) will cause the “Disk too busy.” message to appear. We

recommend that you always execute “OptimizeTrk” (→p.74) af-

ter recording or editing multiple tracks simultaneously in a 48

kHz/24-bit song.

Current song

(2)

(2) Click the New button to display the New Song dialog

box.

(3)

(4)

(3) Click the radio buttons to select the desired combina-

tion of sampling frequency and bit depth for your new

song.

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1-2. Renaming a song

1-3. Selecting a song

When a new song is created, it is automatically assigned a

song number. We recommend that you change the song

name to indicate its content.

There are two ways to select an existing song.

Selecting a song from the song list

Song names can be up to 16 characters in length.

(1) Press the SONG key, and then click the list button in

the song page to open the SelectSong dialog box.

(1) Press the SONG key and select the song page.

(2) If you want to rename the song that’s displayed in the

song page, simply continue to the next step. If you

want to choose a different song name, click the list but-

ton ( ) and select a song (→“Selecting a song from

the song list”).

(2)

(3) Click the Rename button to display the Rename dialog

box.

(2)

(5)

Rename box

(2)

(2) Click (highlight) the song you want to select, and click

the OK button (or press the panel YES key) to conﬁrm

your choice.

If there are more than ﬁve songs, use the scroll bar/ but-

tons to scroll through the list.

(3) Verify that the song you selected is displayed as the

song page.

(4) Click the buttons in the screen to edit the song name in

If you select the same song as the currently-displayed song (the

current song), the Reload Song dialog box will appear; click the

Yes button (or press the panel YES key) to reload the song.

the Rename box.

: Enters a space.

: Erases the entire name.

Selecting a song from another song drive

: Switches between upper and lower case characters.

(1) Press the SONG key, and then click the list button in

the song page to open the SelectSong dialog box.

: Inserts a space, and moves the subsequent char-

acters to the right.

(2) Click the Drive button to display the Select Drive dia-

log box.

: Deletes the character at the cursor location.

: Move the cursor to the location of the character

you want to change.

: Displays the name template (name library list).

(5) Finalize your changes.

If you want to change to the name you entered, click the

OK button (or press the panel YES key). If you decide to

discard the name you entered, click the Cancel button

(or press the panel NO key).

(4)

Using the name library

(1) When the Rename dialog box is displayed, click the

list button ( ) beside the rename box.

(2)

(4)

(2) Click (highlight) the name you want to use.

To choose a name that is outside the currently-displayed

area, use the scroll bar/ buttons to scroll through the list.

(1) (2)

(3)

(3) Select (highlight) the drive that contains the song you

want to select, and click the OK button (or press the

panel YES key).

(3) Edit the song name as desired.

If you decide not to change drives, click the Cancel but-

ton (or press the panel NO key).

Refer to “1-2. Renaming a song,” steps (4) and (5).

This same library is used for naming tracks, songs, scenes,

marks, etc. Scroll down to see more appropriate song names.

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(4) The SelectSong dialog box will display the song list

for the selected drive.

2. Location

Click (highlight) the song you want to select, and click

the OK button (or press the panel YES key) to conﬁrm

your choice. If there are ﬁve or more songs, use the scroll

bar/ buttons to see them all.

The term “location” refers to a specific point in time within

the selected song, as displayed in the counter.

The counter shows the current location within the song. The

counter can be set to display the location in different formats.

You can also use the counter to move to a different location.

(5) Verify that the song you selected is displayed as the

current song.

2-1. Switching the counter display

You can switch the units that the counter uses to display the

current location.

(1) Click the

button to the left of the counter to open

the Time Disp Type dialog box.

(1)

Information display

(2)

(2) Select the type of units you want the counter to use,

and click the OK button (or press the panel YES key).

You can choose one of the following three formats

(→p .98 “Counter”).

Time display

• __:__:__.___

“milliseconds”

“hours” : “minutes” : “seconds” .

“measures” . “beats” . “ticks”

Frame display

• __:__:__:.__F

“frames”

Measure display

• ___.__.___

Switching the information display area

The first line of the information display area shows the cur-

rently selected song. The second line can be switched to show

either the calendar, remaining time, scene settings, mark set-

tings, or pattern map.

(1) Click the

button at the left of the counter to display

the Time Disp Type dialog box.

(2) Click one of the following ﬁve radio buttons, and then

click the OK button (or press the panel YES key).

• Date Time: calendar (date and time)

• Free Time: remaining time for recording

• Scene: name and location of the scene for the current

location in the song

• Mark: name of the mark for the current location in the

song. If there is no mark at the current location, this

displays the preceding mark and its location.

• PatternMap: the rhythm pattern at the current loca-

tion of the song

If the calendar has not been set, Date Time will be gray.

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Assigning locations to the Locate keys

2-2. Moving to a different location

(1) Move to the location that you want to register (store).

Use the counter or the FF/REW keys to move to the

desired location.

Using the counter to move

(1) Select a page in which the counter is shown at the top

of the display, such as the song page, Meter page, CH

VIEW, or “Ch View” tab page.

(2) Press the STORE key; the StoredTime dialog box will

appear, allowing you to register the location.

If you decide to cancel, click the Exit button or press the

STORE key once again.

(2) Click the location counter unit that you want to change

(it will be enclosed by a frame).

(2)

(3) Turn the value dial (or use the +/– keys) to move to the

new location.

(3) Press one of the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or

LOC 4/END keys to register this location to that key.

The registration will be completed, and the dialog box

will close.

Using the FF and REW keys to move

Moving to a point later in the song (fast-forward)

Press the FF key.

You can register a Locate key to a location during playback

or recording simply by performing step (2).

If you hold down the FF key during playback, you will move

toward the end of the song. Playback will resume when you

release the key.

If you hold down the FF key while stopped, you will begin

moving toward the end of the song and will continue moving

until you press another transport key (such as STOP or

PLAY).

If you want to set a location precisely while viewing the

waveform, refer to “2-3. Finding a precise location (SCRU B )”

(→p .40).

Moving to a location registered to a Locate key

While stopped or playing, press one of the LOC 1/IN, LOC 2/

OUT, LOC 3/TO, or LOC 4/END keys. You will move to the

registered location.

If you press the FF key during loop playback, loop playback will

stop, and then the location will begin moving toward the end of the

song.

Moving using assignable Marks

You can register Marks at specific locations and use them to

move to the registered locations.

You can name each mark, to indicate locations within the

song.

Moving to a point earlier in the song (rewind)

Press the REW key.

If you hold down the REW key during playback, you will

move toward the beginning of the song. Playback will

resume when you release the key.

Up to one hundred marks can be registered per song.

If you hold down the REW key while stopped, you will begin

moving toward the beginning of the song and will continue

moving until you press another transport key (such as STOP

or PLAY).

In addition to their use for finding a registered location, the Marks

are also used to divide tracks when you create an audio CD

(→p.80 “2. Disc At Once”).

Registering a mark

If you press the REW key during loop playback, loop playback will

stop, and then the location will begin moving toward the begin-

ning of the song.

(1) Move to the location that you want to register.

Use the counter or FF/REW keys to move.

(2) Press the STORE key, and the StoredTime dialog box

will appear.

Moving to the beginning/ end of the song

If you decide not to register the location, click the Exit

button or press the STORE key once again.

Moving to the beginning of the song

Hold down the STOP key and press the REW key to move to

the beginning of the song.

(3) Press the MARK key to register the location as a mark.

The dialog box will close.

Mark numbers are automatically re-assigned in numerical or-

der starting at the beginning of the song.

Moving to the end of the song

Hold down the STOP key and press the FF key to move to

the end of the song.

(4) Verify that the mark was registered.

Press the MARK key and select the “EditMark” tab

page, and verify that your new mark was registered.

Using the Locate keys to move

You can register a specific location for each of the Locate

keys, and move immediately to those locations by pressing

the appropriate key.

During playback or recording, perform steps (2) – (4) to reg-

ister a location as a Mark.

You can register up to four locations in each song.

Use the one of the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or

LOC 4/END keys to register the locations.

In addition to recalling the registered locations, these keys are also

used to specify locations for auto-punch recording (IN/OUT loca-

tions) and track editing (editing range). For details on the func-

tion of each locate key, refer to “19. LOC 1/IN, … LOC 4/END”

(→p.147).

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Moving to the location assigned to a mark

Renaming a mark

(1) Press the MARK key to display the “EditMark” tab

page.

(1) Press the MARK key to display the “EditMark” tab

page.

(2) From the mark list, click the mark that you want to

rename.

If necessary, use the scroll bar/ buttons to scroll through

the list.

(3) Click the Rename button to display the Rename dialog

box.

(3)

(2)

For details on how to edit the name, refer to “1-2.

Renaming a song” (→p .36).

(2) In the mark list, click (highlight) the desired mark.

If necessary, use the scroll bar/ buttons to scroll through

the list.

(3) Click the Recall button to recall the mark.

“Current Mark” will show the selected mark, and you

will move to the location of that mark.

Using the MARK keys to move

Hold down the MARK key and press the + key to step

through the marks toward the end of the song.

Hold down the MARK key and press the – key to step

through the marks toward the beginning of the song.

Current

location

Press

once

Press

once

Press

once

Press

once

Press

once

Song

Mark003

Mark007

Mark004

Mark005

Mark006

Order of locations

Deleting a mark

You cannot Undo the result of deleting a mark.

(1) Press the MARK key to display the “EditMark” tab

page.

(2) From the mark list, click the mark that you want to

delete.

If necessary, use the scroll bar/ buttons to scroll through

the list.

(3) Click the Delete button to display the Delete Mark dia-

log box.

(4) If you are sure you want to delete the mark, click the

Yes button (or press the panel YES key).

If you decide not to delete the mark, click the No button

(or press the panel NO key).

If you want to delete all marks, click the Select All but-

ton to turn it on (highlighted), and then click the Yes but-

ton (or press the panel YES key) to delete all marks.

(5) Verify that the mark has been deleted from the mark

list.

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(6) Press the SCRUB key once again, and you will return

to the screen in which you were before entering the

Scrub screen.

2-3. Finding a precise location

(SCRUB)

Alternatively, you can exit the Scrub screen by pressing a

mode key or a direct key to move to another page.

By looking at the waveform data in the display, you can find

a precise location. This allows you to register a locate point or

a mark at the exact point where a sound begins.

Finding a zero-cross point

You can view the waveform as described here in the Scrub screen,

If you click the SearchZero button to turn it on, you can turn

the value dial to move between locations at which the wave-

form level crosses the ±0 point.

Turn the dial toward the right to move to the next zero-cross

point.

and in the Wave screen used for track editing (→p.128).

By watching the waveform as you listen to the audio, you can

find the desired location of the song.

If you press the SCRUB key at a location that occurs after the

end of the song, a dialog box will open that says “Scrub loca-

tion exceeded song end.” Click OK or press the panel YES

key, and the location will be set to the end of the song.

Turn the dial toward the left to move to the previous zero-

cross point.

When using loop playback, or when setting IN, OUT, TO, and

END points for a track editing operation, setting the location at a

zero-cross point will ensure a smoother transition.

(1) Press the SCRUB key to display the Scrub page.

You cannot hear the audio while the Search Zero button is on.

(2)

WAVE

screen

(5)

(4)

(2) Click the popup button beside “Trk” to display the

Select Track dialog box.

(3)

(3) Select the track that you want to play back, and click

the OK button (or press the panel YES key).

If you click the Stereo button (highlight), you can view

the waveforms of two adjacent channels in the upper

and lower parts of the window while you play back.

(4) Click the ZOOM buttons to adjust the size and range

of the displayed waveform.

Instead of using the ZOOM buttons, you can hold down

the JUMP/MATCH key and press the cursor keys.

(5) Turn the value dial to ﬁnd the location while you listen

to the sound.

The track audio will play back according to the direction

and speed at which you turn the value dial.

The Loc cell and the vertical bar indicate the location of

the audio you are hearing.

When you reach the desired location, press the STORE key

and register the location in a LOC key or a mark.

Click the

button to play back approximately two sec-

onds of audio ending at the current location, or click the

button to play back approximately two seconds of

audio starting at the current location.

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Moving a song

You can move a song to the specified song number.

3. Song editing

Songs you record can be copied, rearranged, or deleted. You

can also protect a song to keep it from being accidentally de-

leted.

(1) Select the song that you want to move. (→p .36)

(2) Press the SONG key, and then click the Move button

in the song page to access the MoveSong dialog box.

If you want to move the song to a different drive, click

the Drive button and use the Select Drive dialog box to

select the drive (→p .36).

You cannot use Undo to undo a song editing operation.

3-1. Song editing procedure

To perform a song editing operation, first select the song that

you want to edit, and then press the SONG key and select the

song page.

If you move the song to a different song drive, the Undo infor-

mation will not be retained.

Verify that the selected song is shown as the current song in

the tab page. Then click a button to perform the desired edit-

ing operation.

(2)

(3)

(4)

Current

song

(3) Turn the value dial to select the move-destination song

number.

(4) To move the song, click the Yes button (or press the

panel YES key).

If you decide to cancel, click the No button (or press the

panel NO key) to close the dialog box.

(5) When the display indicates “Completed,” click the OK

button (or press the panel YES key).

The dialog box will close, and you will return to the song

page.

Copying a song

You can copy a song to the desired song number.

This is convenient when you want to create a different remix

or arrangement of the same song.

Deleting a song

You can delete a song.

(1) Select the song that you want to delete. (→p .36)

(1) Select the song that you want to copy. (→p .36)

(2) Press the SONG key, and then click the Delete button

in the song page to access the DeleteSong dialog box.

Verify the drive name and song number of the song that

you want to delete.

(2) Press the SONG key, and then click the Copy button in

the song page to access the CopySong dialog box.

If you want to copy the song to another song drive, click

the Drive button and use the Select Drive dialog box to

select the drive (→p .36).

(2)

(3)

(2)

(3)

(4)

(3) To delete the song, click the Yes button (or press the

panel YES key).

If you decide to cancel, click the No button (or press the

panel NO key) to close the dialog box.

(3) Turn the value dial to select the copy-destination song

number.

(4) When the display indicates “Completed,” click the OK

button (or press the panel YES key).

The dialog box will close, and you will return to the song

page.

(4) To copy the song, click the Yes button (or press the

panel YES key).

If you decide to cancel, click the No button (or press the

panel NO key) to close the dialog box.

(5) When the display indicates “Completed,” click the OK

button (or press the panel YES key).

The dialog box will close, and you will return to the song

page.

If there is already a song at the copy-destination number, the song

existing at the copy-destination and subsequent song numbers

will be renumbered one number higher (→p.117 “8. SONG”).

The Undo information within the song will not be copied.

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Protecting a song

You can protect a song so that it will not be accidentally over-

written or deleted.

Mixer

If the song is protected (protect On), you won’t be able to

switch to Record by pressing the key located above the mas-

ter fader or the channel keys when the REC/PLAY key is on.

Nor will you be able to rewrite any of the parameters of that

song.

Input channels

Analog

inputs 1–12

S/P DIF

L, R

Session

Drums

When you protect a song, it will be saved automatically at

that time.

16 inputs

Protect On

Channel assignment

(1) Select the song that you want to protect (→p .36).

(2) Press the SONG key, and then click the Protect button

in the song page to access the ProtectSong dialog box.

Verify the drive name and song number of the song that

you want to protect.

1ch 2ch 3ch

32ch

32-channel

mixer

(2)

(3)

1. Inputting audio to the mixer

The D3200 provides twelve channels of analog input and one

(3) Click the ON button (or press the panel YES key).

optical digital input jack.

(4) When the display indicates “Completed,” click the OK

button (or press the panel YES key).

The dialog box will close, and you will return to the song

page.

The audio signals coming from devices connected to these

jacks can be assigned to the mixer channels and recorded.

Audio from the internal drum pattern can also be assigned to

the mixer channels.

(5) Notice that a lock symbol “ ” is displayed for the cur-

rent song, indicating the song is protected.

Here’s how to assign each input to a mixer channel and check

the audio signal.

Protect Off

1-1. Analog input

(1) Select the song that you want to un-protect. (→p .36)

Protected songs are indicated by a lock symbol “ ”.

You can connect audio sources such as guitars, keyboards, or

mics to the analog input jacks.

(2) Press the SONG key, and then click the Protect button

in the song page to access the ProtectSong dialog box.

Verify the drive name and song number of the song that

you want to un-protect.

Inputting audio from a guitar

Connecting a guitar to the GUITAR IN jack and assigning

it to mixer channel 1.

(3) Click the OFF button (or press the panel NO key).

(4) When the display indicates “Completed,” click the OK

button (or press the panel YES key).

The dialog box will close, and you will return to the song

page.

(1) Connect the guitar.

Lower the MASTER fader, and then connect the guitar

to the GUITAR IN jack.

(2) Select INPUT 1 as the audio source.

(5) Verify that the lock symbol “ ” is no longer displayed

for the current song.

• Access the MIXER, CH INPUT/SubMixer, “Ch

Assign” tab page.

• Click the

buttons to set the CH1 “SOURCE” to

Saving a song

“1”. You can also use the value dial or the +/– keys to

Since the D3200 automatically saves song data and parame-

ters when you perform the shut-down operation or when

you select a song, it is not absolutely necessary for you to

save manually.

make your selection.

The GUITAR IN jack is shared with the INPUT 1 jack. Spec-

ify its input channel and adjust its input level as INPUT 1.

However if the power should be interrupted by a power fail-

ure or other accident, the data that has been recorded or ed-

ited since the most recent power-on (or since a song was last

selected) will be lost.

We recommend that you use this command to save the data

periodically after recording or editing for an extended peri-

od, or if you are using the D3200 in an environment where

the power supply is unreliable.

(2)

• To save the song, hold down the SONG key and press

the ENTER key located in the edit controller section of

the panel.

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(3) Assign the input to mixer channel 1.

Using the tuner

• Turn the CH ON key on, and turn the channel 1 chan-

nel key on (key lit).

The D3200 contains a built-in tuner function.

You can use this to tune an instrument connected to INPUT

1 or the GUITAR IN jack.

You can choose to view either a needle-type or a digital-type

tuner screen.

• Turn the REC/PLAY key on, and set the channel 1

channel key to Record (key lit red). At this time, CH 1

will be highlighted in the screen to indicate that it is

record-enabled.

(1) Press the panel TUNER key to access the tuner screen.

(4) Adjust the input level.

(2) Click the needle-type or digital-type button to select

the desired type of display.

• Press the METER key to display the Meter/Track

View screen.

(3) Click the CALIB button (or use the panel +/– keys) to

specify the desired tuning reference pitch.

Normally you will use “440 Hz.”

• Click the Meter/Track Type button to display the

Meter/Track Type dialog box.

• For “Select Level Meter Position,” select “CH-Input”

as the level meter mode. Then click the OK button (or

press the panel YES key) to return to the previous

screen.

(4) Input the sound from your instrument, and tune it.

The note name closest to the pitch you input will be dis-

played.

When using the analog (needle-type) screen

If the pitch is correct, the needle will indicate the center 0

position, and the ﬂat “s” and sharp “w“ indicators will

both light. If the pitch is ﬂat, only the “s” indicator will

light. If the pitch is sharp, only the “w“ indicator will

light.

• Turn the INPUT 1 TRIM knob toward the right while

playing your guitar ; the peak indicator (the LED near

the TRIM knob) will light. Adjust the TRIM knob so

that the indicator does not light red when you play at

your loudest level.

• If the input is too loud, turn on the PAD key.

• The level meter in the Meter/Track View screen will

move in response to the input. Verify that the level

meter does not reach “CLP” when you play at your

loudest level.

When adjusting the input level, you may find it helpful to set

a longer “Peak Hold Time” in the Meter/Track Type dialog

box.

Meter/Track Type button

(5)

(2)

(3)

When using the digital-type screen

If the pitch is correct, the center 0 (e) as well as both

“s” and “w“ indicators will light. If the pitch is ﬂat,

only the “s” indicator will light. If the pitch is sharp,

only the “w“ indicator will light.

(5) Check the audio.

• Set the channel 1 fader to unity gain (0 dB).

• Access the MIXER, SOLO/MONITOR, “Monitor”

tab page.

• Click the “Master LR” and turn it on (highlighted).

• Gradually raise the MASTER fader and the PHONES

LEVEL knob or the MONITOR LEVEL knob, and

verify that you hear the sound in your headphones or

in the monitor system connected to the MONITOR

jacks.

(5)

(2)

(3)

The pitch deviation is indicated in units of cents. (100 cents = one

semitone, and 1200 cents = one octave)

(5) Click the OFF button to return to the previous screen.

Alternatively, you can use the panel TUNER key to

return to the previous screen.

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• Gradually raise the MASTER fader and PHONES

LEVEL knob or MONITOR LEVEL knob, and verify

that you hear the sound from your headphones or

your monitor system connected to the MONITOR

OUT jacks.

1-2. Digital input

The D3200 lets you input and record digital sources from the

S/ P DIF inputs.

You can input a digital source only if its sampling frequency

matches the sampling frequency of the currently selected song.

If you input a 24-bit signal into a 16-bit song, the sound you mon-

itor will be 24-bit, but it will be converted to 16-bit data when it is

recorded.

1-3. Sub input

The audio sources from the INPUT 1–12 jacks can be sent to

the sub-mixer and output directly to the master bus, inde-

pendently of being input to the mixer.

When making digital input settings for S/P DIF, you may hear

noise due to synchronization difficulties. Please turn down the

faders or turn down the volume of your monitor speakers before

you adjust these settings.

Sub Mixer 1–12 corresponds to INPUT 1–12 jacks respectively.

Here are some ways in which you can use this:

• You can add external input sources to the recorded sounds

that are playing back.

Inputting the digital audio signal from a MD or DAT

Connecting the digital output of your external MD player

to the S/ P DIF IN jack, and assigning it to channels 1 and

• You can apply external effects to the audio signal sent

from the AUX jacks, and send the processed signal via the

sub-mixer to the master bus.

(1) Connect your MD player.

Inputting audio to the INPUT 1 jack, assigning it to sub-

mixer 1, and outputting the audio.

Lower the D3200’s MASTER fader, and use an optical

digital cable to connect the digital output of your MD

player to the S/P DIF IN jack.

(1) Connect an audio signal to the INPUT 1 jack.

(2) Adjust the sub-mixer settings.

(2) Specify the S/P DIF inputs as the digital audio source.

• Access the MIXER, CH INPUT/SubMixer,

“SubMix1–4” tab page.

• Access the MIXER, CH INPUT/SubMixer, “Ch

Assign” tab page.

• Since you are inputting audio to the INPUT 1 jack, use

the Sub Mixer 1 ON knob (Knob Matrix 10) to turn on.

(2)

• Click the channel 1 “SOURCE,” and click the

buttons to select “L” ( ). You can also use the value

dial or the +/– keys to make your selection.

In the same way, set channel 2 to “R” ( ).

(3) Check the input to the sub-mixer.

• In the same way as for normal mixer settings, use the

Knob Matrix to adjust the level, pan, and EQ.

(3) Assign the input audio to mixer channels 1 and 2.

• Verify that you hear the input source through your

headphones or monitor system.

• Turn the CH ON key on, and turn the channel 1 and 2

channel keys on (key lit).

• Turn the REC/PLAY key on, and set the channel 1 and

2 channel keys to Record (key lit red). At this time,

CH 1 will be highlighted in the screen to indicate that

it is record-enabled.

2. Audio outputs from the mixer

MASTER L, R

(4) Adjust the input level settings.

These outputs provide the audio signals from the master bus.

Use the MASTER fader to adjust the volume of the MASTER

L/R jacks and the level of the signal being recorded on the

master track.

• Press the METER key to display the Meter/Track

View screen.

• Click the Meter/Track Type button to display the

Meter/Track Type dialog box.

MONITOR L, R

Refer to “3-7. Monitor settings” (→p .47).

• In “Select Level Meter Position,” select “CH-Input”

as the level meter mode, and click the OK button (or

press the panel YES key) to return to the previous

screen.

AUX 1, 2

Refer to “2e-3. Aux1 Sen d ” (→p .109).

• When you play back your MD player, the CH 1 and 2

level meters will move in response to the input.

S/ P DIF OUT

This jack sends a digital audio version of the same audio sig-

nal as the MASTER L/ R jacks, at the same sampling frequen-

cy and bit depth as the current song.

(5) Check the audio.

• Set the channel 1 and 2 faders to unity gain (0 dB).

• Access the MIXER, SOLO/MONITOR, “Monitor”

tab page.

• Select “Master LR,” and turn it on (highlighted).

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Adjusting the overall volume level

3. Mixer settings

Adjust the overall sound of your song by using the mixer sec-

tion to set the volume, tone, and pan settings for input or

playback.

Use the MASTER fader to adjust the volume of the MASTER

jacks and the level of the signal being recorded on the master

track.

Use the MONITOR LEVEL knob to adjust the volume of the

MONITOR OUT jacks.

For details on effect settings, refer to “Effects” (→p.54).

Use the MONITOR LEVEL knob or PHONES LEVEL knobs

to adjust the volume of the headphone jacks.

3-1. Adjusting the volume

Adjusting the volume level of each channel

Use the channel faders to adjust the input or playback vol-

ume. Raise or lower the fader to adjust the volume.

3-2. Adjusting the pan

Press the PAN key to access the “Fader Pan” tab page, and

use the Knob Matrix to adjust the pan of each channel.

• You can store these settings in a scene (→p .50).

• You can record these adjustments as automation (→p .52).

• You can store these settings in a scene (→p .50).

• You can record these adjustments as automation (→p .52).

• If channels are paired, you can select how the PAN knob

will operate. (→p .102)

The channel faders have a range from silence (–∞) through unity

gain (0 dB) and up to +6 dB of gain.

Inputting a source at the maximum level

3-3. EQ (Equalizer)

The EQ can be used to cut unwanted frequency regions such

as hiss, or to shape the tonal character by boosting or cutting

a specific low- or high-frequency region.

Ideally, an audio source you want to record should be input

at the highest possible volume that does not cause clipping.

To record at the ideal maximum level on the D3200, make ad-

justments according to the signal flow described below.

The D3200 provides channel EQ for adjusting the tone of

each channel, and master EQ for adjusting the tone of the

master bus.

1. Analog input jack (INPUT 1–12) TRIM

This is the ﬁrst adjustment that affects the level of the

input source.

• Channels to which an insert effect is not applied

Refer to 1-1. Analog input, step (4) (→p .43).

• Channels to which an insert effect is applied

Channel EQ

You can use four-channel full-parametric EQ to adjust the

tone of each channel.

• Access the EFFECT, “InsertEFF” tab page, and

select the effect for the channel you are adjusting.

Channels 25–32 have a two-band shelving EQ.

Adjust the channel EQ in the MIXER, EQ/ATT/PHASE,

“EQ/ATT” tab page, or in the CH VIEW, “Ch View” tab

page.

• Set “Trim” to “100.”

• Adjust the TRIM knob so that the “FX IN” level

meter does not reach “CLP” when the audio signal

is input.

You can press the EQ key to access the “EQ/ATT” tab page with

one touch.

For details, refer to “4-2. Insert EFF” (→p .114).

Applying EQ to an audio input

Since the signals from the S/P DIF jacks are input at unity

gain (0 dB), you do not need to adjust the TRIM.

You can apply EQ to an audio input, and record the EQ’ed

sound.

2. Insert effect TRIM

In some cases, applying effects to the input signal you

adjusted in step 1 may increase the volume, causing dis-

tortion. In this case, make the following adjustment.

(4)

• Access the EFFECT, “InsertEFF” tab page, and click

the InsEffect edit cell to select the effect whose level

you want to adjust.

(5)

• Adjust “Trim” so that the “FX OUT” level meter does

not reach “CLP” when the audio signal is input.

For details, refer to “4-2. Insert EFF” (→p .114).

3. Attenuator

Finally, applying EQ may increase the volume level,

causing the sound to distort. In this case, make the fol-

lowing adjustment.

(6)

• Access the MIXER, EQ/ATT/PHASE, “EQ/ATT” tab

page, press the CH SELECT key, and use the channel

keys to select the input channel you’re using.

(1) Input an audio signal. (→p .42 “1. Inputting audio to

the mixer”)

(2) Press the EQ key, access the “EQ/ATT” tab page.

• Press the REC/PLAY key, and use the channel keys to

select Record mode for the channel you’re using.

(3) Press the REC/PLAY key, and then press the channel

key for the channel where the EQ will be applied, to

select Record mode (key lit red).

• Adjust “ATT” so that the “PRE” level meter does not

reach “CLP” when the audio signal is input.

(4) Press the CH SELECT key and use the channel keys to

select the channel where the EQ will be applied, and

make sure the TRACK/INPUT indicator is set to “IN.”

For details, refer to “2d-1. EQ/ ATT” (→p .107).

(5) Click the ON/OFF button to turn on the EQ.

If this is off, the EQ will not be applied.

(6) Use the Knob Matrix to adjust the EQ settings (→p .107

“2d-1. EQ/ATT”).

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If the level meter indicates clipping, click the ATT knob icon and

adjust it so that clipping does not occur.

3-4. EQ library (Storing and recall-

ing EQ settings)

Applying EQ to the playback

You can store channel EQ settings in the EQ library and recall

them as desired.

(1) Press the REC/PLAY key, and press the channel key of

the channel where you want the EQ applied, setting

that channel to Play mode (key lit green).

A total of one hundred EQ settings are available; 50 presets

and 50 user-writable settings.

(2) Press the EQ key, access the “EQ/ATT” tab page.

Storing EQ settings

(3) Play back the song. (→p .68 “2-1. N ormal playback”)

(1) Adjust the EQ settings as desired.

(4) Press the CH SELECT key, use the channel keys to

select the channel to where you want the EQ applied,

and make sure the TRACK/INPUT indicator is set to

“TR.”

Refer to “Channel EQ” on the previous page.

(2) Access the “EQ Library” tab page, and click the Store

button.

The EQ settings that will be stored are the EQ settings of

the channel whose CH SELECT key is on (key lit).

A name will automatically be assigned to the stored EQ

settings; e.g., CH08-I·EQ (channel 8 Input EQ) or CH10-

EQ (channel 10 Track EQ).

(5) Click the ON/OFF button to turn on the EQ.

If this is off, the EQ will not be applied.

(6) Use the Knob Matrix to adjust the EQ settings (→p .107

“2d-1. EQ/ATT”).

If the level meter indicates clipping, click the ATT knob icon and

adjust it so that clipping does not occur.

(3) If you want to rename the settings, click the Rename

button to display the Rename dialog box.

For the renaming procedure, refer to “1-2. Renaming a

song” (→p .36).

Master EQ

You can use an four-band full-parametric equalizer to adjust

the tone of the master bus.

(4) In the library number cell, select the desired save-des-

tination.

Then click the Yes button (or press the panel YES key) to

save the EQ settings.

(1) Access the EQ, “MasterEQ” tab page.

If you decide not to save, click the No button (or press

the panel NO key).

Recalling EQ settings

(2)

(1) Access the “EQ Library” tab page, and click (highlight)

the EQ settings that you want to use.

(2) Press the CH SELECT key, and press the channel key

of the channel where you want to apply the EQ set-

tings.

(4)

(3)

(3) Click the Recall button to recall the EQ settings.

Verify the recall-destination channel in the Recall dialog

box, and click the Yes button (or press the panel YES

key). If you decide not to recall, click the No button (or

press the panel NO key).

(1)

(2) Click the ON/OFF button to turn on the master EQ.

(4) Return to the “EQ/ATT” tab page, check the EQ set-

tings that were recalled, and make adjustments as nec-

essary.

If this is off, the master EQ will not be applied.

(3) Select the channel whose EQ you want to adjust.

Click the L button if you want to adjust the tone of the

left channel, or click the R button to adjust the tone of

the right channel.

Since channels 25–32 have a two-band EQ with Low and High,

loading four-band EQ library settings into these channels will

have the following result.

If you click the Link button, adjusting the EQ settings of one

channel will automatically set the other channel to the same

values.

•

LowMid and HighMid settings will be ignored.

The Gain and Fc settings for the Low and High bands will be

used as they are, but the Q will be forcibly changed to Shelving.

(4) Use the Knob Matrix to adjust the EQ settings (→p .108

“2d-4. Master EQ”)

3-5. Pairing

By specifying adjacent odd-numbered and even-numbered

channels (1–2, 3–4, 5–6…31–32) as a pair, you can adjust the

values of both channels simultaneously by editing the value

of the one of paired channels.

This is convenient when you want to adjust the mixer set-

tings for a stereo source or track.

The following settings can be paired.

• Channel keys when the CH ON key is on

• Channel keys when the REC/PLAY key is on

• EQ/ATT

• REC/EFF/AUX SEND

• Channel fader

• PAN settings

• Group settings

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You can select how the PAN will operate when channels are

paired.

CH ON groups

(1) Access the MIXER, PAIR/GROUP, “ChOnGroup” tab

page.

(1) Access the MIXER, PAIR/GROUP , “Ch Pair” tab page.

(2) In Select Pair Ch, select the channels that you want to

pair.

(2) Use the radio buttons to select a group (E–H) for each

channel.

Click one of the “1 2”–“31 32” buttons to change the

symbol to “ ”.

If you want to disable pairing, click the paired button to

change the symbol to “ ”.

(3) Click the Ch On Group On buttons E–H to enable the

desired groups.

You may enable more than one group.

(2)

(3)

(2)

(3)

(3) Click the Pan Mode radio buttons to select how the

3-7. Monitor settings

Here’s how to select the audio signal that will be output from

PAN knob will operate for paired channels (→p .102).

MONITOR and PHONES.

3-6. Group settings

(1) Connect your monitor system.

Multiple channels can be assigned to a “Group”. Operating

the fader of any channel assigned to that group will adjust

the volume of all channels in the group while maintaining

their relative volume balance.

You can either connect ampliﬁed speakers or a similar

system to the MONITOR L/R jacks, or connect head-

phones to the PHONES jack.

(2) Select the monitor source.

In addition, each channel can also be assigned to a CH ON

group. When the on/ off status of any channel in that CH ON

group is changed, the status of all other channels in that

group will also change.

Access the MIXER, SOLO/MONITOR, “Monitor” tab

page, and click the source that you want to monitor.

Fader groups

(1) Access the MIXER, PAIR/GROUP, “FaderGroup” tab

page.

(2) Click the radio buttons to select a group (A–D) for each

channel fader.

(3) Click the Fader Group On buttons A–D to enable the

desired groups.

You may enable more than one group.

Master LR

Monitor the audio of the master bus.

Solo

Monitor the audio that is being soloed.

When you adjust the settings in the “Solo” tab page, the

monitor source will be selected automatically.

If you want to defeat this, you can do so in the “Solo”

tab page (→p .48 “3-9. Solo settings”).

(2)

Cue

Monitor the volume and pan as set in the cue mix, inde-

pendent of the channel faders and PAN knobs (→p .48

“3-8. Adjusting the cue level”).

(3)

Drums

If this is on, the drum pattern sound will be output only

from the monitor bus. In this case, the SESSION

DRUMS, “DrmsMixer” tab page Assign setting will be

set to “Monitor.” This is convenient when you want to

monitor only the rhythm, such as during a live perform-

ance.

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You can also turn “Drums” on by setting the SESSION

DRUMS, “DrmsMixer” tab page parameter Assign to

Monitor.

3-9. Solo settings

Use the Solo function when you want to listen to only a spe-

cific channel(s) without affecting the signal being recorded or

sent to the MASTER L/ R bus. You can also use the solo when

you want to listen to one of the Send signals or to one of the

Return signals from one of the internal master effects. The

solo signal is output from the MONITOR L/R jacks and the

PHONES jacks.

(3) Adjust the monitor volume.

The monitor volume is adjusted by the MONITOR

LEVEL knob for the MONITOR L/R jacks, and by the

PHONES LEVEL knob and MONITOR LEVEL for the

PHONES jacks.

Soloing just one channel

3-8. Adjusting the cue level

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page.

Cue Level is a function that lets you adjust the monitor vol-

ume and pan independently of the settings of the master bus.

The cue signal is output from the MONITOR L/R jacks and

the PHONES jacks.

(2) Use the Mode radio buttons to click “Last.”

(3) Press the SOLO key to select SOLO mode.

(1) Select cue as the source for monitoring.

In the MIXER, SOLO/MONITOR, “Monitor” tab page,

click the “Cue” and turn it on (highlighted).

The channel keys of all channels will blink.

(4) Press the channel key for the channel you want to solo.

The key of the selected channel will continue blinking,

and the keys of the other channels will go dark.

If you have made “Solo” settings, defeat “Solo” before you

select Cue.

(5) Listen to the soloed signal.

(2) Adjust the cue level.

As an alternative to using the channel key to select solo, you

can click a button in the MIXER, SOLO/MONITOR, “Solo”

tab page. This method allows you to select a Send or Return

signal for soloing, as well as the signal of a channel (→p .110).

Access the MIXER, SOLO/MONITOR, “CueLevel” tab

page.

If you click the “LEVEL” knob icon, you can use the

Knob Matrix to adjust the volume of each channel.

If you click the “PAN” knob icon, you can use the Knob

Matrix to adjust the pan of each channel.

Soloing more than one channel

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page.

Alternatively, you can click a channel icon and use the

buttons, value dial, or +/– keys to adjust the volume

level and pan.

(2) Use the Mode radio buttons to click “Mix.”

(3) Use steps (3) and (4) in “Soloing just one channel”

(above) to select the channels that you want to solo.

Cancelling solo

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page, and click off the button(s) that you selected for

soloing.

If you want to clear all solo settings, click the Clear All

button.

You can defeat Solo by pressing the REC/PLAY, CH ON,

SOLO, or CH SELECT keys.

(2) Verify the setting.

In the “Monitor” tab page, verify that Solo is now off.

Sending the soloed audio from the master bus

If you want to, you can send the soloed audio signal to the

MASTER L/R jacks. Use this when you want to hear the solo-

ed audio through the monitor system connected to the MAS-

TER L/R jacks.

In the MIXER, SOLO/MONITOR, “Solo” tab page, click the

Solo→Master button on (highlighted).

3-10. Muting a channel

You can turn the CH ON key on and use the channel keys to

mute (silence) each channel.

(1) Turn on the CH ON key.

The channel keys of all channels will light.

(2) When you press the channel key of a channel, it will be

muted (the key will be dark).

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(6) Save the mixer setup.

3-11. Mixer Setup

Click the Yes button (or press the panel YES key) to save

the settings.

If you decide to cancel, click the No button (or press the

panel NO key).

Mixer Setup lets you store the current mixer settings for sub-

sequent recall at a later time.

This allows you to store mixer settings that you use frequent-

ly, and then recall them when creating a new song. You can

also use this method to copy mixer settings to a different

song.

The current mixer settings are stored as a “mixer setup pro-

gram.” You can store twenty of these mixer setup programs.

A mixer setup program contains all the mixer parameters

that are included in the song.

Recalling a mixer setup

Here’s how to recall a previously-stored mixer setup pro-

gram.

You can’t recall a setup while a song is playing.

(1) Access the MIXER, “MIXER SETUP,” “MixerSetup”

tab page.

The mixer setup programs that you store can be backed-up

and restored as “User Data” “Mixer Setup Data” (→p .83).

(2) In the list, click to highlight the program that you want

to recall.

A mixer setup contains the following parameters.

(3) Click the Recall button to open the Recall Program dia-

log box.

• Channel Assign, and Sub Mixer assignments

• Pair, Group

(4) Recall the mixer setup.

• Fader, Pan, Play/Rec EQ

Click the Yes button (or press the panel YES key) to

recall the settings.

If you decide to cancel, click the No button (or press the

panel NO key).

• ATT, CH ON, Phase, AUX/EFF Send, Rec Send

• Effect (all settings including the parameters being edited)

• Master Fader, Master EQ, Send Out level, Send Select All

• Solo, Monitor, Cue, Session Drums

• Channel keys when the REC/PLAY key is on

• Master track record/play

Storing a mixer setup

Here’s how to store the current mixer settings as a mixer set-

up program.

You can’t store a mixer setup while a song is playing.

A program saved in a 44.1 kHz or 48 kHz song can be recalled into

either a 44.1 kHz or 48 kHz song.

(1) Make sure the current mixer settings are the ones that

you want to store.

When the D3200 is shipped from the factory, mixer setup pro-

grams 1 through 20 are stored as “NoData.” Recalling one of

these programs will set the mixer to the same settings as when it

is initialized (i.e., when you create a New Song).

(2) Access the MIXER, “MIXER SETUP,” “MixerSetup”

tab page.

(2)

(3)

(1)

(3) In the list, click to highlight the program in where you

want to store the current settings (i.e., the program you

want to overwrite).

(4) Click the Store button to open the Store Program dia-

log box.

If you decide that you want to store the settings in a pro-

gram number other than the one shown in the cell, you

can click to highlight it and use the value dial (or the +/–

keys) to change the program number.

(5)

(4)

(6)

(5) If you want to assign or edit the program name, click

the Rename button to open the Rename dialog box

(→p .36).

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4-2. Recalling a scene

4. Storing/ recalling a scene

Here’s how to recall mixer settings that you registered as a

scene.

You can register frequently-used mixer settings at a desired

location and store them as a “scene” for later recall.

After recalling a scene, you can store it again as a new scene,

or edit some of the mixer settings and store (overwrite) it

back into the same scene memory.

(1) Access the SCENE, “Automation” tab page, and click

off the Automation button.

If Automation is “ON,” you will only be able to recall the

scene that is registered at the current location.

Default Scene is automatically registered at the beginning of

the song when you create a new song (→p .35), and always

saves the state of the mixer settings at the end of the song.

If automation is off and a scene is not selected, or if automa-

tion is on but a scene has not been stored at the beginning of

the song, the mixer settings of the default scene will be used,

and will appear in the selected scene cell as the current scene.

(2) In the scene list displayed in “EditScene” tab page,

select (highlight) the desired scene, and click the

Recall button.

The selected scene will be recalled.

You can store the desired scenes at various locations in the

song so that if Automation is turned on, these scenes will be

selected automatically when playback reaches the corre-

sponding locations. (→p .52 “5. Automation”)

You can store up to one hundred scenes for each song.

A scene can contain the following settings.

Channel parameters

CH ON, Play EQ, ATT, send, insert effect assignment,

fader, pan

Effects

Program numbers of the insert effects, master effects,

and ﬁnal effect

4-3. Renaming a scene

(1) Access the SCENE, “EditScene” tab page, and click the

scene (highlight) you want to rename.

Effect return, MASTER fader, AUX level, master EQ

MASTER fader settings included in a scene will be valid when

playing back the tracks or when recording the master track, but

will be ignored when playing back the master track.

(2) Click the Rename button to display the Rename dialog

box.

Caution when storing effects in a scene

Scenes contain the effect program numbers.

If you store a scene when you have edited the effect parame-

ters but not stored the effect program, the scene will contain

the unedited effect program.

(3) Edit the name (→p .36).

4-4. Deleting a scene

You can delete an unwanted scene.

Undo is not available for this operation.

If you edit an effect program, be sure to save the effect pro-

gram before you store the scene.

(1) Access the SCENE, “EditScene” tab page, and click the

scene (highlight) you want to delete.

4-1. Storing a scene

(1) Adjust the mixer settings.

(2) Click the Delete button to display the Delete Scene

dialog box.

Adjust the channel faders, Pan, EQ, and effects to the set-

tings that you want to store.

(3) Click the Yes button (or press the panel YES key) to

delete the scene.

(2) Press the STORE key.

If you click the No button (or press the panel NO key),

you will return to the “EditScene” tab page without

deleting the scene.

The StoredTime dialog box will appear.

If you decide not to store the scene, click the Exit button.

The scene contains the mixer settings and the location at the

point you press the STORE key.

If you want to delete all scenes, click the Select All button to

turn it on, and then click the Yes button (or press the panel

YES key) to delete all the scenes stored for this song.

(3) Press the SCENE key to store the scene.

The settings will be stored, and the dialog box will close.

The scenes you store are numbered in ascending order. You

can perform steps (2) to store a scene even while the song is

being played or recorded.

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4-5. Editing and overwriting a scene

4-7. Specifying parameters that will

be disabled for all scenes

You can specify parameters that will be excluded from scene

recall operations for any scene in the song. The channel pa-

rameters and sends whose buttons are highlighted in the dis-

play will be excluded from (i.e., unaffected by) scene recall

operations, regardless of the scene that is recalled.

You can edit some of the settings of a scene, and overwrite

your changes onto the stored scene.

(1) Recall the scene.

As described in “4-2. Recalling a scene,” recall the scene

that you want to edit.

(2) Edit the settings of the scene.

Adjust the channel faders, Pan, EQ, and effect parame-

ters to edit the scene.

Access the SCENE, “SceneFilter” tab page, and click the but-

tons for the channels and controls for which you want to dis-

able scene recall.

Parameters whose buttons are highlighted will not be re-

called.

(3) Click the OverWrite button to display the Over Write

Scene dialog box.

(4) When you click the Yes button (or press the panel YES

key), your changes will be overwritten onto the scene

of that number.

If you click the No button (or press the panel NO key),

you will return to the “EditScene” tab page without

making any changes.

4-8. Controlling scenes via MIDI

4-6. Specifying parameters that will

be disabled for an individual

scene

For each scene, you can specify that the settings of certain pa-

rameters will not be altered when the scene is recalled. The

channel parameters and send settings of the highlighted but-

tons will be excluded from recall.

MIDI output

A scene change (program change) message is transmitted

when the scene changes.

If the SYSTEM/MIDI, “MIDI/MMC” tab page Program

Change button is on (highlighted), messages will be output

in the following cases.

• When you select a scene in the SCENE, “EditScene” tab

page.

(1) Recall the scene.

As described in “4-2. Recalling a scene,” recall the scene

that you want to edit.

• If automation (→p .52) is turned on, when the scene

changes during playback or recording

(2) Click the Disable Prm button to display the Disable

Param dialog box.

MIDI input

If the D3200 receives a scene change (program change) mes-

sage when automation (→p .103 , 105) is turned off, it will

switch to the scene of the corresponding number.

(1) Connect your external MIDI device (→p .94).

(2) In the SYSTEM/MIDI, “MIDI/MMC” tab page, set

“GlobalCh” to the channel of the external MIDI device

that will be transmitting the program change message.

Turn the SYSTEM/MIDI, “MIDI/MMC” tab page Pro-

gram Change button on (highlighted).

(3) Access the SCENE, “EditScene” tab page, and turn

Automation “OFF.”

(4) Send program change messages from your external

MIDI device to recall scenes on the D3200.

When the D3200 receives program change #0, scene

“000” will be recalled.

(3) Adjust the settings.

Select the channels whose parameters will be disabled

for recall, and select the parameters or sends of those

channels that will be disabled.

For the EFF1/2 Return, AUX 1/2 Level, Effect,

MasterEQ, and MasterFader parameters, you can

disable settings of the highlighted buttons regardless of

the selected channel.

Program change messages #0–100 correspond to scenes

“000”–“100.”

Fader, CH ON, Pan, EQ, EFF 1/2, and Aux 1/2 filter set-

tings apply only to the channels that are disabled (highlight-

ed).

(4) Click the OK button (or press the panel YES key) to

close the dialog box.

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(3) Edit the location, and click the Yes button (or press the

panel YES key) to ﬁnalize the change.

5. Automation

Automation is a function that automatically modifies mixer

settings as the song location changes during playback.

There are two types of automation; scene automation and

event automation.

If you click the No button (or press the panel NO key),

you will return to the “EditScene” tab page without

making any change.

You can also change the location in the “EventList” tab page.

When automation is on, you can use the SCENE “Mixer

View” tab page to view fade-in and fade-out operations and

scene changes in which fader values change.

5-2. Event automation

This type of automation records mixer operation events such

as fader movements or pan motion during playback, and re-

produces these operations at the corresponding time during

playback or recording.

5-1. Scene automation

This type of automation automatically switches mixer set-

tings when the song location during playback or recording

arrives at the registered location for that scene.

You can also selectively re-record the recorded events, or

copy them to another location or a different channel.

You can keep recording events until the Events Remaining

indication reaches 0%.

When you register a scene, the location is also registered

along with the other settings. When the current location of

the song matches the registered location of the scene, the

Scene Automation function will automatically select this

scene, causing the mixer settings to change to the settings of

the scene.

The following operations can be recorded as events.

• Fader operations of each channel

• MASTER fader operations

• Channel On operations of each channel

• Pan operations of each channel

• AUX send operations of each channel

• Effect send operations of each channel

• Expression pedal operations

You can also re-register a scene at a different location, or edit

the mixer settings of the scene and overwrite it onto the same

scene memory.

Using scene automation

Scenes can be set to change automatically, when playback

reaches the location where the scene was stored.

You can use the Undo function to restore recorded or edited

automation events to their state prior to recording or editing.

If a scene is stored within the region where you want to record

events, we recommend that you use the SCENE, “SceneFilter”

tab page (→p.106) to disable the settings of that scene for the pa-

rameter(s) you intend to record, so that those parameters will be

affected only by the event automation.

Store the scene at the location where you want the mixer settings

to change (→p.50 “4-1. Storing a scene”).

(1) Access the SCENE, “EditScene” tab page, and turn

Automation “ON.”

The automation indicator will light.

Recording mixer operations

(2) Play back the song.

There are two ways to record event automation.

You can overwrite all events from the point where you start

song playback/ recording until the point where you stop

(Over Write). Alternatively, you can record only the opera-

tions that occur between two specified locations, or only for

the region in which you actually operated the faders (Punch

Write). (→p .104)

Move to the location where you want the playback to

start, and press the PLAY key.

When playback reaches the location at which the scene

was stored, that scene will be recalled.

Storing a scene at a different location

You can recall a stored scene and store it again at a different

location.

As an example, here’s how to use “Over Write” to record

events while the song plays back.

(1) Recall the scene that contains the mixer settings you

want to store again at a different location.

For the procedure, refer to “4-2. Recalling a scene”

(→p .50).

(1) Select the song that you want to use to record mixer

operations.

(2) Move to the location at which you want to start record-

ing automation, and store the mixer settings as a scene.

Automation recording will start from the location of the

scene you store here, and this scene will be the mixer set-

tings at the beginning of the recording.

(2) Move to the location at which you want to store the

scene (→p .38).

(3) Store the scene.

For details, refer to “4-1. Storing a scene.”

• If you want to use an existing scene, recall that scene,

move to the location at which you want to begin

recording automation, and store the scene again.

Editing the location of a stored scene

You can edit the location of a stored scene to change when it

will become active during playback.

(3) Access the Scene, “Automation” tab page, and select

the channels for which you want to record mixer opera-

tions.

(1) Access the SCENE, “EditScene” tab page, and select

(highlight) the desired scene.

If you want to record events for a channel, click its but-

ton to make it indicate “ ”.

(2) Click the EditLoc button to display the Edit Scene

Location dialog box.

(4) Use the Pan, CH ON, Send, Fader, and Expression

radio buttons to select the type of event you want to

record.

You can record only one type of event at a time.

If you select Send, events will be recorded for the Send key

(INTERNAL 1/2, AUX 1/2) selected by the cell beside the

button.

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(3)

(4)

(7)

(6)

(4)

(2)

(3)

(5)

(6)

(2)

(5) If you selected “Fader,” you have the option of also

recording Master fader operations.

(3) In the event list, select the event that you want to edit.

If you want the events of the event list to be shown in the

Event View area, click the Set View button and use the

Set View dialog box to select the desired parameter

(→p .104).

If desired, click the Master Fader button to make it indi-

cate “ ”.

(6) Click the Mode button to access the Event Rec mode

dialog box.

(4) Click the Edit button to open the Edit Event dialog

box.

Select “Overwrite,” click the OK button (or press the

panel YES key).

The parameter, value, and location of the selected event

will be displayed in detail.

(7) Turn “Automation” ON (Rec).

• Use the value dial (or +/– keys) to select (highlight)

The automation indicator will blink.

the item you want to edit.

(8) When you play back the song, event recording will

If a scene is selected, you can edit only the location.

begin.

Adjust the mixer settings for the events you are record-

ing.

In this screen as well, you can click the move cell

use the value dial (or +/– keys) to change the event being

and

(9) When you stop the song, event recording will end.

Automation will automatically switch ON (Play), and

the automation indicator will light.

edited.

If you want to additionally record other events in the

song, repeat the procedure from step (3).

If you made a mistake, you can click the Undo button to re-

turn to the previous state. If the Undo button is displayed as

Redo, you can press it to cancel the Undo.

(4)

(5)

Playing back the events

Here’s how to play back the recorded events as the song

plays.

(1) Select a song that contains recorded events.

(2) Access the SCENE, “Automation” tab page, and set

“Automation” to “ON (Play).”

(5) Click the OK button to execute the edit and update the

event list.

The automation indicator will light.

(3) When you play back the song, the recorded events will

play back as the song progresses.

If you decide not to execute, click the Cancel button.

Alternatively, you can us the panel YES or NO key.

Cut, copy, or paste an event

Editing events

You can use the Cut, Copy, or Paste buttons to cut, copy,

or paste the selected event.

For details on these operations, refer to the Reference

manual, “2c-3. Event List” (→p .104).

You can edit recorded events in either of two ways; by chang-

ing the value or location of events in the event list, or by over-

writing events in the desired region.

(1) Access the SCENE, “EventList” tab page.

(2) Click the Select List button to open the Select List dia-

log box. Choose the channel and parameter of the

events you want to edit.

Select a channel 1–32, the master fader, or expression

(you may select only one of these), and then click the OK

button (or press the panel YES key).

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Effect type and size

Effects

There are two types of effect program: stereo and mono.

You can use either type of program as an insert effect, but

mono programs cannot be used as master effects or as the fi-

nal effect.

The D3200 provides up to eight insert effects that you can in-

sert into mixer channels, up to two master effects that can

process the sends from each channel, and one final effect to

process the master bus.

Insert effect 8 cannot use a stereo effect program.

As an example, the type of effect programs that can be used

to provide eight simultaneous insert effects are called “size-

1” programs. Relative to this, other more complex effect pro-

grams are categorized as “size-2” or “size-4” programs.

The size of each effect program is shown by an icon “ ” dis-

played at the right of the effect name.

Guitar

Keyboard

Mic

How DSP power is allocated to the effects

On the D3200, the term “DSP power” refers to the total

processing capability that can be used to process effect pro-

grams.

Insert effects 1–8

Play

Insert effects

Effects of the D3200

DSP power

Rec

EFFRouting

Insert 1–8, Master 1/2, Final

Each track

of the recorder

100%

There is enough DSP power to process “16 sizes-worth” of ef-

fect programs.

Master

effects

A total of eleven effects can be used by insert, master, and fi-

nal effects, but since the sum of the all the effect sizes is lim-

ited to no more than 16, the number of effects that can be

used simultaneously will change, depending on the combi-

nation of effect sizes.

A specific amount of DSP power is allocated to the insert,

master, and final effects, and the breakdown for each variety

of effect is shown in the following table.

Master track

of the recorder

Final

effect

Rec

Number of effects and DSP power for each variety of

effect

to the master bus

Maximum number of

effects that can be used

simultaneously

Maximum size assignable

Variety

to one effect

The effect programs are common to all of the above types of

effect. There are 128 preset effect programs.

Each effect program is constructed from one of 52 different

effect algorithms.

There are 128 user effect programs in which you can store

your own edited settings, and 32 song effect programs for

each song, in which you can store effect settings for that spe-

cific song.

Insert

Master

Final

Total

If you use a size-8 effect for insert effect 1, insert effects 2–8 will

be unavailable.

Each song can store its own 32 song effect programs.

If you use a size-4 effect for master effect 1, master effect 2 will be

unavailable.

You cannot rewrite the preset effect programs. However, a preset

effect can be recalled, edited and stored to a user program.

When assigning effects, pay attention to the DSP power indi-

cator in the “EFFRouting” tab page to see how much DSP

power is available.

For details, refer to “Effects that can be used simultaneously”

(→p .114) in the reference section.

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1. Using insert effects

2. Using master effects

To use a master effect, adjust the send level of each channel

to send some of its signal to the effect. The master effects are

typically used to apply reverb or to make the overall mix

richer and better balanced.

The D3200 provides two master effects (MstEFF1 and

MstEFF2), and these can be used simultaneously. However if

you use a size-4 effect, the available processing power of both

master effects will be used, so only master effect 1 will be

available.

You use insert effects by inserting them into a mixer channel

to process the sound of an input source or audio track.

A maximum of eight insert effects can be used simultaneous-

ly, and these effect programs may have a total size of no more

than 8. In other words, you must assign effect programs so

that their total size stays within this limit.

Number of simultaneously usable insert effects and their size

Insert effect

Number of simultaneously usable master effects and their size

Master

effect 1

Master

effect 2

Effect program size (conceptual)

Size-2

Size-1

Size-4

Effect program size (conceptual)

Size-2

Size-4

If you use a size-2 effect for insert effect 1, only six more insert ef-

fects (3–8) will be available.

Example 1

Assign a size-2 program

to master effect 1

Example 2

Assign a size-4 program

to master effect 1

Master

effect 1

Master

effect 2

Master

effect 1

Master

effect 2

Size-2

Size-4

Size-2

Available

To adjust the depth of the effect, adjust the send level from

each channel.

AUX send is used when applying external effects.

If you use a size-1 effect for insert effect 1, and a size-4 effect for

insert effect 2, only three more insert effects (6–8) will be available.

You can select an effect program for the master effect in the

EFFECT, “MstrEFF1”/“MstrEFF2” or the EFFECT,

“EFFRouting” tab page.

Size-1

Size-4

Available

For details on how to use the master effects, refer to Quick

Start. (→p .29)

1-1. Applying insert effects during

recording

3. Using the ﬁnal effect

The D3200 provides one stereo-in/ stereo-out final effect,

You can apply an insert effect to an audio input source con-

nected to the input jack, and record the sound processed by

the effect.

which is applied to the master bus.

The final effect is used mainly with a dynamics-type effect

program (such as compression) to adjust the overall level for

mastering.

For details on how to apply an insert effect on a channel in-

put, refer to Quick Start. (→p .23)

You can select an effect program for the final effect in the EF-

FECT, “FinalEFF” or the EFFECT, “EFFRouting” tab page.

1-2. Applying insert effects during

playback

You can apply an insert effect to the playback of a previous-

ly-recorded track.

For details on how to use the final effects, refer to Quick Start.

(→p .31)

For details on how to apply an insert effect to the track play-

back, refer to Quick Start. (→p .28)

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For a master effect or ﬁnal effect

4. Editing the effects

You can edit the effect programs used by the insert effects,

master effects, and final effect quickly and easily using the

Knob Matrix.

(1) Access the EFFECT, “MstrEFF1” (or “MstrEFF2”)/

“FinalEFF” tab page.

(2) Perform steps (3) and following of “For an insert

effect,” above.

Editing the effect parameters

Storing an effect program

(2) (3)

• If the song is playing, press the STOP key.

• Click the Store button in the effect tab page to display the

Store Program dialog box.

• Click the Area list button and select either User or Song

from the list.

(4)

(6)

U (User): User effect program. You can store 128 effect

programs which are shared by all songs.

S (Song): Song effect program. You can store 32 effect pro-

grams specific to each song.

• Click the number cell to specify the store-destination (it

will be highlighted), use the value dial (or the +/– keys) to

select the number, and then click the Yes button (or press

the panel YES key) to store the effect program.

(5)

(1)

(8)

When you store the effect program, it will overwrite and replace

any data that had been stored in that number.

For an insert effect

(1) Access the EFFECT, “InsertEFF” tab page.

(2) Select the insert effect (InsEFF1–8) that you want to

edit.

Click the insert effect cell (highlighted), and use the

value dial (or the +/– keys) to select an insert effect 1–8.

(3) The effect program assigned to the selected insert

effect will appear. Below it, icons will show the algo-

rithm used by that program.

To select a different program, click the popup button and

make your selection.

(4) If the algorithm contains more than one effect icon,

click the cell below the icon you want to edit (it will

become highlighted), and a list of the parameters for

that effect will be displayed.

If the program consists of only one effect, the displayed

parameters are all that exist.

(5) Listen to the effect settings.

When you turn the ON/OFF button OFF, the effect will

be bypassed, and the effect icon(s) will be grayed-out.

When you turn the button ON, the effect will be applied.

This way, you can listen to the difference that the effect

makes and listen to the original sound as a reference.

(6) Use the Knob Matrix located below the LCD screen to

edit the parameter values.

• To edit the value of a parameter, turn the knob in the

Knob Matrix in the location corresponding to that

knob icon.

(7) If the program consists of two or more effects, select

the icon of the effect that you want to edit, and edit its

parameters in the same way.

(8) Assign a name to the effect program that you edited.

• Click the Rename button to access the Rename dialog

box. (→p .36 “1-2. Renaming a song”)

• After you have assigned the desired name, click the

OK button (or press the panel YES key).

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5. Controlling effects from an

external device

In addition to the Knob Matrix, you can also use an expres-

sion pedal or external MIDI controller to control the D3200’s

effects in real time.

6. Using external effects

You can use the AUX jacks to provide a “send” to an external

effect processor. The “return” signal from the output of your

external effect processor can be connected to the INPUT 1–12

jacks. The signal can then be routed to the master bus via the

mixer or the sub-mixer.

For details on the effect parameters that you can control, refer

to “Effect parameter” (→p .150–).

Sending the playback signal to an external effect proces-

sor, and using INPUT 3 and INPUT 4 jacks to return it to

the master bus via the sub-mixer

Using a pedal or MIDI to control an effect.

(1) Connect an expression pedal such as the EXP-2 foot

controller (sold separately) or an external MIDI con-

troller (→p .11).

(1) Connect your external effect processor.

Connect one of the D3200’s AUX jacks to the INPUT jack

of your external effect processor, and connect the OUT-

PUT jacks of the effect processor to the D3200’s INPUT 3

jack and INPUT 4 jack.

(2) Access the SYSTEM/MIDI, “Control” tab page.

In this example we will use a pedal to control the effect.

In the Control Change area, click the Device cell to

select “Pedal.”

(2) Send the playback signal to the external effect.

• Access the MIXER, SEND (EFF/AUX/REC), “Aux-

If you want to use MIDI to control the effect (rather than us-

ing the pedal as in this example), you must specify the type of

MIDI message that you want to use. Access the SYSTEM/

MIDI, “Control” tab page, and set “Control MIDI CH” to

the MIDI channel on which that your external MIDI device

is transmitting.

Send” tab page.

• Make adjustments using the Knob Matrix for the

channel you’re sending to the external effect.

Alternatively, you can click a knob icon to select it,

and click the

buttons to adjust the value.

• Click the button located above the knob icon to select

either pre-fader (PRE) or post-fader (PST) as the loca-

tion from which the signal will be sent to AUX.

(3) Input the audio signal from the external effect proces-

sor.

• Access the MIXER, CH INPUT/SubMixer, “SubMix

1–4” tab page.

(2)

(3)

• Using the Knob Matrix, adjust the “Level” to specify

the return level, and adjust “Pan” to specify the return

pan. (→p .101)

(3) Select the effect that you want to control.

In the Assign ﬁeld, select the effect (InsertEFF1...8/Mas-

terEFF 1, 2/FinalEFF) that you want to control.

(4) Select the effect program that you want to control.

Press the EFFECT key for the effect you chose in step (3),

and select an effect program in the appropriate tab page.

(5) Specify the parameter and range that you want to con-

trol.

• A control icon will be added at the end of the effect

chain of the selected program. Click (highlight) this

control icon to display the control-related parameters.

• Click the “Control” to on.

• Use the effect knobs to specify the range.

If you want to save these settings, store the program as de-

scribed on “Saving a song” (→p.42).

(5)

(6) Operate your expression pedal or external MIDI con-

troller to control the effect parameter you speciﬁed.

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For now, keep matrix knobs 5–8 all the way toward the left in

their “OFF” position. We’ll get to these in the next section.

For details on what each knob does, refer to “Auditioning the

pattern map” (→p.59).

Session Drums™

The D3200 is equipped with Korg’s Session Drums. By using

Session Drums in conjunction with the Knob Matrix, you can

easily create a realistic drum track for your song, without te-

dious programming. This drum track can be used as refer-

ence as you record, or as part of your completed song.

Patterns are the basic elements of the drum track. By string-

ing different patterns together and adding fills, intro and

ending patterns, you can create a program map.

If you select a new pattern using the GROUP, SESS, or VARI

knobs while a pattern is playing, the Session Drums will

switch to the new pattern at the beginning of the next meas-

ure.

If you click the Fill button while a drum pattern is playing, a

fill-in pattern will play at the beginning of the next measure,

and then the Session Drums will revert to the previous drum

pattern.

The Session Drums is recorded on its own dedicated track, so

you can use the pattern map to play drum patterns and still

have thirty-two tracks available for recording.

If you select a new pattern using the GROUP, SESS, or VARI

knobs while a fill-in pattern is playing, the Session Drums

will switch to the newly selected pattern when the fill-in

ends.

1. Listening to drum patterns

If you click the Ending button while a drum pattern is play-

ing, an ending pattern will play at the beginning of the next

measure, and then the Session Drums will stop.

If the song is playing, press the STOP key to stop playback.

The D3200 contains 756 drum patterns (→p .176 “Drum Pat-

tern List”).

If you click the RUN button while the Session Drums are

playing, the drumming will stop.

(1) Access the SESSION DRUMS “DrmsMixer” tab page,

and click the “Assign” Monitor radio button.

While the “SessionDr.” tab page is displayed, you can use the

panel LOC 3 and LOC 4 keys instead of the on-screen RUN and

FILL buttons. You can also hold down the panel SESSION

DRUMS key and press the LOC 3 key instead of the on-screen

Ending button.

If you’ve selected Metronome as the group

(1)

If you use the GROUP knob to select “Metronome,” the time

signature and the accent sound will be as specified by the

SESS knob and VARI (shown as BEAT) knob.

2. Creating a drum track for an

entire song (Pattern Map)

Tempo

Drum kit

Here we will explain how to create a sequence of drum pat-

terns (a pattern map) for the entire song by switching varia-

tions in real time.

You can’t create a pattern map if the song’s Protect setting is

turned on.

(4)

(1) Access the SESSION DRUMS “DrmsMixer” tab page,

and click the “Assign” Monitor radio button.

(2) Access the SESSION DRUMS “SessionDr.” tab page.

• If the Click Monitor button is on (highlighted), click it

to turn it off.

(2)

• Click the “RecMode” Pat&T radio button. (→p .143

“1 1. Rec Mo d e”)

(2) Access the SESSION DRUMS “SessionDr.” tab page,

and click the RUN button (it will be highlighted) to

hear the current pattern.

(3) Click the RUN button (it will be highlighted), and you

will hear the currently-speciﬁed drum pattern.

To stop the pattern, click the RUN button once again.

(4) Use the DRUMS fader to adjust the volume of the

drum pattern.

(3) Use the DRUMS fader to adjust the volume of the

drum pattern.

(4) Use matrix knobs 1–4 to select drum patterns and

adjust the tempo.

(2)

• Use the GROUP knob to select a family of drum pat-

ters, or the drum pattern group.

• Use the SESS knob to select a pattern set from within

the current group.

(4)

(7)

(9)

(2)

When you use the GROUP and SESS knobs to select a pat-

tern set, the drum kit and tempo will change as well. It takes

about one second to switch drum kits.

• Use the VARI knob to select a variation of the current

pattern set. Turning the knob toward the right will

make the pattern “busier” and add more sounds.

(6)(10) (6) (8)

(3)

• Use the TEMPO knob to adjust the tempo.

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When you use the on-screen buttons or the panel keys to move be-

tween measures, the counter will automatically switch to the

measure display.

(5) Use matrix knobs 1–4 to select the drum pattern that

you want to use for the starting measure.

• Use the GROUP knob to select the drum pattern

group.

As the pattern map plays, you can use the matrix knobs 5–8

to listen to other Session Drum features.

• Use the SESS knob to select a pattern set from within

the current group.

• Use the SHFFL knob to add various amounts of “shuf-

ﬂe” feel to your drum track.

• Use the VARI knob to select a variation of the cur-

rently selected pattern set. Turning the knob toward

the right will make the pattern “busier” and add more

sounds.

• The ACCNT and INTNS knobs can add more dynam-

ics to your drum track. The ACCNT knob selects dif-

ferent accent tables, and the INTNS knob sets depth

of accent.

• Use the TEMPO knob if you want to set a different

tempo for this event.

• The HUMAN knob adds introduces slight variations

in timing and velocity to add a more “human” feel to

your drum track.

(6) When you’ve chosen the drum patterns you want to

use, click the Record button (it will be highlighted),

and then click the Play/Stop button (it will be high-

lighted) to start recording the drum map.

While the “SessionDr.” tab page is displayed, you can use the

panel LOC 1 and LOC 2 keys instead of the on-screen Play/

Stop and Record buttons.

3. Recording with Session

Drums

The drum track you create using Session Drums can be used

in a variety of ways. You can listen to the drum track as a ref-

erence as you record your other tracks. The Session Drums

can be assigned to inputs and recorded on channel tracks, al-

lowing you to add insert effects as they are recorded. You can

also introduce the drums to the master bus, so that the Ses-

sion Drums will be mixed in as part of your master track.

(7) As the pattern plays, use the VARI knob (matrix knob

3) to switch pattern variations.

Turning the knob toward the right will make the pattern

“busier” and add more sounds.

(8) When you want to insert a ﬁll-in, click the FILL button

while the preceding measure is still playing.

(9) When you want to insert an ending pattern, click the

Ending button while the preceding measure is still

playing. After the ending pattern has been recorded, a

blank pattern will be recorded.

Recording additional tracks as you listen to the

drum track

(10)If you want to record tempo changes as you record, use

the TEMPO knob (matrix knob 4).

Here’s how you can record a performance while listening to

drum patterns as a guide rhythm.

The tempo settings used during recording will be saved as

part of the tempo track. During recording, you can use the

TEMPO knob to gradually increase or decrease the tempo,

starting at that location. If you want the song to instantly

change to a new tempo setting at the beginning of a specific

measure, record at a fixed tempo, and then edit the pattern

map (→p.64 “6-2. Pattern map tempo”) to change the tempo.

(1) Access the SESSION DRUMS “DrmsMixer” tab page,

and set “Assign” to either Monitor or Master.

(2) Turn on the DRUMS key.

Use the DRUMS fader to adjust the volume.

(3) Connect your input devices, and begin recording.

Refer to “1. Inputting audio to the mixer” (→p .42).

(4) If Click Monitor is turned on in the SESSION DRUMS

“SessionDr.” tab page, the currently-speciﬁed drum

pattern will play. If Click Monitor is turned off, the

pattern map will play.

(11)At the last measure of the drum performance, click the

PLAY/STOP button to stop recording the pattern map.

You can use the “PatternMap” tab page to view the pattern

map that you created in this way.

If Click Monitor is off and nothing is recorded in the pattern

map, the drums will not play.

The drums themselves will not be recorded using this proce-

dure.

Recording patterns on a track

Drum patterns, or a drum track created using the Session

Drums pattern map, can be assigned to channel tracks and

recorded. You can also use the Session Drums to create a

drum track for a song that has already been recorded.

Recording Session Drums to a channel track

You can record the drum pattern or drum map playback to a

pair of tracks (stereo) on the D3200.

Auditioning the pattern map

To hear the pattern map you just created, access the SES-

SION DRUMS “SessionDr.” tab page and click the Play but-

ton.

You can use the on-screen rewind and fast-forward buttons

to move between measures. Alternatively, you can hold

down the SESSION DRUMS key and use the panel +/– keys

to move between measures.

Recording drum patterns to tracks 1 and 2

(1) Make preparatory settings for recording.

• Access the SESSION DRUMS “DrmsMixer” tab

page.

• In the Drums Track Mixer, set the Assign setting to

“CH Input.”

Since this data is already recorded on the Session Drums

track, you will also be able to audition the pattern map if you

move to the beginning of the song, turn on the DRUMS key,

and press the PLAY key to play back the song.

• In the Drums Track Mixer, adjust the EQ and faders as

necessary (→p .143 “14-2. Drums T r ack Mixer”).

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(2)

(1)

(2) Specify the input channels.

• Access the MIXER, CH INPUT/SubMixer “Ch

Assign” tab page.

• Use the

to set the CH1 SOURCE cell to “L” (

SOURCE cell to “R” ( ).

(3) Record.

Refer to “1-1. Basic recording” (→p .64).

buttons (or the value dial or +/– keys)

) and the CH2

Press the REC key to put the D3200 in record-ready

(3)

mode, and then press the PLAY key to start recording.

(4)

(3)

Recording directly to the master track

The playback of a drum pattern or pattern map can be mixed

in with the playback of your recorded tracks during mix-

down to create a complete master track.

Adding the pattern map playback during mixdown to the

master track

(1) Make preparatory settings for recording.

• Access the SESSION DRUMS “DrmsMixer” tab page.

• In the Drums Track Mixer, set the Assign setting to

“Master.”

• In the Drums Track Mixer, turn Dr (or the panel

DRUMS key) on.

(4) Click the Exit button to return to the Session Drums

page.

• In the Drums Track Mixer, adjust the EQ and faders as

necessary (→p .143 “14-2. Drums T r ack Mixer”).

Editing the sound of a drum kit

(2) Record.

(1) Set the Session Drums to play the pattern or pattern

map using the drum kit that you wish to edit.

Refer to “1-6. Creating a master track” (→p .67).

Press the REC key to put the D3200 in record-ready

mode, and then press the PLAY key to start recording.

(2) Click the KIT button.

The DRUM KIT dialog box will appear, showing the

current drum kit settings.

4. Editing a drum kit

You can select which drum kit is being used to play the drum

patterns. You can also edit the level, pan and tuning of the in-

dividual sounds in the drum kit.

You can’t edit a drum kit if the song’s Protect setting is turned on.

(3)

Although you are free to change the pattern variation or tempo af-

ter editing a drum kit, the settings will revert to the original drum

kit if you then change the pattern group or session.

(3)

(4)

(2)

Selecting a drum kit

(1) Click the RUN button (highlighted) to play the drum

pattern using the current settings.

(3) Use the Knob Matrix to edit the various sound parame-

ters for each drum.

(2) Click the KIT button.

Use the scroll buttons or scroll bar to switch between the

drums that you want to edit.

The DRUM KIT dialog box will appear, showing the

current drum kit settings.

(4) Click the Exit button to return to the Session Drums

page, and click the RUN button to hear the results.

As an alternative to the on-screen KIT button, you can also

access the DRUM KIT dialog box by holding down the panel

SESSION DRUMS key and pressing the LOC 1 key.

Preserving drum kit changes and drum sound edits

(3) Click the KIT CHANGE button, and in the Select Drum

Kit dialog box, select the drum kit that you want to use.

Click the OK button (or press the panel YES key) to

return to the DRUM KIT dialog box. The drum kit has

been changed.

If you check the Hold check box in the DRUM KIT dialog

box, any changes you make to the drum kit or edits you make

to the individual drum sounds will be used for the entire

song, regardless of the settings that were saved with the se-

lected drum pattern.

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If this option is unchecked, you will revert to the drum kit

and sounds that are specified for each drum pattern.

(2)

5. Pattern maps

You can use Session Drums to create a pattern map in real

time. When you do this, pattern map events will be automat-

ically created each time you switch patterns.

(3)

(2)

By editing existing events or adding new events to this pat-

tern map, you can create a high-quality pattern map for the

entire song.

You can’t create or edit a pattern map if the song’s Protect setting

is turned on.

(2)

You can’t use the pattern map if the Click Monitor button is

turned on (highlighted) in the “SessionDr.” tab page. Click the

Click Monitor button to turn it off.

When creating or editing a pattern map, the types of events that

can be edited will depend on the RecMode setting in the “Ses-

sionDr.” tab page (→p.143 “11. Rec Mode”).

Creating a pattern map

You can add events to the pattern map to change the time

signature, drum pattern, or tempo setting at the specified

measure.

By changing the number of measures and the drum pattern

assigned to each event in the pattern map, you can create a

drum performance for an entire song, including fill-ins and

an ending.

(3) If you want the time signature or drum pattern etc. to

change during the song, you can add more steps to the

pattern map.

• Click the New button to open the New Map Event

dialog box.

• Use the GROUP, SESS, and VARI knobs to specify the

Another way to create a pattern map is to use the “SessionDr.”

tab page to make the changes in real time while you listen to the

drum patterns, and then use the “PatternMap” tab page to edit

each event.

desired drum pattern.

• If you want to create a tempo change, use the TEMPO

knob to set the new tempo. The new tempo will begin

with the ﬁrst measure in this event.

The performance of the pattern map you create here is automati-

cally recorded on the drum track, but you can also record it on a

channel track or the master track (→p.59 “3. Recording with Ses-

sion Drums”).

• If you want to select a blank pattern, a ﬁll, or an end-

ing pattern, click the Blank, Fill, or Ending buttons

respectively.

• Use the Start Meas cell to specify the starting meas-

ure, and the Length cell to specify the number of

measures.

(1) Enable the pattern map.

• Access the SESSION DRUMS “SessionDr.” tab page.

• Turn the Click Monitor button off (normal display).

• When you click the OK button (or press the panel YES

key), the new event will be added to the pattern map.

When you add a new event to the pattern map, the

event numbers of the pattern map will be consecutively

reassigned starting from the beginning of the song.

(2) Set the parameters for event “001” at the beginning of

the pattern map.

• Access the SESSION DRUMS “PatternMap” tab

page.

• By adding events to the pattern map, you can create

the drum track for an entire song, including an intro,

ﬁll-ins, switching patterns, and an ending.

• In the list, select (highlight) “001:...”.

The pattern map consists of up to two hundred events; event

“001” which specifies the pattern at the beginning of the song,

and events “002” through (up to) “200” which specify pat-

tern changes during the song.

• You can click the Prev button to preview (audition)

the drum pattern assigned to an individual event.

• Click the Edit button to open the Edit Map Event dia-

log box. When the dialog box appears, you will auto-

matically be in preview (audition) mode.

• Use the GROUP, SESS, and VARI knobs to select the

pattern that event “001” will use.

• Use the TEMPO knob if you want to set a different

tempo for this event.

• Use the Length cell to specify the number of measures

that the pattern will continue playing.

The beginning of the pattern map is fixed at “001” and cannot

be changed.

• When you’ve made the desired settings, click the OK

button (or press the panel YES key).

(4) Listen to the pattern map you’ve created.

In the SESSION DRUMS “SessionDr.” tab page, click

the Play button. The drum patterns will switch accord-

ing to the pattern map you created.

Alternatively, you can move to the beginning of the

song, turn on the DRUMS key, and press the PLAY key

to play back the song.

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If you overwrite a Fill pattern (one measure) onto a portion

of event 002

Editing a pattern map

Inserting a new event into the pattern map

If you change pattern before pattern B to a one-measure Fill pattern

When you add a new event to the pattern map, the pattern

map event is inserted at the specified measure. The pattern

map will lengthen by the corresponding number of meas-

ures, and the subsequent event numbers will be increased ac-

cordingly.

(Overwrite Map Event)

Measure

Before

editing

PatternA

Event:001

PatternB

Event:002

PatternC

Event:003

After

editing

PatternA

Event:001

Fill

Event:002

PatternB

Event:003

PatternC

Event:004

If you insert a new two-measure event between events

001 and 002

(1) Select the location at which you want to overwrite.

Add a two-measure pattern after pattern A (New Map Event)

Access the SESSION DRUMS “PatternMap” tab page,

Measure

and click Pattern Map “002” to select it.

Before

editing

(2) Specify the pattern that you want to overwrite.

PatternA

Event:001

PatternC

Event:002

• Press the Overwr. button to open the Overwrite Map

Event dialog box.

After

editing

• Click the Fill button (highlighted), and then click the

OK button (or press the panel YES key).

PatternA

Event:001

PatternB

Event:002

PatternC

Event:003

(3) Verify that the event was overwritten as you intended.

(1) Select the location at which you want to insert an

event.

Check the pattern map in the “PatternMap” tab page.

Access the SESSION DRUMS “PatternMap” tab page,

and click event “002” to select it.

Deleting an event

The events located after the deleted event will be shifted to-

ward the beginning of the song by the number of measures

that were deleted.

(2) Create a new event.

• Click the New button to open the New Map Event

dialog box.

This operation cannot be undone.

• Set the Length cell to “002.”

(1) Select the event that you want to delete.

Access the SESSION DRUMS “PatternMap” tab page,

and select (highlight) the pattern map event that you

want to delete.

• Set the parameters as desired, and click the OK button

(or press the panel YES key).

(3) Verify that the event was inserted as you intended.

Check the pattern map in the “PatternMap” tab page.

(2) Delete the event.

Replacing an event

• Click the Delete button. A dialog box will ask you to

conﬁrm the operation.

When you perform an edit that involves changing the

number of measures in an event, the starting measure loca-

tion of all subsequent events will be shifted toward the end

of the song (if you increase the number of measures) or to-

ward the beginning of the song (if you decrease the number

of measures) by the number of measures being added or re-

moved from the pattern map event.

• Click the Yes button (or press the panel YES key) to

delete the selected pattern map event.

If you click the Select All button to turn it on, all events other

than “001” will be deleted, and the settings of event “001”

will be initialized.

(3) Verify that the event was deleted as you intended.

Check the pattern map in the “PatternMap” tab page.

If you change pattern B to a one-measure Fill pattern (Edit Map Event)

Measure

Before

editing

PatternA

Event:001

PatternB

Event:002

PatternC

Event:003

6. Tempo

The tempo of a D3200 song is controlled by the tempo track.

By creating a pattern map, you can either have the entire

song play back at one tempo, or enter tempo changes

throughout the song to create variations in the tempo. It is

also possible to record and play back tempo changes from an

external MIDI device.

After

editing

PatternA

Event:001

Fill

Event:002

PatternC

Event:003

(1) Select the pattern map event that you want to edit.

Access the SESSION DRUMS “PatternMap” tab page,

and select (highlight) the pattern map event that you

want to edit.

In order to change the tempo clock or to record a pattern map, you

must turn off the Clip Monitor button in the “SessionDr.” tab

page. (Refer to “Song Guide function”).

(2) Edit the step.

• Click the Edit button to open the Edit Map Event dia-

log box.

Playing the entire song at the same tempo

• Edit the parameters, and click the OK button (or press

Record a pattern map. When doing so, don’t change the tem-

po setting. We suggest that you set the “SessionDr.” tab page

parameter RecMode to Pattern, so that tempo changes are

not recorded.

the panel YES key).

(3) Verify that the step was edited as you intended.

• Check the pattern map in the “PatternMap” tab page.

All events will play at the tempo specified by the tempo

track. (→p .64 “6-2. Pattern map tempo”)

Overwriting a portion of an existing event

If you modify only some of the measures in an existing pat-

tern map event by overwriting, the number of events will in-

crease, but the total overall number of measures will not

change. You can also overwrite an event that spans multiple

existing events. In this case, the number of steps will de-

crease, but the overall number of measures will not change.

Alternatively, you can edit the tempo of event “001” (the first

event of the pattern map) to make the entire song play back

at the tempo you specify. (→“6-2. Pattern map tempo”)

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(5) Record MIDI Clock data.

Changing the tempo during the song

• Click the RecStart button to put the D3200 in the

record-ready state.

If you want the tempo to change at a specific location, you can

manually adjust the tempo at that point during recording. If

you want the tempo to change at the beginning of a specific

measure, you can edit the pattern map. The changed tempo

will be maintained even if the pattern or session changes.

• Start your MIDI sequencer.

• When the D3200 starts receiving MIDI Clock data

from your MIDI sequencer, it will indicate “Receiving

MIDIClock.”

If you want to change the tempo of a pattern map, refer to “6-

2. Pattern map tempo” below.

(6) When your MIDI sequencer ﬁnishes playing, stop the

MIDI sequencer.

The Song Guide function

When the D3200 ﬁnishes recording, it will indicate

“Complete.” Click the OK button (or press the panel

YES key).

Even without creating a song map beforehand, you can make

a drum pattern play from the monitor outputs while you

record, so that the drum pattern will function as a metro-

nome for your performance.

Tap tempo

In the “SessionDr.” tab page, turn the Click Monitor button

on (highlighted), and a drum pattern will play according to

the pattern and tempo settings of the currently displayed

“SessionDr.” tab page. The tempo map settings are ignored

at this time. This is called the Song Guide function.

You can record the tempo track by pressing (tapping) the

PLAY key at the beginning of each measure (or on each beat)

as the song plays.

You can use a PS-1 foot switch (sold separately) instead of the

PLAY key (→p.119).

Drum patterns will not be recorded on the pattern track when

you’re using this function.

Tap tempo lets you record the tempo track after a song has

already been recorded. If you record the tempo for a song for

which you did not originally specify the tempo, you will be

able to do the following things.

6-1. Tempo track

You can record MIDI Clock data or Tap Tempo data on the

tempo track, and use the tempo track to control the tempo of

the song.

• Edit tracks in units of measures

• Connect and synchronize external MIDI devices

(1) Specify the time signature of the song.

If the time signature changes during the song, create a

pattern map at the location where the time signature

changes.

If the Click Monitor button is turned on in the “SessionDr.” tab

page, the Click Monitor button will be switched off when you

record the tempo track.

Tempo settings will play back in synchronization, but meas-

ures will become incorrectly aligned if the time signature

changes do not match.

Recording MIDI Clock data from an external MIDI

sequencer, and using it as the tempo track

MIDI Clock data from an external MIDI sequencer can be re-

corded as tempo data on the tempo track.

You can use this when you want to synchronize a D3200 song

with song data created on a MIDI sequencer in which the

tempo changes continuously.

(2) If you want to use a foot switch to input the tap tempo,

connect an optional PS-1 foot switch to the FOOT

SWITCH jack of the D3200.

(3) Specify how you want to record the tempo.

Access the SESSION DRUMS, “TempoTrk” tab page,

and choose Tempo Rec Mode, “MeasTap” (tap at the

beginning of each measure) or “BeatTap” (tap on each

beat).

If MIDI Clock data was not received correctly from your MIDI se-

quencer, recording may stop in the middle of the song.

(1) Specify the time signature of the song.

If the time signature of the song data created on your

MIDI sequencer changes during the song, create a new

pattern map that begins where the time signature

changes. (→p .58)

(4) Record the tap tempo track.

• Click the RecStart button to put the D3200 in record-

ready mode. Tap tempo will be recorded from the

beginning of the song.

Tempo settings will play back in synchronization, but meas-

ures will become incorrectly aligned if the time signature

changes do not match.

• When you press the PLAY key or a connected foot

switch, the song will begin playing, and tap tempo

recording will also begin.

(2) Connect the MIDI OUT connector of your MIDI

sequencer to the D3200’s MIDI IN connector.

• While you listen to the playback, record the tap tempo

by pressing the PLAY key or foot switch at the inter-

vals you speciﬁed in step (4). The counter will be dis-

played while you record the tap tempo.

(3) Set your MIDI sequencer so that it will transmit MIDI

Clock messages.

Refer to the owner ’s manual of your MIDI sequencer.

When using the PLAY key to record tap tempo, do not strike

the key any more forcefully than necessary. Doing so may

damage the hard disk etc.

(5) After you have input the last tap, press the STOP key.

For example if you are inputting four measures of a 4/ 4

time signature, tap four times in the case of “MeasTap”

or sixteen times in the case of “BeatTap” to input up to

the beginning of the ﬁfth measure. Then press the STOP

key.

(4)

(5)

If you input taps only until mid-way through the song,

the tempo of the last-input measure or beat will be auto-

matically copied to the end of the song.

(6) Check the tempo source.

Move to the beginning of the song, press the PLAY key

to play back, and check the tempo.

(4) Specify how you want to record the tempo.

In the SESSION DRUMS “TempoTrk” tab page, set

Tempo Rec Mode to “MIDIClock.”

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6-2. Pattern map tempo

Recorder

The D3200 has 32 channel tracks for each song. For each

If you don’t specify a tempo in the pattern map, the tempo

will be recorded according to the tempo track. However by

setting the RecMode to Pat&T or Tempo, you can record a

pattern map and manually record tempo changes.

When you’re recording the pattern map, tempo changes will

apply from the location where the change occurs (regardless

of the measure of the pattern), and this tempo will be main-

tained until the next tempo change that occurs.

channel track, there are eight virtual tracks; A through H.

There is also a two-channel master track that is used for re-

cording the final stereo mix of your song. If you want to cre-

ate an audio CD, the data on the master track will be used.

The D3200 provides a separate master track for each song,

and this master also has eight virtual tracks; A through H.

If you want the tempo to change at the beginning of a meas-

ure (for example when you switch patterns), record with a

fixed tempo, and then edit the tempo of the appropriate pat-

tern map event. Subsequent events will also be automatically

changed to this tempo.

The following table shows the number of available tracks

and the number of tracks that can be used simultaneously.

Number of simultaneously usable tracks for each Song

Type

Even if you edit the tempo of a pattern map event where tem-

po changes have already been recorded during the measure,

the change will apply from the beginning of the measure.

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

Recording

Playback

Punch recording

16*

12**

*16 channels is the maximum, combining 12 analog inputs,

+ 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).

**12 channels using any combination of analog inputs, digital

inputs and Session Drums.

1. Recording

The D3200’s recorder can record analog or digital audio in-

put sources assigned to mixer channels.

Then you’ll use the master track to combine the multiple re-

corded tracks into a two-track stereo mix.

Bounce recording

Bounce recording is a way to combine the data from multiple

tracks down to just one or two tracks.

The D3200 provides a stereo master track that is separate

from the channel tracks.

To perform bounce recording, just play back the tracks you

want to bounce, and record them onto the master track.

After listening to the Bounced data on the Master Track and

verifying that it is correct, simply copy (overwrite) the mas-

ter track to any of the real tracks or virtual tracks. (→p .132)

1-1. Basic recording

Here’s how to record the audio signal that you specified in

“1. Inputting audio to the mixer” (→p .42).

(1) Create a new song (→p .35 “1-1. Creating a new song”).

(2) Adjust the mixer settings (→p .42 “1. Inputting audio to

the mixer”).

(3) Apply effects to the audio input (→p .54 “Effects”).

(4) Apply EQ to the audio input (→p .45 “Applying EQ to

an audio input”).

(5) Adjust the pan (→p .45 “3-2. A d justing the pan”).

(6) Check the recording mode.

Access the REC/PLAY MODE, “RecMode” tab page,

and click the “Normal” in the Rec Mode.

(7) Set the recording level.

You can set the recording level in one of two ways.

• You can record at the optimum level simply by record-

ing at the level you speciﬁed in steps (1) through (4).

Click the REC button to set it to “PRE” in the CH

VIEW, “Ch View” tab page.

• If you want to further adjust the channel fader and

record at the adjusted level, click the REC button to set

“PST” in the CH VIEW, “Ch View” tab page.

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With the PRE setting, the channel fader will send the input

signal to the master bus, setting the monitor level. With the

PST setting, the send level to the master bus will be the same

as the recording level.

(2) Record.

For details, refer to “1-1. Basic recor d i ng,” steps (2)–(11).

1-3. Overdubbing (Recording addi-

tional tracks during playback)

Here’s how to record additional performances while you lis-

ten to the playback of previously-recorded tracks.

You can also make this setting in the MIXER, SEND (EFF/

AUX/REC), “Rec Send” tab page.

(8) Move to the location where you want to start record-

ing. (→p .38)

(9) Put the D3200 in record-ready condition.

(1) Prepare for recording.

Press the REC key (REC and PLAY keys will blink).

Refer to “1-1. Basic recording” (→p .64), steps (1)–(7).

(10)Start recording.

(2) Select the tracks that you want to play back.

Press the REC/PLAY key, and then use the channel keys

to select Play mode (key lit green) for the tracks you

want to play back.

Press the PLAY key (REC and PLAY keys will light).

Perform the part to be recorded.

(11)Stop recording.

When you have ﬁnished performing, press the STOP

key (REC and PLAY keys will go dark). Return to the

location at which you started recording, set the REC/

PLAY key of the tracks you recorded to PLAY (key lit

green). Play back, and verify that your performance was

recorded correctly.

(3) Select the track(s) that you want to record.

Press the channel key of the tracks you want to record, to

set them to Recorded mode (key lit red).

(4) Mute the tracks that you will not be using.

Press the CH ON key.

Press the channel keys to turn off (key unlit) the tracks

that you are not playing or recording, so that these tracks

will be muted.

The ATT setting in the “EQ/ATT” (or “Ch View”) tab page

is common to recording and playback. If you have turned

down ATT substantially for recording, you may need to ad-

just it for playback.

(5) Record.

Refer to “1-1. Basic recording” (→p .64), steps (8)–(11).

1-2. Switching virtual tracks

1-4. Trigger recording

Each song contains up to 32 tracks and one master track (ster-

eo).

Trigger recording is a function that automatically starts re-

cording when the input signal level exceeds a specified val-

ue.

In addition, each track has eight “virtual tracks,” labelled A–

Trigger/ RecStart

When you record or play back, you can specify which of

these virtual tracks A–H will be used.

This means that you can switch between virtual tracks to

record multiple “takes” of a performance, and then choose

the best take.

Recording will start when the input signal level exceeds

the speciﬁed value.

You will not be able to execute recording if MIDI Sync is set

to MTC.

SONG

Trigger/ Punch In

Trk1

Trk2

Trk3

Trk4

Trk5

Trk32

Master Trk

When the input level exceeds the speciﬁed threshold

value while the song is playing, the recorder will switch

from playback to recording.

(1) Prepare for recording.

Refer to “1-1. Basic recording” (→p .64), steps (1)–(5).

(2) Adjust the settings for trigger recording.

Access the REC/PLAY MODE, “RecMode” tab page,

and click either “Trigger/RecStart” or “Trigger/Punch

In” (the TRIGGER LED will light).

(1) Select the desired virtual track.

(3) Specify the input signal level (“Threshold”) at which

recording will begin.

In the TRACK, “Vtrk1–32” tab page, click the

buttons to select the track that you want to record, and

then click the “V-Level” ←→ buttons (or the value dial

or +/– keys) to select the virtual track.

(4) If you want recording to begin from a time slightly ear-

lier than the moment that the input signal exceeds the

“Threshold” (i.e., so that the attack is recorded), you

can set the “PreTriggerTime.”

In the case of a 24-bit song, the “Vtrk1–32” tab page will be

named “Vtrk1–16.”

Trigger recording will cause recording to start when the

threshold is exceeded, but the PreTriggerTime lets you

prevent the attack of the ﬁrst note from being cut off.

If a virtual track already contains recorded data, this is graph-

ically indicated by “ ” as shown in the illustration.

(3)

(4)

(2)

(1)

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(5) Press the REC key to put the D3200 in record-ready

condition.

(7) Press the STOP key to stop. (The PLAY key will go

dark.)

After you stop recording, move the location to a point

earlier than where you began recording, and play back

to verify that the re-recording is satisfactory.

Trigger/RecStart

The REC key and PLAY key will blink.

Trigger/Punch In

The REC key will blink.

Using a foot switch for manual punch-in/ out

(6) Begin recording.

You can switch between playback and recording by pressing

a PS-1 foot switch (sold separately).

Trigger/RecStart

This lets you punch-in/ out while you perform, or when the

D3200 is located at a distance.

When the input signal exceeds the threshold level,

recording and playback will start automatically (REC

and PLAY keys will light).

(1) Connect a foot switch to the FOOT SWITCH jack.

Trigger/Punch In

(2) Access the SYSTEM/MIDI, “Control” tab page, and

specify the function of the foot switch.

Press the PLAY key to start playback (the REC key

will blink, and the PLAY key will light). At the loca-

tion that you want to record, begin performing on

your instrument. When the input signal exceeds the

threshold level, recording will start automatically

(REC and PLAY keys will light).

Click “PunchIn–Out” in the “Function” to select.

If you are using the PS-1 foot switch, make sure that “Polar-

ity” is set to “–” (→p.119).

(3) Perform manual punch-in/out recording.

Follow the procedure described in “Manual punch-in/

out.” When doing so, you can press the foot switch at

steps (5) and (6) to switch between punch-in and punch-

out.

(7) When you have ﬁnished performing, press the STOP

key to stop.

(→p .64 “1-1. Basic recor d i ng”, step (10))

Auto punch-in/ out

Here’s how to automatically punch-in and punch-out at loca-

tions you have specified beforehand.

1-5. Punch-in Recording

(Re-recording a speciﬁc area)

If you made a mistake in a recorded performance, or are not

satisfied with a portion of the performance, you can use

“punch-in/ out” recording to fix just that portion without

having to record the entire part over again. Punch-in/ out re-

cording can be done manually or automatically

You will not be able to execute recording if MIDI Sync is set to

MTC.

(1) Prepare to record.

Refer to “1-1. Basic recording” (→p .64), steps (1)–(5) and

(7).

Punch-in: Switches from the playback mode to the

record mode.

(2) Set the playback level.

If you want to hear the recorded sound before and after

the region you are re-recording, access the MIXER,

SOLO/MONITOR, “Monitor” tab page, and click

“Cue” to turn it on. Then go to the “CueLevel” tab page,

and adjust the “LEVEL” of the track that you want to re-

record (→p .48).

Punch-out: Switches from the record mode back to the

playback mode.

Manual punch-in/ out

Here’s how to punch-in and punch-out manually.

During playback, press the REC key or an optional PS-1 foot

switch to begin recording, and then press the REC key, PLAY

key, or foot switch to stop recording.

(3) Store the location at which you want to start recording

in the IN (punch-in) locate point, and store the location

at which you want to stop recording in the OUT

(punch-out) locate point.

(1) Prepare to record.

Refer to “1-1. Basic recording” (→p .64), steps (1)–(8).

For details on setting the IN and OUT locations, refer to

“Assigning locations to the Locate keys” (→p .38).

(2) Adjust the playback level.

If you want to hear the recorded sound before and after

the punch-in/ out region, access the MIXER, SOLO/

MONITOR, “Monitor” tab page, and click “Cue” to

turn it to turn it on. Then go to the “CueLevel” tab page,

and adjust the “LEVEL” of the track that you want to re-

record (→p .48).

(4) Access the REC/PLAY MODE, “RecMode” tab page,

click the Auto Punch button, and turn on the auto

punch-in/out function.

The AUTO PUNCH indicator will light.

(5) Specify the playback region before and after record-

ing.

(3) Move the location to a point earlier than the point

• Set “Roll Time Unit” to the desired unit: “Sec” (sec-

onds) or “Meas” (measures).

where you want to start recording. (→p .38)

(4) Press the PLAY key to begin playback (the PLAY key

will light).

• Set “Pre Roll Time” to specify the length of playback

that will occur before recording begins.

The song will play back, and you will hear the sound of

the playback tracks as well as the sound of the track you

will be re-recording.

• Set “Post Roll Time” to specify the length of playback

that will occur after recording ends.

(5) When you reach the point that you want to re-record,

press the REC key. (The REC and PLAY keys will

light.)

Recording will begin (manual punch-in), and you can re-

record your performance.

(6) When you reach the point at which you want to stop

re-recording, press the REC key or the PLAY key. (The

REC key will go dark.)

Recording will stop (manual punch-out), and normal

playback will resume. By repeating steps (5) and (6), you

can re-record more than one section in one pass.

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• Recording will end when you reach the OUT point,

and playback will continue for the post-roll time. (The

REC key will go dark.)

• Then you will move to the pre-roll time, and the same

process will be repeated.

• To stop, press the STOP key at a point outside the

recording region (IN–OUT).

(4) Use the Undo/Redo function to compare the takes, and

select the best one.

(4)

(5)

• Press the UNDO key to display the “Undo/Redo” tab

page.

The “Undo/Redo” tab page displays the most recent

recording (Level 00) and the previous recordings

(Level “loop-recorded takes minus 1”) together with

the Rec Track (track number).

(6) Begin recording.

• When you press the REC key, the recorder will move

to a location earlier than the punch-in point, as speci-

ﬁed by the pre-roll time, and will enter the record-

ready state (REC key blinking).

Loop recordings appear in the list as “Record Track,” just as

conventional recordings.

• In the “Undo/Redo” tab page, click the Undo button

and Redo button to select a recorded take. The

selected performance will be recalled.

• When you press the PLAY key, playback will begin.

Playback will continue during the pre-roll time, and

then recording will occur from the speciﬁed punch-in

point (IN). (The REC and PLAY keys will light.)

(5) Listen to the recorded performance.

(7) Stop recording.

• Press the PLAY key to play back, and listen to the

recording. If “Loop Play” is on, the region between the

IN (beginning of recording) and OUT (end of record-

ing) points will continuously play back.

• When you reach the punch-out point (OUT), record-

ing will end and playback will resume. (The REC key

will be dark and the PLAY key will be lit.)

• Repeat this process to select the best performance.

• When the post-roll time ends, the recorder will stop.

The data in the list lets you go back through the most recent

sixteen levels.

(8) Verify the content that was recorded.

Move to a location earlier than where you began record-

ing (IN), and play back to verify that the recording is sat-

isfactory.

1-6. Creating a master track

After applying effects and EQ to each track to create the over-

all balance of your song, you can then apply effects and EQ

to the entire song to make the volume and tone consistent,

and record the resulting two-track stereo mix onto the “mas-

ter track.”

The master track data you create here can also be copied to a

channel track (→p .69).

Loop recording

When using auto punch-in/ out recording, you can click the

Loop Play radio button (in the Play/Stop Mode field of the

“Play/Stop” tab page) so that the IN–OUT region will be re-

corded repeatedly (loop). When you are finished recording,

you can use the Undo/ Redo functions to compare different

takes, and keep the best one.

After recording or track editing, you can use the Undo function to

return to the state prior to recording or editing (→p.141).

(1) Adjust the settings for auto punch-in/out.

Refer to “Auto punch-in/ out” (→p .66) steps (1)–(5).

If you recorded on a different virtual track, check the virtual track

that is selected after executing Undo.

(2) Click the Loop Play radio button to turn it on (high-

lighted).

Mixing down the audio of tracks 1–32 and recording a

master track for a 44.1 kHz/ 16-bit song

The Loop indicator will light.

(1) Select the virtual tracks that you want to use in your

ﬁnal mix.

• For each channel track, select the virtual track that you

want to include in the mix that will be recorded onto

the master track (→p .65).

(2)

• Select a virtual track for the master track.

(1)

(3) Begin recording.

• When you press the REC key, you will move to a point

before the speciﬁed IN (recording start) location, as set

by the pre-roll time, and the D3200 will be in record-

ready condition (REC key blinking).

• When you press the PLAY key, playback will begin

(PLAY key will light).

Playback will continue for the pre-roll time, and

recording will begin at the IN point. (The REC key

will light.)

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(2) Specify how the master track will be recorded.

2. Playback

• Press the key located above the master track (the key

will light red). All channel tracks will automatically be

set to Play (key lit green).

This section explains the basic methods of playback used in

the D3200.

• For channels you don’t want to record, press the CH

ON key and then press each channel key to turn it off

(key unlit).

2-1. Normal playback

(1) Select the track(s) that you want to play back.

Press the CH ON mode key (lit).

• If you have used the Session Drums to create a drum

track for your song, the playback of the Session

Drums can be mixed in with the other playback tracks

when creating the master track. Access the SESSION

DRUMS, “DrmsMixer” tab page, and use the radio

button to select “Master” as the “Assign” destination.

Press the channel key for each track that you want to

play (key lit).

Press the REC/PLAY key (lit).

Press the channel key for each track that you want to

play to select Play mode (key lit green).

The Session Drums EQ and Send levels can also be set from

this page

(2) Move to the location at which you want the playback

to start (→p .38).

(3) Apply insert effects (→p .28).

(4) Apply EQ (→p .46).

(3) Press the PLAY key to begin playback (the PLAY key

will light).

(5) Adjust the pan (→p .45).

(6) Apply master effects (→p .29).

(7) Apply a ﬁnal effect (→p .31).

(8) Apply master EQ (→p .32).

(4) Apply insert effects (→p .28).

(5) Apply EQ (→p .46).

(6) Adjust the pan (→p .45).

(7) Apply master effects (→p .29).

(8) Apply a ﬁnal effect (→p .31).

(9) Apply master EQ (→p .32).

(9) Set the recording mode.

Access the REC/PLAY MODE, “RecMode” tab page,

and click “Normal” in “Rec Mode” to select.

(10)Press the STOP key to stop playback (the PLAY key

will go dark).

(10)Adjust the recording level.

• Set the master fader to unity gain (0 dB).

• Play back the song.

In order to play back the master track, you must set the master

track channel key to Play (key lit green).

• Use the faders to adjust the level of each channel to

create the desired volume balance for your song. The

sound will be recorded onto the master track at these

levels. If AUTOMATION is on, the master track will

be recorded using the levels set by any Scene or Event

automation.

Playback will continue until you press the STOP key, even if you

pass the end of the audio data that actually exists.

Operation will differ depending on the Play/Stop Mode setting

(→p.149).

You can use a PS-1 foot switch (sold separately) to start and stop

playback (→p.119).

If the sound of the master track is clipping (distorting), lower

the master fader.

(11)Return to the beginning of the song (→p .38).

2-2. Loop playback

If you are creating an album CD project, the beginning of the

master track will be the beginning of the CD track.

Here’s how you can repeatedly play back the region between

the IN–OUT points of a song. This is a useful way to check

the content of that region. You can also use loop playback in

conjunction with auto-punch recording (→p .67).

(12)Begin recording.

• Press the REC key to enter record-ready condition,

(1) Select the track(s) that you want to play back.

For details, refer to “2-1. N ormal playback” step (1),

above.

and then press the PLAY key to begin recording.

• When you are ﬁnished recording, press the STOP key

to stop recording.

(2) Specify the region (IN–OUT) that you want to loop

(13)Listen to the recorded result.

(→p .38).

• Press the master track channel key to set it to PLAY

(key lit green). All channel tracks will automatically be

muted (the channel keys will go dark).

(3) Access the REC/PLAY MODE, “Play/Stop” tab page,

and click the Loop Play radio button to turn it on

(highlighted).

• Move to the beginning of the song, and press the

(4) Play back the loop.

PLAY key to hear the playback.

When you press the PLAY key, playback will start from

the IN location, and will repeatedly play the IN–OUT

region.

• Press the STOP key to stop.

During loop playback, it may take several seconds to move

from OUT to IN.

(5) Press the STOP key to stop playback (the PLAY key

will go dark).

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2-3. Playing back an album CD

project

3. Track editing

You can use track editing commands to copy a track, insert

blank space, erase a track, delete a track, reverse a track, op-

timize a track, exchange tracks, expand/ compress a track,

copy an entire track, exchange two entire tracks, create a

fade-in/ fade-out, or normalize the level.

You can use the Album CD Project function to place complet-

ed song data in the desired order, and record it to an external

DAT, MD, or cassette tape.

Using the Album CD Project function to play back songs in

a specified order and record them on an external recorder

In some cases, track editing may not be possible if there is insuffi-

cient space on the song drive. You will need to allocate enough free

space for the track editing operation.

(1) Use the Album CD Project function to specify the

songs that you want to play back.

For details, refer to Album CD Project steps (1)–(4)

(→p .80).

Registering the edit region

Specify the edit region by storing the appropriate points in

the LOC 1/IN through LOC 4/END keys.

When using Album CD Project, playback will stop if you

move to a different screen.

LOC 1/IN key: IN point

(2) Connect your external recorder.

LOC 2/OUT key: OUT point

LOC 3/TO key: TO point

LOC 4/END key: END point

Connect your external recorder to the D3200’s MASTER

L/R jacks or S/P DIF OUT jack.

(3) Record the output on your external recording device.

• Press the play button to play back the album CD

Project, and adjust the recording level on your exter-

nal recording device.

Use the counter or the FF, REW keys to move to the location

you want to edit.

Press the STORE key, and then press either LOC 1/IN, LOC

2/OUT, LOC 3/TO, or LOC 4/END to store the location in

that key. The location is stored the moment you press the

key.

• Return to the beginning of the album CD Project, start

recording on your external recording device, and then

press the D3200’s play button.

For details, refer to “Assigning locations to the Locate keys”

(→p .38).

If you want to specify a location more precisely while viewing the

waveform, click the WAVE button in one of the editing screens,

and use the Wave dialog box (→p.128).

3-1. Track editing procedures

Copy a track (CopyTrk)

This command copies the specified region (IN–OUT) of track

data to another location (TO).

• The IN–OUT region can be copied once, or multiple times

in succession.

• You can copy data from one track, or from multiple tracks

simultaneously.

• By using the clipboard, you can copy track data to a differ-

ent song.

Here are some ways in which you can use this command.

• Repeatedly copy a phrase of several measures (such as a

drum pattern) to create a track that extends the entire

length of song.

• Copy the ﬁrst verse of a song to create the second verse.

• Record a favorite phrase from a track, and copy it to a dif-

ferent track.

Copying tracks within the same song

Copying the IN–OUT region of track 1 three times to the

TO location of track 2

Select the virtual tracks of the copy-source (Source) and copy-destina-

tion (Destination) before you make settings for this Copy operation.

(1) Specify the region that you want to copy.

Set the following locations to specify the region for copying.

• Set the IN point to specify the beginning of the region

to be copied

• Set the OUT point to specify the end of the region to

be copied

• Set the TO point to specify the beginning of the copy-

destination

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(2) Select “CopyTrk.”

Using the clipboard to copy data to another song

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Copy

Trk” and click the OK button (or press the panel YES

key).

When you use the clipboard to copy data between tracks of

songs that have a different sampling frequency and/ or bit

depth, the sampling frequency and/ or bit depth will be con-

verted automatically. You can specify whether dithering will

be performed to make quantization noise less obtrusive

when converting 24-bit data to 16-bit data.

(3) Select the copy mode.

Click the Mode button. In the Copy Mode dialog box,

select the desired mode and click the OK button (or

press the panel YES key).

If the sampling frequency of the song copied to the clipboard is dif-

ferent from that of the copy-destination song, a certain amount of

time will be required for the conversion to be performed.

OverWrite: The track data existing at the copy-destina-

tion will be overwritten.

Copying the IN–OUT region of track 1 once from the 48

kHz/ 24-bit song number 001 to the TO location of track

2 of the 44.1 kHz/ 16-bit song number 002

Insert:

The copied data will be inserted; subsequent

existing data will be moved toward the end

of the song.

Before you make these copy settings, verify that the correct virtual

tracks are selected for the copy-source (Source) and copy-destina-

tion (Destination).

(4) Select the copy-source track number.

• Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

(1) Select song 001 (→p .36 “1-3. Selecting a song”).

(2) Specify the region that you want to copy.

Set the following locations to specify the region for copy-

ing (→p .69).

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Source

WAVE button, and use the Wave dialog box (→p .128)

to set the location.

• Set the IN point to specify the beginning of the region

to be copied

(5) Select the copy-destination track number.

• Set the OUT point to specify the end of the region to

be copied

• Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

(3) Select “CopyTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“CopyTrk” and click the OK button (or press the panel

YES key).

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks in “Destination.”

• Verify that the TO location is correct. If you want to set

the location with more precision, click the Destination

WAVE button, and make your settings in the Wave

dialog box (→p .128).

(4) Select the copy-source track number.

• Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

(6) Specify the number of time that you want to copy the

data.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Source

WAVE button, and use the Wave dialog box (→p .128)

to set the location.

Click the Times cell, specify the number of copies as “3”.

(4) (2)

(5)

(3)

(5) Select the clipboard as the copy-destination track

number.

Click the popup button of the Destination cell, and

choose track “Clip” in the Destination Track dialog box.

You can also click the cell to select this.

(6)

(7)

(6) Execute the copy.

Click the Exec. button. Then in the CopyTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(7) Execute the editing operation.

Any data currently in the clipboard will be overwritten.

Click the Exec. button. Then in the CopyTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(7) Select song 002 (→p .36 “1-3. Selecting a song”).

(8) Register the TO location. (→p .69)

Verify that the TO location is correct. If you want to set

the location with more precision, click the Destination

WAVE button, and make your settings in the Wave dia-

log box (→p .128).

(8) Check the results of the editing operation.

Press the LOC 3/TO key, and play back from the TO

location to verify that the data was copied correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

(9) Select “CopyTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell.

In the Edit Trk Type dialog box, choose “CopyTrk” and

click the OK button (or press the panel YES key).

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(10)Select the copy mode.

Insert blank space (InsertTrk)

This command inserts blank space into the specified region

(IN–OUT) of a recorded track. Track data following the in-

serted space will be shifted toward the end of the song.

Click the Mode button. In the Copy Mode dialog box,

select the desired mode and click the OK button (or

press the panel YES key).

OverWrite: The track data existing at the copy-destina-

• You can insert space into one or more tracks simultane-

ously.

tion will be overwritten.

Insert:

The copied data will be inserted; subsequent

existing data will be moved toward the end

of the song.

• For example, if you want to add a phrase in the middle of

a recorded performance, insert a space of the appropriate

length, and then record into that area.

(11)Select the clipboard as the copy-source track number.

Click the popup button of the Source cell, and choose

track “Clip1” in the Source Track dialog box. The

number indicates the number of tracks in the clipboard.

You can also click the cell to select this.

Inserting blank space into the IN–OUT region of track 1

Before you make settings for this operation, check the virtual track

of the Destination track into which you will insert blank space.

(1) Specify the region into which you want to insert blank

(12)Select the copy-destination track number.

Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

space.

Set the following locations to specify the region for blank

space (→p .69).

• Set the IN point to specify the beginning of the blank

space.

(13)Specify the number of times that the data will be cop-

ied.

• Set the OUT point to specify the end of the blank

space.

Set the Times cell to “1”.

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks as the “Destination.”

(2) Select “InsertTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Insert-

Trk” and click the OK button (or press the panel YES

key).

(14)Execute the operation.

Click the Exec. button to display the CopyTrk dialog

box. If you want dithering to be performed, click the

Dither button.

Click the Yes button (or press the panel YES key) to exe-

cute the operation.

(3) Select the track number into which you want to insert

blank space.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(15)Check the results of the editing operation.

Press the LOC 3/TO key, and play back from the TO

location to verify that the data was copied correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

(2)

(3)

(4)

(4) Execute the editing operation.

Click the Exec. button. Then in the InsertTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(5) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the editing operation has done cor-

rectly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

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Erase a track (EraseTrk)

Delete a track (DeleteTrk)

This command erases track data from the specified region

(IN–OUT) of a track. The region will become blank.

Unlike the “Delete Track” command described on the follow-

ing page, this Erase Track command will not cause the data

following the OUT point to move.

This command deletes the specified region (IN–OUT) of a track.

When an area is deleted, the subsequent data (following the

OUT point) will be shifted toward the beginning of the song.

• You can delete data from the IN–OUT region of one or

more tracks simultaneously.

• You can erase data from the IN–OUT region of one or

more tracks simultaneously.

Deleting track data

Erasing the IN–OUT region of track 1

Deleting the IN–OUT region of track 1

Before you make settings for this operation, check the virtual track

of the Destination track from which you will be erasing data.

Before you make settings for this operation, check the virtual track

of the Destination track from which you will be deleting data.

(1) Specify the region whose data you want to erase.

Set the following locations to specify the region for eras-

ing (→p .69).

(1) Specify the region whose data you want to delete.

Set the following locations to specify the region for delet-

ing (→p .69).

• Set the IN point to specify the beginning of the region

to be erased.

• Set the IN point to specify the beginning of the region

to be deleted.

• Set the OUT point to specify the end of the region to

be erased.

• Set the OUT point to specify the end of the region to

be deleted.

(2) Select “EraseTrk.”

(2) Select “DeleteTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click

“EraseTrk” and click the OK button (or press the panel

YES key).

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click

“DeleteTrk” and click the OK button (or press the panel

YES key).

(3) Select the track number from which you want to erase

data.

(3) Select the track number from which you want to delete

data.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(2)

(3)

(2)

(3)

(4)

(4) Execute the editing operation.

Click the Exec. button. Then in the EraseTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

Click the Exec. button. Then in the DeleteTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(5) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the editing operation has done cor-

rectly.

(5) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the editing operation has done correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

Deleting all data of a track

(1) In the TRACK, “Vtrk1–32” tab page, verify that the

track you want to delete contains data.

(2) Specify the region whose data you want to delete.

Set the locations as follows (→p .69).

• Set the IN location to the beginning of the song.

• Set the OUT location to the end of the song.

(3) Execute steps (2)–(5) of “D eleting track data,” above.

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Exchange tracks (SwapTrk)

Reverse a track (ReverseTrk)

This command exchanges (swaps) recorded track data be-

tween the specified region (IN–OUT) and the corresponding

region of another track.

This command copies the audio data in the specified region

(IN–OUT) of the track to the TO location “in reverse” (i.e., so

that the data will play backward).

• The data of the IN–OUT region can be copied one or more

times in succession by a single operation.

• You can swap the data of one or more tracks simultane-

ously.

• You can copy just one track, or multiple tracks of data at

the same time.

Swapping the IN–OUT regions of track 1 and track 2.

Before you execute this operation, check the virtual track of the

Source and Destination tracks that you want to swap.

• The existing track data at the copy-destination (TO loca-

tion) will be overwritten.

(1) Specify the region whose data will be swapped.

Set the following locations to specify the region for

swapping (→p .69).

Copying the IN–OUT region of track 1 three times in re-

verse to the TO location of track 2

Select the virtual tracks of the copy-source (Source) and copy-des-

tination (Destination) before you make settings for this Copy op-

eration.

• Set the IN point to specify the beginning of the region

to be swapped.

• Set the OUT point to specify the end of the region to

be swapped.

(1) Specify the region that you want to copy.

Set the following locations to specify the region for copy-

ing (→p .69).

(2) Select “SwapTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Swap-

Trk” and click the OK button (or press the panel YES

key).

• Set the IN point to specify the beginning of the region

to be copied

• Set the OUT point to specify the end of the region to

be copied

(3) Select the track numbers whose data you want to swap.

• Set the TO point to specify the beginning of the copy-

destination

• Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

(2) Select “ReverseTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click

“ReverseTrk” and click the OK button (or press the

panel YES key).

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(3) Select the track number whose data you want to use as

the reverse-source.

(4) Select the swap-destination track number.

Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

• Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

If you specified two or more tracks as the “Source,” you must

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Source

WAVE button, and use the Wave dialog box (→p .128)

to set the location.

specify the same number of tracks as the “Destination.”

(3) (2)

(4)

(4) Select the reverse-destination track number.

• Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks in “Destination.”

(5)

• Verify that the TO location is correct. If you want to set

the location with more precision, click the Destination

WAVE button, and make your settings in the Wave

dialog box (→p .128).

(5) Specify the number of time that you want to copy the

data.

(5) Execute the editing operation.

Click the Exec. button. Then in the SwapTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

In the Times cell, specify the number of copies as “3”.

(3) (2)

(4)

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(6) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the editing operation has done cor-

rectly.

(5)

(6)

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

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(6) Execute the editing operation.

(5) Verify the results of the operation.

Click the Exec. button. Then in the ReverseTrk dialog

box, click the Yes button (or press the panel YES key) to

execute the operation.

Press the LOC 1/IN key, and play back from the IN

point. If necessary, you can use Undo to return to the

state prior to execution (→p .141).

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Optimize operation.

Even if you have not repeatedly edited or recorded a specific track,

the HDD/CD access indicator may stay lit continuously (not

blinking) during recording or playback. The “Disk too busy.” er-

ror message may appear in such cases.

Execute the OptimizeTrk operation with Destination set to All,

and the IN–OUT parameters set to the beginning and end of the

song.

(7) Check the results of the editing operation.

Press the LOC 3/TO key, and play back from the TO loca-

tion to verify that the editing operation has done correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

This editing operation will take a longer time for execution (until

the Completed indication appears) in proportion to the length of

the IN–OUT region you specify.

Expand/ compress a track (ExpCmpTrk)

This command expands or compresses the time required to

play back the specified region (IN–OUT) of recorded track

data to fit the specified region (TO–END) of another track.

Optimizing a track (OptimizeTrk)

This operation optimizes the track data of the region (IN–

OUT) you specify. If you have performed numerous edits,

overdubbing, and/ or punch-in recording in a specific area of

a track, you may need to optimize the track to prevent the

“Disk too busy” message from appearing

• The expanded or compressed data can be created in a dif-

ferent track, while preserving the original data.

• You can specify whether to convert the pitch.

• You can simultaneously convert up to two tracks of data.

Before you execute this operation, check the virtual track of the

Destination track you want to optimize.

• The converted data can be copied one or more times in

succession.

Here’s how to optimize a specific region of track 1

This command can be used in ways such as the following.

(1) Specify the region that you want to optimize.

• To convert drum loops of differing tempos to the same

tempo.

Set the locations as follows (→p .69).

• Set the IN location to a point slightly earlier than

where “Disk too busy” message appears.

• To make a phrase ﬁt within a speciﬁed location.

Converting the IN–OUT region of track 1 into the length of

the TO–END region of track 2 without changing the pitch,

and copying it three times starting at the TO location of

track 2

• Set the OUT location to a point beyond the In location,

where the “Disk too busy” message no longer

appears.

(2) Select “OptimizeTrk.”

Before you execute this operation, check the virtual tracks of the

expansion/compression Source and Destination.

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Opti-

mizeTrk” and click the OK button (or press the panel

YES key).

(1) Specify the regions for expansion/compression.

Set the locations as follows (→p .69).

(3) Select the track number whose data you want to opti-

mize.

• Set the IN point to the beginning of the source region.

• Set the OUT point to the end of the source region.

• Select the track that you suspect of containing the data

that needs to be optimized (track 1 in this example),

click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Set the TO point to the beginning of the destination

region.

• Set the END point to the end of the destination region.

(2) Select “ExpCmpTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“ExpCmpTrk” and click the OK button (or press the

panel YES key).

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(3) Select the expansion/compression-source track

number.

(2)

(3)

• Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Source

WAVE button, and use the Wave dialog box (→p .128)

to set the location.

(4)

(4) Select the expansion/compression-destination track

number.

• Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

(4) Execute the editing operation.

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks in “Destination.”

Click the Exec. button. Then in the OptimizeTrk dialog

box, click the Yes button (or press the panel YES key) to

execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

• Check the TO and END locations. If you want to set

the location more precisely, click the Destination

WAVE button, and make your settings in the Wave

dialog box (→p .128).

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(5) Specify the number of time that you want to copy the

data.

(3) Select “CopyWholeTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Copy

WholeTrk” and click the OK button (or press the panel

YES key).

In the Times cell, specify the number of copies as “3”.

(3) (2)

(4)

(6)

(4) (3)

(5)

(7)

(6)

(7)

(6) Select the expansion/compression mode.

Click the Mode button to display the ExpCmp Mode

dialog box, select the desired mode, and click the OK

button (or press the panel YES key).

For details on the effect of each mode, refer to “ExpCmp-

T r k” (→p .131) A5. Mode.

(4) Select the copy-source track number.

Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

For this example, select “Fast” (priority given to process-

ing speed) and “Fixed” (pitch remains unchanged).

Then click the OK button (or press the panel YES key) to

return to the “EditTrk” tab page.

(5) Select the copy-destination track number.

Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

(7) Execute the editing operation.

If you specified two or more tracks as the “Source,” you must

Click the Exec. button. Then in the ExpCmpTrk dialog

box, click the Yes button (or press the panel YES key) to

execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

specify the same number of tracks in “Destination.”

(6) Select the copy-destination virtual track.

In the Virtual cell, select virtual track “B”.

(7) Execute the editing operation.

Click the Exec. button. Then in the CopyWholeTrk dia-

log box, click the Yes button (or press the panel YES key)

to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(8) Check the results of the editing operation.

Press the LOC 3/TO key, and play back from the TO

location to verify that the editing operation has done

correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

(8) In the TRACK, “Vtrk1–32” tab page, select virtual

track “B” for track 2.

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Expand / Compress

operation.

(9) Check the results of the editing operation.

Play back from the beginning of the song to verify that

the copy was performed correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

Copy an entire track/ Copying to a Virtual track

(CopyWholeTrk)

This command copies an entire recorded track (from the be-

ginning to the end) to another track.

• You can copy one or more tracks simultaneously.

• You can specify the copy-destination virtual track.

For example, you could use this operation if you wanted to

copy a track to two or more virtual tracks, and then create

variations of the performance in each of the those virtual

tracks.

Copying to a virtual track

Copying the data of track 1 virtual track “A” to track 2 vir-

tual track “B”

(1) Select the copy-source virtual track.

In the TRACK, “Vtrk1–32” tab page, select virtual track

“A” for track 1.

(2) Verify the copy-destination.

In the TRACK, “Vtrk1–32” tab page, verify that virtual

track “B” of track 2 is either empty or contains data you

don’t mind losing (i.e., data that it is OK to overwrite).

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Exchange two entire tracks (SwapWholeTrk)

Fade-in/ fade-out (FadeTrk)

This command exchanges an entire track of recorded data

(from the beginning to the end) with another track.

This command fades-in or fades-out the specified region

(IN–OUT) of recorded track data. By using both of these op-

erations, you can create cross-fades.

• You can exchange one or more tracks in a single operation.

This can be used in ways such as the following.

• You can fade-in or fade-out one or more tracks simultane-

ously.

• Rearrange recorded tracks to organize them by type.

• Rearrange data that extends across differing virtual tracks

so that each track uses (for example) virtual track “A.”

Creating a fade-in

Fading-in the IN–OUT region of track 1

• Place two tracks that were recorded separately into adja-

cent tracks so that they can be paired.

(1) Specify the region that you want to fade-in.

Set the following locations to specify the region where

the fade-in will occur (→p .69).

Swapping entire tracks

• Set the IN point to specify the beginning of the region

where the fade-in will occur.

Swapping track 1 virtual track “A” with track 2 virtual

track “B”

• Set the OUT point to specify the end of the region

where the fade-in will occur.

(1) Select the source track that you want to swap.

In the TRACK, “Vtrk1–32” tab page, select track 1 vir-

tual track “A.”

(2) Select “FadeTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Fade-

Trk” and click the OK button (or press the panel YES

key).

(2) Select the destination track that you want to swap.

In the TRACK, “Vtrk1–32” tab page, verify that track 2

virtual track “B” is the track you want to swap.

(3) Select “SwapWholeTrk.”

(3) Select the fade-in curve.

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“SwapWholeTrk” and click the OK button (or press the

panel YES key).

Click the Mode button to display the Fade Mode dialog

box.

A.B.C: Fade-in curve

D.E.F: Fade-out curve

For details on how these curves differ, refer to “Fade-

Trk” (→p .133).

(4) (3)

(5)

For this example, select the type “A” curve and click the

OK button (or press the panel YES key) to return to the

“EditTrk” tab page.

(6)

(7)

(4) Select the track number that you want to fade-in.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(4) Select the swap-source track number.

(2)

(4)

(3)

Click the popup button of the Source cell, and choose

track “1” in the Source Track dialog box. You can also

click the cell to select this.

(5) Select the swap-destination track number.

Click the popup button of the Destination cell, and

choose track “2” in the Destination Track dialog box.

You can also click the cell to select this.

(5)

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks in “Destination.”

(6) Select the swap-destination virtual track.

In the Virtual cell, select virtual track “B”.

(7) Execute the editing operation.

Click the Exec. button. Then in the SwapWholeTrk dia-

log box, click the Yes button (or press the panel YES key)

to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(5) Execute the editing operation.

Click the Exec. button. Then in the FadeTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(8) In the TRACK, “Vtrk1–32” tab page, select virtual

track “B” for track 2.

(6) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the fade-in performs correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

(9) Check the results of the editing operation.

Play back from the beginning of the song to verify that

the swapping was performed correctly. In the same way,

check the “Source” track 1 virtual track “A” as well.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Fade-in operation.

In this case, return the track 1 virtual track selection to “A.”

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Creating a fade-out

Boosting the maximum volume to the speciﬁed

level (Normalize: NormalizeTrk)

Fading-out the IN–OUT region of track 1

If the recorded level of a track is too low, you can use the Nor-

malize operation to boost the overall level of the specified re-

gion (IN–OUT) so that the maximum recorded level will

equal the specified level.

(1) Specify the region that you want to fade-out.

Set the following locations to specify the region where

the fade-out will occur (→p .69).

• Set the IN point to specify the beginning of the region

where the fade-out will occur.

• You can normalize one track or simultaneously normalize

the data of adjacent tracks.

• Set the OUT point to specify the end of the region

where the fade-out will occur.

If you boost data that was recorded at an extremely low level, any

noise in that region will also be boosted.

(2) Select “FadeTrk.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click “Fade-

Trk” and click the OK button (or press the panel YES

key).

Normalizing the IN–OUT region of track 1

(1) Specify the region that you want to normalize.

Set the following locations to specify the region for nor-

malize (→p .69).

(3) Select the fade-out curve.

• Set the IN point to specify the beginning of the region

to be normalized.

Click the Mode button to display the Fade Mode dialog

box.

A.B.C: Fade-in curve

• Set the OUT point to specify the end of the region to

be normalized.

D.E.F: Fade-out curve

(2) Select “NormalizeTrk.”

For details on how these curves differ, refer to “Fade-

Trk” (→p .133).

For this example, select the type “D” curve and click the

OK button (or press the panel YES key) to return to the

“EditTrk” tab page.

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, click

“NormalizeTrk” and click the OK button (or press the

panel YES key).

(3) Specify the maximum level.

(4) Select the track number that you want to fade-out.

Click the Mode button to display the Normalize Mode

dialog box. Set the “Normalize Gain Level” value, and

click the OK button (or press the panel YES key).

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

(4) Select the track number that you want to normalize.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(5) Execute the editing operation.

Click the Exec. button. Then in the FadeTrk dialog box,

click the Yes button (or press the panel YES key) to exe-

cute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(5) Execute the editing operation.

Click the Exec. button. Then in the NormalizeTrk dialog

box, click the Yes button (or press the panel YES key) to

execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(6) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the operation has done correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

(2)

(4)

(3)

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Fade operation.

(5)

(6) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the data was normalize correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Normalize operation.

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Eliminating noise (NoiseReduction)

Erasing punch noise (ErasePunchNoise)

On the desired track, specify a region (IN–OUT) containing

only noise which the D3200 will use to analyze and “learn”

the noise component. This noise component will then be

eliminated from the data in the other region you specify (TO–

END) of the same track.

Here’s how you can erase the momentary pop of noise that

sometimes occurs when punching-in/ out.

Erasing punch noise from the IN–OUT region of track 1

(1) Specify the region where you want to erase punch

noise.

Eliminate noise from the TO–END region of track 1

Set the locations as follows (→p .69).

(1) Specify the region containing the noise that you want

the D3200 to analyze, and the region from which this

noise will be removed.

• Set the IN location to a point slightly earlier than

where the noise occurs.

• Set the OUT location to a point after the noise.

You will need to set the following locations (→p .69).

• IN location: the beginning of the Learn (noise analy-

sis) region

(2) Select “ErasePunchNoise.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, select

“ErasePunchNoise” and click the OK button (or press

the panel YES key).

• OUT location: the end of the Learn (noise analysis)

region

• TO location: the beginning of the Destination (noise

removal) region

(2)

(3)

• END location: the end of the Destination (noise

removal) region

You must set IN–OUT to a region that contains only noise.

There is a lower limit on the size of the regions you specify.

The IN–OUT region must be at least one second long, and the

TO–END region must be at least 0.5 seconds long.

(4)

(2) Select “NoiseReduction.”

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, select “Noise-

Reduction” and click the OK button (or press the panel

YES key).

(3) Select the number of the track from which you want to

erase noise.

(2)

(3)

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

(4)

(4) Execute the editing operation.

Click the Exec. button. Then in the ErasePunchNoise

dialog box, click the Yes button (or press the panel YES

key) to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(3) Select the number of the track from which you want to

remove noise.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

(5) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the Erasing punch noise correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Learn

Noise WAVE button, and use the Wave dialog box

(→p .128) to set the location.

• Check the TO and END locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

If this does not erase the noise, use Undo to return to the previous

state, click the Mode button, and raise the “ErasePunchNoise

Sens” value slightly (→p.134).

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the ErasePunchNoise opera-

tion.

(4) Execute the editing operation.

Click the Exec. button. In the NoiseReduction dialog

box that appears, click the Yes button (or press the panel

YES key) to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

(5) Verify the results of the operation.

Press the LOC 3/TO key, and play back from the TO

point. If necessary, you can use Undo to return to the

state prior to applying the NoiseReduction (→p .134).

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the Noise Reduction operation.

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Erase a silent region (EraseSilence)

Erasing regions of silent audio data from the IN–OUT re-

gion of track 1, converting them to usable space on the

hard drive

You can use the internal disc drive to create an original CD

from any of your songs that have been mixed down to the

master tracks.

(1) Specify the region of silence you want to erase.

Set the locations as follows (→p .69).

There are two ways to create a CD.

• Set the IN location to a point slightly earlier than the

region of silence that you want to erase.

Track At Once

With this method, songs are written to CD individually,

one at a time.

• Set the OUT location to the point after the region of

silence.

Disc At Once (Album CD Project)

(2) Select “EraseSilence.”

With this method, you can arrange your completed

songs in the desired playback order, and write all songs

to the CD in one operation.

In the TRACK, “EditTrk” tab page, click the Edit Trk

Type cell. In the Edit Trk Type dialog box, select “Erase-

Silence” and click the OK button (or press the panel

YES key).

You can also import track data from an audio CD into the

clipboard or the PC drive (the “Ripping” function).

(3) Select the number of the track from which you want to

erase silence.

• Click the popup button of the Destination cell, and

choose track “1” in the Destination Track dialog box.

You can also click the cell to select this.

1. Track At Once

With this method, songs are written to the CD one at a time.

• Check the IN and OUT locations. If you want to set

the locations with more precision, click the Destina-

tion WAVE button, and use the Wave dialog box

(→p .128) to set the location.

A two-second gap will automatically be added between

songs.

In order to play back the completed CD, you must finalize

the disc.

(2)

(3)

No additional songs can be written to a disc once it has been final-

ized.

Since some audio CD players are unable to play CD-RW discs, we

recommend that you use CD-R discs.

Songs you have created

Song

(4)

Write the first song

Song

Writable area

Trk1

(4) Execute the editing operation.

Write the second song

Click the Exec. button. Then in the EraseSilence dialog

box, click the Yes button (or press the panel YES key) to

execute the operation.

Song

Trk2

Writable area

Trk1

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

Automatically-created two-second gap

Write the third song

(5) Check the results of the editing operation.

Press the LOC 1/IN key, and play back from the IN loca-

tion to verify that the Erase a silent region correctly.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .141)

Song

Trk2

Song

Writable area

Trk1

Trk3

Finalize

Song

Trk2

Song

The length of the IN–OUT area specified will determine the

amount of time it takes to complete the EraseSilence operation.

Un-writable area

Trk1

Trk3

(1) Create the master track(s) for the songs you want to

write to the CD (→p .67 “1-6. Creating a master trac k ”).

4. Naming a track

(2) Insert a disc into the CD-R/RW drive.

You can assign a name to each track.

Use a blank disc or a disc that has not been ﬁnalized.

When you create a new song, the track name will be “No

Name.”

(3) Select the song that you want to write to the disc

(→p .36).

We recommend that you rename the track so that you can re-

member which part is recorded on which track.

In order for a song to be written to CD, it must already have

been mixed down to the master track

(1) Use the TRACK, “Vtrk1–32” tab page to select the

track that you want to rename.

(4) Press the CD key, click the Track at Once button in the

screen to access the Track at Once dialog box, and then

click the Get Information button.

(2) Click the Rename button.

(3) Edit the name in the Rename dialog box.

The “CD Information” area will show either “Blank

Disc” or the CD track number(s).

For details, refer to “1-2. Renaming a song” (→p .36).

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Make sure that “Free” shows a duration that is longer

(7) Finalize the disc.

than the song you want to write.

When you are ﬁnished writing songs to this CD, and

want to be able to play the disc on an audio CD player,

click the Finalize button to ﬁnalize the disc. A message

will ask you for conﬁrmation. If you are sure you want

to ﬁnalize the disc, click the Yes button (or press the

panel YES key).

Once a disc has been finalized, no further songs can be added

to it. In other words, you should finalize a disc only after you

have written all the songs that you intend to write to it.

(8) When ﬁnalization is completed, the CD-R/RW drive

tray will open.

(4)

The LCD screen will indicate “Completed.” Click the

OK button (or press the panel YES key) to return to the

CD page.

(9) Check the CD by playing it on an audio CD player.

Play the CD on an audio CD player to verify that your

audio CD was created correctly.

(4)

2. Disc At Once

(7)

(5)

2-1. Album CD Project

If you use Album CD Project to create a CD, you can specify

the amount of silence (blank space) between each track, and

assign marks for each song to specify the beginning of each

track.

In addition, since this method writes the CD using Disc At

Once, the audio CD you create can be used as a master CD for

pressing.

(5) Write the song.

• Click the Write To CD button to display the

WriteToCD dialog box.

You can create one Album CD Project for each song drive,

and can also back up the data to CD-R/ RW (→p .83).

If you use Album CD Project to write a disc, no additional data

can be written to that disc.

When you create an Album CD Project, new audio data for writ-

ing will be created; this will occupy additional hard disk space.

• Select the writing speed.

Even if you delete the original songs, the Album CD Project audio

data will not be deleted.

You must use a disc that supports the selected writing speed.

• A message of “Obey Copyright Rules” will appear.

Read the owner’s manual section “COP Y RIG H T

WAR N I N G” (→p .iii), and click the Yes button (or

press the panel YES key) if you accept the terms.

Songs you have created

Song

If the selected song is 24-bit, click the Dither button to turn

it on if you want dithering to be performed.

Select the songs, specify their order, and adjust the gaps

• The D3200 will begin creating an image ﬁle.

Song

Trk2

Song

The data will be written to CD as a 44.1 kHz song. If you se-

lect a song whose sampling rate is other than 44.1 kHz, the

data must be converted, and a certain amount of time will be

required for the conversion to be performed before the song ap-

pears in the track list.

Trk1

Trk3

Post-

gap

Pre- Post- Pre-

gap gap gap

You can abort creation of the image file by clicking the Cancel

button.

Write all songs at once

• When the image ﬁle has been created, the D3200 will

begin writing it to disc.

Song

Un-writable area

• When writing is completed, the display will indicate

“Completed.” If you want to create another disc with

the same data, click the Yes button (or press the panel

YES key). Otherwise, click the No button (or press the

panel NO key) to proceed to the next step.

Trk2

Trk1

Trk3

Blank space according to the gaps you adjusted

(1) Collect all the songs you want to use for the Album CD

Project into a single song drive (→p .41).

If you create another disc with the same data, the process will

take less time since the image file has already been created.

(2) Select the song drive.

Press the CD key, click the Album CD button in the

screen to access the Album CD Project dialog box, click

the Drive button, select the song drive that contains the

song you want to write, and click the and click the OK

button (or press the panel YES key) to conﬁrm.

(6) If you want to write another song to the CD, repeat

steps (2) through (5).

Each additional song will be written to CD following the

end of the previously written song(s) on the disc.

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(3) Assign your songs to the Album CD Project track list

in the same order that you want them to appear on the

ﬁnished CD.

The album project will be played back exactly as it will

sound when written to the CD.

(6) Insert a disc into the CD-R/RW drive.

You must use a blank disc.

(7) Write the album to disc.

• Click the Write To CD button to display the

WriteToCD dialog box.

(2)

• Select the writing speed.

You must select a writing speed that the CD media you are

using can support.

(2)

• A message of “Obey Copyright Rules” will appear.

Read the owner’s manual section “COP Y RIG H T

WAR N I N G” (→p .iii), and click the Yes button (or

press the panel YES key) if you accept the terms. The

D3200 will begin creating an image ﬁle.

(4)

(7)

You can abort creation of the image file by clicking the Cancel

button (or press the panel NO key).

• When the image ﬁle has been created, the D3200 will

begin writing it to disc.

(5)

(3)

You cannot abort this writing operation.

• Select (highlight) TR01, and click the Add button to

display the Add TR dialog box.

• The disc will automatically be ﬁnalized.

• When ﬁnalization has been completed, the “Write

Another CD?” message will appear.

• Select the ﬁrst track of the CD (it will become high-

lighted), and click the OK button (or press the panel

YES key). The display will ask “Are You Sure?”, so

click the Yes button (or press the panel YES key).

If the selected song is 24-bit, click the Dither button to turn

it on if you want dithering to be performed.

The data will be written to CD as a 44.1 kHz song. If you se-

lect a song whose sampling rate is other than 44.1 kHz, the

data must be converted, and a certain amount of time will be

required for the conversion to be performed before the song ap-

pears in the track list.

• If you want to create another disc with the same data,

click the Yes button (or press the panel YES key). Oth-

erwise, click the No button (or press the panel NO

key).

• The display will indicate “Completed,” so click the

OK button (or press the panel YES key).

• In the same way, specify the songs for TR02 and fol-

lowing.

If you create another disc with the same data, the process will

take less time since the image file has already been created.

You cannot select a song for which a master track has not

been created.

(8) Check the CD by playing it back on an audio CD

player.

You cannot select songs from a different song drive.

Play back the CD on an audio CD player to verify that

your audio CD was created correctly.

During playback, the gaps between songs will be dis-

played as negative track times.

(4) Specify the size of the gaps between each track.

Click the Gap button, specify the pre-gap and post-gap,

and click the OK button (or press the panel YES key).

Use the Sec cell to specify the gap in terms of seconds, or

the Frm cell to specify the gap in terms of frames (one

second = 75 frames).

You can set the gaps independently for each song.

PreGapTime: The period of silence before the song.

PostGapTime: The period of silence after the song.

By default, the pre-gap is two seconds, and the post-gap is

zero seconds. However, the pre-gap for the first song is zero

seconds, and this cannot be changed.

For a song that fades-out, you can reduce the gaps to avoid a

unwanted sense of waiting between songs.

(5) Audition the Album CD Project.

Click the ® button (or press PLAY key) in the screen to

play back the album project. Listen to it through your

headphones or monitor system.

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The data will be written to CD as a 44.1 kHz song. If you se-

lect a song whose sampling rate is other than 44.1 kHz, the

data must be converted, and a certain amount of time will be

required for the conversion to be performed before the song ap-

pears in the track list.

2-2. Creating a live CD

If you have recorded a single continuous performance, such

as a live concert performance that contains individual songs,

you can create a “live CD” recording. By inserting CD track

markers into the performance, the entire CD can be played

back as a continuous performance with no gaps between the

individual songs, just as it was recorded. However, the ben-

efit of creating a live CD using this method is that you can

also access the songs individually, just as you would on a

regular CD.

The display will indicate “Completed.” Click the OK

button (or press the panel YES key) to return to the

Album CD Project screen.

The locations at which you assigned the “Use As CD Tr”

marks will divide the song into tracks in the track list.

(6) Edit the album CD project. [Figure E]

Assigning a track index to each of the individual songs re-

corded as part of one continuous live performance on

song A (figure A), to create a live CD in which there are

no gaps between tracks, and the song or dialog starts at

the beginning of each track

• Delete unwanted tracks.

• The pre-gap and post-gap will both be zero between

tracks to which you assigned the “Use As CD Tr”

mark, but you may edit this if you wish.

(7) Play back the album CD project to check it.

Song you already created

Song A (Live)

(→p .80 “2-1. Album CD Project”, step (5))

Figure

(8) Perform steps (6)–(8) of “2-1. Album CD Project.”

Master track already created

Assign marks

Song A (Live)

Third song

3. Ripping a CD

First Second

song song

Fourth

song

Figure

Introduction

MC1 MC2

In addition to playing back an audio CD in its CD-R/ RW

drive, the D3200 can “rip” digital audio data directly from an

audio CD.

Mark Mark Mark

Mark Mark Mark Mark Mark Mark

Ripping (importing) digital audio data from track 3 of an

audio CD into the clipboard

Song A (Live)

Figure

First Second

song song

Fourth

song

Introduction

Third song

MC1 MC2

(1) Insert the audio CD into the CD-R/RW drive.

Mark Mark Mark

1# 2# 3#

Mark

Mark Mark Mark

7# 8# 9#

#: Mark with “Use As CD Tr”

(2) Press the CD key, and then click the CD PLAYER but-

ton in the screen to access the CD PLAYER page.

Load into the Album CD Project track list

(3) Click the skip button to make “TR3” appear in the CD

PLAYER display area.

First Second

Fourth

song

Introduction

Third song

MC1 MC2

Figure

song

TR01 TR02

TR03

TR04

TR05 TR06 TR07

Delete unwanted tracks (TR01,TR06), and write the song

(4)

(3)

First Second

Fourth

song

Third song

MC1

Figure

song

TR01

TR02

TR04

TR03

TR05

(1) Select the song that you want to make into a live CD

(→p .36). [Fig u re A]

Create a master track for this song.

(2) Assign marks at appropriate locations within the song

(→p .38). [Fig u re B]

(4) Click the CD Import button to access the CD Import

dialog box.

(3) Assign “Use As CD Tr” marks. [Figure C]

• Access the MARK, “EditMark” tab page, assign a

mark at each location that you want to use as the

beginning of a track, and click the Use As CD Tr but-

ton to add a “Use As CD Tr” mark.

Chose “Clip” as the ripping destination so that the dis-

play indicates “CD Import: TR3-> Clip2.”

The “Use As CD Tr” mark will always be added to mark 001,

and this cannot be deleted. (The track at mark 001 can be de-

leted from the Album CD Project, if desired.)

(4)

(4) Press the CD key, and click the Album CD button in

the screen to open the Album CD Project dialog box.

(5) In the track list, select the song that you want to write

[Figure D].

(5) A message of “Obey Copyright Rules” will appear.

Carefully read the owner’s manual section entitled

“COP Y R IGHT W ARNING” (→p .iii), and if you accept

the terms, click the Yes button (or press the panel YES

key) to begin ripping.

Click the Add button, select song A, and click the OK

button (or press the panel YES key).

The display will ask “Are You Sure?” Click the Yes but-

ton (or press the panel YES key).

If the selected song is 24-bit, click the Dither button to turn

(6) When ripping is completed, the display will indicate

“Completed”, click the OK button (or press the panel

YES key).

it on if you want dithering to be performed.

This process will take longer in proportion to the amount of

data you’re ripping.

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1. Backing up and restoring

Data

Whenever you switch songs or turn off the power, the

D3200’s Auto Save function will automatically save (to the

hard drive) the songs or parameters that you recorded or ed-

ited.

1-1. Backing up

You can back up data to CD-R/ RW or the PC drive.

The following data can be backed up.

This means that you do not need to perform any particular

operations to save your data as long as you power -off using

the procedure described on page 2. (→p .42 “Saving a song”).

1Song

Back up one song from the selected drive and the user

data.

You do need to save the effect settings if you have edited effect pro-

grams.

All Data

Back up all songs from the selected drive, the user data,

and the album CD project.

The data saving operations explained in this section are used

when you have created important data on the D3200 that you

want to save on a CD-R/ RW or your computer, or when you

want to delete data from the hard disk to obtain more free

space.

User Data

Back up only the user data (user effect programs, user

EQ libraries, mixer setup).

A backed-up song cannot be played back directly. In order to play

the song, you must restore it.

Depending on the type of data, you can use either Backup or

Export to save it.

Data you save in this way can be used again by restoring or

importing it.

Backing up 1 Song

(1) Select the song that you want to back up (→p .36).

D3200

(2) Select the type of backup.

Hard disk

In the SYSTEM/MIDI, “Backup” tab page, click the

“1Song” radio button.

Song Drive A

(3) Select the backup-destination drive.

Song Drive B

Backup/Restore

Export/Import

Click the Drive button to open the Select Drive dialog

box. Click either the “CD” or “PC” radio button, and

then click the Yes button (or press the panel YES key).

Song Drive C

Backup/Restore

Export/Import

Song Drive D

(4) If you are backing-up to CD-R/RW, insert a disc in the

CD-R/RW drive.

PC drive

Use a blank disc or an ISO9660 format disc that has not

been ﬁnalized.

CD-R/RW drive

(2)

USB Slave Mode

Backup/Audio file

For details on the file names, restrictions, and filename exten-

sions of the data that you can backup/ restore or export/ im-

port, refer to “More about drives and files” (→p .171).

(6)

If you want to save data on your computer, first store the data in

the PC drive of the D3200’s hard disk, and then save that data on

your computer.

(3)

(5)

The following table shows the data you can save.

Data save/load methods and types of ﬁle that can be saved

Save method

1Song

File types

(3)

Data for one song + User data

All song data on the selected song

drive + Album CD project + User Data

Backup/

Restore

All Data

User effect programs + User EQ librar-

ies + mixer setup

User Data

Export/Import

Audio ﬁle data (WAV format)

(5) Edit the ﬁle name.

A ﬁle name is assigned automatically (→p .172).

If you want to edit the ﬁle name, click the Rename but-

ton.

Use the Rename dialog box to edit the ﬁle name

(→p .36).

If the backup-destination already contains an identically-

named file, you will be unable to execute the backup. Please

rename the file.

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(6) Execute the backup.

Backing up All Data

When you click the Exec. button, the Backup conﬁrma-

tion dialog box will appear.

(1) Select the song drive that you want to back up.

Press the SONG key, then click the list button in the

song page, and click the Drive button in the Select Song

dialog box.

When backing up to CD-R/RW

The screen will indicate the space required for the

backup. If the data will not ﬁt on one disc, you will

need to prepare the appropriate number of discs.

In the Select Drive dialog box, select the drive and click

the OK button (or press the panel YES key).

(2) Select the type of backup.

In the SYSTEM/MIDI, “Backup” tab page, click the

“All Data” radio button.

Required

space

(2)

• Use the WriteSpeed cell to select the writing speed.

• If you want to make it impossible to write any further

data on this disc when you are done backing up, check

the Finalize CD check box.

(3) Select the backup-destination drive.

Click the Drive button to open the Select Drive dialog

box. Click either the “CD” or “PC” radio button, and

then click the Yes button (or press the panel YES key).

• Click the Yes button (or press the panel YES key) to

begin the backup.

(4) If you are backing-up to CD-R/RW, insert a disc in the

CD-R/RW drive.

• The D3200 will begin creating an image ﬁle.

You can click the Cancel button (or press the panel NO key)

to abort creation of the image file.

Use a blank disc or an ISO9660 format disc that has not

been ﬁnalized.

• When the image ﬁle has been created, writing to the

disc will begin.

(5) Edit the ﬁle name.

A ﬁle name is assigned automatically (→p .172).

If you want to edit the ﬁle name, click the Rename but-

ton.

Use the Rename dialog box to edit the ﬁle name

(→p .36).

• If more than one disc is required, a dialog box will

request the next disc when one disc ﬁlls up. Insert the

next disc, and click the OK button (or press the panel

YES key).

• When the backup is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

If the backup-destination already contains an identically-

named file, you will be unable to execute the backup. Please

rename the file.

When backing up to disc, the written data is automatically

compared to ensure that an invalid backup disc is not created.

(6) Execute the backup.

Refer to the preceding section “B a cking up 1Song,” step

(6).

When backing up to the PC drive

The screen will indicate the space required for the

backup. Click the Yes button (or press the panel YES

key) to begin the backup.

Backing up User Data

The “1Song” or “All Data” backup operations also back up User

When the display indicates “Completed,” click the

OK button (or press the panel YES key). This com-

pletes the backup.

Data.

(1) Select the type of backup.

In the SYSTEM/MIDI, “Backup” tab page, click the

“User Data” radio button.

You cannot back up to the PC drive if the size of the backup is

larger than the free space on the PC drive. Change the backup-

destination to CD-R/RW.

(2) Select the backup-destination drive.

Click the Drive button to open the Select Drive dialog

box. Click either the “CD” or “PC” radio button, and

then click the Yes button (or press the panel YES key).

(3) If you are backing-up to CD-R/RW, insert a disc in the

CD-R/RW drive.

(1)

(4) Edit the ﬁle name.

A ﬁle name is assigned automatically (→p .172).

If you want to edit the ﬁle name, click the Rename but-

ton.

Use the Rename dialog box to edit the ﬁle name

(→p .36).

If the backup-destination already contains an identically-

named file, you will be unable to execute the backup. Please

rename the file.

(5) Execute the backup.

Refer to “B a cking up 1 Song,” step (6).

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(5) Select the restore-destination for the ﬁle(s) you are

restoring.

1-2. Restoring backed-up data

Here’s how to restore previously backed-up data.

When backed-up song data is restored into the D3200, it will

once again be playable.

When restoring song data

• In the restore-destination cell, specify a song number.

• When you restore, the restored song will be inserted at

the speciﬁed song number of the current drive. The

song numbers of other songs currently in the D3200

that occur following the restore-destination song

number will be increased by one.

(1) Select the restore-destination drive (→p .36).

If you are restoring song data or an album CD project,

select the restore-destination song drive.

(2) Select “Restore.”

Access the SYSTEM/MIDI, “Restore” tab page.

When restoring an album CD project

(3) Select the restore-source drive.

• Since the project will be restored to the current drive,

you do not need to specify the restore-destination.

Click the Drive button to open the Select Drive dialog

box, select either “CD” or “PC,” and click the Yes button

(or press the panel YES key).

If you selected “CD,” insert the backup disc into the CD-

R/ RW drive.

• When you restore, the album CD project in the current

drive will be overwritten.

When restoring other data ﬁles

(4) Select the restore-source ﬁle.

• Since these ﬁles are common to all song drives, you do

not need to specify the restore-destination.

Click the Select File button to open the Select Restore

Data File dialog box.

Folders will be created depending on the type of backup.

Open the folder and select the data ﬁle you want to

restore.

• When you restore, the existing data ﬁles will be over-

written.

When restoring all data ﬁles in a folder at once

For details on the icons that are displayed, refer to

“Loading” (→p .173).

• You do not need to specify the restore-destination.

• When you restore, the song data will be written fol-

lowing the songs on the current drive, and other data

will be overwritten.

• From the ﬁle list, select the folder that contains the

data ﬁle you want to restore, and click the Open but-

ton. If you decide to select a different folder, click the

Close button to return to the next higher level.

(6) Execute the restore.

Click the Exec. button. In the conﬁrmation dialog box,

click the Yes button (or press the panel YES key) to exe-

cute. If you click the No button (or press the panel NO

key), the restore operation will be aborted.

• From the ﬁle list, select the data ﬁle that you want to

restore, and click the OK button (or press the panel

YES key).

• If you want to restore all ﬁles in the folder as a single

operation, click the Select All button.

If you are restoring a backup that spanned more than

one disc, the D3200 will ask you for the next disc when it

has ﬁnished reading one disc. Insert the next disc and

click the Yes button (or press the panel YES key). Insert

the discs in the order in which they were written during

the backup operation.

(7) When the restore operation is ﬁnished, the display will

indicate “Completed.” Click the OK button (or press

the panel YES key).

(3)

(4)

When restoring from the PC drive, the song effect program data

will not be restored unless it has the same name as the song that is

being restored.

(5)

(6)

(2)

(3)

(4)

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(5) Select the audio ﬁle that you want to import.

2. Audio ﬁles

• Click the Select File button to open the Select File dia-

Audio files saved on CD-R/ RW or the PC drive can be im-

ported (loaded) into the D3200 and pasted into a song track.

Also, any audio track data that you copied to the D3200’s

clipboard can be exported (written) to disc or the PC drive as

an audio file.

log box.

• You can preview the ﬁrst few seconds of the selected

audio ﬁle by clicking the Prev button.

• Select “D3200_ST.WAV” and click the OK button (or

press the panel YES key).

WAV audio files of the following formats are supported.

Sampling frequency:

Bit depth:

44.1 kHz, 48 kHz, *96 kHz

16-bit, 24-bit

Number of channels:

1 (monaural), 2 (stereo)

* Only Import

(5)

2-1. Importing an audio ﬁle

Here’s how to load an audio file from CD-R/ RW or the PC

drive.

(5)

You can use the Undo function to return to the state prior to exe-

cution.

If you want to import an audio file from your computer, connect a

USB cable, copy the audio file to the PC drive of the D3200, and

then perform the procedure described below (→p.93).

(6) Select the import-destination track number.

In the “Import” tab page, select tracks “1-2” in the Trk

cell.

If the sampling frequency and bit depth of the audio file differs

from that of the import-destination song, the data will be convert-

ed automatically. You can choose to perform dithering at this time.

(7) Execute the import.

• Click the Exec. button to open the Import File dialog

box.

Importing an audio track into the beginning of a

track

• Since the import-source audio ﬁle has a different bit

depth than the import-destination song, click the

Dither button so that dithering will be performed.

Importing a 44.1 kHz/ 24-bit stereo audio file named

“D3200_ST.WAV” from CD, and loading it into the begin-

ning of tracks 1 and 2 of a 44.1 kHz/ 16-bit song

• Click the Yes button (or press the panel YES key) to

execute the import.

• When the operation is ﬁnished, the display will indi-

cate “Completed.” Click the Yes button (or press the

panel YES key).

(1) Insert the disc containing the audio ﬁle into the CD-R/

RW drive.

(2) Select the song into which you want to import the

audio ﬁle. (→p .36 “1-3. Selecting a song”)

The length of time required for this operation to be completed

will increase in proportion to the size of the file being import-

ed.

(3) Select the Import command.

Access the TRACK, “Import” tab page.

(8) Change the location to the beginning of the song, and

verify that the data was imported correctly.

(4) Select the import-source drive.

• Click the Drive button to open the Select Drive dialog

box.

• Select “CD” and click the Yes button (or press the

panel YES key).

(4)

(6)

(5)

(7)

(3)

(4)

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Importing an audio ﬁle into the middle of a track

2-2. Exporting an audio ﬁle

Importing a 44.1 kHz/ 16-bit stereo audio file named

“D3200_ST.WAV” from the PC drive, and loading it into

the TO location (the location stored in the LOC 3 key) of

tracks 1 and 2 of a 44.1 kHz/ 16-bit song

Here’s how to export an audio file.

When exporting to CD-R/RW, use either a blank disc or an

ISO9660 format disc that has not been finalized.

An audio file exported to CD-R/RW can be loaded by the D3200

or by a computer even if the disc has not been finalized.

(1) Select the song into which you want to import the

audio ﬁle. (→p .36 “1-3. Selecting a song”)

A file exported to the PC drive can then be saved on your compu-

ter. To do so, first save the file on the PC drive of the D3200’s hard

disk, and then save that file onto your computer.

(2) Select the Import command.

Access the TRACK, “Import” tab page.

(3) Select the import-source drive.

Exporting an audio ﬁle

• Click the Drive button to open the Select Drive dialog

box.

Copying the audio data from the master track of a 48

kHz/ 24-bit song to the clipboard, and exporting it to the

PC drive as a stereo audio file named “D3200_ST.WAV”

• Select “PC” and click the Yes button (or press the

panel YES key).

(4) Select the audio ﬁle that you want to import.

(1) Select a 48 kHz/24-bit song, and copy the master track

audio data to the clipboard.

• Click the Select File button to open the Select File dia-

log box.

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (1)–(6).

• You can preview the ﬁrst six seconds of the selected

audio ﬁle by clicking the Prev button.

(2) Select the Export command.

• Select “D3200_ST.WAV” and click the OK button (or

Access the TRACK, “Export” tab page.

press the panel YES key).

(3) Select the export-destination drive.

Click the Drive button to open the Select Drive dialog

box. Choose “PC” and click the Yes button (or press the

panel YES key).

(5) Select the clipboard as the import-destination track

number.

In the Trk cell, select “Clip.”

(6) Execute the import.

(4) Rename the audio ﬁle.

Click the Exec. button to open the Import dialog box,

and click the Yes button (or press the panel YES key) to

execute.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

A name of NONAMEST.WAV will be assigned automat-

ically.

Click the Rename button to open the Rename dialog

box, and change the name to D3200_ST.WAV (→p .36).

For details on the ﬁle names you can use, refer to “Writ-

ing” (→p .172).

The length of time required for this operation to be completed

will increase in proportion to the size of the file being import-

ed.

If the export-destination already contains an identically-

named file, you will not be able to export the file. In this case,

please rename the file so it can be saved.

(7) Copy the imported audio ﬁle from the clipboard into

tracks 1 and 2.

• Store the TO location (→p .38 “Assigning locations to

the Locate keys”).

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (9)–(14).

(4)

(3)

(5)

(2)

(3)

(5) Execute the export command.

Click the Exec. button. In the Export dialog box, click the

Yes button (or press the panel YES key) to execute.

When the operation is ﬁnished, the display will indicate

“Completed.” Click the OK button (or press the panel

YES key).

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Exporting multiple audio ﬁles

If you export four or more tracks in a single operation, all of

them will be saved as monaural files.

3. Drive and data compatibility

with the Digital Recording

Studio series

In the Digital Recording Studio series, the D32XD and

D16XD are compatible with each other, but the D32XD and

D16XD are not compatible with the D12, D16, D1200, D1600,

D1200mkII, and D1600mkII.

Copying the audio data of tracks 1–16 from a 44.1 kHz/

16-bit song to the clipboard, and exporting the data to

CD-R/ RW as sixteen monaural audio files named

“D3200_01.WAV”–“D3200_16.WAV”

(1) Insert a disc in the CD-R/RW drive.

(2) Select a 44.1 kHz/16-bit song, and copy the tracks 1–16

audio data to the clipboard.

However, D12, D16, D1200, D1600, D1200mkII, and

D1600mkII backup data can be restored.

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (1)–(6).

You can also restore song data that was backed-up to a PC

via the D1200, D1200mkII, or D1600mkII.

(3) Select the Export command.

The restored song data consists of the audio data, song name, song

protect setting, LOC 1–4 positions, and MARK 1–99 positions.

When you restore song data that was backed up to the PC drive,

the song protect setting will be cleared.

Access the TRACK, “Export” tab page.

(4) Select the export-destination drive.

Click the Drive button to display the Select Drive dialog

box. Choose “CD” and click the Yes button (or press the

panel YES key).

Using D32XD and D16XD data

D32XD/ D16XD backup data can be restored into the D3200.

When D32XD backup data is restored into the D3200, the fol-

lowing data will be ignored.

(5) Rename the audio ﬁle.

Here the display will show the ﬁle name of the ﬁrst

track.

• Data for insert effects 9–24

• AUX3/ 4 Send data

The names NONAME01.WAV–NONAME16.WAV will

be assigned automatically.

Click the Rename button to open the Rename dialog

box, and change the ﬁle name to D3200_01.WAV

(→p .36).

• Tempo map settings

96 kHz 24-bit songs cannot be restored.

For details on the ﬁle names you can use, refer to “Writ-

ing” (→p .172).

Using D3200 data on a different model

(1) On the D3200, export the data to a WAV format audio

If an identically-named file already exists, you will be unable

to execute this operation. Please change the file name.

ﬁle. “2-2. Exporting an audio ﬁle” (→p .87)

(2) On the other device, import the WAV format audio ﬁle.

(Refer to the manual for the device you are using.)

(6) Execute the export.

• Click the Exec. button to open the Export File dialog

box, and specify the speed at which the data will be

written to CD (→p .136).

• If you add a check mark to the Finalize CD check box,

it will not be possible to add any further data to that

disc (→p .136).

Using data from a different model on the D3200

(1) On the other device, export the data to a WAV format

audio ﬁle. (Refer to the manual for the device you are

using.)

(2) On the D3200, import the WAV format audio ﬁle. “2-1.

When exporting to CD-R/RW, the written data is automati-

cally compared to ensure that an invalid backup CD is not

created.

Importing an audio ﬁle” (→p .86)

• When the operation is ﬁnished, the display will indi-

cate “Completed.” Click the OK button (or press the

panel YES key).

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Drive

The D3200’s hard disk can be divided into one, two or four

song drives used to record and play back songs, and a PC

drive used to exchange data with a personal computer.

The D3200 also has a built-in CD-R/ RW drive that lets you

write backup data or the audio data for a completed song to

a CD, or load audio files or backup data from a CD.

(2)

D3200

Hard disk

Drive A

(3)

Drive B

Drive C

(3) Execute the Partition operation.

When you click the Yes button (or press the panel YES

key), the display will ask “Are You Sure?” Click the Yes

button (or press the panel YES key) to begin the opera-

tion.

Drive D

CD-R/RW drive

PC drive

When you make partition settings, a warning dialog box will ap-

pear if the drive contains even one song for which Protect is turned

on. (→p.120)

The D3200 provides the following utility functions for man-

aging these drives.

Partitioning will erase all data from the song drive area of the

hard disk. When the operation is completed, the display will

indicate “Completed.” Click the OK button (or press the

panel YES key) to return to the “DiskUtility” tab page.

The song drives are identified as A, B, C, and D.

Partition: Divide a song drive

Drive Info: View information about a song drive, or

rename a drive

Check Drive: Check the hard disk

Format: Format the hard disk

1-2. Specifying the PC drive size

Load System: Update the system

Save System: Create a system recovery CD

If connected to a Windows 98 computer, only 2 GB can be detected

for a PC (USB) drive. The drive will not be detected if it is 4 GB

or 8 GB in size.

When you execute a change in the PC (USB) drive size, the data

of the PC (USB) drive and all song drives will be lost, but the

“User Data” (→p.83, 122) and SYSTEM/MIDI, “Control” tab

page data will be preserved.

(1) Access the SYSTEM/MIDI “DiskUtility” tab page, and

click the Partition button to display the Partition dia-

log box.

(2) Click the PC Drive list button and choose the desired

size for the PC (USB) drive.

You can also check the size of files in the PC drive, and re-

name or delete them. (→p .92)

(2)

1. Specifying the drive size

You can partition the hard disk into as many as four song

drives. You can also change the size of the PC drive.

1-1. Partitioning the hard drive into

separate song drives (Partitions)

(3)

(3) Execute the change in the PC drive size.

When you click the Yes button a message of “Are You

Sure?” will appear; click the Yes button (or press the

panel YES key) once again to execute.

When you partition the hard disk, all data in the song drive area

will be erased. However, and “User Data”(→p.83, 122), SYS-

TEM/MIDI “Control” tab page data.

When you change the size of the PC drive, a warning dialog box

will appear if the drive contains even one song for which Protect

is turned on. (→p.120)

(1) Access the SYSTEM/MIDI, “DiskUtility” tab page,

and click the Partition button to display the Partition

dialog box.

When you change the size of the drive, the entire hard drive

will be erased, including all data on the song drives and PC

drive.

(2) Click the Partition list button and select the number of

hard disk partitions you wish to create.

When the operation has been completed, the display will in-

dicate “Completed”, click the OK button (or press the panel

YES key) to return to the “DiskUtility” tab page.

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2. Renaming a song drive

Here’s how you can check the capacity of each song drive,

and rename a song drive.

You can also rename a song drive in the Select Drive dialog box

that appears when you click the Drive button in the SelectSong

or Album CD Project dialog box.

(1) Access the SYSTEM/MIDI, “DiskUtility” tab page.

If a message such as “Repaired successfully.,” Drive Error

occurred.,” or “Repaired, but some audio data was lost.” ap-

pears, refer to “Various messages” (→p .168).

(2) Click the Drive Info button to display the Drive Infor-

mation dialog box.

For each drive, the dialog box displays the total capacity,

song drive name, used area, and free area.

(3) If you want to rename a drive, select that drive in the

song drive list, click the Rename button, and rename it

in the Rename dialog box (→p .36).

4. Formatting the hard disk

Perform this procedure if you want to erase data from an en-

tire song drive or the PC drive, or if the “Drive Error oc-

curred.” display appears frequently and checking the hard

disk does not improve the situation. You can format the song

drive and PC drive together in a single operation, or format

them separately.

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .171).

When you execute the Format operation, all data on the selected

song drive or PC drive will be erased. Be sure to check the contents

of the drive before you format it.

If a power failure or similar accident occurs during the formatting

process, it is possible that the D3200 will no longer operate cor-

rectly. If this occurs, please contact your Korg distributor.

(1) Access the SYSTEM/MIDI, “DiskUtility” tab page,

and click the Format button to display the Format dia-

log box.

(2) Click the “Drive” popup button, and select the drive

that you want to format.

A...D: the speciﬁed individual song drive

PC: the PC drive

A–D: all song drives

3. Checking the hard disk

This operation finds and fixes errors on a song drive of the

hard disk. Perform this operation if “Disk too busy.” errors

still appear even after you have executed the Optimize track

editing operation. After you perform this operation, if the

“Disk too busy” error messages no longer appear, then, you

will still be able to use the song data.

ALL: the entire hard disk

(3) Select the desired method.

Quick: Use this when you want to erase the data saved in

an individual song drive or the PC drive. This op-

eration will take only a short time.

ALL → approximately 7 seconds: 40 GB

Full: Use this if the “Drive Error occurred” error mes-

sage occurs frequently, or if error messages ap-

pear even after you perform the “Check Drive”

operation. This operation will take a long time to

be completed.

You cannot check the PC drive.

(1) Access the SYSTEM/MIDI, “DiskUtility” tab page,

and click the Check Drive button to display the Check

Drive dialog box.

(2) Click one of the Area list buttons to specify the area

that you want to check.

ALL → approximately 7 hours: 40 GB

Current Song

Check and repair the area used by the currently

selected song.

Unused

Of the unused area, check and repair the next 2 GB

that will be used.

Current Partition

Check and repair the area of the currently selected

song drive (partition).

All Partitions

Check and repair all partitions and the area used by

the system.

(3) Execute the check.

• Click the Yes button (or press the panel YES key) to

begin checking.

(4) Click the Yes button (or press the panel YES key). The

display will ask “Are You Sure?” To execute the opera-

tion, click the Yes button (or press the panel YES key).

• If you want to stop mid-way through the check, click

the Cancel button (or press the panel NO key).

• If you decide not to format, click the No button (or

• When the operation is completed, the display will

indicate “Completed.” Click the OK button (or press

the panel YES key).

press the panel NO key).

• Formatting will erase all data from the selected drive.

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• When the operation is completed, the display will

indicate “Completed.” Click the OK button (or press

the panel YES key).

7. Drive capacity

This section explains how you can make the best use of the

D3200’s song drive capacity. For explanatory purposes, we

will assume that you have recorded a song with the follow-

ing structure.

When you execute formatting, a warning dialog box will appear if

the drive contains even one song for which Protect is turned on.

(→p.121)

Intro

Break

Solo

Ending

5. Load system

This lets you easily update the operating system of the

D3200. For the update procedure, refer to “Upgrading the

system” (→p .96).

The Edit Track operation described here does not need to be per-

formed often. It is sufficient to perform this operation when the

“Disk too busy.” indication appears, or when you want to recov-

er disk drive capacity after completing a song.

1. You began recording on track 1 from the beginning of

the song, and only played during the Intro, Break, and

Ending on the first take.

6. Creating a system recovery

Intro

Silence

Break

Silence

Ending

The D3200’s system is stored on the hard disk. At start-up,

the system is loaded into the system area, and then begins

running.

If the hard disk should fail, it is possible in the worst case that

the system will become incapable of starting up.

As a safeguard against such emergencies, we suggest that

you create a system recovery start-up CD.

In this case, silence (actually, noise-level sound) will

have been recorded in the A, B, and Solo sections of track

1, unnecessarily using up valuable drive space.

To keep only the audio data that you are actually

using

Execute the TRACK “EditTrk” tab page “Erase Silence”

command on track 1 for the region between the beginning

and end of the song.

This will cause audio data to be preserved only for the actu-

ally-used regions, so that only the intro, break, and ending

will occupy drive space.

(1) Access the SYSTEM/MIDI “DiskUtility” tab page, and

click the Save System button to open the Save System

dialog box.

Intro Data exists

Break

Data exists

Ending

OUT

“OptimizeTrack”

(2) Insert a disc into the CD-R/RW drive.

Use a blank disc.

After execution

You must use a blank disc to create a system recovery disc.

You cannot create a system recovery disc using a disc that al-

ready contains data.

Intro Data erased

Break

Data erased

Ending

2. You began recording on track 1 from the beginning of

the song, and played the Intro, A, B, and Break during

the first take, and then recorded a second take, over-

writing the original A and B with A’ and B’.

(3) Click the Yes button (or the panel YES key) to begin

creating the system recovery disc.

If you decide not to create a recovery disc, click the No

button (or press the panel NO key).

(4) When the recovery disc has been created, the display

will indicate “Completed”; click the OK button (or

press the panel YES key).

Intro

Break

1st take

Recorded second take

1st take

2nd take

Intro

Break

In this case, A and B of the ﬁrst take remain “beneath” A’

and B’ of track 1, in order to preserve the data for Undo

and also because they are a continuous piece of audio

data with the Intro and Break. This means that Intro,

A+A’, B+B’, and Break are all occupying disk space.

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To erase A and B that remain from the ﬁrst take, and

recover disk space

Execute the TRACK “EditTrk” tab page “OptimizeTrk” (op-

timize) command on track 1 for the region between the be-

ginning and end of the song.

When this is executed, only the audio data of the Intro, 2nd

take of A (A’), 2nd take of B (B’), and the Break will be kept.

This means that the 1st take of A and 1st take of B data will

no longer occupy disk space.

8. PC drive

The PC drive is an area used to share data with your compu-

ter. Its size may be set to 2, 4 or 8 GB (→p .89 “1-2. S p ecifying

the PC drive size”).

You can use the SYSTEM/MIDI, “PC File” tab page com-

mand to check, rename, or delete files on the PC drive.

The PC drive contains the following folders, which contain

the following files.

• BACKUP folder: backup ﬁles

• WAV folder: audio ﬁles in WAV format

Break

Intro

• D3200 folder:

This folder contains system ﬁles for updating the

system.

OUT

“OptimizeTrack”

Break

Intro

3. You recorded A and B on track 1 as the first take. As the

second take, you overwrite-recorded the Intro, A’, B’,

and Break.

1st take

Checking, renaming, or deleting ﬁles

You can check the size, rename, or delete files that are on the

PC drive.

2nd take Intro

Break

(1) Access the SYSTEM/MIDI, “PC File” tab page.

To move to a lower level, select a folder and click the

Open button.

In this case, the ﬁrst take A and B remain “beneath” A’

and B’, but since the audio data of take 1 is not used at

all once you ﬁnished recording take 2, there is no need to

execute the optimize command.

To return to the next upper level, click the Close button.

(2) To rename a ﬁle, select the ﬁle, click the Rename but-

ton, and rename the ﬁle (→p .36).

Deleting the Undo data

Even if you use the drive space efficiently as described above

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .171).

(

), the old data will be kept on the drive for use by the

Undo function.

(3) To delete a ﬁle, select the ﬁle and click the Delete but-

ton.

To delete this undo data, either click the Clear button in the

“Undo/Redo” tab page (→p .141), or put the D3200 in stand-

by mode (shut down). After restarting, all undo data will be

deleted, recovering free space on the drive.

Be aware that restarting the D3200 will delete the undo data

of all the songs.

• The display will ask “Are You Sure?” Click the Yes

button (or press the panel YES key) to delete the ﬁle.

• If you decide not to delete the ﬁle, click the No button

(or press the panel NO key).

• When the ﬁle has been deleted, the display will indi-

cate “Completed.” Click the OK button (or press the

panel YES key).

Sharing event data

If you use the Copy Track operation to copy track data to an-

other track (e.g., virtual track) or another song, this audio

data will be shared, so that the drive capacity will not de-

crease. However if you execute the Optimize Track operation

on the copy-destination or copy-source track, new audio data

will be created, and this will mean that a greater amount of

drive capacity will be used than before the operation was ex-

ecuted.

In the case of

2 above, if you copy the first take to another

track before you record the second time, then executing the

Optimize Track operation will not delete the “A” and “B” re-

gions of the first take, and new audio data for the “Intro” and

“Break” regions will be created, meaning that a greater

amount of drive capacity will be used.

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(5) Use your computer to save the data.

When you open the “KORG D3200” drive that appeared

in step (4), you will see the contents of the PC drive area

within the D3200’s internal hard disk.

USB

USB stands for Universal Serial Bus, and is an interface for

Copy the desired data onto your computer. You may

also copy data from your computer back to the D3200’s

PC drive.

transferring data between a computer and peripheral devic-

es.

USB peripheral devices such as hard drives or CD-R/RW drives

cannot be connected to the D3200.

The D3200 has a USB connector which can be connected di-

rectly to your computer, allowing you to save data from the

PC drive to your computer, or load data from your computer

to the PC drive.

1. Saving/ loading

Do not format the D3200’s PC drive from your computer. The

D3200’s PC drive may be formatted only by the D3200 itself

(→p.90).

(6) Disconnect the D3200 from your computer.

Left-click the (

) icon that is displayed in the right side

of your computer ’s taskbar.

Windows users (Windows Me/ 2000 or later)

In order to use the D3200 with Windows 98, you must install

a device driver. For details on obtaining and installing the

device driver, refer to the Korg website (http:/ / www.ko-

rg.com).

(6)

The computer screen will differ depending on your system. The

screens shown here are for Windows XP.

From the menu that appears, left-click “Stop USB disk

drive (KORG D3200).” Verify that you see a message of

“Safely remove USB Mass Storage Device.”

Click the Exit button of the USB Slave Mode screen.

After you have exited USB Slave mode, unplug the USB

cable from the D3200.

(1) Use a USB cable to connect the D3200 to your compu-

ter.

Connect the USB cable from your computer to the

D3200’s USB connector. Make sure that the connector is

oriented correctly, and press it all the way in.

If you are using Windows Me, “USB high capacity storage de-

vice” will be displayed as “USB disk.”

Before you make this connection, turn on your computer and

start up the operating system.

(2) Access the SYSTEM/MIDI, “PC File” tab page.

Macintosh users (Mac OS9.0.4 or later)

(3) Click the USB Mode button to display the USB Slave

Mode dialog box.

(1) Use a USB cable to connect the D3200 to your compu-

ter.

Connect the USB cable from your computer to the

D3200’s USB connector. Make sure that the connector is

oriented correctly, and press it all the way in.

Do not disconnect the USB cable or turn your computer on/

off while this screen is displayed.

(2) Access the SYSTEM/MIDI, “DiskUtility” tab page.

(3) Click the USB Mode button to display the USB Slave

Mode dialog box.

Do not disconnect the USB cable or turn your computer on/

off while this screen is displayed.

(4) A drive named “KORG D3200” will appear on the

desktop of your computer.

When you connect the D3200 to your computer for the first

time, a device driver will be installed.

(5) Use your computer to save the data.

When you open the “KORG D3200” drive that appeared

in step (4), you will see the contents of the PC drive area

within the D3200’s internal hard disk. Copy the desired

data onto your computer. You may also copy data from

your computer back to the D3200’s PC drive.

(4) A drive named “KORG D3200” will appear on your

computer.

When you connect the D3200 to your computer for the first

time, a device driver will be installed.

(6) Drag the added drive into the trash.

When you want to disconnect the D3200, either drag the

drive from the desktop into the trash, or select the “File”

menu command “Put Away.” Click the Exit button of the

USB Slave Mode screen to exit USB Slave mode, and

then unplug the USB cable from the D3200.

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3. Using MIDI

MIDI

Controlling the D3200 from a MIDI sequencer

You can use MMC messages transmitted and received from

a MIDI sequencer to control D3200 operations such as stop,

play, record, and locate.

MIDI stands for Musical Instrument Digital Interface, and is

a world-wide standard used to exchange performance data

between electronic musical instruments and computers.

You must use a sequencer that supports MMC. These operations

cannot be performed from a sequencer that does not support

MMC.

1. MIDI connections

Use only MIDI cables to transfer MIDI data. Connect these

cables between the MIDI connectors of the D3200 and the

MIDI connectors of the external MIDI device with which you

want to transfer data.

(1) Use a MIDI cable to connect the two devices.

Use MIDI cables to connect the MIDI IN connectors and

MIDI OUT connectors of the D3200 and your MIDI

sequencer to each other.

MIDI IN connector

(2) Adjust the settings on your MIDI sequencer.

Set your sequencer to transmit MMC and to receive

MTC (MTC Slave). For details, refer to the owner’s man-

ual of your MIDI sequencer.

Receives MIDI messages from another MIDI device.

Connect this to the MIDI OUT connector of the external

device.

MIDI OUT connector

(3) Turn on MMC reception.

Transmits MIDI messages from the D3200. Connect this

to the MIDI IN connector of the external device.

In the SYSTEM/MIDI, “MIDI/MMC” tab page, set

“MMC Mode” to “Receive,” and set “MIDI Sync” to

“MTC Master.”

MIDI channel settings

(4) Set the device ID to match.

MIDI uses sixteen channels (1–16) to independently convey

data to multiple MIDI devices. If the transmitting device is

sending data on MIDI channel “1,” the receiving device must

also be set to MIDI channel “1” in order to receive this data.

(→p .125 “3. Global Ch”)

Set the “Device ID” to match the MMC device ID of

your MIDI sequencer.

If you leave the “Device ID” set to 127, MMC commands

can be exchanged with any device.

2. MIDI messages used by the

D3200

Note On (Note, velocity), aftertouch, pitch-bend:

The D3200 uses these messages to control effects.

Program change:

The D3200 uses these messages to switch scenes.

Control change:

The D3200 uses these messages to control mixer and

effect parameters.

MMC (MIDI Machine Control):

(5) Operate your external MIDI sequencer.

When you perform stop, play, record, and locate opera-

tions on your MIDI sequencer, the D3200 will be control-

led. (For details, refer to the manual of your MIDI

sequencer.)

MMC messages can be transmitted from the D3200 to

control an external MMC-compatible sequencer or

recorder. MMC messages received from an external

sequencer or recorder can be used to control the D3200.

MTC (MIDI Time Code):

The D3200 can transmit or receive MTC messages to

synchronize with an external sequencer or recorder.

MIDI Clock:

The D3200 can transmit MIDI Clock. It can also receive

MIDI Clock if you have selected MIDI Clock for the

tempo track and are recording the tempo track.

About the MIDI implementation chart

The owner’s manual of each MIDI device includes a MIDI

implementation chart. This chart shows the types of MIDI

message that the device can transmit and receive. When us-

ing two MIDI devices together, compare their MIDI imple-

mentation charts to verify that the devices will be able to

communicate as you expect.

* A detailed explanation of the D3200’s MIDI functionality can be

found in the separate MIDI implementation. Consult your local

Korg distributor for more information on MIDI Implementation.

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(5) Begin recording.

Synchronizing two D3200 units

Press the D3200’s PLAY key to begin playback, and the

external MIDI sequencer will begin synchronized

recording. Now if you operate the mixer parameters

(faders, pan, EQ etc.), the corresponding control change

messages will be transmitted from the D3200 and will be

recorded on the external MIDI sequencer.

Here’s how you can make two D3200 units play back in sync.

One D3200 will be the MTC master, and the other will be the

MTC slave.

(1) Use a MIDI cable to connect your equipment.

Use MIDI cables to connect the MIDI IN connectors and

MIDI OUT connectors of the master and slave D3200

units to each other.

(6) Stop the D3200.

When you press the D3200’s STOP key to stop playback,

the external MIDI device will also stop recording. The

D3200’s mixer parameter operations have now been

recorded on the external MIDI device.

(2) Make settings on the master D3200.

In the SYSTEM/MIDI, “MIDI/MMC” tab page, set

“MIDI Sync” to “MTC Master,” and set “MMC Mode”

to “Receive.”

Receiving the mixer operations recorded above in “i.e.

Recording D3200 mixer operations ...” from your exter-

nal MIDI sequencer to control the D3200 mixer

For this example, set “Device ID” to “10.”

(3) Make settings on the slave D3200.

In the SYSTEM/MIDI, “MIDI/MMC” tab page, set

“MIDI Sync” to “MTC Slave,” and set “MMC Mode”

to “Transmit.” Set “Device ID” to “10” to match the set-

ting of the master device.

(1) Use a MIDI cable to connect the two devices.

Use MIDI cables to connect the MIDI IN connectors and

MIDI OUT connectors of the D3200 and your MIDI

sequencer to each other.

If you don’t want to transmit or receive mixer control messag-

es, disable control change transmission and reception

(→“Using MIDI to control the mixer”).

(2) Adjust the synchronization settings on the D3200 and

on your external MIDI sequencer.

Access the SYSTEM/MIDI, “MIDI/MMC” tab page,

and set “MIDI Sync” to “MTC Master.”

Set your external MIDI sequencer to function as MTC

Slave. (For details, refer to the manual of your MIDI

sequencer.)

(4) Press the PLAY key of the slave D3200 unit.

An MMC message will be transmitted from the slave

D3200 unit. The master unit will receive this message,

and will start playing. When playback begins, the master

unit will transmit MTC, and when the slave unit

achieves synchronization, it will begin playback.

(3) Enable control change reception on the D3200.

• In the SYSTEM/MIDI, “MIDI/MMC” tab page, turn

the “MIDI” parameter “Control Change” to turn it

on.

It may take several seconds for synchronization to be

achieved.

The D3200 supports multiple frame rates. The transmitting

and receiving devices must both be set to the same frame rate.

• In the SCENE, “Automation” tab page, click “Auto-

mation” to turn it off.

(4) Press the D3200’s PLAY key.

Using MIDI to control the mixer

When the D3200 starts playing, your external MIDI

sequencer will also begin playing in synchronization.

The previously-recorded mixer operation data will be

transmitted from the MIDI sequencer, causing the set-

tings of the D3200’s mixer to change.

Recording D3200 mixer operations on your external MIDI

sequencer

(1) Use a MIDI cable to connect the two devices.

Use a MIDI cable to connect the D3200’s MIDI OUT

connector to the MIDI IN connector of your external

MIDI sequencer.

(2) Adjust the synchronization settings on the D3200 and

on your external MIDI sequencer.

Access the SYSTEM/MIDI, “MIDI/MMC” tab page,

and set “MIDI Sync” to “MIDIClockMaster” or “MTC

Master.”

Adjust the synchronization settings on your external

MIDI sequencer as well. (For details, refer to the manual

of your MIDI sequencer.)

(3) Enable control change transmission on the D3200.

• In the SYSTEM/MIDI, “MIDI/MMC” tab page, click

the “MIDI” parameter “Control Change” to turn it

on.

• If you want scene change data and mixer parameter

changes created by event automation playback to be

transmitted, turn the SCENE, “Automation” tab page

“Automation” parameter on, and also click the SYS-

TEM/MIDI “MIDI/MMC” tab page “MIDI” “Pro-

gram Change” parameter to turn it on.

(4) Put the external MIDI sequencer in record-ready

mode.

The D3200’s mixer control data is transmitted on MIDI

channels 1–16. Set your external MIDI sequencer so that

it will record all sixteen MIDI channels. (For details, refer

to the manual of your MIDI sequencer.)

For details on the parameters, refer to the MIDI implementa-

tion. Consult your local Korg distributor for more informa-

tion on MIDI Implementation.

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Upgrading the system

Using a recovery CD to

recover the system

1. Downloading the operating

system

If for some reason the system is no longer able to start up nor-

mally, you can recover the system using the CD you created

in “6. Creating a system recovery CD” (→p .91).

The most recent operating system can be downloaded from

the Korg website (http:/ / www.korg.com). For details on the

procedure, refer to the Korg website.

Preserving non-system data when you recover

If you recover the system using the following procedure,

data other than the system data will be preserved.

Upgrading via CD-ROM/ R/ RW

Insert the media containing the system file into the CD-R/

RW drive.

(1) While holding down the panel PAN key and LOC 2

key, press the power-on key.

A message of “System Recovery. Insert System Disk.

Wait CD Mount.” will appear in the screen.

Upgrading via USB

Use a USB cable to connect the D3200 to your computer, and

copy the system files to the D3200 folder of the PC drive.

(2) Insert the recovery CD you created into the CD-R/RW

drive.

Once you’ve inserted the recovery CD, do not eject it until the

system recovery procedure is completed.

(3) The display will indicate “CD Read OK.” and the

recovery procedure will begin automatically.

2. Upgrading the system

(1) Access the SYSTEM/MIDI, “DiskUtility” tab page.

(4) When the recovery is complete, the display will indi-

cate “Completed.”

(2) Specify the loading source for the system ﬁle.

Click the Load System button to display the LoadSystem

dialog box. Click either the “CD” or “PC” radio button

to specify the loading source.

(5) Click the OK button (or press the panel YES key). The

opening screen will appear, and the D3200 will auto-

matically restart.

When the D3200 has ﬁnished starting up, remove the

recovery CD from the CD-R/ RW drive.

If an error appears and the recovery is unsuccessful

The procedure described above will recover by overwriting

the system data area of the hard disk. If you are unable to re-

cover successfully by using this method, you’ll have to ini-

tialize the entire hard disk. Be aware that when you execute

the recovery procedure described below, all data on the hard

disk will be erased.

(3) Click the Yes button (or press the panel YES key) to

begin the update.

(1) Press the power-off key to return to standby mode.

If an unexpected accident such as power failure occurs while

updating the system, the D3200 may become incapable of nor-

mal operation. In such cases, please contact Korg distributor.

(2) While holding down the panel PAN key and LOC 3

key, press the power-on key.

A message of “System Recovery. Insert System Disk.

Wait CD Mount.” will appear in the screen.

(3) The display will indicate “CD Read OK.” Then the

display will indicate “Testing Hard Disk...” and the

hard disk will be formatted.

(4) When the recovery is complete, the display will indi-

cate “Completed.”

(5) Click the OK button (or press the panel YES key). The

opening screen will appear, and the D3200 will auto-

matically restart.

(4) When the upgrade is ﬁnished, the D3200 will automat-

ically restart using the new system.

When the D3200 has ﬁnished starting up, remove the

recovery CD from the CD-R/ RW drive.

If the upgrade fails, the D3200 will display an message

and will not restart. Note the contents of the message

(→p .168 “V a rious messages”).

If this procedure is also unsuccessful, please contact your

Korg distributor.

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ClickPoint calibration

If the pointer does not move in the LCD screen as you expect,

or if the wrong button or cell is selected when you click the

pointer position in the LCD screen, you can recalibrate the

ClickPoint so the LCD screen and the pointer are aligned.

(1) In SYSTEM/MIDI, “Control” tab page, click the Cali-

bration button.

The ClickPoint Calibration dialog box will appear.

(3)

(4)

(2)

(3)

(2) Move the ClickPoint left and right so that the rectan-

gles displayed at the left and right of the LCD screen

are highlighted.

The rectangles will be highlighted when the position has

been detected.

(3) Move the ClickPoint up and down so that the rectan-

gles displayed at the top and bottom of the LCD screen

are highlighted.

The rectangles will be highlighted when the position has

been detected.

(4) Click the joy stick without moving it (i.e., in the center

position).

The rectangles will be highlighted when the position has

been detected.

(5) Press the panel ENTER key.

Calibration will be completed, and you will return to the

“Control” tab page.

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Reference

Measure display __:__.__ (MBT)

The current location is shown as the number of meas-

ures from the beginning of the song. From the left, this

shows Measures:Beats.Ticks (1/ 96th beat)

* Maximum value is 99999:03.095 (for a 4/ 4 time sig-

nature)

Counter

Counter display

2. Information display radio buttons

These select the information that will be shown in the

information display.

Click the counter button, and select the desired counter dis-

play method in the Time Disp Type dialog box.

Date Time:

Calendar display, showing the current year/ month/

date and time (hours and minutes).

This will be grayed-out if you have not set the date

and time.

Song page

Free Time:

Meter page

Displays the amount of recording time available on

the currently selected drive. From the left, this indi-

cates hours, minutes, and seconds.

All Channel View

1. Song display

Scene:

Displays the song drive name, song name, sampling fre-

quency, and bit depth.

Displays the currently-used scene name and scene

location.

2. Information display

Mark:

Displays date, remaining recordable time, scene, mark,

and tempo map data.

If the information display radio buttons in the Time Disp

Type dialog box are set to Date Time, and you have not

set the calendar, the indication is grayed-out to indicate

that it is not valid.

Displays the currently-used mark name and mark

location.

PatternMap:

This indicates the drum pattern that is currently being

used.

3. Date/Time

3. Counter button

Here you can specify the date and time for the D3200’s

internal clock. Songs are managed according to the date

and time you specify here.

Click this to display the Time Disp Type dialog box.

4. Counter display

Displays the current recorder location and measure.

Time Disp Type dialog box

The Calendar dialog box will appear when you click this

button. To apply the new date and time, click the Yes but-

ton. If you decide not to change the date and time, click

the No button. (Alternatively, you can press the panel

YES key or NO key.)

3a. Date

This displays (and lets you set) the current date, dis-

played as Month:Date:Year (four digits).

1. Location radio buttons

3b. Time

These select the format and type of units used in the

counter display.

This displays (and lets you set) the current time, dis-

played in 24-hour time as Hours:Minutes:Seconds.

Time display ____:____:___.___ (HMSm)

The current location is shown as absolute time from

the beginning of the song. From the left, this shows

Hours: Minutes: Seconds. milliseconds (1/ 1000 sec-

onds).

The date and time are retained when you power-off to the

Standby mode. However, when you turn off the main power

switch, you’ll have to reset them.

* Maximum value is 23:59:59.999

Frame display ___:___.___.__F (HMSF)

The current location is shown as absolute time and

frames from the beginning of the song. From the left,

this shows Hours: Minutes: Seconds. Frames (the

“Frame Rate” setting of p .125).

* Maximum value is 23:59:59.29F (when using 30

frames/ second)

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Rename

1. METER

Editing a name

Meter/ Track View

When the Rename button is displayed in a parameter setting

tab page (such as Song, Track, Effect, Scene), you can click the

button to edit the corresponding name.

Alternatively, you can choose an appropriate name from the

name library and then edit it.

Highlight the name you want to edit, and click the Rename

button. The Rename dialog box will appear, allowing you to

edit the name. You can input a name of up to sixteen charac-

ters. Certain limitations apply to the backup or export filena-

me (→p .172).

Here you can view level meters for tracks 1–16 or 17–32 and

various line signals, the audio events in each track, the locate

points (IN, OUT, TO, END), and a list of the virtual tracks.

You can also change the “Meter/Track Type” setting to

switch the type of level meters. You can choose “FaderView”

to see the fader and pan values, or “AllMeterView” to see

level meters for tracks 1–32 and for each line signal.

TrackView

Moves the highlighted cursor left or right in the

rename box

Inserts a space at the highlighted area

Switches between uppercase and lowercase char-

acters

Deletes the character at the highlighted area

Inserts a blank at the right of the highlighted area

Erases all characters in the rename box

Finalizes the name that you input

Discards the name that you input

1. Display select button

Cancel

Click this button to display the Meter/Track Type dialog

box, where you can select the information you want to

view. Click the OK button (or press the panel YES key) to

apply your selections, or click the Cancel button (or press

the panel NO key) to discard them.

0…9, A…Z/…@

Inputs the numeral, character, or symbol at the

highlighted location

List button

Rename button

Using the name library

1a. Select Level Meter Position

When you click the list button beside the name, the name li-

brary will appear. Use the scroll bar to display the name you

want to use, and click that name to input it in the list box.

For details on the name library, refer to “Name Library List”

(→p .177).

[CH-Input, PreFader, PostFader]

CH-Input: Displays the input level of each mixer chan-

nel

PreFader: Displays the pre-fader level of each mixer

channel

PostFader: Displays the post-fader level of each mixer

channel

1b. Peak Hold Time

[0…8s, ∞]

Speciﬁes the amount of time that peaks will continue

to be displayed in the level meter.

0…8s: 0–8 seconds

∞: Continue holding the peaks

This setting applies to the level meters in each page.

Name library

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1c. Select View

[TrackView, FaderView, AllMeterView]

2. MIXER

Here you can adjust the settings for the mixer section.

When you press the MIXER key, the MIXER page jump

menu screen will appear.

Click the menu button that contains the parameters you want

to edit.

To return to this page jump menu screen, press the MIXER

key.

Changes the content of the meter display.

TrackView: Shows the level meters, existence of audio

events, and a list of virtual tracks

FaderView:Shows the level meters, and fader/ pan/

channel-on status of each track

AllMeterView: Level meters for all channels, inputs 1–

12, AUX, EFFECTR, RETURN, MONI-

TOR, and MASTER

Press the MIXER key once again to return to the page you se-

lected in the page jump menu.

Of these pages, you can use the SEND, EQ, and PAN keys lo-

cated at the left of the control knobs to access the SEND, EQ,

and PAN pages.

2. Level meters

These display the levels of the channels, sends, and mon-

itor signals etc.

3. Track view window

In each track, regions that contain audio data are dis-

played in black.

The vertical line indicates the current location.

The top portion shows the locate points (→p .37).

IN:

OUT:

TO:

END:

4. Time location display

This bar indicates the entire song from the zero point to

the end point. This gives a relative indication of the cur-

rent location.

5. Track status window

This area shows the name of each track and the status of

its virtual tracks. Virtual tracks displayed in black are

currently in use.

6. Scale buttons

a. CH INPUT/SubMixer button

Use these buttons to magnify or shrink the area dis-

played in the track view window.

Opens the CH INPUT/SubMixer page mode screen. (see

below)

b. PAIR/GROUP button

FaderView

Opens the PAIR/GROUP page mode screen. (→p .102)

c. FADER/PAN/AUTOMATION button

Opens the FADER/PAN/AUTOMATION page mode

screen. (→p .103)

d. EQ/ATT/PHASE button

Opens the EQ/ATT/PHASE page mode screen. (→p .107)

e. SEND (EFF/AUX/REC) button

Opens the SEND (EFF/AUX/REC) page mode screen.

(→p .109)

f. SOLO/MONITOR button

Opens the SOLO/MONITOR page mode screen.

(→p .110)

7. Name window

g. MIXER SETUP button

This displays the names of each track and of the master

effects.

Opens the MIXER SETUP page mode screen. (→p .111)

8. Pan/Fader view

Here you can view and edit the following parameters.

Faders, CH ON, pan, EFF 1/2 Return Level, EFF 1/2

Return Balance

AllMeterView

100

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2a-2. Sub Mixer 1–4

2a. CH INPUT/ SubMixer

These settings allow you to use the inputs as “sub inputs” for

inputting the return from an external effect to the INPUT 1/

GUITAR IN–INPUT 4 jacks, or so that the sound of an instru-

ment connected to these jacks can be mixed with the track

playback. (→p .44)

After completing a song on the D3200, you can synchronize

a sequencer to the D3200 and use sub inputs to mix the se-

quenced sounds with the track playback of the D3200.

These inputs are sent to the master bus.

2a-1. Channel Assign

Here you can specify the input for each mixer channel 1–32.

When you select a digital input such as S/P DIF, noise may occur

if the digital data is not synchronized. You should turn down these

faders or turn down the volume of your monitor system before you

change these settings.

Use the AUX jack to transmit the effect send to your external ef-

fect processor. (→p.109)

[1…12, S/P DIF L, R, Rhythm L, R]

1. CH1…32

1. HIGH.G

[–15 dB…+15 dB]

[21 Hz…20.1 kHz]

The number of assignable channels will depend on the sam-

pling rate and bit depth of the current song (→p.117).

Sets the high-frequency gain of the sub input.

2. HIGH.Fc

Select a channel icon “CH1”–“CH32,” and then select the

source that will be input to this channel.

The icon will be highlighted if the channel status is set to

Record (REC).

Sets the cutoff frequency at which the shelving-type EQ

will adjust the high-frequency range of the sub input.

3. LOW.G

Sets the low-frequency gain of the sub input.

4. LOW.Fc [21 Hz…20.1 kHz]

[–15 dB…+15 dB]

INPUT 1…12:

…

The analog signal from an instrument etc. connected

to the INPUT 1/ GUITAR IN–INPUT 12 jacks will be

input to the mixer channel.

Sets the cutoff frequency at which the shelving-type EQ

will adjust the low-frequency range of the sub input.

5. PAN

[L63…C…R63]

Sets the panning at which the sub input will be sent to the

master bus.

S/P DIF L, R:

The digital signal from a device (e.g., DAT) connected

to the S/ P DIF IN jack will be input to the mixer chan-

nel.

6. ON

[ON, OFF]

Speciﬁes whether the sub input will be sent to the master

bus (ON) or not (OFF).

Drums L, R:

7. Level

[0…100]

The pattern you selected for “Session Drums” will be

input to each channel. If the “Drums Track Mixer”

parameter “Assign” is set to “CH Input” and the

Click Monitor button is on, you can record while lis-

tening to the rhythm (→p .143).

Speciﬁes the level at which the sub input is sent to the

master bus.

8. Level meter

Indicates the level of the master bus.

buttons

Use these up/ down buttons to select the INPUT source.

2a-3. Sub Mixer 5–8

These settings allow you to use the inputs as “sub inputs” for

inputting the return from an external effect to the INPUT 5–

INPUT 8 jacks, or so that the sound of an instrument connect-

ed to these jacks can be mixed with the track playback.

(→p .44)

For the parameters, refer to the preceding section “2a-2. S u b

Mixer 1–4.”

2a-4. Sub Mixer 9–12

These settings allow you to use the inputs as “sub inputs” for

inputting the return from an external effect to the INPUT 9–

INPUT 12 jacks, or so that the sound of an instrument con-

nected to these jacks can be mixed with the track playback.

(→p .44)

For the parameters, refer to the preceding section “2a-2. S u b

Mixer 1–4.”

101

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2b-2. Fader Group

2b. PAIR/ GROUP

When you operate the fader of any channel that is assigned

to a group, the other faders assigned to that group will also

move, preserving the balance of the linked channels.

There are four groups, A through D. Each channel can be as-

signed to only one of these Fader groups.

2b-1. Channel Pair

Here you can specify pairing for adjacent mixer channels.

For paired channels, the following parameters will operate in

tandem and will have the same values for each channel.

Fader, Pan, CH ON, PlayEQ, RecEQ, RecSend, Eff 1/2

Send, Aux 1/2 Send, ATT, REC/PLAY, Group

1. Group buttons

[A, B, C, D]

These buttons select the fader group for each channel. To

select the group, click the corresponding button (it will be

highlighted).

Use the scroll bar/ button to move the range of channels

that is displayed.

1. Select Pair Ch

[1 2…31 32]

2. Group on buttons

[A, B, C, D]

Click the 1 2–31 32 buttons to select the channels that

are paired (the heart icon

channels).

Click (highlight) this if you want to enable a fader group.

If a button is clicked (highlighted), the fader levels will

maintain the balance between channels as they are

adjusted.

will be displayed for paired

2. PanMode

[Indiv, Sync, Cross, Balance]

Select how panning will occur.

When you turn on a 1. “Group button” to add a channel to an

existing fader group, the level of the channel at that moment

will be set as that fader’s balance in the group.

Indiv: The pan of the two channels will operate inde-

pendently.

Sync:

The pan of both channels will be the same value.

Cross: The two channels will have the opposite pan val-

ue.

2b-3. Channel On Group

Balance: The pan control will function as channel balance.

When you turn on the CH ON key of a channel that has been

assigned to a Channel On group, other channels assigned to

that group will also be turned on. There are four Channel On

groups; E through H. Each channel can belong to no more

than one of these Channel On groups.

Operation when tracks 1 and 2 are paired

Sync

Indiv

Cross

Pan 1 and 2 can be Sync If pan 1 is

Cross If pan 1 is

L63, pan 2 will be

R63.

set independently.

R63, pan 2 will also

be R63.

Balance

Balance Pan knob 1 operates

as the Balance knob.

Pan knob 2 has no effect.

1. Group buttons

[E, F, G, H]

These buttons select the CH ON group for each channel.

To select the group, click the corresponding button (it will

be highlighted).

Use the scroll bar/ button to move the range of channels

that is displayed.

2. Group on buttons

[E, F, G, H]

To enable CH ON grouping, click the corresponding but-

ton (highlighted). If these buttons are clicked, the faders

will move to preserve the balance of the group when you

operate any fader in that group.

When you turn on a 1. “Group button” to add a channel to an

existing Channel On group, the on/off status of the channel at

that moment will determine the on/off status for the group.

102

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2c-2. Automation

2c. FADER/ PAN/ AUTOMATION

You can turn automation on and record the realtime changes

you make to the mixer settings while the song plays or

records.

The recorded automation can then automatically change the

mixer settings during playback or recording.

2c-1. Fader Pan

1. Channel pan

[L63...C...R63]

This shows the pan setting for each channel. The value is

shown below the icon.

Use the 1–16 key or 17–32 key to switch between channel

groups, and use the Knob Matrix to set the pan for each

group of sixteen channels.

1. Record channel buttons

[

, s]

Use these buttons to select the channels for which you

want to record automation. Events will be recorded for

each channel whose button you click to make it indicate

(Rec) .

2. Channel fader

[–∞…+6]

2. Record parameter buttons

This shows the fader setting for each channel. The value

is shown below the icon.

Use the 1–16 key or 17–32 key to switch between channel

groups, and use the sixteen faders to set the value.

[Fader, Pan, CH ON, Send, Expression]

Use these buttons to select the parameter for which you

want to record automation. You can select only one

parameter at a time; click a radio button to highlight the

desired parameter.

3. Level meter

This indicates the master L/ R output level.

If you’ve selected Send, the parameter that is selected in the Send

cell (EFF1, EFF2, AUX1, AUX2) when you begin recording will

be r e co r ded as automation. However, “6. SnapShot” will record

all Send parameters.

4. Master fader

[–∞...+0]

This indicates the MASTER fader setting. The numerical

value is shown below the icon.

If you select Expression, click the button located at the side to

select

(Rec) before you start recording.

3. Master Fader

[

, s]

If you selected “Fader” as the record parameter, and you

want to record the operations of the MASTER fader as

well, click this button to make it indicate “ ” (Rec).

4. Automation

This button turns automation playback/ recording on/ off.

OFF: Automation playback/ recording will not occur.

On (Play): Executes automation playback. The Automa-

tion indicator will light.

During song playback or recording, when the song

reaches the location at which an event is recorded, that

setting will be recalled, automatically changing the set-

tings of the mixer. New automation events will not be

recorded.

ON (Rec): Executes automation playback and event

recording. The Automation indicator will light.

During song playback or recording, when the song

reaches the location at which an event is recorded, that

setting will be recalled, automatically changing the set-

tings of the mixer. In addition, new events will be

recorded for channels whose record channel button is set

to (Rec), according to the settings of the Event Rec

Mode dialog box. When the recorder stops, this setting

will automatically change to ON (Play).

If automation is on and you have not stored any scenes, the

Default Scene will automatically be selected. If you want to

edit scene-related parameters, be sure to store the scene.

103

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5. Mode

When you click this button, the Event Rec Mode dialog

2c-3. Event List

Here you can view or edit the events and scenes that you re-

corded using automation.

box will appear, allowing you to select the automation

recording method. Click the OK button (or press the

panel YES key) to apply your selection, or click the Can-

cel button (or press the panel NO key) to cancel it.

1. Set View

Click this button to open the Set View dialog box. Click

the OK button (or press the panel YES key) to apply your

selections, or click the Cancel button (or press the panel

NO key) to cancel them.

5a. Recording mode

Overwrite: Automation data will be overwritten from

the point you begin playing/ recording the song until

the point where you stop. If you do not record events,

all the previously-recorded events will be erased.

Punch Write: Parameters you adjust between the In

Time (the location where you begin recording events)

and Out Time (the location where you stop) will be

recorded.

5b. In Time, Out Time

If the recording mode is “Punch Write” and you

selected a parameter other than Fader as the parame-

ter to be recorded, these settings specify the locations

at which event recording will begin and end.

6. SnapShot

Clicking this button when “4. Automation” is on and the

recorder is stopped will record a “snapshot” of events for

channels whose record channel button is set to

(Rec).

1a. Event View Source

7. Undo

Click a radio button to choose the parameter that will

appear in the event view.

Click this if you want to revert the recorded automation

to its prior state. You can revert to the state prior to the

previous operation. If the button indicates Redo, you can

use it to cancel the Undo.

1b. Time Resolution/dot

[0.05, 0.1, 0.2, 0.5, 1sec]

Specify the range that will appear in the event view.

The range shown will be the time you specify here

× 192.

You can u se “2c-3. Event List” to make detailed changes to the

recorded events.

2. Event view

This data is held in common with the “8. Undo” data of “2c-3.

Event List.” If you press the Event List’s Undo button imme-

diately after recording automation, not the most recent event

edit but the previously-recorded automation will be erased.

This area shows the events of the source you selected in

Set View.

3. Event list

Displays the events selected in the “9. Select List.” To edit

an event, select (highlight) it by clicking it in the list.

8. Free event memory amount

This indicates the amount of remaining memory in which

you can record events.

4. Edit

Click this button to open the Edit Event dialog box.

4a. Event select button

Use this to select the event you want to edit. Click this

button and use the value dial (or +/– keys) to make

your choice.

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4b. Parameter/Parameter value [MIDI value]/Location

Click the parameter or location (highlight) that you

want to edit, and use the value dial (or +/– keys) to

edit it.

2c-4. Edit Scene

The mixer settings you adjust can be stored as a “scene” at a

desired location, and automatically recalled during playback

to change the mixer settings (when the “2c-2. A u tomation”

setting “Automation” is on). You can also recall a scene

when desired as a set of general-purpose settings (→p .50).

You can store one hundred scenes for each song.

The only way to edit a scene is to change its location.

The values will not be updated until you click the OK

button (or press the panel YES key) to conﬁrm your

edits.

5. Cut

A scene may contain the following settings.

Click this button to open the Cut Event dialog box.

The selected event will be cut (deleted) from the event

list. However, the event itself will be temporarily saved

in the edit buffer (clipboard).

Channel parameters

CH ON, PlayEQ, ATT, sends, insert effect assignments,

fader, pan

To execute the cut, click the Yes button (or press the panel

YES key). To cancel, click the No button (or press the

panel NO key).

Effects

Effect program numbers and Trim of the insert, master,

and ﬁnal effects.

To cut all events in the event list, click (highlight) the

Select All button and then execute Cut.

Effect return, MASTER fader, AUX levels, master EQ

6. Copy

Click this button to open the Copy Event dialog box.

The selected event will be copied temporarily to the edit

buffer (clipboard).

To execute the copy, click the Yes button (or press the

panel YES key). To cancel, click the No button (or press

the panel NO key).

To copy all events in the event list, click (highlight) the

Select All button and then execute Copy.

7. Paste

Click this button to open the Paste Event dialog box. The

event temporarily saved in the edit buffer (clipboard) will

be pasted at the selected event.

To execute the paste, click the Yes button (or press the

panel YES key). To cancel, click the No button (or press

the panel NO key).

1. Scene select cell

This area displays the currently selected scene (current

scene).

If the event at the paste-destination is the same type as the

event that was Cut or Copied, it will be overwritten. If the

event at the paste-destination is a different type, the pasted

event will be added at that location.

If no scene is selected, the Default Scene will be selected.

Choose a scene in the scene list and click the Recall but-

ton to select it.

From the left, this shows the edit icon, location, scene

name, and MIDI program number.

The edit icon will appear if the scene has been edited

until you click the OverWrite button.

If you turn off the power before clicking the OverWrite

button, the edits you made will be lost, and the scene will

revert to the state prior to editing.

If you paste multiple events (Select All), they will overwrite

the existing data starting at the paste-destination you selected.

However, only the types of event included in these multiple

events will be overwritten.

8. Undo

Click this button to return to the state prior to executing

Cut, Copy, or Paste. This can be used only to return to the

immediately previous state. If the button indicates Redo,

you can use it to cancel the Undo.

2. Scene list

This area displays the scenes that have been stored.

From the left, the location, scene name, overlap warning

icon “ ”, and MIDI program number will be displayed

for each scene. It is possible for there to be more than one

scene at the same location, but an overlap warning icon

reminds you to use caution when recalling these scenes.

The data is held in common with the “7. Undo” data of “2c-2.

Aut o mation.” If you click the Automation Undo button

immediately after event-editing, the last event-edit will be

undone – not the automation recording.

9. Select List

If Automation is on, scenes that have this overlap warning

Click this button to open the Select List dialog box. Here

you can select the channel and parameter that will be dis-

played in the event list. You can select one (and only one)

of channels 1–32, Master Fader, or Expression.

icon will not play back.

3. Disable Prm

Click this button to display the Disable Param dialog

box.

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For each scene, you can ﬁlter speciﬁc mixer settings

(parameters) so that they will not be recalled when that

scene is played back.

Select the mixer parameters that will be disabled.

For the Fader, CH ON, Pan, EQ, EFF 1/ 2 sends and Aux

1/ 2 sends, you must also select which channels will have

these parameters disabled.

2c-5. Scene Filter

These settings specify the parameters that will be modified

when scenes are recalled. The enable/ disable settings you

make here will apply to all scenes of the song.

If you want to enable/disable parameters for a specific scene of the

song, make settings in the “EditScene” tab page 3. Disable Prm.

If a parameter button is on (highlighted), ﬁltering will

apply to that parameter for the selected channels, so that

those settings of the scene will be ignored.

If a button is off (i.e., ﬁltering off), those settings of the

scene will be applied.

Click the buttons to enable/ disable the corresponding chan-

nels and/ or parameters. A channel/ parameter whose button

is turned on will not be affected by scene recall operations.

EFF 1/2 Return, Effect, Aux 1/2 Level, MasterEQ, and Mas-

terFader parameters can be disabled independently of the

channel.

Filtering is applied to the selected scene as a “playback

ﬁlter.”

The EFF1/2 Return, Effect, Aux 1/2 Level, MasterEQ, and

MasterFader parameters can be disabled without regard

to the channel.

Fader, CH ON, Pan, EQ, EFF 1/2, and AUX 1/2 filter settings

are valid only for channels that are disabled (highlighted).

The Effect button enables/disables and Trim the effect program

number and insert effect assignments.

Fader, CH ON, Pan, EQ, EFF1/2, and AUX1/2 filter set-

tings apply only to channels that are disabled (highlighted).

The EFF 1/2 Return button enables/disables the Return Level

and Balance settings of the master effect 1/2.

If you want to enable/disable scene parameters for all the

scenes in a song, use the “SceneFilter” tab page.

4. Recall

Recalls the settings that are registered in a scene. If you

recall and edit a scene, click the Recall button to save

your edits. Otherwise, the scene will revert to the state

prior to editing when you exit this screen.

5. EditLoc

Here you can change the location where the scene is

stored.

In the scene list, select the scene whose location you want

to edit.

Click the EditLoc button to display the Edit Scene Loca-

tion dialog box, and edit the location at which the scene

is stored.

Select (highlight) the location unit (e.g., hour, minute, sec-

ond) that you want to edit, and use the value dial or +/–

keys to edit the location.

Click the Yes button (or press the panel YES key) to apply

your changes, or click the No button (or press the panel

NO key) to discard your changes.

2c-6. Mixer View

You can use the Mixer View screen to check the settings of a

scene.

Here you can view and edit the following parameters.

Faders, CH ON, pan, EQ LOW Gain/LOW MID Gain/

HIGH MID Gain/HIGH Gain, EFF1/2 Send, AUX 1/2

Send, AUX 1/2 LEVEL, EFF 1/2 Return Level, EFF 1/2

Return Balance, DRUMS

If you move the top panel faders and Knob Matrix to edit a

parameter, the selection will move to the parameter you ed-

ited, and the screen will also change.

Use the 1–16 key and 17–32 key to select the sixteen-channel

group you want to view.

6. Rename

Here you can rename the scene.

In the scene list, select the current scene whose name you

want to edit, and click the Rename button to display the

Rename dialog box. You can assign a name of up to six-

teen characters. (→p .99)

7. Delete

In the scene list, select the scene that you want to delete,

and click the Delete button to display the Delete Scene

dialog box.

By turning the Select All button on (highlighted) in the

dialog box, you can delete all scenes in a single operation.

Click the Yes button (or press the panel YES key) to

delete the scene(s), or click the No button (or press the

panel NO key) to cancel the operation.

Undo is not available for this Delete operation.

8. OverWrite

Overwrites the current mixer settings onto the selected

scene number. Use this when you want to make ﬁne

adjustments to the scene or replace it with a different

scene.

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7. LOW-MID G/F/Q

[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10]

2d. EQ/ ATT/ PHASE

Here you can adjust the gain, center frequency, and Q (ﬁl-

ter sharpness) of the low-mid frequency region.

Here you can adjust the equalizer, attenuator, EQ library,

and phase settings for each channel, and adjust the master

EQ settings.

8. HIGH-MID G/F/Q

[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10]

Here you can adjust the gain, center frequency, and Q (ﬁl-

ter sharpness) of the high-mid frequency region.

9. HIGH G/F/Q

2d-1. EQ/ ATT

[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10, Shlv]

Here you can adjust the gain, center frequency, and Q (ﬁl-

ter sharpness) of the high-frequency region.

If you select Shlv as the Q value, this will become a shelv-

ing-type EQ; in this case the F value will be the cutoff fre-

quency.

For each channel you can edit the settings of the four-band

equalizer and the attenuator. The equalizer is normally a

peaking type, however the LOW EQ and HIGH EQ bands

can be set to a shelving (Shlv) type.

Channels 24–32 and the sub mixer channels have a two-band

shelving EQ.

10.FLAT

Sets the Gain of each equalizer band to 0 dB. The EQ set-

tings for that channel will be initialized.

Use the Knob Matrix to select and edit the four EQ bands.

Equalizer settings used here can be loaded from the EQ li-

brary, or registered in the EQ library (see the section below,

“2d-2. EQ Library”).

11. ON/OFF

Switches the equalizer on/ off. This allows you to listen to

the signal with and without EQ quickly to check your set-

tings.

12.

buttons

Use these up/ down buttons to edit the parameter values.

2d-2. EQ Library

Here you can load EQ settings from the EQ library. You can

also store EQ settings into the User area of the EQ library.

There are 50 preset EQ setting programs, and 50 user EQ set-

ting programs.

An EQ setting program stores parameters 6–9 of the preced-

ing section “2 d -1. EQ/ ATT.”

1. CH

[1…32]

Click the edit cell that indicates the channel whose EQ

you will edit, and use the value dial (or +/– keys) to select

the desired channel.

Alternatively, you can press the CH SELECT key and

then press a channel key to select the desired channel.

This channel is linked with “CH” in the “EQ Library” tab

page.

If the selected channel’s PLAY/REC status is PLAY, the

screen will show the PlayEQ. If REC, it will show the RecEQ.

2. IN/TR indicator

This indicates either IN or TR to show whether the cur-

rent EQ is the PlayEQ or the RecEQ, and also shows the

current input source.

1. EQ library list

Click on the list to select an EQ setting program. The list

shows the EQ setting program number (P** are presets,

U** are user) and its name.

3. EQ curve graph

A graphic representation of the EQ curve is shown here.

4. ATT

[–63.5 dB…0 dB]

2. CH

[1…16]

Here you can adjust the attenuator. Lowering this value

will lower the level that is input to the EQ.

Click the edit cell that indicates the channel into which

you will recall (or from which you will store) an EQ

library item, and use the value dial (or +/– keys) to select

the desired channel. Alternatively, you can press the CH

SELECT key and then press a channel key to select the

desired channel.

5. Level meter button

Each time you click the button, the position of the dis-

played level meter will change.

IN: Input level. The level input to the EQ is displayed.

PRE:Pre-fader level. The output level of the EQ is dis-

played.

This channel is linked with “CH” of the “EQ/ATT” tab

page.

PST: Post-fader level. The level after passing through the

fader is displayed.

3. EQ curve graph

The EQ curve of the selected EQ program is shown as a

graph.

6. LOW G/F/Q

4. Recall

[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10, Shlv]

Here you can adjust the gain, center frequency, and Q (ﬁl-

ter sharpness) of the low-frequency region.

If you select Shlv as the Q value, this will become a shelv-

ing-type EQ; in this case the F value will be the cutoff fre-

quency.

Loads the selected EQ program into the channel you

selected in 2. “CH.”

Click the library list to select the EQ program that you

want to load.

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Click the button to display the Recall dialog box, verify

the EQ program and the loading-destination channel,

and click the Yes button (or press the panel YES key). If

you decide not to load, click the No button (or press the

panel NO key).

1. PHASE

[N, R]

N (NormalPhase): The phase of this channel will not be

inverted. Normally you will leave this at “N.”

R (ReversePhase): The phase of this channel will be

inverted.

On the D3200, pin 2 is hot and pin 3 is cold (→p.6). Set this

to “R” if the connected audio device uses the opposite pin wir-

ing.

2d-4. Master EQ

Here you can adjust the equalizer settings for the master bus.

This is an four-band peaking equalizer. The Low and High

bands can also be set to a shelving-type (Shlv) EQ.

Since channels 25–32 have a two-band EQ with Low and High,

loading a four-band EQ library item into these channels will have

the following result.

The master EQ is used as a Rec EQ for the master track.

•

The LowMid and HighMid settings will be ignored.

The master EQ cannot be used when playing back the master track

or when using “Solo→Master.”

The Gain and Fc of the Low and High bands will remain as

they are, but the Q will be forcibly changed to Shelving.

5. Store

This stores the EQ settings of the “EQ/ATT” tab page into

one of the user EQ programs.

The EQ settings of the channel selected by 2.”CH” will be

stored.

A name will automatically be assigned to the stored EQ

program.

The PlayEQ of channel 8: CH08-I.EQ

The RecEQ of channel 10: CH10-EQ

Verify the store-destination number and click the Yes but-

ton (or press the panel YES key). If you decide not to

store, click the No button (or press the panel NO key).

1. Level meter

This indicates the level of the master bus.

If clipping occurs, adjust the MASTER fader.

2. L

Selects the master EQ settings for the left channel.

3. R

Selects the master EQ settings for the right channel.

5a. Rename

4. Link

You can click this button to edit the name of the library

program (→p .99).

Sets the left and right channels of the master EQ to the

identical settings. You can adjust the settings from either

the left or right channel.

5b. Program number cell

Here you can select the store-destination program

number. Click the cell to highlight it, and use the

value dial (or the +/– keys) to make your selection.

5. Band 1…4 EQ G/F/Q

[–15 dB…+15 dB/21 Hz…20.1 kHz/0.1…10, Shlv*]

These parameters adjust the gain, center frequency, and

Q (ﬁlter sharpness) of each band. Use the Knob Matrix to

adjust the setting.

* By selecting Shlv as the “Q” value for the Low and

High bands, you can switch them to shelving-type EQ;

in this case the F value will become the cutoff fre-

quency.

2d-3. Phase

You can invert the phase of each channel.

If one channel of the stereo signal from an audio device is be-

ing input via a jack whose hot and cold conductors are re-

versed, their stereo position may be blurred, or portions of

the sound may be cancelled. This setting lets you invert the

phase to correct such situations.

6. EQ curve graph

This graphically displays the EQ curve speciﬁed by these

parameters.

7. FLAT

This sets the Gain of each band to 0 dB. The center fre-

quency and Q settings for each band will remain

unchanged.

8. ON/OFF

Switches the master EQ on/ off. This turns both channels

on/ off regardless of the channel (L or R) you are cur-

rently editing.

buttons

Use these up/ down buttons to edit the parameter values.

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2e-3. Aux1 Send

You can adjust the send levels from each mixer channel to the

AUX OUT 1 jack.

2e. SEND (EFF/ AUX/ REC)

If you select the pre-fader setting (PRE), the signal from im-

mediately before the fader will be sent to the AUX OUT jack

regardless of the fader level.

2e-1. Effect 1 Send

With the pre-fader setting, the signal is sent to the AUX OUT

jack at the same level as when the post-fader (PST) setting is

used with the fader level set to unity (0 dB).

For details on connecting and using external effects, refer to

p .57.

You can adjust the send levels from each mixer channel to

master effect 1.

If you select the pre-fader setting (PRE), the signal will be

sent to the master effect from immediately before the fader,

regardless of the fader level.

With the pre-fader setting, the signal is sent to the master ef-

fect at the same level as when the post-fader (PST) setting is

used with the fader level set to unity (0 dB).

1. SEND

Adjusts the send level. Use the Knob Matrix to adjust the

setting.

1. SEND

2. PRE/PST

Adjusts the send level. Use the Knob Matrix to adjust the

setting.

This speciﬁes whether the signal will be sent at the level

immediately before the fader (Pre Fader) or the level

immediately after the fader (Post Fader).

PRE: Send the pre-fader level

2. PRE/PST

This speciﬁes whether the signal will be sent at the level

immediately before the fader (Pre Fader) or the level

immediately after the fader (Post Fader).

PRE: Send the pre-fader level

PST: Send the post-fader level

3. AUX1 Send meter

Indicates the level of the AUX1 Out.

PST: Send the post-fader level

4. Select All

3. LEVEL meter

This links the operation of all channels.

It will link the PRE/PST buttons and the SEND knobs.

Indicates the level of the Effect 1 Send bus and Effect 1

Return L/ R bus.

5. AUX1 LEVEL

4. Select All

Adjusts the level of the AUX1 Out.

This links the operation of all channels.

It will link the PRE/PST buttons and the SEND knobs.

2e-4. Aux2 Send

Here you can adjust the send level that is output from each

mixer channel to the AUX 2 jack.

For details on the parameters, refer to the section above, “2e-

3. Aux1 Send.”

2e-2. Effect 2 Send

Here you can adjust the send levels from each mixer channel

to master effect 2.

For details on the parameters, refer to the section above, “2e-

1. Effect 1 Sen d.”

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2e-5. Rec Send

2f. SOLO/ MONITOR

Here you can set the position from which signals will be sent

from each mixer channel to the recording tracks.

If you select the pre-fader setting (PRE), the signal will be re-

corded at the level immediately before the fader, regardless

of how the fader is adjusted.

2f-1. Solo

With the pre-fader setting, the recording level will be the

same as when the post-fader (PST) setting is used with the

fader level set to unity (0 dB).

Use this function when you want to listen to just one (or

more) of the channels, or to check the audio being routed to

the sends. The solo signal is output from the MONITOR L/R

jacks and the PHONES jacks.

You can also adjust the settings so that the solo signal is out-

put from the MASTER L/R jacks.

1. PRE/PST

This speciﬁes whether the signal will be recorded at the

level immediately before the fader (Pre Fader) or the level

immediately after the fader (Post Fader).

PRE: Immediately before fader location

PST: Immediately after fader location

1. CH buttons

[1…32]

Use these buttons to turn the Solo function on (high-

lighted) or off for each channel. When one of these but-

tons is on, the D3200 will automatically switch to Solo

mode, and the each channel key of that channel will

blink. You can also Solo a channel by pressing the SOLO

key on the panel. All of the channel keys will blink. Press

the channel key for the channel you wish to solo.

2. Select All

Links the PRE/PST buttons of all channels.

2. Send, Return buttons

Use these buttons to turn the Solo function on (high-

lighted) or off for each send or return.

Aux1, Aux2:

Solo the send signal to external output AUX 1, 2 jacks

EFF1 Send, EFF2 Send:

Solo the send signal to effects 1 or 2

EFF1 Return, EFF2 Return:

Solo the return signal from effects 1 or 2

To adjust the volume of each signal, use the pages or

knobs that adjust each signal.

Be aware that depending on the settings, changing these selec-

tions may cause a sudden change in the monitor volume.

3. Solo→Master

This speciﬁes whether the soloed audio will be output

from the MASTER L/R jacks. Use this setting if your

monitor system is connected to the MASTER L/R jacks

and you want to listen to the soloed audio through these

outputs.

4. Mode

Last: Solo only the last-selected signal (multiple selec-

tions are not possible)

Mix: Solo all selected signals (multiple selections are pos-

sible)

If you switch from Mix to Last, all solo settings will be turned

off.

5. ClearAll

Turns all solo settings off.

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2f-2. Monitor

Here you can select the audio signals that will be output from

the monitor output (MONITOR L/R jacks) and headphone

output (PHONES jack).

1. Pan

[L63…C…R63]

Adjusts the panning of each channel’s cue signal.

You can click a knob icon and use the Knob Matrix to

make settings for a group of sixteen channels.

2. Level

[0…100]

Adjust the level of each channel’s cue signal.

You can click a knob icon and use the Knob Matrix to

make settings for a group of sixteen channels.

1. Master LR

Sends the master LR bus to the monitor output. Normally

you will select this.

Unity level is 100.

2. Solo

3. Level meter

When you select a signal to be soloed in the “Solo” tab

page, this will be selected automatically, and it will not be

possible to select “Master LR” or “Cue.” To select these

items, you must ﬁrst turn “Off” all soloed signals.

This bar graph indicates the cue mix output volume.

3. Cue

2g. MIXER SETUP

Sends the signal speciﬁed by the “Cue Level” (see the

section that follows) level and pan settings to the monitor

output. If you select this when recording, you will be able

to adjust the monitor volume and pan for comfortable

playing, without affecting the recording level of the sig-

nal.

Here you can save the current mixer settings, or recall previ-

ously-saved mixer settings.

This allows you to store mixer settings that you use frequent-

ly, and then recall them when creating a new song. You can

also use this method to copy mixer settings to a different

song.

4. Drums

The audio from the Session Drums will be sent directly to

the monitor output. You can use this when you want to

listen to the Session Drums through headphones as the

rest of the audio tracks are output from the MASTER L/R

jacks, for example during a live performance. Normally

you will keep this turned off.

A mixer setup contains the following parameters.

•

Channel Assign, Sub Mixer, REC/ PLAY, and MASTER

TRACK STATUS

•

Pair, Group

Fader, Pan, Play/Rec EQ

ATT, CH ON, Phase, AUX/EFF Send, Rec Send

Effect (all settings including the parameters being edited)

Master Fader, Master EQ, Send Out level, Send Select

All

The drum sound will not be output unless the Session Drums

channel key is on.

If you turn Drums on here, the SESSION DRUMS

“DrmsMixer” tab page “Assign” setting will change to

“Monitor.” If you turn Drums off, the SESSION DRUMS

“DrmsMixer” tab page “Assign” setting will change to

“Master.”

•

Solo, Monitor, Cue, drum pattern output assignment,

drum pattern volume

2f-3. Cue Level

When “Cue” is turned on in the “Monitor” tab page, use the

settings here to adjust the audio level and pan of each mixer

channel.

During playback, the audio will be sent regardless of the

channel on/ off setting. During recording, audio will be sent

only for channels whose CH ON keys are set to on.

Use the 1–16 key and 17–32 key to switch the display be-

tween sixteen-channel groups.

The audio that is set to Cue will be the playback signal if a track is

playing, or the signal being recorded if the track is recording.

1. Mixer setup list

Click the screen to select the mixer setup program you

want to use. The list shows the program numbers and

program names.

When the D3200 is shipped from the factory, mixer setup pro-

grams 1 through 20 are stored as “NoData.” Recalling one of

these programs will set the mixer to the same settings as when

it is initialized (i.e., when you create a New Song).

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2. Recall

This button loads (recalls) a mixer setup program.

3. CH VIEW

In the mixer setup list, click the program that you want to

recall.

Click this button to open the Recall dialog box, verify the

program that you are recalling, and click the Yes button

(or press the panel YES key). If you decide not to recall

the program, click the No button (or press the panel NO

key).

3-1. Ch View

This displays the settings and status for a single channel.

To select the channel that you want to view, press the CH SE-

LECT key and then press the channel key of the desired

channel.

A program you saved from a 44.1 kHz or 48 kHz song can be

recalled to either a 44.1 kHz or a 48 kHz song.

3. Store

This button stores the current mixer settings as a mixer

setup program.

Verify the store-destination number, and click the Yes

button (or press the panel YES key). If you decide not to

store, click the No button (or press the panel NO key).

In this screen you can set the following parameters.

•

Pairing (→p .102)

Pan (→p .103)

Channel on/ off (→p .8)

Input (→p .101)

Attenuator (→p .107)

Phase (→p .108)

Recording location (→p .110)

Solo on/ off (→p .110)

EQ on/ off, ﬂat (→p .107)

Fader (→p .103)

Level meter position (→p .99)

Group (→p .102)

Send (→p .109)

EQ (→p .107)

3a. Rename

You can click this button and rename the mixer setup

program (→p .99).

3b. Program number cell

This selects the store-destination program number.

Click this cell to highlight it, and then use the value

dial (or +/– keys) to select the desired number.

To edit the Send and EQ parameters, use the Knob Matrix lo-

cated below the display.

3-2. Channel Routing View

This displays a simplified signal flow for the channel shown

in the “Ch View” tab page.

You cannot edit the settings here.

To select the channel that you want to view, press the CH

SELECT key and then press the channel key of the desired

channel.

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You cannot use a mono effect program for FinalEFF.

6. Navigation buttons

Use these to select parameters within the page.

7. Select

4. EFFECT

4-1. Effect Routing

This lists the effect programs used by the insert 1–8, master,

and final effects, and shows their status.

The D3200 lets you simultaneously use up to eight insert ef-

fects, two master effects, and one final effect.

Choose the effect you want to use, and then click this but-

ton to display the Select EFF Category dialog box.

Choose the desired category, and use the Select EFF Pro-

gram dialog box to select the effect program that you

want to use.

The number of simultaneously usable effects will differ depending

on the size of the effect programs, and on how they are assigned.

In this screen you can also select effect programs and edit

some of their parameters.

To select a program, use the value dial or click the Select but-

ton in the screen and choose from a list of effect programs by

category.

1. CH

[1…32]

Selects the channel to which each insert effect 1 through 8

will be applied.

2. Insert effect location

[IN, TR]

Selects whether each insert effect 1 through 8 will be

applied to the input (IN) or to the playback track (TR).

7a. Cancel

Returns to the “EFFRouting” tab page without select-

ing a category.

3. Insert EFF 1…8

Selects the program for each insert effect 1 through 8. A

maximum of eight different effects can be used.

The cells indicate the currently selected program number,

effect name, effect size icon, control icon (only if speci-

ﬁed), and on/ off icon.

7b. OK

After selecting an effect program, click this button to

conﬁrm your selection and return to the “EFFRout-

ing” tab page.

7c. Cancel

Returns to the Select EFF Category dialog box.

8. On/Off

The letter “E” is displayed at the beginning of the effect

number to indicate an effect that is being edited.

: Effect size icon

This button switches the currently selected (highlighted)

effect on/ off. This will affect the amount of DSP Power

that is used. Pressing this button will turn the highlighted

effect on ( as long as there is sufﬁcient DSP Power) or off.

Indicates the DSP size of the effect.

: Control icon

Indicates an effect to which effect control is assigned.

: On/off icon

9. DSP Power indicator

Indicates the on (enabled) or off (disabled) status of

the effect.

For the possible combinations and how they will operate,

refer to “Effects that can be used simultaneously”

(→p .114).

This shows the DSP Power level. This will indicate 0% if

no DSP Power at all is being used, or 100% if all of the

DSP Power is being used.

10.Restrct (Restructure)

This button frees up the DSP power of “dead effects” that

are in an unusable state due to their assignments. An

effect that is in an unusable state is indicated by the dead

icon “ ”.

Due to the input/output structure of the mixer, you cannot use

a stereo program for insert effect 8.

4. MasterEFF 1, 2

Here you can select a program for master effects 1 and 2.

The cells indicate the currently selected program number,

effect name, effect size, control icon (only if speciﬁed),

and on/ off icon.

You cannot use a mono effect program for MasterEFF 1 or 2.

5. FinalEFF

Here you can select a program for the ﬁnal effect. The

cells indicate the currently selected program number,

effect name, effect size, control icon (only if speciﬁed),

and on/ off icon.

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Effects that can be used simultaneously

4-2. Insert EFF

You can apply insert effects to input sources during record-

ing, or to tracks during playback.

The effect programs used by the D3200’s effects are classified

as being different “sizes” according to the amount of DSP

processing power they consume.

Effect programs that allow up to eight insert effects to be

used are called “size-one” effects. Relative to these, some ef-

fect programs are “size-two” and others are “size-four.”

The size of an effect program is shown by the icon at the right

of the effect name.

You can use a total of up to eight insert effects. You can use

the Knob Matrix located below the LCD screen to edit the pa-

rameters that are shown as knob icons.

One “size” corresponds to one of the on/ off icons in each ef-

fect cell.

The maximum size that can be used simultaneously is 16.

Techniques for assigning effects

On the D3200, effects assigned to the upper rows of effect

cells will be given higher priority for being turned on. This

means that depending on how programs are assigned, you

may need to use the Restrct button or the On/Off buttons to

make adjustments while watching the DSP Power indicator,

in order to make the best use of the available effects.

The priority order also applies to the groupings of Insert, Master,

and Final effect. For example if you assign a size-four program to

insert effect 7, this will occupy insert effects 7 and 8 and master

effect 1, meaning that you will not be able to assign a program to

master effect 1.

1. Insert effect location

[IN, TR]

Selects whether the insert effect will be applied to the

input (IN) or to the track playback (TR).

2. CH

[1…32]

To cancel an effect, cancel its channel assignment, and also select

NO EFFECT as the effect.

Selects the channel to which you will apply the insert

effect.

Using the Restrct button

3. Insert effect select

Due to the priority scheme discussed above, if you make

many changes to your effect routings, it is possible to end

up with DSP power applied where it cannot be used. The

“Restructure” function can recover this DSP power so it

can be used for another effect. The following example

describes how this works.

First assign a size-one effect to insert effect 1, and a size-

two effect to insert effect 2.

Next, let’s suppose that you assign a size-two program to

insert effect 1.

When you do so, insert effect 2 (whose priority is lower)

will be masked by effect 1; you will unable to turn insert

effect 2 off, and insert effect 3 will be unavailable.

In this state, insert effect 2 is a “dead effect.” The on/ off

icon of the effect will change to the dead effect icon “ ”.

In this case you can click the Restrct button to release the

dead effect so that insert effect 3 will again be available,

and the wasted DSP power will be recovered.

Select the insert effect (1–8) that you want to edit.

Alternatively, you can press the CH SELECT key and then

press the Channel Key of the desired channel to select the in-

sert effect assigned to that channel. If you select a channel to

which no insert effect is assigned, the selection will not change.

4. Insert effect program

Use the value dial to select an effect program, or click the

popup button in the screen and choose from a category

list of effect programs.

If the selected program has been edited, the program

number’s P (preset), U (user), or S (song) indication will

change to “E,” indicating that the program has been

edited.

5. Trim knob

[0…100]

With a setting of 100, the level will be the same as the

input level.

Lower this level if an excessive input level causes distor-

tion when an effect is applied.

Using the On/Off button

6. Effect chain display

If an effect that you actually what to use is turned off due

to lack of DSP power, you can turn off one or more effects

that are unintentionally on in order to allocate the neces-

sary size, and then turn the desired effect on. When doing

so, watch the DSP Power indicator as you choose the

effect(s) to turn on or off.

This shows the chain of effects that make up the effect

program. When you select (highlight) one of these effects,

the editable parameters will appear in “7. Knob icons.”

7. Knob icons

Use these knobs to edit the parameters of each effect.

The parameters and range of values will depend on the

effect and parameter. You can turn the Knob Matrix

(located below the LCD screen) to edit the value of the

corresponding parameter.

8. ON/OFF

This is an on/ off switch for the selected effect within the

effect chain.

If the button is OFF, that effect will be bypassed.

9. Level meter

This shows the input/ output level of the effect and the

GR (gain reduction) level.

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10.Rename

This lets you rename the effect program.

4-3. Master EFF1

Master effects are used by adjusting the level of the signal be-

ing sent from each channel to the master effect in order to cre-

ate overall depth and balance.

You can use the Knob Matrix located below the LCD screen

to edit the parameters that are shown as knob icons.

Select the effect program that you want to rename, click

the Rename button to open the dialog box, and edit the

name. You can assign a name of up to sixteen characters

(→p .99).

After renaming the program, use “11. Store” to store it. The

effect program name you edited will be discarded if you don’t

use to store it.

Notes about using the master effects

The master effects process the signals sent to them via the

effect send control of each channel, and send the proc-

essed signal to the effect bus. This means that the direct

sound sent from each channel to the master bus will be

mixed with the effect sound.

In the case of effects such as reverb or chorus that inter-

nally mix the effect sound and the direct sound together

before the output, the direct sound passed through the

effect will be added to the direct sound sent directly from

each channel, meaning that the balance between the

direct and effect sound will not be correct.

11. Store

This stores the effect program with its edited parameters

and name.

In the D3200 there are 128 user effect programs that can

be used by all songs, on any song drive; and 32 song

effect programs that are speciﬁc to each individual song.

Click the button to display the Store Program dialog box.

In such cases, set Dry:Wet (a parameter that adjusts the

balance of the effect sound and direct sound) so that the

effect will output only the processed (WET) sound. With

this setting, the master effect return level will correctly

control the mix balance of the effect sound.

If you want to use a master effect as an insert effect, set

the send location of the send channel to pre-fader (Pre)

and lower the fader to -inﬁnity so that no direct sound

will be sent to the master bus. With this setting, the mix

balance between the effect sound and dry sound will be

controlled by the master effect parameter (Dry:Wet).

Click the “Area” list button to select U (User) or S (Song).

Then click the number cell and use the value dial (or +/–

keys) to select the save-destination number.

When choosing the store-destination, choose “U” for programs

that you intend to use in other songs as well, and choose “S”

for programs that will not be used in other songs or that would

cause problems if they were modified.

Signal flow for the master effect

To execute the store operation, click the Yes button (or

press the panel YES key). To cancel, click the No button

(or press the panel NO key).

When you save, the new data will overwrite the data pre-

viously stored in that number, and the previous settings

will be lost.

from the EQ

output of each

channel

Pan

to the Master bus

Direct sound

Post-fader

Master Effect

Return

Level

Balance

Send

Pre-fader

Effect

Program

If you overwrite an effect program that was being used when

you stored a scene, be aware that the playback may not sound

with the settings you intended.

Mix balance of direct

sound and effect

sound

In the case of Reverb

Direct sound Dry

Dry:Wet

Reverb

Effect sound

from Send

Wet

to Return Level

1. Effect program selection

To select an effect program, use the value dial, or click the

popup button in the screen and choose from the list of

effect programs displayed by category.

If the selected program has been edited, the program

number’s P (preset), U (user), or S (song) indication will

change to “E,” indicating that the program has been

edited.

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2. Trim knob

[0…100]

2. Trim knob

[0…100]

With a setting of 100, the level will be the same as the

input level.

With a setting of 100, the level will be the same as the

input level.

If distortion is caused by an excessively high input level

when you apply the effect, use this parameter to lower

the input level.

If distortion is caused by an excessively high input level

when you apply the effect, use this parameter to lower

the input level.

3. Effect chain display

This shows the chain of effects that make up the effect

program.

This shows the chain of effects that make up the effect

program.

4. Knob icons

Use these to edit the parameters of each effect.

For details, refer to “4-2. Insert EFF” (→p .114), 7. Knob

icons.

Use these to edit the parameters of each effect.

For details, refer to “4-2. Insert EFF” (→p .114), 7. Knob

icons.

5. ON/OFF

This is an on/ off switch for the selected effect within the

effect chain.

This is an on/ off switch for the selected effect within the

effect chain.

If the button is OFF, that effect will be bypassed.

6. Level meter

This shows the input/ output level of the effect and the

GR (gain reduction) level.

This shows the input/ output level of the effect and the

GR (gain reduction) level.

7. Effect return

7. Rename

Sets the effect return level and balance.

Use this to rename an effect program.

For details, refer to “4-2. Insert EFF” (→p .115), 10. Rename.

8. Rename

Use this to rename an effect program.

8. Store

For details, refer to “4-2. Insert EFF” (→p .115

)

, 10. Rename.

Use this to store the effect program whose parameters or

name you have edited.

For details, refer to “4-2. Insert EFF” (→p .115), 11. Store.

9. Store

Use this to store the effect program whose parameters or

name you have edited.

For details, refer to “4-2. Insert EFF” (→p .115), 11. Store.

5. SEND

Operation is the same as when you press the MIXER key and

click the SEND (EFF/ AUX/ REC) button in the page jump

menu screen. For the parameters, refer to “2e. SE N D (EFF/

AU X / REC)” (→p .109).

4-4. Master EFF2

For details on the parameters, refer to the section above, “4-

3. Master EFF1.”

4-5. Final EFF

The final effect is used to make final adjustments to the over-

all sound in the last stage of the master bus. Here you can use

one stereo effect program.

6. EQ

This displays the 2d-1. EQ/ ATT tab page. For the parame-

ters, refer to “2d-1. EQ/ ATT” (→p .107).

You can use the Knob Matrix located below the LCD screen

to edit the parameters that are shown as knob icons.

7. PAN

This displays the 2c-1. Fader Pan tab page. For the parame-

ters, refer to “2c-1. Fa d er Pan” (→p .103).

1. Effect program selection

To select an effect program, use the value dial, or click the

popup button in the screen and choose from the list of

effect programs displayed by category.

If the selected program has been edited, the program

number’s P (preset), U (user), or S (song) indication will

change to “E,” indicating that the program has been

edited.

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2. Level meter

This indicates the level that is being sent from the OUT-

PUT jacks.

8. SONG

Here you can select or edit a song. The screen shows informa-

tion about the currently selected song.

The screen shows the song name, drive name, song number,

song time, sampling frequency, bit depth, and protect set-

ting.

3. New

Click this button to create a new song in the currently

selected drive. The new song will be created following

the last song in the current drive.

The New Song dialog box will appear when you click

this button. Use the radio buttons to specify the sampling

frequency and bit depth for the new song, and click the

OK button (or press the panel YES key).

1. Song select button

Click this button to open the Select Song dialog box.

3a. Song Type

[44.1 kHz/16 bit, 48 kHz/16 bit,

44.1 kHz/24 bit, 48 kHz/24 bit]

Specify the sampling frequency and bit depth for the

newly created song.

The type you select will determine the minimum of

tracks that can be simultaneously recorded, played, or

punch-recorded.

Maximum number of simultaneous tracks by Song

Type

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

Recording

Playback

Punch recording

16*

12**

Click to highlight the name of the desired song.

Click the OK button (or press the panel YES key) to exe-

cute your selection. If you decide not to change songs,

click the Cancel button (or press the panel NO key).

*16 channels is the maximum, combining 12 analog inputs,

+ 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).

**12 channels using any combination of analog inputs, digital

inputs and Session Drums.

If you want to select a song from a different drive, click

the Drive button and select the desired drive.

You can change the “Song Type” (sampling frequency/bit

depth) only when creating a new song.

It is not possible to continuously record for more than 12

hours.

4. Rename

Here you can rename the currently displayed song.

Click the button to display the Rename dialog box, and

edit the song name. You can input a name of up to sixteen

characters. (→p .99)

Drive

window

5. Move

This operation moves the selected song to another song

number of the drive you specify.

When you click this button, the Move Song dialog box

will appear. Click the Yes button (or press the panel YES

key) to execute the move, or click the No button (or press

the panel NO key) to cancel. When the move operation is

ﬁnished and the display indicates “Completed,” click the

OK button (or press the panel YES key).

1a. Drive

[I, A…D]

Here you can choose the current drive. When you

click this button, the Select Drive dialog box will

appear.

In the drive window, click a drive name to select it.

Click the OK button (or press the panel YES key) to con-

ﬁrm your selection. If you decide not to change drives,

click the Cancel button (or press the panel NO key).

Undo will not be available if you move to a song drive other

than the currently selected drive.

If you want to rename the song drive, click the Rename

button to display the Rename dialog box, and edit the

song drive name. You can input a name of up to sixteen

characters. (→p .99)

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Before copying

Song name

ABC

CDR

AAA

ZZZ

Song number

Copy to song number “3”

Moved backward

After copying

Song name

AAA

ZZZ

AAA

ABC CDR

5a. Move-destination song number cell

Song number

This shows the drive that contains the selected song,

and lets you select the song number.

6b. Copy-destination drive

If you’re moving a song within the same song drive,

the selectable numbers will be the number of existing

songs. If you’re moving a song to a different song

drive, the selectable numbers will range from “001” to

one greater than the number of existing songs.

When you execute the move, no data will be overwrit-

ten. If the move-destination number you selected is

higher than the move-source number, preceding song

numbers will be renumbered forward. If the move-

destination number is lower than the move-source

number, subsequent song numbers will be renum-

bered down by one.

If you want to copy the song to a song drive other than

the current drive, click this button to open the Select

Drive dialog box. Select the desired drive and click the

OK button (or press the panel YES key).

7. Delete

This operation deletes the current song.

When you click this button the DeleteSong dialog box

will appear. Click the Yes button (or press the panel YES

key) to delete the song, or click the No button (or press

the panel NO key) to cancel.

When you execute this operation, the selected song will

be deleted and subsequent songs will be renumbered for-

ward.

Before moving

When the song has been deleted and the display indi-

cates “Completed,” click the OK button (or press the

panel YES key).

Song name

EFF

AAA

ZZZ

ABC

CDR

Song number

This Delete operation cannot be undone.

Move to song number “4”

Renumbered forward

After moving

Song name

ZZZ

EFF

AAA

ABC

CDR

Song number

5b. Move-destination drive

If you want to move the song to a different drive, click

this button to open the Select Drive dialog box. Select

the desired drive, and click the OK button (or press

the panel YES key).

8. Protect

Writing, deletion, or editing of the current song can be

prohibited (protect on) or allowed (protect off).

When protect is on, it will not be possible to rewrite the

parameters or data of that song; e.g., an error message

will appear if you attempt to record.

When you move a song to another drive, song numbers will be

adjusted in the same way as for the Copy operation.

6. Copy

This operation copies the currently selected song to

another song number in the desired drive.

When you click this button, the Copy Song dialog box

will appear.

The song will automatically be saved when you turn this

protect setting on.

When you click this button, the Protect dialog box will

appear. Click the ON button to turn protect on, or click

the OFF button to turn protect off. When the protect set-

ting has been applied and the display indicates “Com-

pleted,” click the OK button (or press the panel YES

key).

When protect is on, a protect symbol ( ) will appear fol-

lowing the sampling frequency indication of the song.

If protect is on, adjustments to the faders or EQ will be reflect-

ed during editing, but will not be recorded.

Click the Yes button (or press the panel YES key) to exe-

cute the copy, or click the No button (or press the panel

NO key) to cancel. When the copy operation is ﬁnished

and the display indicates “Completed,” click the OK but-

ton (or press the panel YES key).

This Protect operation cannot be undone.

This Copy operation cannot be undone.

6a. Copy-destination song number cell

This shows the copy-destination drive, and lets you

select the song number. You can select a number in the

range of “001” through “existing song numbers + 1”.

When you execute the copy, the song will be copied to

the copy-destination song number. If the copy-desti-

nation is an existing song number, it will not be over-

written; that song and subsequent songs will be

renumbered upward by one as shown in the diagram

below.

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MasterEFF 1, 2:

Control master effect 1 or 2.

9. SYSTEM/ MIDI

FinalEFF:

Control the ﬁnal effect.

If the effect program you are using has no control function, it

cannot be controlled. Nor is control possible unless Ctrl is

turned on (→p.114) in the effect chain display for that effect

program.

9-1. Control

5. Control MIDI CH

[1…16]

Speciﬁes the channel that will be used to control the

internal effect via MIDI.

Set this to the MIDI channel that you are using for control.

6. Device

[Pedal, After Touch, Pitch Bend, Velocity, Note Number,

CC#000…119]

Selects the external device that will control one of the

D3200’s internal effects. The effect you specify in 3. “Con-

trol Change Assign” can be controlled in realtime.

Pedal:

An expression pedal will control the effect. Connect an

expression pedal (such as the separately sold XVP-10

or EXP-2) to the EXPRESSION PEDAL jack, and

move the pedal to control the effect.

1. Polarity

[–, +]

Speciﬁes the polarity of the foot switch.

Connect a foot switch (separately sold option: PS-1 or

equivalent) to the rear panel FOOT SW jack, and set this

parameter so that the “ ” symbol lights when you press

the foot switch.

After Touch, Pitch Bend, Velocity, NoteNumber:

MIDI aftertouch, pitch bend, velocity, or note number

data will control the effect.

2. Function

[PunchIn-Out, Mark, PlayStop]

Connect the MIDI OUT of an external MIDI device to

the D3200’s MIDI IN connector, and transmit the

appropriate MIDI data from the external MIDI device

to control the effect.

Selects the function that will be controlled by the foot switch.

PunchIn-Out

The foot switch will alternately start or stop manual

punch-in/ out recording. Press the PLAY/REC key,

and use the channel key of each channel to select REC

mode for the track(s) you want to record. Then start

playback. Recording will begin from when you press

the foot switch, and will end when you press the foot

switch again.

CC (Control Change) #000…119:

A MIDI control change number will control the effect.

Connect the MIDI OUT of an external MIDI device to

the D3200’s MIDI IN connector, and transmit the

appropriate MIDI control change message from the

external MIDI device to control the effect.

Mark

7. ClickPoint

[Slow, Normal, Fast]

When you press the foot switch, a mark will be regis-

tered at that location. While this tab page is displayed,

the foot switch is used to detect the polarity, and will

not perform the assigned function. While you are

recording tap tempo, the foot switch will perform tap

input regardless of the setting here.

Select the speed at which the pointer will move when you

operate the ClickPoint.

8. Calib

When you click this button, the ClickPoint Calibration

dialog box will appear.

You should execute this operation if you notice that the

movement of the pointer in the LCD screen or the click-

ing action does not match the position shown in the

screen. Refer to “ClickPoint calibration” (→p .97) of the

operation section.

Play/Stop

Switch between playback start and stop. Press the foot

switch to start playback, and press it again to stop playback.

3. Fader/Knob Control

[Match, Jump]

Due to a variety of factors - automation, loading scenes,

editing with the value dial etc. - the current parameter

values may not match the current position of the physical

faders or the Knob Matrix.

In such cases, the setting you select here will determine

the way in which the parameter values will be made con-

sistent with fader or Knob Matrix movements.

9. Date/Time

Here you can specify the date and time for the D3200’s

internal clock. Songs are managed according to the date

and time you specify here.

Match: After a fader or Knob Matrix knob reaches the

value stored for that parameter, then the value

will smoothly change to reflect the current knob

or fader position.

Jump: Parameter values will jump to the fader or knob’s

position the instant the fader or Knob Matrix

knob is moved.

The Calendar dialog box will appear when you click this

button. To apply the new date and time, click the Yes but-

ton. If you decide not to change the date and time, click

the No button. (Alternatively, you can press the panel

YES key or NO key.)

4. Control Change Assign

[Off, InsertEFF1…8, MasterEFF1, 2, FinalEFF]

Here you can select the effect that you want to control.

The effect you select here can be controlled by “6. Device.”

9a. Date

Off:

This displays (and lets you set) the current date, dis-

played as Month:Date:Year (four digits).

No effect will be controlled.

InsertEFF1…8:

Control an insert effect 1, 2, …8 respectively.

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9b. Time

This displays (and lets you set) the current time, dis-

9-2. Disk Utility

Here you can format a drive, create partitions, and check a

drive.

played in 24-hour time as Hours:Minutes:Seconds.

The date and time are retained when you power-off to the

Standby mode. However, if the main power switch is turned

off, you’ll need to reset them.

10.Word Clock

The “Word Clock” tab page displays the current word

clock source and frequency, and lets you make synchroni-

zation settings for the audio data clock.

You may hear noise if synchronization cannot be achieved. Be-

fore you change these settings, please turn down the faders or

turn down the volume of your monitor system.

When you click the Clock Source button, the Clock

Source dialog box will appear. Choose the desired clock

source and click the OK button (or press the panel YES

key). The Working dialog box will appear. If you decide

not to change the clock source setting, click the Cancel

button (or press the panel NO key). The D3200 can syn-

chronize to a 44.1 kHz or 48 kHz clock.

1. Drive list

(HDD, CD)

This displays information about the drive (capacity, drive

name).

Internal: Synchronize to the internal clock.

S/P DIF: Synchronize to the S/ P DIF clock.

HDD: Hard Disk Drive

The upper area shows the total capacity of the hard

disk.

The middle area shows the partition drive names

(A–D), the capacities, and the song drive name.

The lower area shows the PC (USB) area. This drive

is referred to as the PC drive, and can be set to 2, 4,

or 8 GB.

DISK:Indicates the type of CD, CD-R, or CD-RW.

2. Partition

When you click this button, the Partition dialog box will

appear.

When the clock has been calculated, the Word Clock

indication will show the frequency of the clock source.

If the digital input audio sounds wrong, or if “Audio Sync

Error” is displayed, check the “Clock Source” setting or the

connections from your other equipment.

If you select “S/P DIF” as Clock Source, the D3200 will stop

operating if the clock is interrupted or the clock frequency

changes during recording or playback. If the D3200 stops op-

erating correctly due to a clock problem during recording, you

will have to format the song drive. You may wish to back up

the data on that song drive before using an external word clock.

The clock source setting is not saved. “Clock Source” will al-

ways be set to “Internal” when you select a song or when you

turn on the power.

2a. Partition

[1...4]

This ﬁeld speciﬁes the number of partitions.

Click the Partition list box, select the number of parti-

tions into which you want to divide the disk, and click

the Yes button (or press the panel YES key) to execute

the partition operation. At this time, a warning dialog

box will appear if the drive contains even one song for

which Protect is turned on. If you want to override the

Protect setting of the song, click the Force button

(highlighted) and then click the Yes button (or press

the panel YES key) to continue execution.

If you decide not to execute, click the No button (or

press the panel NO key).

When you execute partitioning, the data on that drive will

be lost, but “User Data” (→p.83, 123) and SYSTEM/

MIDI “Control” tab page data will be maintained.

2b. PC (USB)

[2 GB, 4 GB, 8 GB]

Here you can change the size of the USB drive.

Click the PC (USB) list button to specify the size of the

PC drive, and click the Yes button (or press the panel

YES key) to execute the setting. At this time, a warn-

ing dialog box will appear if the drive contains even

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one song for which Protect is turned on. If you want to

override the Protect setting of the song, click the Force

button (highlighted) and then click the Yes button (or

press the panel YES key) to continue execution.

If you decide not to execute, click the No button (or

press the panel NO key).

Unused

Check and repair the ﬁrst 2 GB of the currently-

unused area.

Current Partition

Check and repair the area of the currently selected

partition.

If connected to a Windows 98 computer, only 2 GB can be

detected for a PC (USB) drive. The drive will not be detect-

ed if it is 4 GB or 8 GB in size.

All Partition

Check and repair all partitions and the area used by

the system.

Specify the desired Area, and click the Yes button (or

press the panel YES key) to execute the Check Drive

operation. If you decide not execute, click the No button

(or press the panel NO key).

When you execute the Partition operation, the data on that

drive will be lost.

3. Drive Info

Here you can view information about the hard disk.

When you click this button, the Drive Info dialog box

will appear. Click the Exit button to return to the

“DiskUtility” tab page.

Executing the “Edit Track” operation “OptimizeTrk”

(→p.131) will also improve the state of tracks that produce

“Disk too busy.” errors. Use the Check Drive command if ex-

ecuting OptimizeTrk does not eliminate the “Disk too

busy.” errors.

Check Drive requires a substantial length of time for execu-

tion. If the hard disk has a capacity of 40 GB, executing this

command for All Partition will require approximately 7

hours.

5. Format

This formats the hard disk.

When you click the button, the Format dialog box will

appear. Select the drive you wish to format and the

desired option, and click the Yes button (or press the

panel YES key) to execute formatting. If you decide not

to format, click the No button (or press the panel NO

key).

3a. Song drive list

When you execute the Format operation, the data on that drive

will be lost.

This displays the song drives.

The partition drive name (A–D), total capacity, song

drive name, used capacity, and free capacity are dis-

played.

You cannot cancel this operation once formatting has begun.

3b. PC drive

This displays the PC drive.

The total capacity, used capacity, and free capacity are

displayed.

3c. Rename

In the song drive list, select the song drive that you

want to rename, and click this button. Use the

Rename dialog box to edit the name (→p .99).

Click the Yes button (or press the panel YES key) to

execute the settings. If you decide not to execute, click

the No button (or press the panel NO key).

4. CheckDrive

This checks and repairs errors in the songs on the hard

disk. Execute this operation if the “Disk too busy.” error

message appears frequently. After executing this, you can

continue using the song data unless there was a major

error on the drive.

5a. Drive

Select the drive that you want to format.

A…D: an individual song drive

A–D: all song drives

PC:

the PC drive

ALL: the entire hard disk

5b. Option

Select the type of formatting.

Quick:

Since only the system area will be formatted, this

will not require very much time.

ALL → approximately 7 seconds for 40 GB

Full:

Execute this if the “Drive Error occurred.” message

appears frequently during playback. Use this

method if you still experience problems after per-

forming a Quick format, such as the drive failing to

be recognized. This will require a substantial length

of time.

Click the Area

button to display the list.

ALL → approximately 7 hours for 40 GB

Current Song

Check and repair the area used by the currently

selected song.

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6. Load System

This loads system ﬁles to update the operating software.

When you click this button, the LoadSystem dialog box

will appear. Use “Source” to select the system ﬁle that

you want to load, and click the Yes button (or press the

panel YES key) to begin the update.

For details, refer to “Upgrading the system” (→p .96).

1. File list

This area lists the ﬁles.

Upper area: PC folder names (:folder names…)

Lower area: folders/ ﬁle names

2. Close

Moves to the next higher folder level.

3. Open

If a folder is selected, opens that folder.

4. Rename

Renames a ﬁle (→p .99).

7. Save System

The D3200’s system program is stored on the hard disk.

At start-up, this system program is loaded into the sys-

tem area, and begins operating.

This means that if for some reason the hard disk should

be damaged, it is possible that the system will become

unable to start up.

For details regarding limitations on ﬁle names, refer to

“More about drives and ﬁles” (→p .171).

5. Delete

As a safeguard against such emergencies, we recommend

that you create a system recovery disc.

Deletes the selected ﬁle.

6. USB Mode

Click the button to open the Save System dialog box.

Insert a CD-R or CD-RW into the CD-R/ RW drive, and

click the Yes button (or press the panel YES key) to create

the system recovery disc. If you decide not to execute this

operation, click the No button (or press the panel NO

key).

Places the D3200 in USB Slave mode. When the D3200 is

in this mode, data can be transferred between the D3200’s

internal PC drive and your personal computer.

To exit from this mode, perform the “Safely Remove

Hardware” (→p .93) operation on your computer, and

then click the Exit button in the USB Slave Mode dialog

box.

You must use a blank disc to create a system recovery disc. You

cannot create a system recovery disc using a disc that already

contains data.

9-3. Edit PC File

Here you can view, delete, and rename the folders and files

in the PC drive.

By connecting the D3200’s USB connector to your personal

computer, you can save data from the PC drive onto your

computer.

You can save the following data on the PC drive.

Song data

This is data for each track, mixer settings, and effect set-

tings.

Since this data is in a proprietary Korg format, it cannot

be played back or edited as audio data on any device

other than the D3200, such as a computer. In order to play

this data, you must Restore it into the D3200.

User data

The editable data consists of the user effect program data,

user EQ library data, and mixer setup data.

Since this data is in a proprietary Korg format, it cannot

be edited on a computer or other device.

In order to use this data, you must Restore it into the

D3200.

Audio files

Audio ﬁles are 44.1/ 48 kHz, 16-bit/ 24-bit WAV format

data. For details on creating audio ﬁles, refer to “2-2.

Ex p orting an audio ﬁle” (→p .87).

For details regarding limitations on files, refer to “More about

drives and files” (→p.172).

Do not delete files named “AUTORUN.INF” or

“KORG03.ICO,” since these contain settings.

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9-4. Backup

9-5. Restore

This operation saves back-up data to CD-R, CD-RW, or the

PC drive.

This operation restores song and user data that you previ-

ously saved using the Backup operation.

From a “1Song” backup file you can restore that one song

and user data.

For details regarding limitations on files, refer to “More about

drives and files” (→p.171).

From an “All Data” backup file, you can restore either one

selected song, or all song data, User Data and album CD

project data.

From a “User Data” backup file, you can restore user effect

program, user EQ library, and mixer setup data.

For details regarding limitations on files, refer to “More about

drives and files” (→p.171).

1. Backup

[1Song, All Data, User Data]

Select the type of data that you want to back up.

1Song

From the selected drive, back up the data for one song,

and the user data.

All Data

Back up all song data on the selected drive, the user

data, and the Album CD Project.

1. Drive

[CD, PC (USB)]

This selects the backup-source drive. Click this button to

display the Select Drive dialog box. Use the radio but-

tons to select a drive, and click the Yes button (or press

the panel YES key).

User Data

Backup only the user data (user effect programs, user

EQ library, mixer setup)

Song Effect Programs are backed up as song data (1Song, All

Data); they are not included in User Data.

2. Restore ﬁle

This displays the ﬁle that will be restored.

If you are restoring from the disk drive, insert the disc

containing the backup into the drive.

2. Backup source

This displays the drive etc. for the song you selected in

the SONG page (→p .117).

Depending on the contents of the backup, the backup-

source drive, song number, song name, user effect data,

and the size of the backup data will be displayed.

3. Select File

Click this button to display the Select Restore Data File

dialog box, and select the data that you want to restore.

Select the data that you want to restore, and then click the

OK button (or press the panel YES key).

3. Backup destination

This displays the backup-destination drive and the name

of the ﬁle in which the data will be saved.

4. Drive

[Disk, PC (USB)]

This selects the backup-destination drive. The Select

Drive dialog box will appear when you click this button.

Click the radio buttons to select a drive, and click the Yes

button (or press the panel YES key).

5. Rename

This lets you rename the backup ﬁle. Click this button to

display the Rename dialog box. Edit the ﬁle name and

click the OK button (or press the panel YES key).

For details on the allowable ﬁle names, refer to “More

about drives and ﬁles” (→p .171).

6. Exec.

3a. Restore-source display

This executes the backup.

This area displays the restore-source drive and folder

name.

Click this button and the Backup dialog box will appear,

showing the space required for the backup.

•

If you are backing up to the PC drive, check the free

space and click the Yes button (or press the panel YES

key).

If you are backing up to CD, prepare the necessary

number of disc media to accommodate the backup,

specify the writing speed, and click the Yes button (or

press the panel YES key).

3b. File list

This area lists the folders, ﬁles, and data contained in

the restore-source.

3c. Close

Moves to the next higher folder.

3d. Open

If the selected item is a folder, opens that folder.

3e. Select All

Press this if you want to restore all the data displayed

in the ﬁle list.

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4. Restore destination

This displays the restore-destination drive, and lets you

select the song number.

If you are restoring “1Song,” the data will be restored to

the song number you select here.

The restore-destination drive will indicate the drive of

the song selected in the SONG page.

9-6. MIDI/ MMC

On the D3200 you can use MIDI to do the following things.

•

Control effects (→p .57)

MTC Synchronizing with a sequencer or other MIDI

device (→p .95)

Switch scenes (→p .51)

Use control changes to control mixer parameters

•

5. Exec.

Press this to execute the restore operation. The restore-

source song and/ or user data will be restored to the

restore-destination drive.

The D3200 can transmit and receive MMC (MIDI Machine

Control) messages.

Song data

This means that when synchronizing two D3200 units, or

when using the D3200 with a MMC-compatible MIDI se-

quencer, you can control operations such as song playback,

and stop from the master device.

When you restore one or more songs, the restored song(s)

will be inserted at the speciﬁed song number of the cur-

rent drive. Songs following the restore-destination

number will be renumbered higher by one. They will not

be overwritten.

You can use MIDI Time Code to synchronize the D3200 with

an external MIDI sequencer or other device, so that the

D3200’s track audio will play back in synchronization with

external MIDI source sources.

The D3200 can operate in synchronization with an external

MIDI device by using MTC (MIDI Time Code) synchroniza-

tion.

The device that outputs the synchronization clock is called

the master, and the device that receives this clock is called the

slave. The D3200 can function either as the master or slave.

Album CD Project

When you restore Album CD Project data, the album CD

project data of the current drive will be overwritten.

Other data ﬁles

When you restore other types of data, the corresponding

data ﬁles will be overwritten.

Restoring all data ﬁles in the ﬁle list at once

When you restore, the song data will be loaded following

the songs of the current drive, and other data ﬁles (such

as user data and album CD project data) will be overwrit-

ten.

Some MIDI devices may not support the MMC functionality of

the D3200. For details on the MMC functionality of the D3200,

refer to the MIDI implementation.

MIDI Clock can be received if you select MIDI Clock in the

SESSION DRUMS “Tempo Trk” tab page and record the tempo

track.

The restore-destination capacity will be checked before restor-

ing 1Song or All Songs. If there is insufficient capacity, the op-

eration will not be executed.

1. Control Change

Here you can turn control change message reception/

transmission on (highlighted) or off.

When you operate mixer parameters, the D3200 will

transmit corresponding messages. These messages can be

recorded on an external MIDI sequencer, and the re-

transmitted back to the D3200 to control the correspond-

ing mixer parameters.

For details on the parameters you can control, refer to the

MIDI implementation.

MIDI control of effects can be used regardless of the Control

Change on/off setting.

These messages will be received only if Automation (→p.103)

is turned off.

2. Program Change

Here you can turn program change message reception/

transmission on (highlighted) or off.

When you switch scenes, the D3200 will transmit a corre-

sponding program change message. These program

change messages can be recorded on an external MIDI

sequencer, and re-transmitted back to the D3200 to select

the corresponding scene.

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These messages will be received only if Automation (→p.103)

9. Chase Mode

[ON, OFF]

is turned off.

This is available if “MIDI Sync” is set to “MTC Slave.”

3. Global Ch

This sets the Global MIDI Channel.

[01…16]

ON: When MTC synchronization begins, playback will

chase the MTC messages. After playback begins, if

two seconds or more elapse without a MTC mes-

sage being received, and there is a discrepancy of

two seconds or more between the MTC messages

and the current location of the D3200, playback will

stop and wait for MTC synchronization to resume.

OFF: MTC messages will be chased during playback only

when MTC synchronization begins. Once playback

begins, it will continue even if the received time

code no longer matches the internal time code or if

time code stops arriving.

If you want to use program change messages to transmit

and receive scene changes, use a MIDI cable to connect

your external MIDI device to the D3200, and set the MIDI

channel of your connected device to the same MIDI chan-

nel as the D3200’s “Global Ch” so that MIDI messages

can be transmitted and received.

4. MMC Device ID

[000…127]

Speciﬁes the device ID that will be used to transmit and

receive MMC.

In order to transmit or receive MMC, you must use a

MIDI cable to connect the D3200 and the external MIDI

device, set the two devices to the same Device ID, and

make the appropriate setting in “MMC Mode.”

If you are synchronizing with a device other than the D3200

as the MTC master, incompatibilities between the devices may

cause synchronization problems unless you play back from the

beginning of the song.

If this is set to 127, the D3200 can transmit and receive MMC

commands to and from units of any device ID setting.

5. Mode

[Transmit, Receive, Off]

This sets the MMC transmission/ reception mode.

Transmit: MMC will be transmitted. In this case, the

MIDI Sync setting will automatically be set to

MTC Slave.

Receive: MMC will be received. In this case, the MIDI

Sync setting will automatically be set to MTC

Master.

Off:

MMC will not be used.

6. Frame Rate

This selects the frame rate that is used when MIDI Sync

is set to “MTC Master” or “MTC Slave.”

Set this to the same frame rate as used on the external

device with which you are synchronizing.

30: 30 fps (30 frames per second, non-drop)

29NDF: 29.97 fps (29 frames per second, non-drop)

29DF: 29.97 fps (29 frames per second, drop)

25: 25 fps (25 frames per second, non-drop)

24: 24 fps (24 frames per second, non-drop)

7. Time Code Offset

[00:00:00.00F…23:59:59.29F] (for frame rate 30)

This speciﬁes an offset value that will be reﬂected in the

counter.

The offset value you specify here will be the starting

value for the counter. This will apply when the counter is

set to display frames and MTC/ MMC is enabled.

8. MIDI Sync

[MIDIClockMaster, Off, MTC Master, MTC Slave]

This selects the synchronization mode used when syn-

chronizing via the MIDI IN/ OUT connectors.

MIDIClockMaster: MIDI clock data will be transmitted.

Off: Synchronization messages will not be transmitted or

received.

MTC Master: The D3200 will operate as the master de-

vice. At this time if the MMC Mode is set

to Transmit, the Chase Mode setting will

automatically be turned Off.

MTC Slave: The D3200 will operate as the slave device.

At this time if the MMC Mode is set to Re-

ceive, the Chase Mode setting will auto-

matically be turned ON.

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10-2. Master Track

Here you can select a virtual track for the master track. This

track will be used as the mixdown-destination track. This is

also the track that will be used when creating an audio CD.

10. TRACK

10-1. Virtual Track 1–32

Here you can select a virtual track for each channel track.

1. V-Level

Here you can select one of the eight virtual tracks “A”–

“H.”

[A…H]

1. Virtual track selection

Select a track “1”–“32,” and specify a virtual track for

each track.

For virtual tracks that contain data, one corner of the icon

will be folded down.

Each track has eight virtual tracks; “A”–“H.” Recording

or playback operations will be performed using the vir-

tual track you select here.

Recording or playback operations will be performed

using the virtual track you select here.

Virtual track

Audio events

10-3. Edit Track

Active

Ready

Here you can edit tracks.

Audio exists

Editing operations will apply to the currently selected tracks

1–16.

No audio exists

The other virtual tracks (i.e., the virtual tracks that are not

selected) will not be affected by your editing. (However,

“CopyWholeTrk” and “SwapWholeTrk” are exceptions to

this.)

Some of these editing operations will consume additional

space on the drive, but there are ways in which you can in-

crease the available free space (→p .131).

2. Rename

This button lets you edit a track name.

Select the track that you want to rename, click this button

to display the Rename dialog box, and edit the name.

You can input a name of up to sixteen characters. (→p .99)

3. Select All

[On, Off]

The locations stored in the LOC 1/IN through LOC 4/END

keys determine the region(s) that will be edited (→p .38).

If you want to select the same virtual track number for

every track (tracks 1–32), turn this button on (high-

lighted) and then select the desired virtual track.

The same virtual track number will be selected for all

tracks.

LOC 1/IN key: IN location

LOC 2/OUT key: OUT location

LOC 3/TO key: TO location

LOC 4/END key: END location

4. V-Level

[A…H]

Here you can select one of the eight virtual tracks “A”–

“H.”

After executing one of these editing operations, you can use the

Undo operation to cancel the results.

For virtual tracks that contain data, one corner of the icon

will be folded down.

You cannot make settings that would cause the IN–OUT region

or the TO–END region to be longer than 12 hours.

buttons

Use these up/ down buttons to select a track.

1. Edit type

[CopyTrk…EraseSilence]

When you click this button, the Edit Trk Type dialog box

will appear. Select the desired editing operation and click

the OK button (or press the panel YES key) to return to

the “EditTrk” tab page.

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Separate explanations are given below for each

editing operation you select in 1. Edit Type.

CopyTrk

This operation copies the audio data in the IN–OUT range of

the copy source track (Source) to the TO location of the copy

destination track (Destination), repeating the specified

number of times.

You can use the clipboard to copy data to a track of a differ-

ent song.

OUT

SourceTrack

TIMES

The screen display of area “A” will change depending on

the edit type you select here.

DestTrack

2. ZOOM buttons

Use these buttons to expand or shrink the area displayed

in the track view window.

3. Track view window

Audio events in the track are displayed as bold lines.

The vertical line is the current location.

Locate points (→p .37) are shown in the upper part of this

area.

A4-1

A4-2

IN:

OUT:

TO:

END:

At the right are displayed the name of each track and the

virtual track usage status.

A1. Source

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL, Clip#*1]

Select the copy source track.

ML and MR are master track L and R, MST is the master

track, and ALL is tracks 1–16 and the master track.

4. Exec.

When you click this button, a dialog box will appear,

allowing you to conﬁrm the editing operation you have

speciﬁed. Click the Yes button (or press the panel YES

key) to execute, or click the No button (or press the panel

NO key) to cancel.

*1: You can select “Clip#” only if the clipboard contains

data. # indicates the number of tracks in the clipboard.

You can use “Clip#” to copy from a track of a different

song.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

only tracks 1–16.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL, Clip]

Select the copy destination track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

Using Clip

You can use the clipboard to copy data to a track of a dif-

ferent song.

If you copy between songs that have a different sampling

frequency and/ or bit depth, the CopyTrk dialog box will

appear, and the sampling frequency and/ or bit depth

will be converted. If the song has a different sampling fre-

quency, conversion will be performed; this will take a cer-

tain amount of time.

2a. Dither

If you click this button on, dithering will be performed

on the data when the operation is executed. This will

minimize the quantization noise that may occur when

24-bit data is converted to 16-bit data.

A3. Times

[1…99]

Speciﬁes the number of times that the data will be copied.

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A4-1. WAVE

[FF] plays approximately two seconds from the lo-

cation (“Play From”)

[STOP] stops playback

[PLAY] plays the location (from In to Out)

[REC] plays as a loop

A4-2. WAVE

You can click these buttons to view the waveform of the

track audio.

This allows you to set the editing locations (IN, OUT, TO,

END) more accurately.

Click the A4-1 button if you want to edit IN and OUT, or

click the A4-2 button if you want to edit TO and END.

5c. Search Zero

You can click this button and turn the value dial to

move to the next or previous zero-cross point.

You will find it convenient to set IN (LOC 1), OUT (LOC 2),

TO (LOC 3), and END (LOC 4) to their approximate locations

before you use this function.

A “zero cross” point is a point where the waveform level

crosses the ±0 amplitude (the center line in the waveform

window).

A5. Mode

5d. Waveform window

When you click this button, the Copy Mode dialog box

will appear. Select the desired mode and click the OK

button (or press the panel YES key).

This displays the waveform of the selected track.

You can move the location by clicking in the waveform

window and then moving the ClickPoint to left or right

while holding down the panel JUMP key. You can also

move the location by clicking and holding in the waveform

window and then moving the ClickPoint to left or right.

OverWrite:

Track data previously at the copy-destination will be

overwritten.

Insert:

5e. Locate

The copied data will be inserted, and subsequent track

data will be shifted toward the end of the song.

Click the radio buttons to select the location (IN, OUT,

TO, END) you want to edit, and turn the value dial to

set the location while you listen to the track audio

(soloed). The current location is shown by the vertical

bar in the waveform window.

Wave dialog box

To open this dialog box, click the Source WAVE button if

you are setting the “Source” region, or click the Destina-

tion WAVE button if you are setting the “Destination”

region.

5f. ZOOM

Use these buttons to adjust the size of the waveform

display and the playback speed.

vertically expands the waveform display.

vertically shrinks the waveform display.

horizontally expands the waveform display.

horizontally shrinks the waveform display.

When you click the OK button (or press the panel YES

key), the locations you speciﬁed will be overwritten to

the corresponding key (LOC 1/IN, LOC 2/OUT, LOC 3/

TO, LOC 4/END). If you click the Cancel button (or press

the panel NO key), your changes will be discarded.

You can control the ZOOM buttons by holding down the pan-

el JUMP key and pressing the cursor keys.

5a. Track selection

Click the popup button, click a radio button in the

Select Track dialog box to select the track whose loca-

tion you want to specify, and click the OK button (or

press the panel YES key).

If you click (highlight) the Stereo button, the wave-

forms of two adjacent channels will be displayed in

the upper and lower parts of the waveform window.

5b. Preview playback buttons

You can also use the top panel transport keys listed

here in square brackets [ ] to operate these controls.

[REW] plays approximately two seconds ending at

the location (“Play To”)

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InsertTrk

DeleteTrk

This operation inserts a blank in the IN–OUT range of the in-

sert destination track (Destination).

This operation deletes the track data from the IN–OUT range

of the delete destination track (Destination).

When this is executed (Exec.), any track data that followed

the inserted blank will be shifted toward the end of the song.

When this is executed (Exec.), the data of the IN–OUT range

will be discarded, and any track data that followed the delet-

ed range will be shifted toward the beginning of the song.

OUT

DestTrack

OUT

DestTrack

Blank

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the track(s) from which data will be deleted.

Select the insert destination track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

This area displays the audio data of the track as a wave-

form. Here you can set the editing locations (IN, OUT)

more precisely. (→p .128 Edit Type: “CopyTrk,” Wave dia-

log box)

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT) more

precisely. (→p .128 Edit Type: “CopyTrk,” Wave dialog

box)

EraseTrk

This operation erases the track data in the IN–OUT range of

the erase destination track (Destination).

When this is executed (Exec.), the IN–OUT range will contain

silence.

OUT

DestTrack

Blank

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the erase destination track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT) more

precisely. (→p .128 Edit Type: “CopyTrk,” Wave dialog

box)

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SwapTrk

ReverseTrk

This operation exchanges (swaps) the track data of the IN–

OUT range of the swap source track (Source) with the track

data in the IN–OUT range of the swap destination track

(Destination).

When this is executed (Exec.), the data in the IN–OUT ranges

of the “Source” and “Destination” will be exchanged.

This operation copies the track data of the IN–OUT range of

the reverse source track (Source) to the TO location of the

destination track (Destination) in reverse (flipped back-to-

front). You can specify the number of times that the data will

be copied.

When this is executed (Exec.), the copied data will be re-

versed, so that the playback will be backward.

OUT

SourceTrack

OUT

SourceTrack

DestTrack

A B C ...

TIMES

DestTrack

OUT

SourceTrack

DestTrack

A B C . . . A B C . . . A B C . . .

The specified range of the reverse destination track will be over-

written.

A1. Source

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the reverse source track.

A1. Source

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the swap source track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the reverse copy destination track.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the swap destination track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A3. Times

Specify the number of times that the data will be copied.

A4.WAVE

[1…99]

A3.WAVE

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .128 Edit Type: “CopyTrk,” Wave dialog box)

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT, TO,

END) more precisely. (→p .128 Edit Type: “CopyTrk,”

Wave dialog box)

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A1. Source

[1...32, ML, MR, 1-2...31-32, MST]

OptimizeTrk

Select the expansion/ compression source track.

This operation re-creates the audio events in the IN–OUT re-

gion to prevent “Disk too busy.” errors from occurring.

If there are no gaps between one audio event and the next, or

if the gap is small, the data will be combined into a single

event. If there are extended gaps between audio events, the

data will be re-created in a way that avoids wasting space.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST]

Select the expansion/ compression copy destination

track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

OUT

SourceTrack

DestTrack

A3. Times

[1…99]

Specify the number of times that the data will be copied.

A4. WAVE

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT, TO,

END) more precisely. (→p .128 Edit Type: “CopyTrk,”

Wave dialog box)

By setting the IN–OUT region to the beginning and end of the

song, and executing the Optimize Track operation, you can re-

create the data in a form that will be ideal for hard disk access.

A5. Mode

Select how the expansion/ compression will be proc-

essed.

When you click this button, the ExpComp Mode dialog

box will appear.

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Selects the track that will be optimized.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT) more

precisely. (→p .128 Edit Type: “CopyTrk,” Wave dialog

box)

5a. Mode

[Fast, Mid, Best]

Specify the conversion mode for expansion/ compres-

sion.

Fast: Processing speed will be given priority

Mid: Mid-way between “Fast” and “Best”

Best: Audio quality will be given priority

ExpCmpTrk

This operation expands or compresses the track data of the

IN–OUT range of the expansion/ compression source track

(Source), places it in the TO–END range of the expansion/

compression destination track (Destination), and copies it

the specified number of times beginning at the TO location.

However if “5b. Pitch” is set to “Variable,” this set-

ting will have no effect.

5b. Pitch

[Fixed, Variable]

Select the pitch at which the data will play back after

expansion/ compression has been performed.

When this is executed (Exec.), the expansion/compression desti-

nation track will be overwritten.

Fixed:

The pitch will remain the same

The available ratio of expansion/compression is limited, and if the

IN–OUT duration is drastically different than the TO–END du-

ration, an error message will appear when this is executed. In gen-

eral, the TO–END time can be changed to 50–200% of the IN–

OUT time.

Variable: The pitch will be change

When you click the OK button (or press the panel YES

key), expansion/ compression will be executed with the

conversion mode that you selected. Click the Cancel but-

ton (or press the panel NO key) to cancel without execut-

ing.

OUT

SourceTrack

A B C ...

TIMES

END

DestTrack

A B C ... A B C ... A B C ...

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CopyWholeTrk

SwapWholeTrk

This operation copies the track data from the beginning to

the end of the copy source track (Source; the currently select-

ed virtual track) to the specified virtual track of the copy des-

tination track (Destination).

This operation exchanges (swaps) the track data from the be-

ginning to the end of the swap source track (Source; the cur-

rently selected virtual track) with the specified virtual track

of the swap destination track (Destination).

When this is executed (Exec.), the copy destination track will

be overwritten.

Use this operation when you wish to reorder the recorded

tracks. When you have finished recording a song, this opera-

tion also provides a useful way to move the final data so that

virtual track “a” is used for all tracks.

SourceTrack

When this is executed (Exec.), all data of the “Source” and

“Destination” will be exchanged.

DestVTrack (a...h)

SourceTrack

DestVTrack (A...H)

SourceTrack

DestVTrack (A...H)

A1. Source

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the copy source track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the copy destination track.

A1. Source

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

Select the swap source track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A3. Virtual

[A…H]

Select the virtual track of the copy destination track (Des-

tination) to which the data will be copied.

A2. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the swap destination track.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A3. Virtuals

[A…H]

Select the virtual track of the swap destination track

(Destination) to which the data will be swapped.

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SelectFadeMode

[A…F]

: This curve is ideal for conventional fade-in.

: This curve is ideal for creating cross-fades

FadeTrk

This operation fades-in or fades-out the track data in the IN–

OUT range of the fade-in destination track (Destination).

When this operation is executed, the audio data in the IN–

OUT range will be smoothly faded to the level of the OUT

time location.

where two tracks are faded-in/ out at the iden-

tical time location.

: This curve inverts the A curve, lengthening the

sound that is heard.

When this is executed (Exec.), the fade-in (fade-out) destina-

tion track will be overwritten.

: Fade-out using the A type curve.

: Fade-out using the B type curve.

: Fade-out using the C type curve.

OUT

Click the OK button (or press the panel YES key) to ﬁnal-

ize the selected fade type, or click the Cancel button (or

press the panel NO key) to cancel the setting.

NormalizeTrk

If the recorded level is low, you can use this operation to

boost the specified region (IN–OUT) of the track data to the

specified volume. The normalize-destination track will be

overwritten.

Normalize

Gain Level

Normalize

Gain Level

OUT

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the track to be edited.

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

This displays the audio data of the track as a waveform.

Here you can set the editing locations (IN, OUT) more

precisely. (→p .128 Edit Type: “CopyTrk,” Wave dialog

box)

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST]

Select the normalize-destination track.

A3. Mode

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

Click this button to display the Fade Mode dialog box.

Use “Fade Curve” to select the desired fade-in or fade-

out curve.

A2. WAVE

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .128 Edit Type: “CopyTrk,” Wave dialog box)

A3. Mode

[0 dB…–63.5 dB]

Click this button to display the Normalize Mode dialog

box, and set “Normalize Gain Level” to specify the level.

Click the OK button (or press the panel YES key) to set

the selected normalize level, or click the Cancel button

(or press the panel NO key) to discard your settings.

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NoiseReduction

ErasePunchNoise

On the desired track, specify a region (IN–OUT) containing

only noise which the D3200 will use to analyze and “learn”

the noise component. This noise component will then be

eliminated from the data in the other region you specify (TO–

END) of the same track.

This minimizes “pop” noises. Set the IN and OUT locations

before and after the area where the noise occurs. You can also

erase multiple occurrences of noise.

The “ErasePunchNoise Sens” value specifies the sensitivity

at which noise will be detected. Normally, you should start

by executing this command with a setting of “1”. Increase the

setting if noise still remains.

END

OUT

Before execution

OUT

A region of only noise

(Learn Noise)

The region from which you want

to remove noise (Destination)

Before

execution

After execution

After

A1. Destination

execution

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the track on which noise reduction will be per-

formed.

A1. Destination

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the track from which punch noise will be erased.

A2. WAVE

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT, TO, END) more

accurately. (→p .128 Edit Type: “CopyTrk,” Wave dialog

box)

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .128 Edit Type: “CopyTrk,” Wave dialog box)

A3. Mode

[0 dB...–63.5 dB]

Click the button to open the ErasePunchNoise Mode dia-

log box, and use “ErasePunchNoise Sens” to specify the

sensitivity at which noise will be detected.

Click the OK button (or press the panel YES key) to spec-

ify the sensitivity, or click the Cancel button (or press the

panel NO key) to cancel the setting.

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EraseSilence

10-4. Import File

In an extended recording that contains significant amounts

of silence, this operation erases the silent regions, and di-

vides the areas containing sound into separate events.

An audio file from the D3200’s PC drive or CD drive can be

pasted into the beginning (location 0) of a track (→p .86).

By using the clipboard you can paste the audio file at a loca-

tion other than the beginning of a track.

You can use this operation to import WAV format audio files

of 44.1/ 48/ 96 kHz sampling frequency, 16/ 24-bit depth, and

1 (mono) or 2 (stereo) channels.

If you are importing from CD media, WAV format files stored on

ISO9660 Level 1 format CD-ROM, CD-R, or CD-RW are sup-

ported.

When you execute (“Exec.”), the import-destination track will be

overwritten.

OUT

Before

execution

After

execution

1. File name cell

Displays the name of the import-source audio ﬁle. This

will be the ﬁle name you chose by clicking the Select File

button.

Levels lower than –36 dB will be considered as silence.

A1. Destination

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,

1-8...24-32, 1-16, 17-32, 1-32, ALL]

Select the track in which silent regions will be erased.

2. Drive

[CD, PC (USB)]

Selects the import-source drive. When you click this but-

ton, the Select Drive dialog box will appear. Select a

drive and click the Yes button (or press the panel YES

key).

For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select

o n ly tracks 1–16.

A2. WAVE

3. Select File

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .128 Edit Type: “CopyTrk,” Wave dialog box)

Selects the audio ﬁle that will be imported.

When you click this button, the Select File dialog box

will appear. Select a ﬁle and click the OK button (or press

the panel YES key). If you click the Cancel button (or

press the panel NO key), your selection will be dis-

carded.

3a. Upper level

This area indicates the directory level that is one level

above the currently selected folder.

3b. File window

This area shows the folder structure of the current

level. Folders and the ﬁles that can be imported are

displayed here.

3c. Close

Moves upward to the next higher folder.

3d. Open

If the selected item is a folder, opens that folder.

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3e. Prev

Clicking Prev (Preview) plays back the ﬁrst six sec-

10-5. Export File

Audio track data copied to the D3200’s clipboard can be ex-

ported as an audio file to the PC drive or CD-R/ RW drive

(→p .87).

onds (for 44.1 kHz/ 16-bit data) of the selected audio

ﬁle.

You cannot play back while loading the file.

The audio file will be exported as a WAV format file of the

same sampling frequency and bit depth as the data in the

clipboard.

4. Trk

[1...32, ML, MR, 1-2...31-32, MST, Clip]

Select the import-destination track.

ML and MR are the master track L and R, and MST is the

stereo master track

5. Exec.

When you click this button, the Import File dialog box

will appear.

Click the Yes button (or press the panel YES key) to exe-

cute the import, or click the No button (or press the panel

NO key) to cancel.

If you import a song whose sampling frequency and bit

depth differs from that of the current song, the sampling

frequency and bit-depth will be converted. If the song

has a different sampling frequency, conversion will be

performed; this will take a certain amount of time.

1. Clip#

Indicates the state of the clipboard.

# is the number of tracks in the clipboard. If you export

four or more tracks in a single operation, all will be saved

as mono ﬁles.

2. Drive

[CD, PC (USB)]

Selects the export-destination drive. When you click this

button, the Select Drive dialog box will appear. Select the

desired drive, and click the Yes button (or press the panel

YES key).

5a. Dither

By clicking this button when importing a 24-bit ﬁle

into a 16-bit song, you can minimize the quantization

noise that may occur when the bit depth is converted.

3. File name

Displays the ﬁle name that will be saved on the export-

destination. If you want to edit this name, click the

Rename button.

4. Rename

When you click this button, the Rename dialog box will

appear, allowing you to rename the ﬁle.

For details on the allowable ﬁle names, refer to “More

about drives and ﬁles” (→p .171).

5. Exec.

When you click this button, the Export File dialog box

will appear. Click the Yes button (or press the panel YES

key) to export the data, or click the No button (or press

the panel NO key) to cancel.

If you want to abort an export operation while it is being

performed, click the Cancel button (or press the panel

NO key).

When the export has been completed, the display will

indicate Completed. Click the OK button (or press the

panel YES key).

Before exporting to a CD, you can specify the writing

speed and whether the disc will be ﬁnalized. Finalize the

disc if you will not be writing any further data to it.

It is not possible to perform just the Finalize operation here.

Finalization will be performed after the export is executed.

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2. Erase CDRW

This erases all the data that has been written to a CD-RW

disc.

11. CD

Here you can use the internal CD-RW drive to create or play

audio CDs.

When you click this button, the Erase CD-RW dialog box

will appear. Use “Option” to select the method of eras-

ure, and click the Yes button (or press the panel YES key),

or click the No button (or press the panel NO key) to

erase the disc.

Some audio CD players may be unable to play a CD-R/RW disc.

Some audio CD players are unable to play the first 100 msec of an

audio track. To avoid this, we recommend that when creating an

audio CD, you leave a blank of about 300–600 msec at the begin-

ning of the song for track 1. (→p.138 “11a. Album CD”, 6. Gap)

Music discs utilizing copy-protection technology that does not

comply with the Compact Disc (CD) specification cannot be

played back.

Press the CD key to access this menu screen.

You can press the CD key to return to this menu screen from

the dialog box that appears when you click a menu button

(Album CD, Track at once, CD PLAYER).

Press the CD key once again to return to the menu screen that

had been selected.

Quick: Erase the disc quickly.

Full:

Erase the disc completely. Use this if you experi-

ence problems such as if a disc erased using

Quick cannot be recognized. This method will

require more time.

This operation cannot be performed on a CD-R disc. Data that

is erased by this operation cannot be recovered.

1. Information

When you click this button, the type of disc inserted in

the CD-R/ RW drive, the remaining writable time, the

already-written time, and the number of tracks will be

read and displayed in the screen.

Disc type

NoDisc: No disc is inserted. Alternatively, the disc

cannot be recognized.

CDR: An unﬁnalized (writable) CD-R

CDRW: An unﬁnalized (writable) CD-RW

Illegal Disk: The disc cannot be recognized

If nothing is displayed, the disc is not writable (e.g., a

commercial audio CD or a ﬁnalized CD-R/ RW).

Disc content

Blank: A blank disc containing no data

Audio: A disc containing audio data

ISO9660: A disc containing backup data, WAV etc.

D12/1200: A disc containing Korg D12/ D1200/

D1200mkII backup data

D16/1600: A disc containing Korg D16/ D1600/

D1600mkII backup data

Other: A disc containing data other than audio or

backup data.

UDF: A UDF format disc created by the Korg Triton or

similar device

Disc capacity usage

If the disc content is Audio

Free: Remaining recordable time

Used: Recorded time and total number of tracks

If the disc content is Data Disc

Free: Remaining storage capacity (MB)

Used: Used storage capacity (MB)

If the disc content is Other

nothing will be displayed.

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11a. Album CD

Album CD Project lets you create an audio CD using Disc At

Once. The data will be written to the CD-R/ RW as 16-bit/

44.1 kHz data in audio CD format.

The disc is written using the Disc At Once method, including fi-

nalization. No further data can be written to the disc afterward.

The CD-R/RW cannot be written if there is a track less than four

seconds long. Adjust your settings so that the PostGapTime and

the track time add up to at least four seconds.

Cancel button

Returns to the Album CD Project page without add-

ing the selected song to the list.

OK button

Adds the selected song to the list.

When you click this button, the display will ask “Are

you sure?” Press Yes to conﬁrm your settings (or No

to discard them) and return to the Album CD Project

page.

You cannot add a song whose master track contains no data.

If you select a song that is other than 44.1 kHz/ 16-bit,

click the Dither button to turn it on (highlighted), and the

sampling frequency and bit-depth will be converted. The

converted data will consume additional disc capacity. If

the song has a different sampling frequency, conversion

will be performed; this will take a certain amount of time

to complete.

1. Track list

This displays a list of the songs that will be written to the

CD-R/ RW disc as an album CD.

The list shows the track numbers, song name (mark

name), time, pre-gap, and post-gap of the tracks you reg-

istered for the album CD.

At the bottom of the window, the duration of the selected

(highlighted) track and the total time of the album are

displayed.

Only the data to be burned to the CD-R/ RW disc will be

converted; the song data itself will remain in its original

sampling frequency and bit-depth.

4. Delete

Deletes a song from the track list. In the list, choose the

song that you want to delete and click this button to dis-

play the Delete dialog box. Click the Yes button (or press

the panel YES key) to delete the song from the list. Subse-

quent song tracks will be moved back one track.

If you want to delete all songs from the list, click the

Select All button and then click the Yes button (or press

the panel YES key).

2. Preview player

Use these buttons to audition the songs shown in the list.

You can also use the top panel transport keys listed

below in square brackets [ ] to perform these operations..

: [PLAY] Plays the song.

: [STOP] Stops the song.

: [REW] Moves to the preceding song each time you

click this button. If you press this during playback,

you will move to the beginning of the currently-

playing song.

: [FF] Moves to the next song each time you click this

button. If you press this during playback, you will

move to the beginning of the next song.

5. Drive

Selects the drive that contains the songs you want to

write to the CD-R/ RW disc. When you click this button,

the Select Drive dialog box will appear.

The dialog box will display the total capacity of the inter-

nal drive, and a list of the song drives.

For each song drive, the display will show the drive

name, partition size, partition name, amount used, and

remaining space.

You cannot use these buttons if the list contains no songs.

If the CD-R/RW drive contains a blank disc, and there are

songs in the list display, pressing the top panel transport key

REC will open the Write to CD dialog box.

The songs to be written to one CD-R/RW disc must all be on

one song drive.

3. Add

6. Gap

This button adds a song to the list of songs that will be

written to the CD-R/ RW disc. Select the track number

and click the button to display the Add TR dialog box.

Select the desired song from the song list.

The song number, song name, mark icon, sampling fre-

quency/ bit-depth, protect icon, and date of each song

will be displayed.

This lets you specify a duration of silence that will be

inserted before and after a song. When you click the but-

ton, the Edit Gap dialog box will appear.

In this dialog box, Frm refers to a CDDA Frame, where 75

Frm = one second.

The song data that will be written to the CD-R/ RW will

be the song data as of when you clicked Add button. If

you edit that song after clicking the Add button, you will

need to add that song to this list once again if you want to

write the updated data.

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6a. PreGapTime

[0…59 (sec), 0…74 (Frm)]

Speciﬁes the duration of silence to be inserted before

the track (song). The default is two seconds.

11b. Track at once

The default setting will be 0 seconds for the song added to

TR1 (track 1) or for a track divided by album CD track

marks (→p.145).

Here you can write an audio CD Track using the Track At

Once method, erase a CD-RW disc, or finalize a disc.

Additional data can be written to a disc until the disc is final-

ized.

6b. PostGapTime

[0…59 (sec), 0…74 (Frm)]

Speciﬁes the duration of silence to be inserted after the

track (song). The default is 0 seconds.

7. Write To CD

Executes writing to the CD-R/ RW.

When you click this button, the Write to CD dialog box

will appear, displaying a message of “Obey Copyright

Rules.” Carefully read the section “COP Y RIG H T W AR N -

I N G” (→p .iii), and use this function only if you accept

the terms.

•

Use the “Write Speed” list button to specify the speed

at which the data will be written to CD-R/ RW.

When you click the Yes button (or press the panel YES

key), the D3200 will begin creating the image ﬁle. You

can click the Cancel button (or press the panel NO

key) to abort this process.

•

1. Erase

•

When the image ﬁle has been created, the D3200 will

begin writing the disc. This cannot be aborted.

The disc will automatically be ﬁnalized.

When the disc has been written a message of “Write

Another CD?” will appear.

This erases all the data that has been written to a CD-RW

disc.

When you click this button, the Erase CD-RW dialog box

will appear. Use “Option” to select the method of eras-

ure, and click the Yes button (or press the panel YES key)

to erase the disc.

•

If you want to create another identical CD, click the

Yes button (or press the panel YES key). If not, click

the No button (or press the panel NO key).

Quick: Erase the disc quickly.

Full:

Erase the disc completely. Use this if you experi-

ence problems such as if a disc erased using

Quick cannot be recognized. This method will

require more time.

If you click the Yes button (or press the panel YES key), a

message of “Insert Next Disc. After Insert, Press OK.”

will appear, and the CD-R/ RW drive tray will open.

Insert another CD and click the OK button (or press the

panel YES key).

If you successively write another disc, the D3200 will not

need to create the image ﬁle again, so the process will

take less time.

This operation cannot be performed on a CD-R disc. Data that

is erased by this operation cannot be recovered.

2. Track cell

This shows the song number, song name, and recording

time of the song whose track you will write to the CD.

A CD-R/RW disc written using Album CD Project will be

finalized automatically.

3. Write To CD

Changing the writing speed will not affect the time that is re-

quired to create the temporary image file that is created before

writing an audio CD.

This button writes the song shown in the track cell to the

CD-R/ RW disc.

When you click this button, the Write to CD dialog box

will appear, displaying a message of “Obey Copyright

Rules.” Carefully read the section “COP Y RIG H T W AR N -

I N G” (→p .iii), and use this function only if you accept

the terms.

•

Use the “Write Speed” to specify the speed at which

the data will be written to CD-R/ RW.

•

When you click the Yes button (or press the panel YES

key), the D3200 will begin creating the image ﬁle. You

can click the Cancel button (or press the panel NO

key) to abort this process.

If the selected song is 24-bit, click the Dither button to turn it

on if you want dithering to be performed.

•

When the image ﬁle has been created, the D3200 will

begin writing to the disc. This cannot be aborted.

When the disc has been written a message of “Write

Another CD?” will appear.

If you want to create another identical CD, click the

Yes button (or press the panel YES key). If not, click

the No button (or press the panel NO key).

If you click the Yes button (or press the panel YES key), a

message of “Insert Next Disc. After Insert, Press OK.”

will appear, and the CD-R/ RW drive tray will open.

Insert another CD and click the OK button (or press the

panel YES key).

If you do write another disc at this time, the D3200 will

not need to create the image ﬁle again, so the process will

take less time.

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4. Get Information

When you click this button, the disc inserted in the CD-

R/ RW drive will be read to determine the type of disc,

the remaining time that can be written, the already-writ-

ten time, and the number of tracks.

11c. CD PLAYER

Here you can play back a disc inserted in the CD-R/ RW

drive.

You can also import data from the disc into the clipboard,

and import it into the D3200 as WAV data.

Disc type

NoDisc: No disc is inserted. Alternatively, the disc

cannot be recognized.

When using the D3200’s CD-RW drive as a CD player, CD re-

cording is not available.

CDR: A CD-R that has not been ﬁnalized (i.e., still

writable)

CDRW: A CD-RW that has not been ﬁnalized (i.e., still

writable)

Use the monitor knob to adjust the CD playback volume.

Illegal Disc: A disc that cannot be recognized

If nothing is displayed, the drive contains a disc that

cannot be written (such as a commercial audio CD or a

ﬁnalized CD-R/ RW).

Disc content

Blank: A blank disc containing no data

Audio: A disc containing audio data

ISO9660: A disc containing backup data or WAV data

D12/1200: A disc containing Korg D12/ D1200/

D1200mkII backup data

D16/1600: A disc containing Korg D16/ D1600/

D1600mkII backup data

Other: A disc containing data other than audio or

backup data

1. CD Import

UDF: A UDF format disc created by the Korg Triton or

similar device

If you turn this on, the CD Import dialog box will appear.

Click the Yes button (or press the panel YES key) to exe-

cute.

Disc space usage

When you click the button, the CD Import dialog box

will appear, and a message of “Obey Copyright Rules”

will appear. Carefully read “COP Y RIG H T W AR N I N G”

(→p .iii), and use this function only if you accept the

terms.

If the disc content is Audio

Free: Remaining recordable time

Used: Already-recorded time and total number of

tracks

If the disc content is Data Disc

Free: Remaining recordable space (MB)

Used: Already-recorded space (MB)

•

Click an radio button to select the import method.

Clip:

Import as track data into the clipboard.

WAV:

If the disc content is Other

Import as WAV data into the import area.

If you want to rename the WAV data that will be

imported, click the Rename button to open the dialog

box, and edit the name. You can input a name of up to

eight characters (→p .99).

Click the Yes button (or press the panel YES key) to

begin importing. You can click the Cancel button (or

press the panel NO key) to cancel the import.

Nothing is displayed.

5. Finalize

This button ﬁnalizes the disc.

In order for a CD-R/ RW disc created by the D3200 to be

played in an audio CD player, you must execute this

Finalize operation. A disc can be ﬁnalized only once.

The Finalize dialog box will appear when you click this

button. Click the Yes button (or press the panel YES key)

to execute.

•

2. Information window

The upper line displays the track number and messages.

The lower line shows the state (playing, stopped, etc.) of

the CD player, the elapsed time, and the level meter.

This can be used only to finalize a Track At Once audio CD

that was written in this screen.

Once a disc has been finalized, no further songs can be written

to it. This means that you must first write all of the desired

songs to the disc, and then click the Finalize button to finalize

the disc.

3. Control buttons

Use these buttons to play or stop the audio CD, or to

select tracks (songs).

You can also control these operations using the top panel

transport keys listed below in square brackets [ ].

You cannot play back a disc that has not been finalized.

: [PLAY] Play or pause the track.

: [STOP] Stop the track.

: [FF] Move to the next track each time you click. If you

press this while playing, you will move to the begin-

ning of the next track.

: [FF] held down Fast-forward the track.

: [REW] held down Rewind the track.

: [REW] Move to the previous track each time you

click. If you press this while playing, you will move

to the beginning of the currently-playing track.

You can’t eject the CD while paused. If you move to a different

page while paused, the player will switch to Stop mode.

If the CD-R/RW drive contains an audio CD, pressing the top

panel transport key REC will open the CD Import dialog box.

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12. UNDO

13. TUNER

After executing the operations listed below, you can use the

Undo function to return the data to the state it was in prior to

performing that operation. If desired, you can then use the

Redo function to restore the most recent edit.

You can use the built-in tuner to tune an instrument connect-

ed to INPUT 1 or GUITAR IN.

•

Recording

Track editing

CopyTrack, InsertTrack, EraseTrack, DeleteTrack,

SwapTrack, ReverseTrack, OptimizeTrack, Exp/

CompTrack, CopyWholeTrack, SwapWholeTrack,

FadeTrack, NormalizeTrack, N oiseReduction,

ErasePunchNoise, EraseSilence

Audio ﬁle import

•

Press the UNDO key to access the “Undo/Redo” tab page. If

you decide not to Undo, press any other page mode key. By

pressing the UNDO key you can return to the page that was

selected before you pressed the key.

Undo and Redo operations

Current

state

1 operation

ago

2 operations

ago

3 operations

ago

16 operations

ago

: press the Undo button

: press the Redo button

1. CENT Scale

[–50...+50]

When the tuning is correct, the needle will be at the

center 0 position, and the ﬂat “s” indicator and sharp

“w“ indicator will both light.

If the pitch is ﬂat, only the “s” indicator will light. If the

pitch is sharp, only the “w“ indicator will light.

The pitch deviation is indicated in units of cents. (100

cents = one semitone, and 1200 cents = one octave)

2. Note Display

[C...B]

1. Current undo level

This indicates the name of the note that is closest to the

pitch you input.

The tuner cannot detect two or more notes simultane-

ously.

This area indicates the current state, which you can revert

to prior states.

2. Undo list

[01…16]

This lists the operations that can be undone.

3. OFF

When you execute Undo, you will return to the state

prior to executing the selected operation.

The undo list saves up to the sixteen most recent opera-

tions.

Click this when you are ﬁnished using the tuner. When

you turn off the tuner, you will return to the page that

had been selected before the tuner screen.

4. CALIB

[430...440...449 Hz]

Click the Redo or Undo buttons to select “undo levels” in the

undo list. You cannot select these directly by clicking the

screen.

This indicates the reference frequency.

Normally you will leave this at “440”.

5. Digital display button

3. Redo

Executes a Redo operation.

4. Undo

Executes an Undo operation.

5. Clear

This selects a digital-style tuner display for tuning the

currently selected input source.

6. Analog display button

This selects an analog-style (needle) tuner display for

tuning the currently selected input source.

You can click this button to erase the undo data that is

preserved, thereby recovering more free space on the

disk.

The D3200 preserves up to sixteen levels of recording and ed-

iting history, and lets you use the Undo function to revert to

prior states. For this reason, old data that no longer exists in

the tracks may still remain on the disk without being erased.

This data will occupy space on the disk, and may cause the

available recording time to be less than you would otherwise

expect.

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2. Drum kit parameter knobs

Here you can adjust the parameters of the drum kit that

is being used for the drum performance.

14. SESSION DRUMS

You can also use matrix knobs 9–16 to edit these parameters.

With the factory settings, level is selected as the parameter,

but you can change this in the DRUM KIT dialog box of 8.

Here you can specify the song tempo and drum pattern (met-

ronome) settings, make settings for the drum track, and cre-

ate a pattern map.

KIT

When the counter shows the “MBT” (measure, beat, 1/ 96th

note tick) indication (→p .98), it w i ll m ove according to the

tempo you specify.

3. Transport buttons

Use these to rewind, fast-forward, play and record the

drumming.

You can’t record drum patterns or create or edit a pattern map if

the song’s Protect setting is turned on.

These move the location in units of measures.

When you click these buttons, the counter will

automatically change to the Measure/ Beat/

Tick indication.

14-1. Session Drums

Start/ stop recording or playing the pattern map.

Enable recording for the session drums.

When you are in this page, you can use the panel LOC 1

key instead of the Start/ Stop button, and the LOC 2 key

instead of the Record button. You can also move between

measures by holding down the SESSION DRUMS key

and using the panel +/– keys.

4. FILL

This produces a ﬁll pattern while the drums are playing.

This will begin blinking as soon as you click it, and a ﬁll

pattern will be inserted at the start of the next measure.

When you are in this page, you can use the panel LOC 3

key instead of the Fill button.

5. RUN

1. Drum pattern settings

Click (highlight) this to audition the drum pattern.

The pattern map will not be updated at this time.

When you are in this page, you can use the panel LOC 4

key instead of the RUN button.

Here you can set various parameters for the drum pat-

tern. The settings are shown as icons, graphics, and as

numerical values. You can also use matrix knobs 1–8 to

edit these parameters.

This button is also highlighted while the drum pattern is

being recorded.

When you turn the knobs, the GROUP, SESS, and VARI pa-

rameters will operate in JUMP mode and the TEMPO param-

eter will operate in MATCH mode, regardless of the Fader/

Knob Control setting in the SYSTEM/MIDI, “Control” tab

page.

If you want to select a blank pattern, click this button

during recording to defeat the highlighted state.

If you click the button once again to highlight it, you’ll be

able to make settings for the drum pattern.

GROUP, SESS, VARI, and TEMPO settings can be edited

only while recording or auditioning (5. RUN) (unless 7. Click

Monitor is on).

If you change the GROUP or SESS while auditioning

drum patterns, the drum kit and tempo will automati-

cally change in tandem.

If you change the GROUP or SESS while recording or

playing drum patterns, the currently selected drum kit

and tempo will be maintained.

GROUP

Selects a genre of family of drum patterns.

SESS

[Metronome...etc.]

Selects a session (drum performance pattern set) from

within the group selected by GROUP.

6. bar:beat

Normally this shows the measure and beat of the current

location. However when you’re auditioning (RUN button

highlighted), this shows the measure and beat within the

pattern.

VARI

Selects a variation of the pattern selected by SESSION.

If you selected Metronome as the GROUP, this will

select the time signature.

7. Click Monitor

TEMPO

[40...255]

If you turn this on (highlighted), the pattern map will be

disabled; GROUP will be “Metronome,” SESSION will

be “Metro 4,” and the drum kit will be “Standard.” This

will produce a four-beat metronome sound from the moni-

tor output. The Tempo Track setting is ignored in this case.

Use the Tempo knob to adjust the tempo. You can change

the pattern or tempo even while stopped.

Speciﬁes the tempo of the drumming.

The range is ꢀ =40–255.

SHFFL

[OFF, 0...100(%)]

Speciﬁes a shufﬂe effect for the drumming. This will be

OFF if you turn the knob all the way toward the left.

ACCNT

[OFF, 1...20]

Switches the accent table for the drumming. This will

be OFF if you turn the knob all the way toward the left.

If you turn this off, the tempo track and pattern map will

be enabled, and you’ll be able to record and perform

Replace operations. In this case, the pattern will be out-

put from the master output.

This button is linked with the Drums button in the

MIXER, SOLO/MONITOR “Monitor” tab page.

INTNS

[OFF, 1...10]

Adjusts the strength (intensity) of the accent. This will

be OFF if you turn the knob all the way toward the left.

HUMAN

[OFF, 1...20]

Applies a “humanize” effect that creates slight varia-

tions in the velocity and timing. This will be OFF if

you turn the knob all the way toward the left.

8. KIT

Click this to change the drum kit that is used to play the

drum pattern. Alternatively, you can hold down the

panel SESSION DRUMS key and press the LOC 1 key.

When you’ve ﬁnished making settings, click the Exit but-

ton (or press the panel YES key).

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Changes you make to the drum kit will affect only the

currently selected drum pattern. Although you can

change the variation after modifying the kit, switching

the group or section will cause your drum kit edits to be

discarded; they will revert to the previous settings. If you

want to keep the changes you make to a drum kit, check

the Hold check box in the DRUM KIT dialog box.

Alternatively, you can hold down the panel SESSION

DRUMS key and press the LOC 2 key instead of clicking

this button.

The settings that can be edited will depend on the 11. Rec

Mode setting.

Pat&T

The pattern, the range of measures, and the tempo can be

changed.

Tempo

The tempo will be changed to the tempo you specify.

Pattern

The pattern and the range of measures can be changed.

Pattern changes will occur in units of measures, but tempo

changes will affect the tempo of the current and all subsequent

measures.

10.Ending

This recalls an ending. The button will begin blinking the

moment you click it, and an ending pattern will play at

the next measure. When the ending pattern has played, a

blank pattern will be selected.

8c 8d 8e

8a. Parameters

11. Rec Mode

Here you can edit the parameters for each sound used

by the drum kit. You can also use the Knob Matrix to

edit these parameters.

Use the radio buttons to select the mode in which you

will record drum patterns and create or edit (or 9.

Replace) pattern map events.

8b. KIT CHANGE

Pat&T

This exchanges the drum kit for another drum kit. Select

the desired drum kit and click the OK button (or press

the panel YES key) to return to the DRUM KIT dialog

box. If you decide to discard the changes you made,

click the Cancel button (or press the panel NO key).

Both pattern and tempo changes will be recorded.

Tempo

Only tempo changes will be recorded.

Pattern

Only pattern changes will be recorded.

14-2. Drums Track Mixer

Here you can view and edit the parameters of the drum track.

8c. Hold

If this is checked, the 8a. Parameters and the 8b. KIT

CHANGE settings will be maintained.

The memorized settings will be used for all drum pat-

terns of the song.

If this is unchecked, the drum kit settings for each

drum pattern will be used.

1. Assign

8d. Parameter assign button

This speciﬁes where the drum pattern playback will be

output.

This speciﬁes the parameter that is controlled by the 2.

Drum Kit parameter knobs. Click this knob, and in

the Knob Assign dialog box, use the radio buttons to

select the desired parameter, and click the OK button

(or press the panel YES key).

CH Input

The drum pattern playback will be assigned to the

channel input. If this is selected, you can use the “Ch

Assign” tab page to assign Drums L

record the drum pattern performance on a channel track.

Master

as desired, and

If you select None, matrix knobs 9–16 will do nothing.

8e. MIDI

If this is checked, the drum kit will sound when it

receives MIDI notes. If this is unchecked, received

MIDI notes will not play the drum kit. If you want to

change the MIDI receive channel, click the cell and

make the desired setting.

The drum pattern playback will be output to the mas-

ter bus.

Monitor

The drum pattern playback will be added only to the

audio that is output from the monitor jacks.

8f. Group selection scroll bar/buttons

Use the scroll bar and buttons to switch between

groups of four drums for editing.

If the 14-1. Session Drums parameter 7. Click Monitor is

on, this Assign parameter will automatically be set to “Mon-

itor.” If this parameter is off, “Master” will automatically be

selected.

9. Replace

When you click this button, the drum pattern settings

recorded for the measure of the current location can be

edited in the Edit Map Event dialog box (→p .144).

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2. Parameters

3a. Start Meas

[0001...9999]

You can use the drum track fader and key to turn the

drum track on/ off and adjust the volume.

Use the Knob Matrix to adjust the send levels and EQ set-

tings. You can also click an icon in the screen and use the

value dial (or +/– keys) to edit the setting.

Speciﬁes the location at which the pattern map event

will be created (begun, inserted), in units of measures.

3b. Length

[0001...9999]

Speciﬁes the number of measures for the pattern.

3c. GROUP, SESS, VARI, TEMPO

3. Link

Use GROUP to select the group (type) of drumming

pattern, SESS to select a pattern set (session) from the

speciﬁed group, VARI to select a pattern variation

and TEMPO to Speciﬁes the tempo of the drumming.

Click this if you want the send and EQ parameters to be

the same values for L and R. If you want to set the param-

eters individually for left and right, click this to turn it

off, and then set the parameters individually.

3d. Blank

4. PRE/PST

Click (highlight) this to select a blank pattern.

This speciﬁes whether the sends will be taken from

before the fader (pre-fader) or from after the fader (post-

fader).

3e. Fill

Click (highlight) this to select a ﬁll pattern.

3f. Ending

PRE: Send the pre-fader level

PST: Send the post-fader level

Click (highlight) this to select an ending pattern.

4. Edit

Edits the settings of a pattern map event.

Select this if you want to modify an existing event. Select

(highlight) the event you want to modify, and click this but-

ton to display the Edit Map Event dialog box where you

can edit the parameters. (See the preceding section, 3. New)

14-3. Pattern Map

Here you can edit the pattern map to add new events during

song recording or playback, or change the time signature,

drum pattern, or tempo.

RecMode = Pattern

You can specify events in the pattern map at intervals of measures.

If you set the Start Meas setting later (or earlier) than the be-

ginning of the selected event, the Length of the preceding event

will be lengthened (or shortened) by the difference.

1. Pattern map window

[001...200]

Select the pattern map event that you want to edit.

The list shows the event number, the starting measure

and ending measure for the pattern, the time signature,

the session name, the variation name, and the tempo.

5. Overwr.

The settings of the pattern map event will be changed by

being overwritten. Choose this if you want to add an

event without changing the length of the pattern map

you’ve already created. The overwritten area will be

divided as a new event. Select the event you want to

modify (it will be highlighted), click this button to open

the Overwrite Map Event dialog box, and set the param-

eters. (Refer to the preceding section, 3. New)

2. Prev

Turn this on (highlighted) if you want to preview the pat-

tern of the event that is selected in the pattern map window.

This is valid only in this tab page, and will automatically

be switched off when you play back the recorder or move

to another page.

RecMode = Pattern

3. New

Creates a new pattern map event.

Click this button to add a new event.

When you click this button, the New Map Event dialog

box will open, and you will automatically be in Preview

mode (2. Prev turned on).

You can’t add events if RecMode is set to Tempo.

RecMode = Pat&T

If the Start Meas and Length settings exceed the range of the

event you selected, the event(s) corresponding to that portion of

the map will also be overwritten. If the Start Meas and Length

settings are identical to the range of the event you selected, no new

event will be added; the result will be the same as 4. Edit.

6. Delete

Deletes an event from the pattern map.

In the pattern map window, select the event you want to

delete and click this button to open the Delete dialog box.

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If you are recording tap tempo, press the PLAY key or the

foot switch. Tap tempo will be recorded according to the

intervals at which you press the key or foot switch.

The tempo will be recorded from the beginning of the song.

The tempo at the measure or beat where you stop tempo recording

will be automatically copied all the way to the end of the song.

Click the Yes button to delete the event. If you decide not to

delete it, click the No button (or press the panel NO key).

When you execute this operation, the selected event will

be deleted, and subsequent events will be moved for-

ward by one step.

If you want to delete all events in a single operation, turn

the Select All button on (highlighted), and execute this

Delete operation.

15. STORE

This stores the current location so it can be saved as a locate

point, mark or scene.

When you press the STORE key, the location at that moment

is preserved, and you can assign that location to a locate

point, scene, or mark point by pressing the appropriate key.

If you press the STORE key once again instead of pressing a

key to specify the assignment, the stored location will be dis-

carded. For details on registering and using locations, refer to

Locate (→p .38), Scene (→p .50), or Mark (→p .38).

You can’t delete events if RecMode is set to Tempo.

14-4. Tempo Track

Here you can record the tempo track. You can do this in one

of two ways.

•

Recording MIDI clock messages

You can synchronize to an external MIDI sequencer by

recording the MIDI Clock messages received from the

external MIDI sequencer so that this data will determine

the tempo of the song.

16. SCENE

•

Recording tap tempo

You can specify the tempo by tapping (either the PLAY

key or a foot switch) while the song plays back. If you use

this method to specify the tempo of a song whose tempo

is unknown (such as a song recorded from a CD), you

will then be able to edit the tracks in units of measures.

Refer to “2c. FADER/ PAN/ AUTOMATIO N” (→p .105, Edit

Scene).

For the recording procedure refer to “6-1. Tempo track”

(→p .63).

17. MARK

The above two methods of recording the tempo track store their

data in the same area; only the last-recorded data is maintained. It

is not possible to have two tempo tracks of data.

You can register marks at a variety of locations, and then in-

stantly change the current location of the song to the location

registered to a mark. You can also assign a name to each

mark, and use them to indicate sections within a song.

(→p .38)

If the memory becomes full while recording tempo data, recording

will end automatically.

To move between marks, hold down the MARK key and use

the + (or –) key.

If you add the Album CD Track Marks to a mark, the mark

will be recognized as a track division for a CD you create.

You can also use a PS-1 foot switch (sold separately) instead of the

MARK key. (→p.119)

You can register up to one hundred marks in each song.

Mark 001 is automatically created at the counter 0 location

with a name of “Song Top Mark.”

1. Tempo Rec Mode

[MIDIClock, MeasTap, BeatTap]

Selects the type of tempo track to be recorded.

MIDIClock:

The tempo track will be created by recording MIDI

clock data from a song created on an external

sequencer.

MeasTap:

The tempo track will be created by tapping at the

beginning of each measure.

BeatTap:

The tempo track will be created by tapping at the

beginning of each beat.

1. Current Mark

[001…100]

This is the mark at or immediately before the current

location. The mark name, location, and the Album CD

Track Marks are displayed beside the mark number.

2. RecStart

This button displays the record-ready dialog box.

If you are recording MIDI clock messages, recording will

begin when the D3200 receives MIDI clock messages

from your external MIDI sequencer.

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down the panel JUMP key. You can also move the location by

clicking and holding in the waveform window and then moving

the joystick to left or right.

2. Mark list

[001…100]

Here you can select the mark number that you want to

recall, edit, rename, or delete. The mark name, location,

and the Album CD Track Marks are displayed beside the

mark number. Mark numbers are reassigned automati-

cally in order of their location.

3. Recall

When you click this button, the mark selected in the mark

list will be recalled, and the current song location will

change to that location.

4. EditLoc

When you click this button, the Edit Mark Location dia-

log box will appear. Edit the location of the mark selected

in the mark list, and click the Yes button (or press the

panel YES key) to apply the change. To discard the

change, click the No button (or press the panel NO key).

You cannot edit the location mark 001.

1. Track selection

5. Rename

Click the popup button, use the buttons in the Select

Track dialog box to select the track in which you want to

ﬁnd a location, and click the OK button (or press the

panel YES key). If you click the Stereo button, the wave-

forms of two adjacent channels will be displayed in the

upper and lower part of the waveform window.

This lets you rename the mark selected in the mark list.

Click the button to display the Rename dialog box, and

edit the name of the mark. You can input a name of up to

sixteen characters. (→p .99)

6. Delete

Click this button to open the Delete dialog box, and

delete the mark. If you click the Select All button on

(highlighted), all marks will be selected for deletion.

To delete the marks, click the Yes button (or press the

panel YES key). If you decide not to delete, click the No

button (or press the panel NO key).

You cannot delete mark 001.

Deletion of a mark cannot be Undone.

7. Use As CD Tr

When you want to write a continuous live recording or a

long song to a CD and create track indexes to mark cer-

tain sections or individual movements, you can use this

setting to assign the selected mark as a track divider on

the CD.

2. Preview playback buttons

When you select a mark in the mark list and click the Use

You can also perform these operations using the top

panel transport keys listed below in square brackets [ ].

As CD Tr button, a CD Track Mark icon “

” will be

displayed for that mark, and it will be assigned as a track

divider. You can cancel this assignment by clicking the

Use As CD Tr button once again.

[REW] Plays back approximately two seconds ending

at the current location (the Play To function).

[FF] Plays back approximately two seconds starting

from the current location (the Play From function).

Album CD Track Marks are used only when you write an Al-

bum CD Project.

If you write using Track At Once, the Album CD Track Marks

are ignored, and the song will be written as one track (song).

3. SearchZero

If this button is clicked, you can turn the value dial to

ﬁnd the next or previous zero-cross point.

A “zero-cross” point is a location where the waveform level

crosses the ±0 point (the horizontal line in the center of the

waveform window).

18. SCRUB

4. Waveform window

This displays the waveform of the selected track.

This lets you “scrub” the audio data in order to register or

edit locate points or mark locations more precisely.

5. Loc (Location)

[000:00.000…]

This displays the current location. The current location is

also shown by the vertical bar in the waveform window.

You can turn the value dial to move this while hearing

the audio and watching the waveform location.

Press the SCRUB key to display the “Scrub” page. To stop

the Scrub function, press any other page mode key.

If you press the SCRUB key again, you will return to the

page in which you were before pressing that key.

6. ZOOM

The Scrub function lets you play back the track data by turn-

ing the value dial, so that you can find a desired location in

the song while listening to the sound.

Adjusts the size of the waveform display and the play-

back speed:

This is analogous to manually turning a vinyl record on a

turntable to find the beginning of a song while listening to

the sound.

The waveform window will show the waveform of the se-

lected track.

vertically expands the waveform display.

vertically shrinks the waveform display.

horizontally expands the waveform display.

horizontally shrinks the waveform display.

You can operate the ZOOM buttons by holding down the pan-

el JUMP key and using the cursor keys.

You can move the location by clicking in the waveform window

and then moving the ClickPoint to left or right while holding

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Starting location + copy-destination location of the

expanded/ compressed data for “ExpCmpTrk”

Starting location “NoiseReduction”

19. LOC 1/ IN, … LOC 4/ END

The location that you register for the LOC 4/END key is

These keys are used to store locations within the song. LOC

used for the following purposes.

1/IN…LOC 4/END are used in the following ways.

•

Locate point 4 (END location)

•

Locate points (→p .37)

You can move to a registered location by pressing the

corresponding key.

In/ Out points for loop playback (→p .68)

In/ Out points for auto-punch recording (→p .66)

Editing points for track editing (→p .69)

The following locations for track editing operations

Ending location of the data to be expanded/ com-

pressed for “ExpCmpTrk”

•

Ending location for “NoiseReduction”

To register a location, press the STORE key and then press

the desired LOC 1–6 key.

MIXER Navigation Tools

Tab pages within the MIXER page can be registered to the

Locate functions

LOC 1/IN–LOC 4/END keys for quick access.

The location that you register for the LOC 1/IN key is

used for the following purposes.

Assigning Tab Pages to the Locate keys

•

Locate point 1 (IN location)

•

In the MIXER page, access the tab page that you want to

Punch-in location for auto-punch recording

Playback start location for loop playback

The following locations for track editing operations

Starting location of the copy-source for “CopyTrk”

Starting location of the inserted silence for “Insert-

Trk”

Hold down the MIXER key and press the STORE key;

the Stored Page dialog box will appear.

If you decide not to register this page, click the Exit but-

ton or press the STORE key once again.

•

Press the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or LOC 4/

END key to register the current tab page to that key.

Registration is complete as soon as you press the key,

and the dialog box will close.

Starting location of the erased region for “EraseTrk”

Starting location of the deleted region for

“DeleteTrk”

Starting location of the swap-source and swap-desti-

nation for “SwapTrk”

Starting location of the data to be reversed for

“ReverseTrk”

Starting location for “OptimizeTrk”

Starting location of the data to be expanded/ com-

pressed for “ExpCmpTrk”

With the factory settings, the following pages are registered.

LOC 1 CH INPUT/SubMixer, “Ch Assign” tab page

LOC 2 FADER/PAN/AUTOMATION, “Automation” tab page

LOC 3 PAIR/GROUP, “Ch Pair” tab page

LOC 4 EQ/ATT/PHASE, “MasterEQ” tab page

Moving between tab pages

Starting location for “FadeTrk”

Once the tab page has been assigned, then simply holding

down the MIXER key and pressing one of the LOC 1/IN–

LOC 4/END keys will move you directly to that registered

tab page within the MIXER.

Starting location for “NormalizeTrk”

Starting location for “ErasePunchNoise”

Starting location for “EraseSilence”

The location that you register for the LOC 2/OUT key is

used for the following purposes.

•

Locate point 2 (OUT location)

Punch-out location for auto-punch recording

Playback end location for loop playback

The following locations for track editing operations

Ending location of the copy-source for “CopyTrk”

Ending location of the inserted silence for “Insert-

Trk”

Ending location of the erased region for “EraseTrk”

Ending location of the deleted region for

“DeleteTrk”

20. REC/ PLAY MODE

20-1. Rec Mode

Here you can select the recording method, and make settings

for trigger and auto-punch recording.

Ending location of the swap-source and swap-desti-

nation for “SwapTrk”

Ending location of the data to be reversed for

“ReverseTrk”

Ending location for “OptimizeTrk”

Ending location of the data to be expanded/ com-

pressed for “ExpCmpTrk”

Ending location for “FadeTrk”

Ending location for “NormalizeTrk”

Ending location for “ErasePunchNoise”

Ending location for “EraseSilence”

The location that you register for the LOC 3/TO key is

used for the following purposes.

1. Normal

Recording will occur normally.

•

Locate point 3 (TO location)

The following locations for track editing operations

Starting location of the copy-destination for

“CopyTrk”

Starting location of the reverse-copy destination for

“ReverseTrk”

2. Trigger recording [Trigger/RecStart, Trigger/Punch In]

Trigger recording will be used. Recording will be started

(“triggered”) when the volume of the input signal

exceeds the threshold level (Threshold) you specify

(→p .66). If you click either of these radio buttons, the

Trigger indicator will light.

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Recording will not start if the volume of the input signal does

not reach the threshold level (specified by Threshold). In this

case, press the STOP key to cancel record-ready mode, and

change the “Threshold” setting.

5. AutoPunch

Auto punch-in/ out recording is a function that automati-

cally initiates recording (punch-in) and stops recording

(punch-out) at the locations that you specify beforehand.

When “AutoPunch” is on, the AUTO PUNCH indicator

will be lit. When you record, punch-in/ out recording will

be performed.

When you record, playback will begin from a location

that is the pre-roll length before the registered IN point.

Recording will occur over the speciﬁed region (IN–OUT),

and then playback will continue and then stop at the

post-roll point.

Trigger/RecStart:

Press the REC key (REC and PLAY keys blinking) to

enter record-ready mode. If the REC/PLAY key is on,

recording will begin automatically when the audio

input for the channels whose channel key is in Record

mode exceeds the threshold level.

While in record-ready mode, you can press the STOP

key or REC key to cancel record-ready mode.

6. Roll Time Unit

Trigger/Punch-In:

Select the units for the pre/ post roll times. You can select

either seconds or measures.

Press the REC key (the key will blink) to enter record-

ready mode.

Press the PLAY key to play back the playback track(s).

When the signal being input to the currently-playing

channel exceeds the threshold level, recording will

begin automatically.

While in record-ready mode, you can press the STOP

key or REC key to cancel record-ready mode.

7. Pre Roll Time

8. Post Roll Time

Specify the pre-roll and post-roll. When using auto punch

recording, you can specify a pre-roll time so that you can

be ready to start recording at the punch-in (IN) point. Set

the post-roll time so that you can conﬁrm the transition

from the end of recording (OUT) to the material that fol-

lows.

Trigger/RecStart recording

Trigger

Pre Roll Time

Post Roll Time

LOC 1

LOC 2

Threshold

Playback

Recording

Playback

Begin recording

Stop recording

PreTriggerTime

Auto punch-in/out recording

Loop recording (this region will be repeated)

Recording

Stopped

Record-start location

If you perform auto punch-in/out recording when Loop Play in

the “Play/Stop Mode” tab page is on, recording will occur re-

peatedly, and each “pass” or “take” will be preserved in the undo

list.

Trigger/Punch-In recording

Trigger

When recording the master track, the only Rec Mode you can use

is “Normal” and “Auto Punch.”

Threshold

The number of simultaneously-recordable tracks is limited when

using punch-recording. For details about limitations on the

number of tracks, refer to Song Type (→p.117). If you attempt to

record more than the allowable number of tracks, recording cannot

be executed.

PreTriggerTime

Playing

Record-start location

Start playback

Recording

If MIDI Sync is set to MTC, you cannot execute Trigger/Rec-

Start or Auto Punch.

If MIDI Sync is set to MTC Slave, Loop Play will be ignored

even if it is turned on.

3. Threshold

[–∞, –90.3…–30.8 dB]

Speciﬁes the threshold level for the input signal at which

recording will be triggered when the trigger recording

function is used. Recording will begin when the input

level exceeds this setting.

Normally you should set this as low as possible without allow-

ing recording to be triggered by noise. The appropriate level

will depend on the input source. Re-adjust this setting if re-

cording begins too early or too late.

4. PreTriggerTime

[0…600ms]

Speciﬁes the length of sound prior to the record-start

time that will be captured when using trigger recording.

Trigger recording will start recording when the input sig-

nal exceeds the “Threshold” level, but depending on the

threshold setting and on the type of source, the initial

attack of the ﬁrst note may be lost. In such cases, you can

set the “PreTriggerTime” so that the lower-level portion

of the sound that precedes the actual start of recording

will also be recorded.

This is not valid at the beginning of the song. Also, if you use

trigger recording to continue recording after the end of a pre-

viously-recorded track, a PreTriggerTime setting other than

“000 ms” will cause the corresponding length of the previous-

ly-recorded sound to be lost.

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20-2. Play/ Stop Mode

Here you can specify how the transport keys PLAY and

STOP will operate.

21. Transport keys

PLAY key

Click this button to begin playback (key lit). This key will

blink during fast-forward, rewind, MTC Slave, or Trig

Rec Start.

REC key

Arms the record mode. Recording is possible only if at

least one track is set to REC. When you press this key, the

D3200 will enter record-ready mode (key blinking), and

recording will begin when you then press the PLAY key

(key lit).

The conditions for initiating recording will differ depending

on the RecMode, MMC, and MTC settings.

If the foot switch function is set to “Punch In Out,” you can

use the foot switch instead of the REC key.

STOP key

1. Play/Stop Mode

Stops recording or playback.

Click an radio button to specify how the PLAY and STOP

keys will operate.

You can hold down the STOP key and press the REW

key to move to the beginning of the song, or hold down

the STOP key and press the FF key to move to the end of

the song.

Manual

The keys will play and stop in the conventional way.

Loop Play

FF key

When you press the PLAY key, the region speciﬁed by

LOC 1/IN and LOC 2/OUT will play repeatedly

(→p .65). Playback will stop when you press the STOP

key.

Fast-forward will occur while you hold down the FF key

during playback.

Pressing the FF key while stopped will cause fast-for-

ward to continue until you press the STOP, PLAY, or

LOC 1/2/3/4 keys.

At this time, the LOOP indicator will light.

If you perform auto-punch in/out recording while Loop

Play is on, you’ll be able to record repeatedly; the recorded

result will be saved in the Undo list.

REW key

Rewind will occur while you hold down the REW key

during playback.

Pressing the REW key while stopped will cause rewind

to continue until you press the STOP, PLAY, or LOC 1/2/

3/4 keys.

Loop Play is unavailable if “MIDI Sync” (→p.125) is set

to “MTC Slave.”

Stop at Song End

If the REC/PLAY MODE setting Loop Play is on, perform-

ing fast-forward/rewind will cause fast-forward/rewind to

continue until you press the STOP, PLAY, or LOC 1/2/3/4

keys.

Playback will begin when you press the PLAY key,

and will automatically end when you reach the end of

the song.

Stop at Song End & Return to Top

Playback will begin when you press the PLAY key.

When you reach the end of the song, playback will

automatically stop and you will return to the begin-

ning of the song.

Stop at Song End & Load Next Song

Playback will begin when you press the PLAY key.

When you reach the end of the song, playback will

automatically stop and the next song will be loaded.

2. Stop at Mark Point

Playback will pause when you reach a location at which a

mark has been assigned.

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Effect parameters

Algorithm list

Program list

STEREO TYPE

Category

STEREO TYPE

No. Name

Size

Reverb&Delay

1 Reverb Hall

Category: Reverb&Delay

2 Smooth Hall

No. Program Name

1 Reverb Hall

Algorithm No. Name

3 Reverb Wet Plate

4 Reverb Dry Plate

5 Reverb Room

1 Reverb Hall

2 Smooth Hall

3 Wet Plate Reverb

4 Dry Plate Reverb

5 Reverb Room

6 Bright Room

7 Early Reﬂection

8 ARENA

3 Reverb Wet Plate

4 Reverb Dry Plate

5 Reverb Room

6 Bright Room

7 Early Reﬂection

8 L/C/R Delay

9 Stereo/Cross Delay

10 St.MultiTapDelay

11 St.Modulation Dly

12 St.Dynamic Delay

13 Auto Panning Delay

14 Stereo Chorus

15 Stereo Flanger

16 Stereo Phaser

17 Stereo Vibrato

18 Stereo Tremolo

19 St.Pitch Shifter

20 Stereo Compressor

21 Stereo Expander

22 Stereo Limiter

23 Stereo Gate

7 Early Reﬂection

1 Reverb Hall

9 Cathedral

2 Smooth Hall

10 Dark Plate

3 Reverb Wet Plate

4 Reverb Dry Plate

4 Reverb Room

6 Bright Room

Modulation&Pitch

Dynamics&Filter

11 Bright Plate

12 Club

13 Listening Room

14 Garage

6 Bright Room

15 L/C/R Delay

16 St/Cross Delay

17 St.MultiTapDelay

18 St.Mod Delay

19 St.Dynamic Delay

20 St.AutoPan Delay

8 L/C/R Delay

9 Stereo/Cross Delay

10 St.MultiTapDelay

11 St.Modulation Dly

12 St.Dynamic Delay

13 Auto Panning Delay

24 Stereo Filter

25 Stereo Wah

Category: Modulation&Pitch

26 Multiband Limiter

27 St.Analog Record

28 Talking Modulator

29 St.Ring Modulator

30 Rotary Speaker

SFX&etc

No. Program Name

21 Stereo Chorus

22 High Band Chorus

23 Stereo Flanger

24 High Band Flange

25 Stereo Phaser

26 Analog Phaser

27 Stereo Vibrato

28 Vibrato/Chorus

29 Stereo Tremolo

30 Vintage Tremolo

31 St.Pitchshifter

Algorithm No. Name

14 Stereo Chorus

15 Stereo Flanger

16 Stereo Phaser

17 Stereo Phaser

17 Stereo Vibrato

18 Stereo Tremolo

19 St.Pitch Shifter

MONO TYPE

Category

No. Name

Size

Reverb&Delay

31 Mono Reverb Hall

32 Mono Reverb Plate

33 Mono Reverb Room

34 Mono ER

35 Mono Delay

36 Mn.Multitap Delay

37 Mono Chorus

38 Mono Flanger

39 Mono Phaser

40 Mono Tremolo

41 Mn.Pitch Shifter

42 Mono Compressor

43 Mono Limiter

44 Mono Expander

45 Mono Gate

Modulation&Pitch

Dynamics&Filter

Category: Dynamics&Filter

No. Program Name

32 StereoCompressor

33 Stereo Expander

34 Stereo Limiter

35 Stereo Gate

Algorithm No. Name

20 Stereo Compressor

21 Stereo Expander

22 Stereo Limiter

23 Stereo Gate

36 Stereo Filter

24 Stereo Filter

37 Stereo Wah

25 Stereo Wah

46 Mono Filter

38 MultiBandLimiter

39 Studio Compressor

40 Tube Compressor

41 Mastering Comp

42 Studio Limiter

43 Analog Limiter

44 Hard Limiter

26 MultiBandLimiter

20 Stereo Compressor

22 Stereo Limiter

47 Mono Wah

SFX&etc

Multi

48 AnalogRecord

49 Mn.Ring Modulator

50 Tube Pre Amp Sim

51 Mic Simulator

52 GuitarMulti

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Category: Dynamics&Filter

45 Master CD

26 MultiBandLimiter

46 Remaster L.A

47 Remaster Pop

48 Remaster Dance

49 Two Mix 60’s

50 Two Mix 70’s

51 Two Mix 80’s

52 Two Mix Girl Pop

53 Two Mix Dance

54 Two Mix HipHop

55 Digital Rock

No. Program Name

83 Compressor

84 Limiter

Algorithm No. Name

42 Mono Compressor

43 Mono Limiter

44 Mono Expander

45 Mono Gate

85 Expander

86 Gate

87 Filter

46 Mono Filter

88 Wah

47 Mono Wah

89 Kick Compressor

90 SNR Compressor

91 Bass Compressor

92 Vocal Compressor

93 Vocal Limiter

94 TomTom Limiter

95 Cutting Expander

96 SNR Expander

97 Cymbal Gate

98 Noise Gate

99 Chemical Filter

42 Mono Compressor

43 Mono Limiter

44 Mono Expander

45 Mono Gate

Category: SFX&etc

No. Program Name

56 St.Analog Record

57 TalkingModulator

58 St.RingModulator

59 Rotary Speaker

60 Old Record

Algorithm No. Name

27 St.Analog Record

28 Talking Modulator

29 St.Ring Modulator

30 Rotary Speaker

27 St.Analog Record

28 Talking Modulator

29 St.Ring Modulator

45 Mono Gate

46 Mono Filter

61 Talking Delay

62 Jet Ring

Category: SFX&etc

No. Program Name

100 Analog Record

101 Ring Modulator

102 Tube Mic PreAmp

103 Old Mic PreAmp

104 DriveTubePreAmp

105 RadioTone

Algorithm No. Name

48 Mn.Analog Record

49 Mn.Ring Modulator

50 Tube Pre Amp Sim

51 Mic Simulator

MONO TYPE

Category: Reverb&Delay

No. Program Name

63 Hall

Algorithm No. Name

31 Mono Reverb Hall

32 Mono Reverb Plate

33 Mono Reverb Room

31 Mono Reverb Hall

32 Mono Reverb Plate

33 Mono Reverb Room

34 Mono ER

64 Plate

106 Mic Simulator

107 Vintage Dyna Mic

108 Vintage Tube Mic

109 Studio Mic & Pre

110 Drums Dyna Mic

111 Percussion Mic

112 OverTop Mic

65 Room

51 Mic Simulator

66 Small Hall

67 Light Plate

68 Studio Room

69 EarlyReﬂections

70 Delay

51 Mic Simulator

35 Mono Delay

51 Mic Simulator

71 Analog Delay

72 3 Tap Delay

35 Mono Delay

113 Bass Drum Mic

51 Mic Simulator

36 Mn.Multitap Delay

Category: Multi

Category: Modulation&Pitch

No. Program Name

114 VOX AC15

Algorithm No. Name

52 GuitarMulti

No. Program Name

73 Chorus

Algorithm No. Name

37 Mono Chorus

38 Mono Flanger

39 Mono Phaser

40 Mono Tremolo

41 Mn.Pitch Shifter

115 VOX AC30

74 Analog Chorus

75 Flanger

116 VOX AC30TB

117 BLACK 2X12

118 TWEED 1X12

119 TWEED 4X10

120 BOUTIQUE CLEAN

121 BOUTIQUE OD

122 UKBLUES

76 Bass Flanger

77 Phaser

78 Vintage Phaser

79 Tremolo

80 Vintage Tremolo

81 Pitchshifter

82 Octave Voice

123 UK'70S

124 UK'80S

125 UK'90S

126 UK MODERN

127 US MODERN

128 US HIGAIN

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About the effect algorithms

Category: Reverb&Delay

Reverb/ delay-type effects

The effect algorithms can be broadly divided into mono and

stereo types.

For an insert effect, you can select a program that uses either

type of algorithm.

For a master effect and final effect, you cannot select pro-

grams that use a mono algorithm.

These effects simulate acoustic ambience such as the rever-

beration of a hall.

1: Reverb Hall

Example

This hall-type reverb simulates the reverberation of mid-size

concert halls or ensemble halls.

Algorithm number: Algorithm name

Parameter name shown on screen

(parameter name)

Range of parameter

2: Smooth Hall

Explanation

This hall-type reverb simulates the reverberation of larger

halls and stadiums, and creates a smooth release.

8: St.Modulation Delay

R TimeR (Delay Time)

0...2.500sec

3: Reverb Wet Plate

Sets the delay time for the right channel

0.02...20.00Hz

This plate reverb simulates warm (dense) reverberation.

*LFO Speed

Sets the LFO speed

Parameters marked by an “*” in front of the screen parameter

name can be controlled by an external device such as an ex-

pression pedal.

4: Reverb Dry Plate

This plate reverb simulates dry (light) reverberation.

Rev Time (Reverb Time)

0.1...10.0sec

Sets the reverberation time

53Hz...20.0kHz, THRU

Stereo-type

HiDamp (High Damp)

Sets the damping amount in the high range

0...200msec

Category

No. Name

Size

PreDelay (Pre Delay)

Reverb&Delay

1 Reverb Hall

Sets the delay time from the dry sound

Dry, 1:99...99:1, Wet

2 Smooth Hall

Dry:Wet

3 Reverb Wet Plate

4 Reverb Dry Plate

5 Reverb Room

Sets the balance between the effect and dry sounds

–15...+15dB

EQ Trim

Sets the equalizer trim level

6 Bright Room

LEQ Gain (Pre LEQ Gain)

HEQ Gain (Pre HEQ Gain)

P.DlyThru (Pre Delay Thru)

–15...+15dB

Sets the gain of Low EQ

–15...+15dB

7 Early Reﬂection

8 L/C/R Delay

9 Stereo/Cross Delay

10 St.MultiTapDelay

11 St.Modulation Dly

12 St.Dynamic Delay

13 Auto Panning Delay

14 Stereo Chorus

15 Stereo Flanger

16 Stereo Phaser

17 Stereo Vibrato

18 Stereo Tremolo

19 St.Pitch Shifter

20 Stereo Compressor

21 Stereo Expander

22 Stereo Limiter

23 Stereo Gate

Sets the gain of High EQ

0...100%

Sets the mix ratio of non-delay sound

: Pre Delay [msec], : Pre Delay Thru [%]

The “Pre Delay” sets the delay time to the reverb input, allow-

ing you to control spaciousness.

Using the “Pre Delay Thru” parameter, you can mix the dry

sound without delay, emphasizing the attack of the sound.

Modulation&Pitch

Dynamics&Filter

5: Reverb Room

This room-type reverb emphasizes the early reflections that

make the sound tighter. Changing the balance between the

early reflections and reverb sound allows you to simulate nu-

ances, such as the type of walls of a room.

24 Stereo Filter

25 Stereo Wah

26 Multiband Limiter

27 St.Analog Record

28 Talking Modulator

29 St.Ring Modulator

30 Rotary Speaker

6: Bright Room

SFX&etc

This room-type reverb emphasizes the early reflections that

make the sound brighter

Rev Time (Reverb Time)

0.1...3.0sec

Sets the reverberation time

53Hz...20.0kHz, THRU

HiDamp (High Damp)

Sets the damping amount in the high range

0...200msec

PreDelay (Pre Delay)

Sets the delay time from the dry sound

Dry, 1:99...99:1, Wet

Dry:Wet

Sets the balance between the effect and dry sounds

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EQ Trim

–15...+15dB

Sets the equalizer trim level

–15...+15dB

Fb.LoDamp (Feedback Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

LEQ Gain (Pre LEQ Gain)

HEQ Gain (Pre HEQ Gain)

P.DlyThru (Pre Delay Thru)

Rev Level (Reverb Level)

ER Level

Fb.HiDamp (Feedback High Damp)

53Hz...20.0kHz, THRU

Sets the damping amount in the high range

0...100%

Sets the gain of Low EQ

–15...+15dB

In Level (Input Level)

Sets the gain of High EQ

0...100%

Sets the input level to the effect

: High Damp, : Low Damp

These parameters set the damping amount of high range and

low range. The tone of the delayed sound becomes darker and

lighter as it feeds back.

Sets the mix ratio of non-delay sound

0...100%

Sets the reverberation level

0...100%

: Spread

This parameter sets the pan width of the effect sound. The

stereo image is widest with a value of “50,” and the effect

sound of both channels is output from the center with a value

of “0.”

Sets the level of early reflections

: ER Level, : Reverb Level

These parameters set the early reﬂection level and reverb level.

Changing these parameter values allows you to simulate the

type of walls in the room. That is, a larger “ER Level” simulates

a hard wall, and a larger “Reverb Level” simulates a soft wall.

9: Stereo/ Cross Delay

This is a stereo delay, and can by used as a cross-feedback de-

lay effect in which the delay sounds cross over between the

left and right by changing the feedback routing.

7: Early Reﬂection

This effect is only the early reflection part of a reverberation

sound, and adds presence to the sound. You can select one of

the four decay curves.

L Time (L Delay Time)

R Time (R Delay Time)

Type (Stereo/Cross)

0...2.730sec

Sets the left delay time

0...2.730sec

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reflection

10...800msec

Sets the right delay time

Stereo, Cross

ER Time

Switches between stereo delay and cross-feedback delay

Dry, 1:99...99:1, Wet

Sets the time length of early reflection

0...200msec

Dry:Wet

Predly (Pre Delay)

Sets the balance between the effect and dry sounds

Sets the time taken from the original sound to the first early

reflection

L Fdback (L Feedback)

–100...+100%

Sets the feedback amount for the left channel

EQ Trim

–15...+15dB

Sets the equalizer trim level

–15...+15dB

R Fdback (R Feedback)

–100...+100%

Sets the feedback amount for the right channel

LEQ Gain (Pre LEQ Gain)

HEQ Gain (Pre HEQ Gain)

Dry:Wet

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Sets the gain of Low EQ

–15...+15dB

HiDamp (High Damp)

Spread

Sets the gain of High EQ

Dry, 1:99...99:1, Wet

Sets the damping amount in the high range

0...100%

Sets the balance between the effect and dry sounds

Sets the width of the stereo image of the effect sound

: Type

In Level (Input Level)

0...100%

This parameter selects the decay curve for the early reﬂection.

Sets the input level to the effect

8: L/ C/ R Delay

10: St. Multitap Delay

This multitap delay outputs three Tap signals to the left,

right, and center respectively. You can also adjust the left and

right spread of the delay sound.

(Stereo Multitap Delay)

The left and right Multitap Delays have two taps respective-

ly. Changing the routing of feedback and tap output allows

you to create various patterns of complex effect sounds.

L Time (L Delay Time)

C Time (C Delay Time)

R Time (R Delay Time)

Dry:Wet

0...2.730sec

Sets the delay time of TapL

0...2.730sec

Tap1Time

Tap2Time

Type

0...2.730sec

Sets the delay time of Tap1

0...2.730sec

Sets the delay time of TapC

0...2.730sec

Sets the delay time of Tap2

Normal, CrossFdback, CrossPan1, CrossPan2

Switches the left and right delay routing

Dry, 1:99...99:1, Wet

Sets the delay time of TapR

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Dry:Wet

Tap1Level

Tap2Level

L LevelL (Delay Level)

0...100%

Sets the output level of TapL

0...100%

Sets the balance between the effect and dry sounds

0...100%

C LevelC (Delay Level)

R LevelR (Delay Level)

Spread

Sets the output level of Tap1

0...100%

Sets the output level of TapC

0...100%

Sets the output level of Tap2

Sets the output level of TapR

0...100%

T1.Fdback (Tap1 Feedback)

Spread

–100...+100%

Sets the Tap1 feedback amount

0...100%

Sets the width of the stereo image of the effect sound

Fdback (C) (Feedback (C Delay))

–100...+100%

Sets the width of the stereo image of the effect sound

Sets the feedback amount of TapC

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LoDamp (Low Damp)

HiDamp (High Damp)

In Level (Input Level)

: Type

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Attack

0...1.00sec

Sets the attack time of level control

0...10.0sec

Release

Sets the damping amount in the high range

0...100%

Sets the release time of level control

0...100%

Offset

Sets the input level to the effect

Sets the offset of level control

None, WetLevel, Feedback

Control (Control Target)

The left/ right panning of the delay can be modiﬁed by chang-

ing the connections of the left and right delay. Be aware that dif-

ferent sounds must be input to the left and right channels in

order for this parameter to be effective.

Selects from no control, output, and feedback

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

HiDamp (High Damp)

Spread

Sets the damping amount in the high range

0...100%

11: St.Modulation Dly

Sets the width of the stereo image of the effect sound

[+]Plus, [–]Minus

(Stereo Modulation Delay)

Polarity

This stereo delay uses an LFO to sweep the delay time. The

pitch also varies. You will obtain a delay sound with swell

and shimmering. You can also control the delay time using a

modulation source.

Reverses level control

: Control Target

This parameter selects no level control, delay output control

(effect balance), or feedback amount control.

L Time (L Delay Time)

R Time (R Delay Time)

*LFO Speed

0...2.500sec

Sets the left delay time

0...2.500sec

: Polarity, : Threshold, : Offset, : Attack, : Release

The “Offset” parameter speciﬁes the value for the “Control

Target” parameter (when level control is not being applied),

expressed as a ratio relative to the parameter setting.

If “Polarity” is set to [+] Plus, “Control Target” will be the

value of the parameter multiplied by the “Offset” when the

input signal is lower than the “Threshold,” or will be the value

of the parameter when the input signal is above the “Thresh-

old.”

If “Polarity” is set to [–] Minus, “Control Target” will be the

value of the parameter when the input signal is lower than the

“Threshold,” or will be the value of the parameter multiplied

by the “Offset” when the input signal is above the “Thresh-

old.”

Sets the right delay time

0.02...20.00Hz

Sets the LFO speed

Dry, 1:99...99:1, Wet

Dry:Wet

Sets the balance between the effect and dry sounds

0...200

*L Depth

*R Depth

Sets the depth of the left LFO modulation

0...200

Sets the depth of the right LFO modulation

The “Attack” and “Release” parameters specify attack time

and release time of delay level control.

LFO Wave (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–100...+100%

LFO Shape

Determines how much the LFO waveform is changed

13: Auto Panning Delay

L Fdback (L Feedback)

–100...+100%

Sets the feedback amount of left delay

–100...+100%

This stereo delay effect pans the delay sound left and right

using the LFO.

R Fdback (R Feedback)

L Phase (L LFO Phase)

L Time (L Delay Time)

R Time (R Delay Time)

*Speed (Panning Speed)

Dry:Wet

0...2.730sec

Sets the left delay time

0...2.730sec

Sets the feedback amount of right delay

–180...+180deg

Sets the phase obtained when the left LFO is reset

Sets the right delay time

0.02...20.00Hz

R Phase (R LFO Phase)

–180...+180deg

Sets the phase obtained when the right LFO is reset

Sets the panning speed

Dry, 1:99...99:1, Wet

: L LFO Phase [degree], : R LFO Phase [degree]

“L LFO Phase” and “R LFO Phase” specify the phase differ-

ence between the two LFO’s when they are reset. This allows

the pitch change of the sweep to be set independently for left

and right.

Sets the balance between the effect and dry sounds

L Fdback (L Feedback)

–100...+100%

Sets the feedback amount for the left channel

R Fdback (R Feedback)

–100...+100%

Sets the feedback amount for the right channel

12: St.Dynamic Delay

(Stereo Dynamic Delay)

*Depth (Panning Depth)

0...100

Sets the panning width

–180...+180deg

This stereo delay controls the level of delay according to the

input signal level. You can use this as a ducking delay that

applies delay to the sound only when you input signals at a

high velocity or only when the volume level is low.

L-R Phase (LFO L-R Phase)

Sets the LFO phase difference between the left and right

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

HiDamp (High Damp)

L Time (L Delay Time)

R Time (R Delay Time)

Feedback

0...2.730sec

Sets the left delay time

0...2.730sec

Sets the damping amount in the high range

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–100...+100%

Sets the right delay time

–100...+100%

LFO Shape

Determines how much the LFO waveform is changed

Sets the feedback amount

Dry, 1:99...99:1, Wet

Dry:Wet

Sets the balance between the effect and dry sounds

0...100

Threshold

Adjusts the level at which compression

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: LFO Shape

Changing the LFO waveform shape controls the peak sweep of

ﬂanging effects.

Category: Modulation&Pitch

Modulation/ Pitch-type effects

: Feedback, : Dry:Wet

The peak shape of the positive and negative “Feedback” value

is different. The harmonics will be emphasized when the effect

sound is mixed with the dry sound if you set a positive value

for both “Feedback” and “Dry:Wet”, and if you set a negative

value for both “Feedback” and “Dry:Wet”.

14: Stereo Chorus

This effect adds thickness and warmth to the sound by mod-

ulating the delay time of the input signal. You can control the

spaciousness of the sound by offsetting the phase of the left

and right LFOs from each other.

: Feedback High Cut

This parameter sets the amount of damping of the feedback in

the high range. Increasing the value will cut high-range har-

monics.

*Speed (LFO Speed)

*Depth

0.02...20.00Hz

Sets the LFO speed

16: Stereo Phaser

0...100

Sets the depth of LFO modulation

–180...+180deg

This effect creates a swell by shifting the phase. It is very ef-

fective on electric piano sounds. This is a stereo effect, and

you can control the spaciousness of the sound by offsetting

the phase of the left and right LFOs from each other.

L-R Phase (LFO L-R Phase)

Sets the LFO phase difference between the left and right

Dry, 1:99...99:1, Wet

Dry:Wet

Sets the balance between the effect and dry sounds

*Speed (LFO Speed)

Depth

0.02...20.00Hz

Sets the LFO speed

L PreDly (L Pre Delay)

R PreDly (R Pre Delay)

Waveform (LFO Waveform)

Spread

0.0...50.0msec

Sets the left delay time

0.0...50.0msec

0...100

Sets the depth of LFO modulation

–100...+100%

Sets the right delay time

Triangle, Sine

Resonance

Dry:Wet

Sets the resonance amount

Dry, 1:99...99:1, Wet

Selects LFO Waveform

0...100%

Sets the balance between the effect and dry sounds

Sets the width of the stereo image of the effect sound

Manual

0...100

Sets the frequency to which the effect is applied

–100...+100

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

LFO Shape

HiDamp (High Damp)

Determines how much the LFO waveform is changed

Sets the damping amount in the high range

Reso HiCut (Resonance High Cut)

53Hz...20.0kHz, THRU

: L Pre Delay [msec], : R Pre Delay [msec]

Setting the left and right delay time individually allows you to

control the stereo image.

Sets the resonance damping amount in the high range

L-R Phase (LFO L-R Phase)

–180...+180deg

Sets the LFO phase difference between the left and right

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

Blue, U-VB

15: Stereo Flanger

Type

This effect gives a significant swell and movement of pitch to

the sound. It is more effective when applied to a sound with

a lot of harmonics. This is a stereo flanger. You can add

spread to the sound by offsetting the phase of the left and

right LFOs from each other.

Selects the type of phaser

: Resonance, : Dry:Wet

The peak shape of the positive and negative Feedback value is

different. The harmonics will be emphasized when the effect

sound is mixed with the dry sound, if you set a positive value

for both “Resonance” and “Dry:Wet”, and if you set a negative

value for both “Resonance” and “Dry:Wet”.

*Speed (LFO Speed)

*Depth

0.02...20.00Hz

Sets the LFO speed

: Resonance High Cut

0...100

This parameter sets the amount of damping of the resonance in

the high range. Increasing the value will cut high-range har-

monics.

Sets the depth of LFO modulation

–100...+100%

Fdback (Feedback)

Dry:Wet

Sets the feedback amount

Dry, 1:99...99:1, Wet

17: Stereo Vibrato

Sets the balance between the effect and dry sounds

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–100...+100%

This effect cyclically varies the pitch of the input signal. You

can use an envelope to control the width of the modulation.

LFO Shape (LFO Shape)

*Speed (LFO Speed)

Depth

0.02...20.00Hz

Sets the LFO speed

0...100

Determines how much the LFO waveform is changed

Fb HiCut (Feedback High Cut)

53Hz...20.0kHz, THRU

Sets the feedback damping amount in the high range

Sets the depth of LFO modulation

0...100%

L-R Phase (LFO L-R Phase)

–180...+180deg

Sets the LFO phase difference between the left and right

0...50.0ms

Env.Control (Envelope Control)

Sets the amount of depth that will be controlled by the envelope

Delay

Dry:Wet

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

–48.0...0.0dB

Sets the left/ right delay time

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Thresold

Sets the level at which the envelope control effect will be applied

HiDamp (High Damp)

Attack

0...1.00sec

Sets the damping amount in the high range

Sets the attack time for level control

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If “Feedback Position” is set to Post (Dly), the sound that is fed

back will not be sent through the pitch shifter again; this means

that if you raise the “Feedback” value, the pitch-shifted sound

will repeat at that same pitch.

Release

0...10.0sec

Sets the release time for level control

–180...+180deg

L-R Phase (LFO L-R Phase)

Sets the LFO phase difference between the left and right

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–100...+100%

LFO Shape

Category: Dynamics&Filter

Dynamics/ Filter-type effects

Determines how much the LFO waveform is changed

18: Stereo Tremolo

20: Stereo Compressor

This effect modulates the volume level of the input signal.

The effect is stereo, and offsetting the LFO of the left and

right phases from each other produces a tremolo effect be-

tween left and right.

This effect compresses the input signal to regulate the level

and give a “punchy” effect. This is a stereo compressor. You

can link left and right channels, or use each channel separate-

ly.

*Speed (LFO Speed)

*Depth

0.02...20.00Hz

Sets the LFO speed

Threshold

Ratio

–30.0...0.0dB

Sets the level at which compression begins to apply

1.00:1...20.0:1

0...100

Sets the depth of LFO modulation

Waveform (LFO Waveform)

Sets the compression ration of the signal

0...1.00sec

Triangle, Sine, Square, Saw up, Saw down

Attack

Selects LFO Waveform

Sets the attack time

Dry:Wet

Dry, 1:99...99:1, Wet

Release

0...10.0sec

Sets the balance between the effect and dry sounds

–100...+100%

Sets the release time

LFO Shape

Env.Select (Envelope Select)

L/R Mix, L/R Indiv

Determines how much the LFO waveform is changed

Switches the left/ right channels between linked or independent

operation

L-R Phase (LFO L-R Phase)

–180...+180deg

Sets the LFO phase difference between the left and right

Response

Slow, Medium, Fast

Selects the response speed

0...100

: LFO Waveform

This parameter selects the LFO waveform.

Tube Sat (Tube Saturation)

: LFO Phase

Sets the depth of vacuum tube distortion

–24.0...+24.0dB

This parameter determines the difference between the left and

right LFO phases. A higher value will simulate the auto-pan

effect in which the sound is panned between left and right.

Out Gain (Output Gain)

Adjusts the output level gain

: Envelope Select

This parameter selects whether the left and right channels are

linked to control both signals simultaneously, or whether each

channel is controlled independently.

19: St.Pitch Shifter

(Stereo Pitch Shifter)

: Response

This is a stereo pitch shifter.

Adjusts the response speed at which the envelope is detected.

Select the setting that is appropriate for the input material;

choose Fast for brief sounds like percussion instruments,

Medium for vocals, or Slow for long-sustaining sounds.

PitchShift

Fine

–24...+24/2tone

Sets the pitch shift amount in steps of a semitone

–100...+100cent

Sets the pitch shift amount in steps of one cent

21: Stereo Expander

Lo/Hi Cut (Low/High Cut)

Lo:–50%..., Flat, ...Hi:–50%

Sets the damping amount in the low/ high range

Dry, 1:99...99:1, Wet

This effect attenuates input signals that are below a specified

level, adding punch to the sound and improving the S/ N ra-

tio by reducing the level between performances.

Dry:Wet

Sets the balance between the effect and dry sounds

–100...+100%

Feedback

Threshold

Ratio

–48.0...0.0dB

Sets the level at which compression begins to apply

1.00:1...20.0:1

Sets the feedback amount

L Time (L Delay Time)

R Time (R Delay Time)

Fb.Position (Feedback Position)

In Level (Input Level)

Spread

0...1.360sec

Sets the left delay time

0...1.360sec

Sets the compression ration of the signal

0...1.00sec

Attack

Sets the right delay time

Pre (Pitch), Post (Dly)

Switches the feedback connection

0...100%

Sets the attack time

Release

0...10.0sec

Sets the release time

Env.Select (Envelope Select)

L/R Mix, L/R Indiv

Sets the input level to the effect

–100...100%

Switches the left/ right channels between linked or independent

operation

Sets the width of the stereo image of the effect sound

Response

Slow, Medium, Fast

Selects the response speed

–24.0...+24.0dB

: Feedback Position, : Feedback

If “Feedback Position” is set to Pre (Pitch), the output of the

pitch shifter will be fed back into the input of the pitch shifter;

this means that by raising the “Feedback” value you can create

an effect in which the pitch of the feedback continues to rise (or

fall) each time the feedback delay is repeated.

Out Gain (Output Gain)

Adjusts the output level gain

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Polarity

Dry:Wet

[+]Plus, [–]Minus

Inverts the control

22: Stereo Limiter

This effect applies the Limiter to the low range, mid range,

and high range of the input signal. You can control dynamics

for each range to adjust the sound pressure of the low range,

mid range, and high range in a different way from the EQ.

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Waveform (LFO Waveform)

*LFO Speed

Triangle, Sine, Saw

Selects LFO Waveform

0.02...20.00Hz

Threshold

Attack

–48.0...0.0dB

Sets the level at which compression begins to apply

0...1.00sec

Sets the LFO speed

0...256

LFO Step

Sets the attack time

Selects the LFO step

–180...+180deg

Release

0...10.0sec

L-R Phase (LFO L-R Phase)

Sets the release time

Sets the LFO phase difference between the left and right

Out Gain (Output Gain)

–24.0...+24.0dB

Adjusts the output level gain

L/R Mix, L/R Indiv

Env.Select (Envelope Select)

L/R Mix, L/R Indiv

Links or un-links the left/ right channels for envelope control

Env.Select (Envelope Select)

Env.Resp (Envelope Response)

Slow, Medium, Fast

Switches the left/ right channels between linked or independent

operation

Selects the response speed of envelope control

Env.Sens (Envelope Sensitivity)

0...100%

Response

Slow, Medium, Fast

Selects the response speed

0...100

Sets the sensitivity of envelope control

Tube Sat (Tube Saturation)

Sets the depth of vacuum tube distortion

25: Stereo Wah

This is a wah effect that can be controlled by an envelope or

LFO.

23: Stereo Gate

Control (Control Source)

Envelope, LFO, Manual

Switches the control source

L/R Mix, L/R Indiv

This effect lowers the level of input signals that are below a

specified level.

Env.Select (Envelope Select)

Threshold

–48.0...0.0dB

Sets the level at which compression

0...1.00sec

Links or un-links the left/ right channels for envelope control

Env.Resp (Envelope Response) Slow, Medium, Fast

Selects the response speed of envelope control

Attack

Sets the attack time

0...10.0sec

Env.Sens (Envelope Sensitivity)

0...100%

Release

Sets the sensitivity of envelope control

Sets the release time

–inf, –48...0.0dB

Waveform (LFO Waveform)

Triangle, Sine, Saw

Selects LFO Waveform

0.02...20.00Hz

Range

Compression level

*LFO Speed

Env.Select (Envelope Select)

L/R Mix, L/R Indiv

Sets the LFO speed

0...256

Switches the left/ right channels between linked or independent

operation

LFO Step

Selects the LFO step

–180...+180deg

Response

Slow, Medium, Fast

Selects the response speed

0...200ms

LFO Phase (LFO L-R Phase)

Sets the LFO phase difference between the left and right

PreDelay (Pre Delay Time)

Out Gain (Output Gain)

Wah.Type (Wah Type)

Sets the delay time

Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX

–24.0...+24.0dB

Selects the wah type

Adjusts the output level gain

*Manual (Manual Control)

DirectMix (Direct Mix Level)

0...100

Sets the control position manually

0...100%

: Pre Delay Time

This parameter sets the delay time of the Gate input. If the

sound has a very fast attack, increase the delay time so that the

signal will be input after the Gate is opened.

Adjusts the mix level of the direct sound

0...100

Wah Level

Sets the wah level

24: Stereo Filter

:Manual

By selecting Manual as the Control Source, you can create the

effect of an actual wah pedal left in a ﬁxed position.

Alternatively, if you assign an expression pedal to control Man-

ual, you can operate the expression pedal to control the sound

just like an actual wah pedal.

This is a filter with frequency control. It can be controlled by

a envelope or LFO.

Fc Bottom (Control Fc Bottom)

53Hz...20.0kHz

Sets the lower limit of the frequency to be controlled

Fc Top (Control Fc Top)

53Hz...20.0kHz

Sets the upper limit of the frequency to be controlled

0...100%

Resonance

Trim

Sets the resonance amount

0...100%

Adjusts the filter level

FilterType

HPF, BPF, LPF

Selects the filter type

Control (Control Source)

Envelope, LFO

Switches the control source

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HiDamp (High Damp)

53Hz...20.0kHz, THRU

Sets the damping amount in the high range

0...100

26: Multiband Limiter

This is a stereo multi-band limiter. It is ideal for mastering.

ClickPoint

Sets the distance of the scratch from the warped area

Hi.Thresh (High Band Threshold)

–48.0...0.0dB

WhiteLevel (White Noise Level)

0...100%

Sets the level of white noise

THRU, 21Hz...8.00kHz

Adjusts the level at which compression begins for the high-

frequency range

Hi.Attack (High Band Attack)

0...1.00sec

NoiseLoCut (Noise Low Cut)

Adjusts the attack time for the high-frequency range

Sets the low-cut frequency for the noise

Hi.Release (High Band Release)

0...10.0sec

NoiseHiCut (Noise High Cut)

53Hz...20.0kHz, THRU

Adjusts the release time for the high-frequency range

Sets the high-cut frequency for the noise

Hi.OutGain (High Band Output Gain)

–24.0...+24.0dB

Vinyl Level (Vinyl Noise Level)

0...100%

Adjusts the output gain for the high-frequency range

Sets the level of noise produced by the needle scraping the vinyl

Md.Thresh (Middle Band Threshold)

–48.0...0.0dB

Vinyl Type (Vinyl Noise Type)

0...3

Adjusts the level at which compression begins for the mid-

frequency range

Selects the type of vinyl noise

ClickAngle:

Md.Attack (Middle Band Attack)

0...1.00sec

This sets the angle of the scratch. The spacing of the click noise

for one revolution will depend on the angle.

Adjusts the attack time for the mid-frequency range

Vinyl Noise Type:

Md.Release (Middle Band Release)

0...10.0sec

The Vinyl Noise will also depend on the amount by which the

record is warped.

Adjusts the release time for the mid-frequency range

Md.OutGain (Middle Band Output Gain)

–24.0...+24.0dB

Adjusts the output gain for the mid-frequency range

Lo.Thresh (Low Band Threshold)

–48.0...0.0dB

28: Talking Modulator

Adjusts the level at which compression begins for the low-

frequency range

This effect gives the input signal a character similar to a hu-

man voice. It can create the impression of a talking guitar or

synthesizer

Lo.Attack (Low Band Attack)

0...1.00sec

Adjusts the attack time for the low-frequency range

Lo.Release (Low Band Release)

0...10.0sec

V.Bottom (Voice Bottom)

[A], [E], [I], [O], [U]

Adjusts the release time for the low-frequency range

Selects a vowel sound at the bottom end of control

Lo.OutGain (Low Band Output Gain)

–24.0...+24.0dB

V.Centr (Voice Center)

[A], [E], [I], [O], [U]

Selects a vowel sound in the center of control

[A], [E], [I], [O], [U]

Adjusts the output gain for the low-frequency range

Mon.Band (Monitor Band)

Off, Low, Middle, High

Selects the band to monitor

53Hz...1.00kHz

V.Top (Voice Top)

Drive (Drive Gain)

Selects a vowel sound at the top end of control

0.0...+36dB

Lo.Xover (Low Cross over Frequency)

Sets the frequency of the crossover between the low and mid-

frequency bands

Sets the amount of gain for the distortion

Control (Control Source)

*LFO Speed

Envelope, LFO, Manual

Switches the control source

0.02...20.00Hz

Hi.Xover (High Cross over Frequency)

1.10kHz...16.0kHz

Sets the frequency of the crossover between the mid and high-

frequency bands

Sets the LFO speed

Saturation (Tube Saturation)

0...100%

Env.Resp (Envelope Response)

Slow, Medium, Fast

Sets the depth of vacuum tube distortion

Selects the response speed of envelope control

Env.Sens (Envelope Sensitivity)

0...100%

Sets the sensitivity of envelope control

0...2.730sec

L Delay (L Delay Time)

R Delay (R Delay Time)

*Manual (Manual Control)

Dry:Wet

Sets the left delay time

0...2.730sec

Category: SFX&etc

SFX/ Etc effects

Sets the right delay time

0...100

Sets the control position manually

Dry, 1:99...99:1, Wet

27: St.Analog Record

(Stereo Analog Record)

Sets the balance between the effect and dry sounds

Wet Trim (Wet Level Trim)

0...100

RPM

33 1/3, 45, 78

Sets the r.p.m. of a record

0...100%

Sets the effect level trim

Wah (Wah Flutter)

Sets the depth by which the record is warped

0...100%

29: St.Ring Modulator

(Stereo Ring Modulator)

Bend

Sets the width by which the record is warped

Dry, 1:99...99:1, Wet

This effect creates a metallic sound by applying the oscilla-

tors to the input signal.

Dry:Wet

Sets the balance between the effect and dry sounds

ClickLevel (Click Noise Level)

0...100%

Sets the level of click noise

0...100

Oscillator (Oscillator Frequency)

0...12.00kHz

Sets the oscillator frequency

0.02...20.00Hz

ClickAngle

*LFO Speed

Sets the angle of the scratch on the surface of the record

Sets the LFO speed of the oscillator frequency modulation

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

*LFO Depth

0...100%

Sets the damping amount in the low range

Sets the depth of LFO modulation for the oscillator frequency

158

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L-R Phase (LFO L-R Phase)

–180...+180deg

Monaural-type

Sets the LFO phase difference between the left and right

Category

No. Name

Size

L Delay (L Delay Time)

0...2.730sec

Sets the left delay time

0...2.730sec

Reverb&Delay

31 Mono Reverb Hall

32 Mono Reverb Plate

33 Mono Reverb Room

34 Mono ER

R Delay (R Delay Time)

HiDamp (High Damp)

Sets the right delay time

53Hz...20.0kHz, THRU

35 Mono Delay

Sets the damping amount in the high range

36 Mn.Multitap Delay

37 Mono Chorus

38 Mono Flanger

39 Mono Phaser

40 Mono Tremolo

41 Mn.Pitch Shifter

42 Mono Compressor

43 Mono Limiter

L Fdback (L Feedback)

–100...+100%

Modulation&Pitch

Dynamics&Filter

Sets the feedback amount for the left channel

R Fdback (R Feedback)

–100...+100%

Sets the feedback amount for the right channel

Dry, 1:99...99:1, Wet

Dry:Wet

Sets the balance between the effect and dry sounds

In Level (Input Level)

0...100%

Sets the input level to the effect

44 Mono Expander

45 Mono Gate

: Oscillator Frequency [Hz]

This parameter sets the oscillator frequency.

46 Mono Filter

47 Mono Wah

SFX&etc

Multi

48 AnalogRecord

49 Mn.Ring Modulator

50 Tube Pre Amp Sim

51 Mic Simulator

52 GuitarMulti

30: Rotary Speaker

This effect simulates a rotary speaker, and obtains a more re-

alistic sound by simulating the rotor in the low range and the

horn in the high range separately. The effect also simulates

the stereo microphone settings.

Speed Sw (Speed Switch)

Switches the speaker rotation speed between slow and fast

HornRatio (Horn Ratio) Stop, 0.50...2.00

Slow, Fast

Category: Reverb&Delay

Reverb/ delay-type effects

Adjusts the (high-range side) horn rotation speed. Standard

value is 1.00. Selecting “Stop” will stop the rotation

RotorRatio (Rotor Ratio)

Stop, 0.50...2.00

Adjusts the (low-range side) rotor rotation speed. Standard value

is 1.00. Selecting “Stop” will stop the rotation

31: Mono Reverb Hall

Rotor:Horn (Horn:Rotor Balance)

Rotor, 1:99...99:1, Horn

Sets the level balance between the high-range horn and low-

range rotor

32: Mono Reverb Plate

Rotate Sw (Rotate Switch)

Rotate, Stop

Rev Time (Reverb Time)

0.1...10.0sec

Sets the reverberation time

THRU, 21Hz...8.00kHz

Switches between speaker rotation and stop

HrnAccel (Horn Acceleration)

0...100

LoDamp (Low Damp)

How quickly the horn rotation speed in the high range is

switched

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

HiDamp (High Damp)

Dry:Wet

RtrAccel (Rotor Acceleration)

0...100

Sets the damping amount in the high range

Dry, 1:99...99:1, Wet

Determines how quickly the rotor rotation speed in the low

range is switched

Sets the balance between the effect and dry sounds

MicDistance

0...100

SideRﬂct (Side Reﬂection)

0...100%

Sets the distance between the microphone and rotary speaker

Sets the amount of reflections from the side walls

MicSpread

0...100%

Sets the angle of left and right microphones

Dry, 1:99...99:1, Wet

BackRﬂct (Back Reﬂection)

0...100%

Sets the amount of reflection from the back wall

Dry:Wet

Sets the balance between the effect and dry sounds

: Horn Acceleration, : Rotor Acceleration

33: Mono Reverb Room

On a real rotary speaker, the rotation speed is accelerated or

decelerated gradually after you switch the speed. The “Horn

Acceleration” parameter sets the speed at which the rotation is

accelerated or decelerated.

Rev Time (Reverb Time)

0.1...3.0sec

Sets the reverberation time

THRU, 21Hz...8.00kHz

LoDamp (Low Damp)

: MicDistance, : MicSpread

This is a simulation of stereo microphone settings.

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

HiDamp (High Damp)

Dry:Wet

Sets the damping amount in the high range

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

SideRﬂct (Side Reﬂection)

0...100%

Sets the amount of reflections from the side walls

BackRﬂct (Back Reﬂection)

0...100%

Sets the amount of reflection from the back wall

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34: Mono ER

Category: Modulation&Pitch

Modulation/ Pitch-type effects

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reflection

10...800msec

ER Time

Sets the time length of early reflection

0...200msec

37: Mono Chorus

Predly (Pre Delay)

*Speed (LFO Speed)

0.02...20.00Hz

Sets the LFO speed

0...100

Sets the time taken from the original sound to the first early

reflection

Dry:Wet

Dry, 1:99...99:1, Wet

*Depth

Sets the balance between the effect and dry sounds

Sets the depth of LFO modulation

0.0...50.0msec

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

PreDly (Pre Delay)

Dry:Wet

Sets the delay time

HiDamp (High Damp)

Dry, 1:99...99:1, Wet

Sets the damping amount in the high range

Sets the balance between the effect and dry sounds

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

35: Mono Delay

LoDamp (Low Damp)

HiDamp (High Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Time (Delay Time)

0...2.730sec

Sets the delay time

Sets the damping amount in the high range

Feedback (Feedback)

In Level (Input Level)

Dry:Wet

–100...+100%

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

Sets the feedback amount

0...100%

Analog (Analog Saturation)

0...100%

Sets the input level to the effect

Dry, 1:99...99:1, Wet

Sets the amount of analog distortion

Sets the balance between the effect and dry sounds

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

38: Mono Flanger

HiDamp (High Damp)

*Speed (LFO Speed)

0.02...20.00Hz

Sets the LFO speed

Sets the damping amount in the high range

Analog (Analog Saturation)

0...100%

*Depth

0...100

Sets the amount of analog distortion

Sets the depth of LFO modulation

–100...+100%

Feedback

Dry:Wet

Sets the feedback amount

Dry, 1:99...99:1, Wet

36: Mn.Multitap Delay

(Mono Multitap Delay)

Sets the balance between the effect and dry sounds

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–100...+100%

Tap1Time

Tap2Time

Tap3Time

WetLevel

0...2.730sec

Sets the delay time of Tap1

0...2.730sec

LFO Shape

Determines how much the LFO waveform is changed

Sets the delay time of Tap2

0...2.730sec

Fb HiCut (Feedback High Cut)

53Hz...20.0kHz, THRU

Sets the damping amount in the high range

0...50.0ms

Sets the delay time of Tap3

0...100%

Delay

Sets the left/ right delay time

Sets the level of the effect sound

0...100%

LoDamp (Low Damp)

HiDamp (High Damp)

THRU, 21Hz...8.00kHz

Tap1Level

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Sets the output level of Tap1

0...100%

Tap2Level

Sets the damping amount in the high range

Sets the output level of Tap2

0...100%

Tap3Level

Sets the output level of Tap3

0...100%

39: Mono Phaser

DryLevel

*Speed (LFO Speed)

0.02...20.00Hz

Sets the LFO speed

Sets the level of the direct sound

THRU, 21Hz...8.00kHz

LoDamp (Low Damp)

HiDamp (High Damp)

Depth

0...100

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Sets the depth of LFO modulation

–100...+100%

Resonance

Dry:Wet

Sets the damping amount in the high range

Sets the resonance amount

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

Manual

0...100

Sets the frequency to which the effect is applied

–100...+100

LFO Shape

Determines how much the LFO waveform is changed

160

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Reso HiCut (Resonance High Cut)

53Hz...20.0kHz, THRU

43: Mono Expander

Sets the resonance damping amount in the high range

Blue, U-VB

Type

Threshold

–48.0...0.0dB

Selects the type of phaser

Sets the level at which compression begins to apply

1.00:1...20.0:1

Waveform (LFO Waveform)

Triangle, Sine

Ratio

Selects LFO Waveform

Sets the compression ration of the signal

0...1.00sec

Attack

Sets the attack time

40: Mono Tremolo

Release

Response

0...10.0sec

Sets the release time

*Speed (LFO Speed)

0.02...20.00Hz

Sets the LFO speed

Slow, Medium, Fast

Selects the response speed

*Depth

0...100

Out Gain (Output Gain)

–24.0...+24.0dB

Sets the depth of LFO modulation

Adjusts the output level gain

Waveform (LFO Waveform)

Triangle, Sine, Square, Saw up, Saw down

Selects LFO Waveform

44: Mono Limiter

Dry:Wet

Dry, 1:99...99:1, Wet

Sets the balance between the effect and dry sounds

–100...+100%

Threshold

–48.0...0.0dB

LFO Shape

Sets the level at which compression begins to apply

Determines how much the LFO waveform is changed

Attack

0...1.00sec

Sets the attack time

0...10.0sec

Release

41: Mn.Pitch Shifter

(Mono Pitch Shifter)

Sets the release time

Out Gain (Output Gain)

Response

–24.0...+24.0dB

Adjusts the output level gain

Slow, Medium, Fast

PitchShift

–24...+24/2tone

Sets the pitch shift amount in steps of a semitone

–100...+100cent

Selects the response speed

0...100

Fine

Tube Sat (Tube Saturation)

Sets the pitch shift amount in steps of one cent

Sets the depth of vacuum tube distortion

Lo/Hi Cut (Low/High Cut)

Lo:-50%..., Flat, ...Hi:-50%

Sets the damping amount in the low/ high range

Dry, 1:99...99:1, Wet

Dry:Wet

45: Mono Gate

Sets the balance between the effect and dry sounds

–100...+100%

Feedback

Threshold

–48.0...0.0dB

Adjusts the level at which compression

0...1.00sec

Sets the feedback amount

In Level (Input Level)

0...100%

Attack

Sets the input level to the effect

Sets the attack time

Release

Range

0...10.0sec

Sets the release time

–inf, –48...0.0dB

Category: Dynamics&Filter

Dynamics/ Filter-type effects

Compression level

Response

Slow, Medium, Fast

Selects the response speed

PreDelay (Pre Delay Time)

Out Gain (Output Gain)

0...200ms

Sets the delay time

42: Mono Compressor

–24.0...+24.0dB

Adjusts the output level gain

Threshold

–30.0...0.0dB

Sets the level at which compression begins to apply

1.00:1...20.0:1

Ratio

46: Mono Filter

Sets the compression ration of the signal

0...1.00sec

Attack

Fc Bottom (Control Fc Bottom)

53Hz...20.0kHz

Sets the attack time

Sets the lower limit of the frequency to be controlled

Release

Response

0...10.0sec

Fc Top (Control Fc Top)

53Hz...20.0kHz

Sets the upper limit of the frequency to be controlled

0...100%

Sets the release time

Slow, Medium, Fast

Resonance

Trim

Selects the response speed

Sets the resonance amount

0...100%

Tube Sat (Tube Saturation)

0...100

Sets the depth of vacuum tube distortion

–24.0...+24.0dB

Adjusts the filter level

Out Gain (Output Gain)

FilterType

HPF, BPF, LPF

Adjusts the output level gain

Selects the filter type

Control (Control Source)

Polarity

Envelope, LFO

Switches the control source

[+]Plus, [–]Minus

Inverts the control

161

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Dry:Wet

Dry, 1:99...99:1, Wet

NoiseLoCut (Noise Low Cut)

THRU, 21Hz...8.00kHz

Sets the balance between the effect and dry sounds

Sets the low-cut frequency for the noise

Waveform (LFO Waveform)

Triangle, Sine, Saw

Selects LFO Waveform

0.02...20.00Hz

NoiseHiCut (Noise High Cut)

53Hz...20.0kHz, THRU

Sets the high-cut frequency for the noise

LFO Speed

Sets the LFO speed

0...256

49: Mn.Ring Modulator

LFO Step

(Mono Ring Modulator)

Selects the LFO step

Slow, Medium, Fast

Env.Resp (Envelope Response)

Oscillator (Oscillator Frequency)

0...12.00kHz

Selects the response speed of envelope control

Sets the oscillator frequency

Env.Sens (Envelope Sensitivity)

0...100%

*LFO Speed

0.02...20.00Hz

Sets the sensitivity of envelope control

Sets the LFO speed of the oscillator frequency modulation

*LFO Depth

0...100%

Sets the depth of LFO modulation for the oscillator frequency

47: Mono Wah

Dry:Wet

Dry, 1:99...99:1, Wet

Control (Control Source)

Envelope, LFO, Manual

Sets the balance between the effect and dry sounds

Switches the control source

Delay (Delay Time)

0...2.730sec

Sets the delay time

Wah.Type

Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX

Selects the wah type

Feedback

–100...+100%

Env.Resp (Envelope Response)

Slow, Medium, Fast

Sets the feedback amount

53Hz...20.0kHz, THRU

Selects the response speed of envelope control

HiDamp (High Damp)

In Level (Input Level)

Env.Sens (Envelope Sensitivity)

0...100%

Sets the damping amount in the high range

0...100%

Sets the sensitivity of envelope control

Waveform (LFO Waveform)

Triangle, Sine, Saw

Selects LFO Waveform

0.02...20.00Hz

Sets the input level to the effect

*LFO Speed

50: Tube Pre Amp Sim

Sets the LFO speed

0...256

(Tube PreAmp Simulator)

LFO Step

Selects the LFO step

0...100

This effect simulates a vacuum tube preamp. You can make

independent settings for two vacuum tubes connected in se-

ries, producing a distinctive and warm sound.

*Manual (Manual Control)

DirectMix (Direct Mix Level)

Sets the control position manually

0...100%

Tube1.Gain

–24.0...+24.0dB

Sets the gain of tube circuit 1

0...100%

Adjusts the mix level of the direct sound

0...100

Wah Level

Tube1.Sat (Tube1 Saturation)

Sets the wah level

Sets the amount of saturation for tube circuit 1

–24.0...+24.0dB

Tube2.Gain

Sets the gain of tube circuit 2

Tube2.Sat (Tube2 Saturation)

0...100%

Category: SFX&etc

SFX/ Etc effects

Sets the amount of saturation for tube circuit 2

Tb1.LoCut (Tube1 Low Cut)

THRU, 21Hz...8.00kHz

Sets the amount of low-frequency attenuation for tube circuit 1

Tb1.HiCut (Tube1 High Cut)

Sets the amount of high-frequency attenuation for tube circuit 1

Tb2.LoCut (Tube2 Low Cut) THRU, 21Hz...8.00kHz

Sets the amount of low-frequency attenuation for tube circuit 2

Tb2.HiCut (Tube2 High Cut) 53Hz...20.0kHz, THRU

Sets the amount of high-frequency attenuation for tube circuit 2

53Hz...20.0kHz, THRU

48: Mn.Analog Record

(Mono Analog Record)

RPM

33 1/3, 45, 78

Sets the r.p.m. of a record

0...100%

Wah (Wah Flutter)

Tube1Bias

0...100%

Sets the bias for tube circuit 1

Normal, Inverted

Sets the depth by which the record is warped

0...100%

Bend

Tb1.Phase (Tube1 Phase)

Tube2Bias

Sets the width by which the record is warped

Dry, 1:99...99:1, Wet

Sets the output phase of tube circuit 1

0...100%

Dry:Wet

Sets the balance between the effect and dry sounds

Sets the bias for tube circuit 2

–48.0...0.0dB

ClickLevel (Click Noise Level)

0...100%

Sets the level of click noise

0...100

Out Level (Output Level)

Sets the output level

ClickAngle (Click Angle)

Sets the angle of the scratch on the surface of the record

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

HiDamp (High Damp)

ClickPoint

Sets the damping amount in the high range

0...100

Sets the distance of the scratch from the warped area

WhiteLevel (White Noise Level)

0...100%

Sets the level of white noise

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Mod (Modulation)

51: Mic Simulator

ModType (Modulation Type)

Chorus, Flanger, Tremolo

Selects the modulation type

0.02...20.00Hz

This effect simulates a wide variety of microphones. You can

also adjust the preamp.

Speed (LFO Speed)

Shape (LFO Shape)

MicType (Microphone Type)

Sets the LFO speed

–100...+100%

Vntg.Dy, Multi.Cn, Prcs.Cn, Whale, Vo.Cn, Vo.Tube, BDr.Dy

Selects the type of mic

Determines how much the LFO waveform is changed

0...100

MicPosition (Microphone Position)

PreAmp G (Pre Amp Gain)

Close, On, Off, Far

Selects the position of the mic

–24.0...+24.0dB

Depth

Sets the depth of LFO modulation

Sets the gain of the tube preamp

0...100%

Amp (AmpCabModeling)

This effect models a guitar amp cabinet.

TubeSat (Tube Saturation)

TubeBias

Sets the amount of tube saturation

0...100

AmpType (AmpType)

Vacuum tube bias adjustment amount

THRU, 21Hz...8.00kHz

AC15, AC30, AC30TB, BLK2x12, TWD1x12,

TWD4x10, BTQ CL, BTQ OD, UKBUES, UK’70S,

LowCut

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

UK’80S, UK’90S, UK MDN, US MDN, RECTO, US HI-G

HiCut (High Cut)

Selects the type of amplifier

Sets the damping amount in the high range

DRIVE (Drive Level)

1...100

Sets the amount of distortion

1...100

OutLevel (Output Level)

–48.0...00dB

Sets the output level

VOLUME (Volume Level)

CabType (CabinetType)

Sets the volume level

1x12TWD, 2x10BLK, 2x12BLK, 1x12VOX, 2x12VOX,

4x10TWD, , AD412, UK-H30, UK-T75, US-V30, OFF

Category: Multi

Multi Effect

Selects the type of cabinet

0...100

BASS

Sets the low-frequency level

0...100

MIDDLE

TREBLE

52: GuitarMulti

Sets the mid-frequency level

0...100

This is a multi-chain effect for guitar.

Sets the high-frequency level

PRESENCE

0...100

Chain: [Wah]-[Comp]-[Mod]-[Amp]-[Dly]

Parameters for the effects in the chain

Sets the level of the high region

NR.Thrsh (NoiseReduction Threshold)

0...100

Level at which noise reduction begins to apply

Wah (Wah Wah)

Dly (Long Delay)

Control (Control Source)

Envelope, Manual

Switches the control source

Time (Delay Time)

0...10.365sec

Sets the delay time

Wah.Type

Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX

Selects the wah type

Feedback

–100...+100%

Env.Resp (Envelope Response)

Slow, Medium, Fast

Sets the feedback amount

0...100%

Selects the response speed of envelope control

In Level (Input Level)

Dry:Wet

Env.Sens (Envelope Sensitivity)

0...100%

Sets the sensitivity of envelope control

0...100

Sets the input level to the effect

Dry, 1:99...99:1, Wet

*Manual (Manual Control)

Sets the balance between the effect and dry sounds

Sets the control position manually

LoDamp (Low Damp)

THRU, 21Hz...8.00kHz

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

DirectMix (Direct Mix Level)

0...100%

Adjusts the mix level of the direct sound

0...100

HiDamp (High Damp)

Wah Level

Sets the damping amount in the high range

Sets the wah level

Comp (Compressor)

Threshold

–48.0...0.0dB

Sets the level at which compression begins to apply

0...1.00sec

Attack

Sets the attack time

OutGain (Output Gain)

–24.0...+24.0dB

Adjusts the output level gain

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Appendices

Input sound is inaudible or too soft

Troubleshooting

Is the TRIM knob raised to an appropriate level?

After connecting your audio source to an input jack, did

you assign it to a mixer channel?

→ In the MIXER, CH INPUT/SubMixer, “Ch Assign”

tab page, assign the source to a mixer channel. (→p .42)

Verify that audio is being input.

Power does not turn on

Is the power cable connected to an outlet? (→p .1)

Is the rear panel POWER ON (power supply) switch

turned on? (→p .1)

→ Press the METER key, and in “Meter/Track View,” set

“Select Level Meter Position” to “CH-Input.” Watch

the meters to verify that audio is being input to each

mixer channel (→p .43).

With the REC/PLAY key on, are the channel keys set to

Record mode? (→p .8)

Are the monitor settings appropriate?

→ In the MIXER, SOLO/MONITOR, “Monitor” tab

page, select the signal that you want to monitor (nor-

mally, turn “MasterLR” On). If you have turned

“Rhythm” or “Cue” “On,” raise their volume levels.

(→p .47)

With the CH ON key on, are the channel keys turned

On? (→p .8)

Nothing appears in the display

Is the top panel power on key lit? (→p .1)

Is the contrast adjusted correctly? (→p .8)

Vertical lines are visible in the display

Depending on the content of the display, vertical lines

may be visible in the display, but this is not a

malfunction.

→ If the screen is difficult to read, adjust the contrast

(→p .8).

Is the PAD key on?

Are you using INPUT1 and GUITAR IN simultaneously?

→ INPUT1 and GUITAR IN are shared. If a guitar is con-

nected to GUITAR IN, you cannot use INPUT1.

No sound

If cue is selected, the cue level of each channel may have

been lowered.

Is the power of the D3200 or a connected device turned

→ In the MIXER, SOLO/MONITOR, “CueLevel ” tab

page. (→p .48)

off? (→p .1)

Is the MASTER fader, MONITOR LEVEL knob, or

Is the 1–16/17–32 key set correctly? (→p .8)

PHONES LEVEL knobs set to low?

Could the Trim level be turned down in the EFFECT,

“InsertEFF” tab page?

→ If a channel is assigned to an insert effect, the volume

of that channel is determined by the Trim setting even

if the insert effect is set to NO EFFECT.

Is the channel volume level set to low?

The actual volume level may not match the fader posi-

tions if pairing has been used and then switched off, or

after automation has been used.

→ Go to the MIXER, FADER/PAN/AUTOMATION,

“Fader Pan” tab page, and raise and lower the fader to

match the fader position to the actual volume. Then

adjust the fader to an appropriate level.

No sound from AUX OUT

“Can ’t a pply external effect (AU X )” (→p .166)

Is the Solo function activated?

→ If Solo is being used, you will not hear channels that

are not being soloed.

No drum sound

Session drums “Drum sound is not output” (→p .166)

Can’t hear scrub playback

Can’t hear the playback

The incorrect track may be selected in the scrub page.

With the REC/PLAY key on, are the channel keys set to

→ Select the correct track.

Play mode for the appropriate tracks? (→p .8)

With the CH ON key on, are the channel keys turned

On? (→p .8)

Faders don’t work

Has solo been turned on, so that other tracks are not

heard? (→p .8, 99)

If you have selected Cue, could the cue level of the

channels be lowered?

→ Access the MIXER, SOLO/MONITOR, “CueLevel”

tab page and raise the cue level. (→p .48)

Fader does not work

If you switch pairing off after channels were paired, or if

you recall a scene, the audio level of a channel may not

match the position of the fader.

→ Raise or lower the fader so that it matches the actual

volume level.

Could the Trim level be turned down in the EFFECT,

“InsertEFF” tab page?

→ If a channel is assigned to an insert effect, the volume

of that channel is determined by the Trim setting even

if the insert effect is set to NO EFFECT.

Is the 1–16/17–32 key set correctly? (→p .8)

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If the effect input or output is still distorted, make the

following adjustments.

Can’t record

→ Input

Are the D3200’s channel fader(s) lowered?

Is the recording-destination track’s REC/PLAY key set to

Insert effect:

REC?

While you watch the meters in the EFFECT “Insert-

EFF” tab page, use the TRIM knob to adjust the input

volume so that “CLP” does not light.

Is the CH ON key turned on? (→p .8)

Is there enough space on the drive?

Master effect:

→ Set the counter display to “FreeTime,” and check the

available recording time. (→p .37, 98)

→ Increase the free space on the song drive by deleting

unwanted songs or songs you have already backed up.

(→p .41, 83)

While you watch the meters in the MIXER, SEND

(EFF/AUX/REC), “EFF1Send”/“EFF2Send” tab page,

adjust the send volume so that “CLP” does not light.

Final effect:

Is the input source you want to record assigned to a

mixer channel?

→ In the MIXER, CH INPUT/SubMixer, “Ch Assign”

tab page, assign the input source to a mixer channel.

(→p .42)

While you watch the meters in the EFFECT, “Final-

EFF” tab page, adjust the volume of each channel so

that “CLP” does not light.

→ Output

Insert effect:

Is the REC/PLAY MODE appropriate? (→p .64, 147)

Adjust the effect parameters or TRIM knob, and listen

for any distortion.

Master/ﬁnal effect:

Can’t use digital input

While you watch the meters in the EFFECT,

“MstrEFF1/2”/“FinalEFF” tab page, adjust the effect

parameters so that “CLP” does not light.

If you want to use S/ P DIF input, access the MIXER, CH

INPUT/SubMixer, “Ch Assign” tab page, and set

“Source select” to “S/P DIF.” Then specify digital input

as the input for the channel you want to assign (→p .42).

If the sound is distorting in the EQ, make the following

adjustments.

Is the S/ P DIF input format incorrect?

→ Connect an instrument or digital audio device that

complies with the S/ P DIF format.

→ Adjust the EQ gain values (→p .45).

→ Adjust the attenuator (→p .45).

Did you use Cue during or after recording?

→ Make sure that the channel fader and channel Cue lev-

el are not both raised (→p .48).

Do the sampling frequency and bit depth of the current

song match that of the input?

Playback level is lower than the level during

recording

Effects do not apply

You may have selected effect program number 00.

→ Set “EffectNumber” to other than “000” (=NO EF-

FECT).

If you lowered the attenuator during recording while

using the input EQ, could you have forgotten to reset the

attenuator for playback?

Insert effects do not apply

Have you set the recording level to PST (post-fader)

during recording, recorded at a level below unity gain,

and then played back with these same settings?

→ If you want to play back at the recorded level, set the

channel fader to unity gain.

Is the effect inserted at the appropriate location?

→ In the EFFECT, “EFFRouting” tab page, select “IN” if

you want to apply the insert effect to the input, or “TR”

if you want to apply it to the playback. (→p .113)

→ Go to the EFFECT, “EFFRouting” tab page and verify

that the effect assign channel (track) is correct. (→p .23,

54)

The input or recorded sound is noisy or dis-

torted

Can’t apply master effects

Is the send level from each channel set to zero or nearly

zero?

→ Raise the send levels in the MIXER, SEND (EFF/AUX/

REC), “EFF1Send”/“EFF2Send” tab pages.

Is the TRIM knob set appropriately? The sound will be

distorted if the TRIM knob is set too high, and there will

be more noise if it is set too low.

→ To optimally set the TRIM knobs of the INPUT 1–IN-

PUT 12 jacks, press the METER key to access “Meter/

Track View,” and set “Select Level Meter Position” to

“CH-Input.” Then adjust the TRIM knobs as high as

possible without allowing the “CLP” indicator to ap-

pear in the level meter.

Is the return level set to zero or nearly zero?

→ Go to the EFFECT, “MstrEFF1/2” tab page, and raise

the “Return Level” setting.

If you are monitoring the sound from the MONITOR L/

R jacks, the monitor LR bus output may be turned off.

→ In the MIXER, SOLO/MONITOR, “Monitor” tab

page, click the MasterLR button to turn it “On.”

Are you using effects?

→ Some effects add distortion or noise. Verify that there

is no distortion or noise when you are not using an ef-

fect.

Can’t apply the ﬁnal effect

If you are monitoring the sound from the MONITOR L/

R jacks, the master LR bus output may be turned off.

→ In the MIXER, SOLO/MONITOR, “Monitor” tab

page, click the MasterLR button to turn it “On.”

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Can’t use the expression pedal or MIDI to control an

effect

The 1–16/ 17–32 key does not work

In the case of a 24-bit song, only sixteen channels are

available, so this key will not function.

In the SYSTEM/MIDI, “Control” tab page, is the effect

selected by “Control Change Assign” enabled?

→ Go to the EFFECT, “EFFRouting” tab page and verify

that the effect is enabled.

MIDI

Are you using the correct device to control the effect?

→ Control the effect using the device specified by the

“Control Change Device” setting in the SYSTEM/

MIDI, “Control” tab page. (→p .119)

Is the selected effect set to effect program number “000”

(=NO EFFECT) or to an effect program number that does

not include a control function?

MIDI sequencer won’t synchronize/ MIDI control is

not possible

Are the MIDI cables connected correctly? (→p .11)

A MIDI cable may be broken.

Can’t synchronize using MTC or MIDI Clock

If you are controlling via MIDI, does the MIDI channel

number of the D3200 match the MIDI channel of the

transmitting MIDI device? (→p .124)

Are the master and slave settings correct? (→p .125)

Does the synchronization signal being output by the

D3200 match the synchronization signal your MIDI

sequencer is receiving?

Is the effect program’s Ctrl setting turned on? (→p .57)

→ Go to the SYSTEM/MIDI, “MIDI/MMC” tab page

and check the “MIDI Sync” setting. (→p .125)

Are the synchronization settings of your MIDI sequencer

appropriate?

Can’t apply external effect (AUX)

Is the external send level setting set to zero or nearly

zero?

→ Go to the MIXER, SEND (EFF/AUX/REC), “AUX1

Send”/“AUX2 Send” tab page, and raise the external

send level.

→ Refer to the owner’s manual of your MIDI sequencer.

The D3200 doesn’t receive MMC

Is the output of your external effect connected to the

INPUT 1–INPUT 12 jacks, and input to the mixer

channels?

→ Go to the MIXER, CH INPUT/SubMixer, “Ch Assign”

tab page and make the appropriate assignments.

In the SYSTEM/MIDI, “MIDI/MMC” tab page, is

“MMC Mode” set to “Receive”?

In the above page, is “MMC Device ID” set to match the

MMC device ID setting of your MIDI sequencer?

(→p .125)

→ For some MIDI sequencers, the MMC device ID setting

may differ.

Have sub input settings been made correctly? (→p .44,

101)

Is your MIDI sequencer set to transmit MMC?

→ Refer to the owner’s manual of your MIDI sequencer.

Session Drums

Can’t use MIDI to control scenes

Drum sound is not output

Do the MIDI channels of the D3200 and your MIDI

sequencer match?

Is the DRUMS key turned off?

Is the DRUMS fader lowered?

→ Go to the SYSTEM/MIDI, “MIDI/MMC” tab page

and check the “Global Ch” setting. (→p .125)

Are program changes turned off?

→ Check the settings in the SYSTEM/MIDI, “MIDI/

MMC” tab page. (→p .124)

Is the rhythm assign setting appropriate?

→ If the rhythm is assigned to a CH Input, input the

rhythm to a mixer channel.

Is the recorder stopped?

→ Press the PLAY key to play back. The rhythm will

sound while the recorder is recording or playing,

If you want to preview the rhythm while the recorder is

stopped, go to the SESSION DRUMS, “SessionDr.” tab

page and turn the RUN button on.

The D3200 does not synchronize as a slave

→ If the D3200 is set as an MTC slave, it may take several

seconds for synchronization to occur.

→ Do the Frame Rate settings match? (→p .125)

→ If you are using MTC to synchronize, the MIDI se-

quencer to which you are synchronizing must support

MTC.

You may have selected a silent drum pattern.

The session drum volume may be too low.

→ Use DRUMS fader to adjust the volume.

Can’t control another device via MMC

Can’t hear the drum

In the SYSTEM/MIDI, “MIDI/MMC” tab page, is

“MMC Mode” set to “Transmit”?

Is the DRUMS key off? (→p .59)

Is the MMC slave device set so that it will receive MMC?

Does the D3200’s MMC Device ID match the external

MIDI device’s MMC Device ID?

A key does not function when pressed

Some keys do not function while the recorder is playing

or recording.

Can’t use MIDI to control mixer parameters

→ Stop the recorder, and then perform the operation.

Is the device that is receiving the control changes set to

record all MIDI channels 1–16?

Some keys do not function while Scrub is on.

→ Turn off Scrub, and then perform the operation.

(→p .40, 146)

Is a dialog box open?

→ Click either the Yes, No button to close the dialog box.

Are control changes turned off?

→ Check the settings in the SYSTEM/MIDI, “MIDI/

MMC” tab page. (→p .124)

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CD-R/ RW

Startup

Can’t write

The display hangs at “Start up from CD. Wait CD

Mount.” and startup does not occur

No further data can be written to a CD-R/ RW disc that

has been finalized. (→p .140)

Use the recovery CD to start up the D3200. (→p .96)

No data can be written to a CD-RW disc that contains

data written by another device.

Failed while writing to CD.

→ Select an appropriate speed for writing to CD-R/ RW.

If you failed while writing at the highest speed, try a

slower speed. In some cases if you are using a disc that

is optimized for high-speed writing, you may be una-

ble to write at low speeds.

→ Try a different disc.

Can’t select some speeds when writing to CD.

→ The speeds that you can select will differ depending on

the type of disc.

Can’t create an audio CD.

→ Use a blank disc.

Can’t play back on an audio CD player

Did you finalize the disc?

→ In the CD, Track at once page, click the Finalize button

to finalize the disc. (→p .140)

Did you use CD-R disc?

→ Some CD players are unable to play back CD-RW

discs. We recommend that you use CD-R discs.

Have you tried using a different type of disc?

→ Even when the recommended media is used, some CD

players are unable to play back certain types of CD-R/

RW disc. You may be able to play back successfully if

you use a different type of CD-R/ RW disc.

Audio ﬁles

Can’t preview

Is the audio file format supported?

→ Preview a WAV file of a supported format. (→p .86,

135)

USB

Computer does not recognize the D3200

Is the USB cable connected correctly? (→p .12)

Is the D3200 set to USB Slave mode? (→p .93)

Recognition may also fail on some models of Macintosh

for specific versions of the operating system. In this case,

leave the D3200 in USB mode, and disconnect and then

reconnect the USB cable so that the D3200 will be

recognized.

Error occurred when you disconnected the D3200

from the computer

Use the correct procedure to disconnect. (→p .93)

When you connected the D3200, the computer

asked you to install software or a device driver

Does the operating system of your computer support the

D3200? (→p .93)

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If “Disk too busy.” appears during playback, execute “Check

Drive” with “Current Song” selected. If the message appears

during recording, execute “Check Drive” with “Current Parti-

tion” selected.

Various messages

The message dialog box will disappear when you click the

In some cases, ultra-low frequencies played back in the studio may

cause “Disk too busy.” messages to appear. In this case, elimi-

nate the problem by relocating the D3200 before you execute the

Check Drive operation.

OK button (or press the panel YES key).

Auto-Punch is not available in MTC Slave/ Master mode.

Auto-punch recording cannot be performed if the MIDI

If the Song Type is 48 kHz/24-bit and you record multiple tracks

(four or more tracks) simultaneously, there is a increased possibil-

ity that the state of the hard disk recording area (i.e., fragmenta-

tion) will cause the “Disk too busy.” message to appear. We

recommend that you always execute “OptimizeTrk” (→p.74) af-

ter recording or editing multiple tracks simultaneously in a 48

kHz/24-bit song.

Sync setting is set to MTC Slave or MTC Master.

Cannot have more than 100 Songs.

You cannot exceed maximum of 100 songs on one song

drive.

→ Delete unneeded songs. Be sure to back up any data you

wish to save before deleting it from the hard drive.

Drive Error occurred.

Check Sum Error occurred.

An error has occurred while accessing the drive.

The system update has failed.

→ If this message appears while you are working on a song

drive, execute “Check Drive.” If the message still

appears after executing this, format the drive.

→ Try the update procedure once again from the

beginning. If this message still appears, please contact

your Korg distributor.

→ If this message appears while you are working on the PC

drive, format the PC drive.

Clock source changed to internal because S/ P DIF Error

occurred.

→ If this message appears while you are working on the

CD drive, use a different disc. If the message still

appears, it is possible that the CD-R/ RW drive has

malfunctioned. Please contact your Korg distributor.

Because the S/P DIF clock could not be detected

correctly, the Word Clock setting Clock Source has been

switched to Internal.

→ Make sure that the signal is being output correctly from

Exceeds drive capacity.

the external device.

There is not enough free space on the drive.

→ Make sure that the D3200 is correctly connected with the

→ If this message appears while you are working on a song

drive, you can either delete the Undo data or delete

unneeded songs. Alternatively, you can use a different

song drive.

external device.

→ Make sure that the optical digital cable is not faulty.

Clock source changed to internal because the sampling

frequencies do not match.

→ If this message appears while you are working on the PC

drive, delete unneeded files or folders.

Because the external sampling frequency does not match

the sampling frequency of the current song, the Word

Clock setting Clock Source has been switched to

Internal.

Exp/ Cmp ratio is out of range.

The expansion/ compression ratio used in the

“ExpCmpTrk” track edit operation is beyond the

allowable range. The maximum expansion is double, and

the maximum compression is half. Change the settings

of the TO and END locations.

Completed.

The operation has been completed successfully.

Continuous recording time limit exceeded.

Failed to receive MIDI data.

The maximum continuous recording time is 12 hours. It

is not possible to continuously record for longer than

this.

Reception of MIDI data has failed.

Failed to write CD.

Writing to the CD-R/ RW disc has failed.

→ Refer to the “Troubleshooting” section on CD-R/ RW.

Directory Path is too long.

Access is not possible because the directory path is too

long.

Failed to write System.

→ The D3200 cannot access a path that is longer than 64

characters. Do not create a directory path longer than 64

characters.

System updating has failed.

→ It is possible that the D3200 has malfunctioned. Please

contact your Korg distributor.

Disc is not CD-RW.

File List data error.

The disc currently in the drive is not a CD-RW.

→ Insert a CD-RW disc.

There is an error in the audio data, and the song cannot

be selected or saved.

Disk too busy.

→ Format the affected song drive.

This message will appear if repeated punch-in/ out

recording or track editing operations have fragmented

the data on the disk, slowing down access to the hard

drive.

Frame Rate does not match.

The frame rate of the incoming time code does not match

the frame rate of the current song.

→ In the TRACK, “EditTrk” tab page, execute the

“OptimizeTrk” operation. If this error message still

appears even after you execute “OptimizeTrk,” go to the

SYSTEM/MIDI, “DiskUtility” tab page and execute

“CheckDrive.”

Illegal Range. In = Out or Out < In.

The operation cannot be executed because there is a

problem with the IN and OUT locations specified for

track editing or loop playback.

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→ The IN and OUT locations are the same, or the OUT

Root Directory is full.

location is earlier than the IN location.

You have reached the maximum number of files or

folders that can be saved in the root directory of the PC

(USB) drive.

Illegal Range. To = End or End < To.

The operation cannot be executed because there is a

problem with the TO and END locations specified for

track editing or loop playback.

→ Delete unneeded folders or files.

Sampling Frequency does not match.

→ The TO and END locations are the same, or the END

The external sampling frequency clock does not match

the sampling frequency of the current song.

location is earlier than the TO location.

In ~ Out is out of range.

Scrub Location exceeded song end.

The operation cannot be executed because there is a

problem with the IN and OUT locations specified for

track editing or auto-punch recording.

The scrub function controlled by the SCRUB key is able

to display the waveform in a range from the beginning

to the end of the song.

If you press the SCRUB key at a location that is later than

the end, this message will appear, and then the location

will return to the end of the song.

→ Set the IN–OUT region not to exceed 12 hours in length.

In ~ Out is too short.

There is not enough of an editing region for track editing

to occur.

Song Data error.

The song data contains an error, and cannot be selected

or saved.

Insert next disc and press OK.

Insert the next disc.

→ Delete the song that cannot be selected or saved.

→ Format the affected song drive.

Insufﬁcient space available on the CD.

This CD-R/ RW disc does not contain enough free space

to write the selected data.

Song End out of range.

Executing the track editing operation would cause the

ending location of the song to exceed the allowable song

length.

Maximum number of tracks is 99.

A maximum of 99 tracks can be written to one CD.

→ A song cannot be more than 23:59:59.999 in length.

No audio events on the master track.

Song List data error.

The master track does not contain any audio events.

The song list data contains an error, and the song cannot

be selected or saved.

No REC-READY tracks.

None of the tracks have been set to the record ready

mode.

→ Format the affected song drive.

S/ P DIF Error occurred.

Not enough Memory.

An error has occurred in the S/ P DIF digital connection.

The current recording or track editing operation would

exceed the amount of memory space available.

→ Make sure that the external device is correctly connected

to the D3200.

→ Delete unneeded track data from the song.

→ Make sure that the optical digital cable is not faulty.

→ In the TRACK, “EditTrk” tab page, execute

“OptimizeTrk” operation. If error messages still appear

after you execute “OptimizeTrk,” go to the SYSTEM/

MIDI, “DiskUtility” tab page and execute

“CheckDrive.”

Tempo too fast.

When recording tempo, recording failed because the

tempo was too fast.

→ If you are recording MIDI Clock data, set the MIDI

output device to a slightly slower tempo.

Number of tracks does not match.

→ If you are recording tap tempo, tap more slowly.

When executing a track edit operation, the number of

tracks before and after the operation does not match.

Tempo too slow.

When recording tempo, recording failed because the

tempo was too slow.

Operation canceled.

The operation was canceled.

→ If you are recording MIDI Clock data, set the MIDI

Repaired successfully.

output device to a tempo of ꢀ =40 or faster.

When the hard drive was checked, errors found on the

disk were repaired successfully. The audio data has also

been completely recovered.

→ If you are recording tap tempo, tap more quickly.

The data is unchanged.

The operation was executed, but the results are identical

to the previous state.

Repaired, but some audio data was lost.

When the hard drive was checked, errors were found on

the disk. The drive was repaired, but some audio data

could not be completely repaired. You may hear some

“pops” in the sound.

The location cannot be stored.

The current location cannot be stored.

This CD is not playable.

→ You can minimize the pops by executing

The CD cannot be played because is not an audio CD or

because it has not been finalized.

“ErasePunchNoise.”

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This ﬁle name is already in use.

An identically-named file already exists.

→ Change the file name.

Conﬁrmation messages

Info: “****”

This will appear when there is information to be

conveyed to the user.

This format is not supported.

The inserted disc is in a format that the D3200 is unable

to read.

→ Click the OK button (or press the panel YES key) and

continue operation.

This is a blank CD.

Serious error messages

You have inserted a blank disc.

This operation is not available.

Fatal: “****”

It is currently not possible to perform this operation.

This will appear if a problem or malfunction has

occurred on the D3200.

To ~ End is out of range.

→ If this type of message appears, write down the contents

The track editing operation cannot be executed because

there is a problem with the TO and END locations you

specified.

of “****” and contact your Korg distributor.

→ The TO–END region must not exceed 12 hours.

To ~ End is too short.

There is not enough of an editing region for track editing

to occur.

Too many ﬁles in this drive.

No more audio data files can be saved on the song drive.

→ Either erase the Undo data, or delete unneeded songs.

Alternatively, use a different song drive.

Too many REC-READY tracks for Punch Rec.

The number of tracks selected for recording exceeds the

allowable number of tracks for punch-recording.

→ Refer to “Recorder” (→p .64).

Track length is under 4 seconds.

When using Disc At Once to create an audio CD, the

data contained a track that is shorter than four seconds.

→ The minimum time for a track (the total of the song to be

written and the post-gap) is four seconds.

Trigger/ RecStart is not available in MTC Master mode.

In order to perform Trigger/RecStart recording, the

MIDI Sync setting cannot be set to MTC Master.

Trigger/ RecStart is not available in MTC Slave mode.

In order to perform Trigger/RecStart recording, the

MIDI Sync setting cannot be set to MTC Slave.

Trigger recording is not available for the master track.

You can’t perform trigger recording if the MASTER

TRACK STATUS key is set to REC.

Undo Data error.

The song cannot be selected or saved because there is an

error in the Undo data.

→ Delete the song that cannot be selected or saved.

→ Format the affected song drive.

Wrong disc.

The wrong disc is inserted for the operation you are

attempting to execute.

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PC (USB) drive

You can transfer files between this drive and a song drive or

your personal computer.

Within the PC (USB) drive, you can view, delete, or rename

files and folders.

This drive can be set to have a 2 GB, 4GB, or 8GB capacity,

and will be recognized by your computer as a drive named

KORG D3200.

More about drives

and ﬁles

Drives

Supported ﬁle

Backup ﬁle

WAV ﬁle

Operations

backup, restore

import, export

Edit PC File

The files that can be handled by the CD-R/ RW drive and PC

(USB) drive are explained below.

PC ﬁle

CD-R/ RW drive

This drive can handle the following types of discs.

Supported format

FAT16 ﬁle system; long ﬁle names are not supported, and double-byte

characters (such as Japanese) are not supported.

Media type

CD (audio CD)

Purpose

read only

read/write

The PC (USB) drive has the following structure.

CD-ROM (data CD)

CD-R

Folder/ﬁle structure

CD-RW

read/write/erase

PC:

PC: KORG

Root

KORG (folder)

AUTORUN.INF

(file)

BACKUP (folder)

WAV (folder)

KORG03.ICO (file)

D3200 (folder)

Supported ﬁle

Supported format

Operations

CD-DA

Audio CD

playback, writing

(Red book compliant)

ISO 9660 Level 1

UDF format

Backup ﬁle

backup, restore

import, export

import

WAV format audio ﬁle

BACKUP folder

When backing up → back up to the BACKUP folder.

When restoring

•

By erasing a CD-RW, you can use it again as a blank disc.

When writing to a disc, you can specify the speed at

which data will be written. Choose a speed that the disc

you are using supports.

→ the BACKUP folder will be refer-

enced, but you can choose from any

folder.

•

There are two ways to write a CD.

WAV folder

Disc At Once

When exporting → back up to the WAV folder.

When importing → the WAV folder will be referenced,

but you can choose from any folder.

•

Creating an audio CD using Album CD Project

This performs the entire process from writing multiple

songs through ﬁnalization in a single step. No additional

writing will be possible.

AUTORUN.INF, KORG03.ICO

The ﬁles contain settings.

Track At Once

•

Creating an audio CD track by track

Backing up

Exporting audio ﬁles

Do not delete the AUTORUN.INF or KORG03.ICO files.

D3200 folder

This folder is used for updating the system.

Additional data can be written up to 99 times, as long as

there is free space on the disc.

To prevent additional data from being written, ﬁnalize

the disc.

The above folders and setting files are created when you format

the PC (USB) drive on the D3200. Do not format the PC

(USB) drive from your computer.

For details on operations between your computer and the PC

(USB) drive, refer to USB (→p.93).

When writing additional data, writing will be more reliable if

you use the same writing speed as when writing the previous

data.

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Files

Audio CDs and ﬁles

Writing

You can write the following files from the D3200 to the inter-

nal drive.

Audio CDs

•

Backup ﬁles (data speciﬁc to the D3200)

WAV ﬁles

Playing an audio CD

Use CD, CD PLAYER to play back an audio CD.

You cannot play back a CD-R/ RW that has not been final-

ized.

(16-bit/ 44.1 kHz, 16-bit/ 48 kHz, 24-bit/ 44.1 kHz,

24-bit/ 48 kHz; monaural and stereo are supported)

The characters that can be used in a ﬁle name are single-

byte uppercase alphabetical characters “A”–“Z” and

numerals “1”–“9,” and the underline character “_”.

You cannot play back discs that do not conform to the Compact

Disc (CD) specification, such as music discs utilizing copy-pro-

tection technology.

When renaming a file, you cannot change the extension.

Backup ﬁles

Creating an audio CD

The amount of space required for the backup is displayed

when you make settings for the backup.

Using Disc At Once

This method lets you edit the length of the gaps between

songs, or divide a single song into several tracks.

You can also use this type of a disc as a pressing master

for mass production. Since the disc will be ﬁnalized when

it is written, no further data can be written to it.

CD-R/RW drive

•

You can back up ﬁles across more than one disc if nec-

essary.

•

You will need to provide the necessary number of

discs for the backup. (The discs do not have to be

blank.)

•

Maximum number of tracks 99

Pre-gap time [0–59 seconds/ 74 frames], default value

•

If the disc is not blank, it must have a certain amount

of free space in order to be used for backup. If the disc

does not have enough free space, an error message

will appear.

2 seconds

•

Post-gap time [0–59 seconds/ 74 frames], default value

0 seconds

•

Minimum track duration 4 seconds

PC (USB) drive

An error message will appear if the drive does not have

enough free space.

*1 The pre-gap for track 1 is fixed at 0 seconds. The default pre-gap

is 0 seconds for tracks that are divided by album CD track marks.

Backup data filenames

Using Track At Once

The following names are automatically assigned accord-

ing to the type of backup.

Use this method when you want to write one track at a

time. You can continue writing additional tracks until

you ﬁnalize the disc.

1Song

Finalize the disc if you want to play it back on a CD

player.

XXXXXX + YY + extension (.DBK)

XXXXXX will be the ﬁrst six characters of the song

name, and YY will be a number in the range of 01–99

indicating the backup disc number.

•

Maximum number of tracks 99

Silence between songs 2 seconds

Minimum track duration 4 seconds

If you are backing up a song named “New MySong” and

this is the first disc of the backup, the default filename will

be “NEW_MY01.DBK”.

If the song name contains a character that cannot be used

in a filename, or a space, that portion will be replaced by an

underline character “_”, and lowercase characters will be

replaced by uppercase characters.

All Data

ALLDAT + YY + extension (.DBK)

YY will be a number in the range of 01–99 indicating

the backup disc number.

(01–99 is the number of the backup disc used)

The default filename for the third backup disc is

“ALLDAT03.DBK”.

User Data

USERDATA + extension (.DUR)

The default ﬁlename is “USERDATA.DUR”.

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A backup that spans more than one CD-R/RW disc must be re-

stored in the order in which it was backed up. The last two

characters of the file name will be a number that indicates the

backup order; restore the discs in this order.

WAV-format audio ﬁles

You can use the Export command to write WAV-format au-

dio files.

An error message will appear if there is insufficient space.

(→p .168 “Various messages”)

If the song name contains characters other than alphanumeric

characters and the underline “_”, such characters will be con-

verted into an underline “_”. Lowercase characters will be

converted into uppercase.

•

You can copy data to the clipboard and export it.

If the clipboard contains data for one track, a monau-

ral ﬁle will be created. If it contains two tracks, a stereo

ﬁle will be created. If it contains four or more tracks,

the corresponding number of monaural ﬁles will be

created.

WAV-format audio ﬁles

You can load these files into the D3200 by performing the Im-

port operation.

Filenames for audio data

If the import-destination song drive has insufficient space, an er-

ror message will appear. (→p.168 “Various messages”)

Trackcontent

No. of

characters

Default

ﬁlename

of the

ST or MN Extension

clipboard

File icons that you can view and select

6 characters

+ ST

2 tracks

stereo

WAV

NONAMEST

: Folder icon

Indicates a folder. Select it to display the contents.

Other than 2

tracks

6 characters NONAME+

+ [01–16]

monaural WAV

[01–16]

: WAV icon

Indicates a WAV ﬁle. Only supported WAV ﬁles will

be displayed.

6 characters

+ ML

Master track L monaural WAV

NONAMEML

6 characters

+ MR

Master track R monaural WAV

Master track

NONAMEMR

NONAMEMT

Files on the PC (USB) drive (PC ﬁles)

If a file on the PC (USB) drive is in a supported format, you

can use Edit PC File to view, delete, or rename the file/ folder.

→ Edit PC File (→p .122)

6 characters

+ MT

stereo

WAV

L/R

For example if you export an audio file whose original track

File icons that you can view and select

number is 04, the file name will be “NONAME04.WAV”.

: Folder icon

Indicates a folder. Select it to display the contents.

You can load the following files into the D3200.

•

Backup ﬁles (data speciﬁc to the D3200)

WAV ﬁles

: File icon (PC ﬁle)

Indicates a ﬁle.

(44.1kHz/ 16bit, 48kHz/ 16bit, 96kHz/ 16bit, 44.1kHz/

24bit, 48kHz/ 24bit, 96kHz/ 24bit; monaural and

stereo are supported)

: Song data icon

Indicates song data.

•

PC ﬁles

: Divided song data icon

Indicates song data that was divided into more than

one backup volume. You cannot open this.

Backup ﬁles

You can load these files into the D3200 by performing the Re-

store operation.

If the restore-destination song drive has insufficient space, an

error message will appear. (→p .168 “Various messages”)

: User data icon

Indicates user data.

: WAV icon

File icons that you can view and select

Indicates a WAV ﬁle.

: Folder icon

: Song icon

Indicates a folder. Select it to display the contents.

Indicates song data.

: Song data icon

: Effect data icon

Indicates song data. Select it to display the contents.

Indicates user effect data.

: Divided song data icon

Indicates song data that was divided into more than

one backup volume. You cannot open this.

: Mixer setup data icon

This indicates user mixer setup data.

: EQ library icon

Indicates user EQ library data.

: User data icon

Indicates user data. Select this to display the contents.

:Album CD project icon

Indicates album CD project data.

: Song icon

Indicates song data.

: Effect data icon

Indicates user effect data.

: Mixer setup data icon

This indicates user mixer setup data.

: EQ library icon

Indicates user EQ library data.

:Album CD project icon

Indicates album CD project data.

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Speciﬁcations

Internal processing:69-bit

Inputs:

Buses:

44 channels (32 recorder channels, 12 sub-in)

Operating temperature:

+5 – +35 °C (do not allow condensation)

12 buses

2 Eff Send buses, 2 AUX buses, 2 SOLO

buses (stereo), 2 CUE buses (stereo), 2

MASTER buses (stereo), 2 MONITOR buses

(stereo)

■ Main sections

Equalizer:

Recorder channels 1–24

4-band full parametric EQ

Number of tracks: 272 tracks (including virtual tracks)

Recorder channels 25–32

2-band shelving EQ

Simultaneous playback 32 tracks,

simultaneous recording 16 tracks*

@ 48 kHz/ 44.1 kHz, 16-bit

12 analog inputs + 2 digital inputs (S/P DIF) + 2

Session Drums™ = 16

Sub Mixer channels 1–12

2-band shelving EQ

Master track

4-band full parametric EQ

Simultaneous playback 16 tracks,

simultaneous recording 12 tracks

@ 48 kHz/ 44.1 kHz, 24-bit

Scene memories: 100 scene per song

Recording format: 24-bit/ 16-bit uncompressed,

44.1 kHz/ 48 kHz

Recording time:

44.1 kHz, 16-bit: maximum 119 hours

* when using a 40 GB hard disk

Internal processing:56-bit

Structure:

Insert × 8 (maximum)

Master × 2 (maximum)

Final × 1

Number of songs: 100 songs per drive

Locate points:

Mark points:

four points per song

All usable simultaneously at 44.1/ 48 kHz

100 points per song (marks can be named)

Programs:

128 preset, 128 user, 32 song

Metronome/ Drum patterns:

756 (96/ 660)

Algorithms:

MMC functions:

Transmitted and received

Synchronization: MTC transmission/ reception, MIDI Clock

transmission

Display:

320 × 240 pixel, four-level grayscale

Movable LCD with backlight

Pattern map (200 events per song)

Sync track (one track per song)

Tempo recording

Power supply:

AC Local Voltage

47 W

Power consumption:

Dimensions:

Weight:

547 mm (W) × 371 mm (D) × 155 mm (H)

22.6" (W) × 14.61" (D) × 6.1" (H)

(With LCD fully raised)

CD-R/ RW functions:

Internal CD-R/ RW, audio CD writing

(Track At Once, Disc At Once), backup/

restore, audio file (WAV format) import

(ISO 9660), system load

7.8 kg/ 17.2 lbs

USB functions:

Backup/ restore, audio file (WAV format)

import/ export (FAT16), system load

■ Principal speciﬁcations

Frequency response:

PC (USB) drive capacity:

2/ 4/ 8 GB

10 Hz – 20 kHz +1 dB/ –2 dB

@ fs 44.1 kHz, +4 dBu, 10 kΩ load

Track editing:

Copy (overwrite/ insert), erase, delete,

swap, reverse, optimize, expand/ compress,

fade, normalize, erase punch noise, erase

silence

10 Hz – 22 kHz +1 dB/ –2 dB

@ fs 48 kHz, +4 dBu, 10 kΩ load

S/ N:

98 dB (typical) @IHF-A

Song editing:

Display format:

Locate format:

Copy, move, delete, rename, protect, save

now

Dynamic range:

THD+N:

0.02% (typical) 20 Hz–20 kHz

+16 dBu, 10 kΩ load

Calendar time, HDD remaining capacity,

scene, mark, pattern map

A/ D conversion: 24-bit 64 times oversampling

D/ A conversion: 24-bit 128 times oversampling

Hour/ Min/ Sec.ms, Hour/ Min/ Sec.Frame,

Meas/ Beat/ Tick

Sampling frequency

Internal: 44.1 kHz, 48 kHz

MIDI functionality: Mixer control, effect control,

MMC transmission/ reception,

MTC transmission/ reception,

Record/ Playback bit:

16-bit, 24-bit

MIDI Clock transmission

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■ Analog/ digital input and output spec-

Connectors:

1/ 4" phone jack (unbalanced)

iﬁcations

Output impedance: 150 Ω

Nominal level:

–10 dBu

+2 dBu

Connectors:

XLR-3-31 type (+48 V phantom power,

switchable), 1/ 4" TRS phone jack (balanced)

Maximum level:

Load impedance: 10 kΩ or higher

Input impedance: 4 kΩ (XLR-3-31), 10 kΩ (TRS phone jacks)

Nominal level:

–60 dBu to –22 dBu @ TRIM=max. – min.

PAD OFF

Connectors:

1/ 4" phone jack (unbalanced)

–34 dBu to +4 dBu @ TRIM=max. – min.

PAD ON

Output impedance: 150 Ω

Nominal level:

–10 dBu

+2 dBu

Maximum level:

–48 dBu to –10 dBu @ TRIM=max. – min.

PAD OFF

Maximum level:

Load impedance: 10 kΩ or higher

–22 dBu to +16 dBu @ TRIM=max. – min.

PAD ON

Source impedance: 600 Ω

Connector:

1/ 4" stereo phone jack

Output impedance: 100 Ω

Connectors:

1/ 4" TRS phone jack (balanced)

Maximum level:

50 mW+50 mW @ 32 Ω

Input impedance: 10 kΩ

Nominal level:

–60 dBu to –22 dBu @ TRIM=max. – min.

Connector:

optical

PAD OFF

Format:

24-bit S/ P DIF (IEC60958)

–34 dBu to +4 dBu @ TRIM=max. – min.

PAD ON

<USB>

Maximum level:

–48 dBu to –10 dBu @ TRIM=max. – min.

PAD OFF

Connector:

Type B

Format:

USB2.0 High-Speed device

USB Mass Storage Class

–22 dBu to +16 dBu @ TRIM=max. – min.

PAD ON

Supported OS:

Window Me, Windows 2000 or later

Mac OS 9.0.4 or later

Source impedance: 600 Ω

* If using the D3200 with Windows 98,

please refer to the Korg website or contact

your Korg distributor.

Connector:

1/ 4" phone jack (unbalanced)

Input impedance: 1 MΩ

Nominal level:

–60 dBu to –22 dBu @ TRIM=max. – min.

PAD OFF

Connectors:

DIN 5-pin × 2

–34 dBu to +4 dBu @ TRIM=max. – min.

PAD ON

Maximum level:

–48 dBu to –10 dBu @ TRIM=max. – min.

PAD OFF

Connector:

1/ 4" phone jack (use separately sold PS-1)

–22 dBu to +14 dBu @ TRIM=max. – min.

PAD ON

Connector:

1/ 4" stereo phone jack

(use separately sold XVP-10 or EXP-2)

Source impedance: 600 Ω

■ Included items

Connectors:

1/ 4" phone jack (unbalanced)

AC cable

Output impedance: 150 Ω

Owner’s manual

Nominal level:

–10 dBu

+2 dBu

Maximum level:

Load impedance: 10 kΩ or higher

■ Separately sold options

PS-1 pedal switch

XVP-10 EXP/ VOL pedal

EXP-2 foot controller

Appearance and speciﬁcations of this product are

subject to change without notice. (04, 2005)

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Various lists

Drum Pattern List

The 1 Standard 1–8 etc variations consist of Variation 1–10, Fill In, and Ending.

Group Name

Session Name

Metro 4

Variation

Group Name

Session Name

R&B

Variation

Metronome

R&B/Hip Hop

Hihat 4

Slow R&B

Soul 1

Soul 2

Motown

Hip Hop

Rap

Metro 8

Hihat 8

Metro 16

Hihat 16

8beat 1

Standard 1

8beat 2

Club

Techno

House

Garage

2Step

8beat 3

8beat 4

16beat 1

16beat 2

16beat 3

16beat 4

Processed 1

Processed 2

Processed 3

Wet 1

Electro

NuSkul

Big Beat

DnBass

Swing

Standard 2

Jazz/Fusion

Latin/Ethnic

etc

Nu Jazz

BigBand

Funk

Wet 2

Pop/Rock

Rock'nRoll

UK Rock

US Rock

Modern Rock

Funk Rock

Rock Ballad

Pops

Electric Funk

Brazil

Bosa

Samba

AfroCuba

Raggae

6/8

Filter Pop

Gated Pops

3/4

Lounge

10 Disco

11 Country

12 Distorted

Lyn

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EQ Library List

No. Name

Bass Drum1

Bass Drum2

Snare Drum1

Snare Drum2

Tom-Tom

Syn.Bass1

A.G.Strum2

Total EQ2

FM Radio

Syn.Bass2

Piano1

A.G.Arpegio1

A.G.Arpegio2

Brass Section

Male Vocal1

Total EQ3

Old Record

Telephone

Bright

Bass Drum3

Snare Drum3

Tom-Tom2

Piano3

Piano2

E.G.Clean

E.G.Crunch1

E.G.Crunch2

E.G.Dist1

E.G.Dist2

A.G.Strum1

Dark

Cymbal

Male Vocal2

Heavey Low

Fat Middle

Heavy Low

50Hz HumCut

60Hz HumCut

High Hat

Female Vocal1

Female Vocal2

Piano Low

Piano High

Fine-EQ Casset

Narration

Percussion

E.Bass1

Chorus&Harmony 39

Total EQ1 40

E.Bass2

Name Library List

Data Name Library: You can choose these names when renaming EQ Library, Mixer Setup, Drive, Effect, Scene, Mark, Song, or Track.

File Name Library: You can choose these names when renaming PcFile, BackupFile, or WavFile.

Data Name Library

File Name Library

Name

Fill

Name

Vocal

Guitar

Bass

VOCAL

GUITAR

BASS

FILL

A Melo

B Melo

Solo

A_MELO

B_MELO

SOLO

Chorus

Kick

CHORUS

KICK

Ending

Take

ENDING

TAKE

HiHat

Snare

Tom

HIHAT

Track

Dance

Groove

Rock

Pop

SNARE

TOM

TRACK

DANCE

GROOVE

ROCK

POP

RimShot

Cymbal

Ride

RIMSHOT

CYMBAL

RIDE

Crash

Percuss

Key

Jazz

CRASH

PERCUSS

KEY

JAZZ

Fusion

Loop

FUSION

LOOP

Piano

Strings

Organ

SFX

Live

PIANO

STRINGS

ORGAN

SFX

LIVE

Studio

Event

STUDIO

EVENT

Count

Intro

COUNT

INTRO

Demo Song List

001: I’d Be A Fool

“I’d Be A Fool”

The song “I’d Be A Fool” was written,produced and arranged by Frank McComb

Unauthorized reproduction of this recording is prohibited by federal law and subject to criminal

prosecution. For permission of any use of this material please contact Frank McComb at

[email protected].

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While holding down the MIXER key

Shortcut keys

While holding down the STOP key

LOC 1/2/3/4 keys Recall page memories 1/ 2/ 3/ 4

π/† keys

Move between MIXER pages in the +/ –

direction

√/® keys

Move between MIXER pages in the +/ –

direction

REW key

FF key

Move to the beginning of the song

Move to the end of the song

CH VIEW key

EFFECT key

SEND key

Access the DrmsMixer tab page

Access the CueLevel tab page

LOC 1 key

Move to the location at which recording

last began

Access the SubMix 1–4, 5–8, and 9–12 tab

pages

LOC 2 key

+/– keys

Move to the location at which recording

last ended

EQ key

Access the MasterEQ tab page

Access the MixerView tab page

Increment/ decrement the song number

PAN key

While holding down the SONG key

REC/PLAY key Access the ChAssign tab page

+/– keys

Increment/ decrement the song number

Save the song (SaveSong)

CH ON key

SOLO key

Access the ChOnGroup tab page

Access the Solo tab page

ENTER key

CH SELCT key Access the Pair tab page

While holding down the MARK key

SCENE key

Access the Automation tab page

+/– keys

Move to the following/ preceding mark in

the song

While holding down the (cursor) π key

LOC 1/2/3/4 keys Recall page memories 1/ 2/ 3/ 4

SYSTEM/MIDI Access the Calendar dialog box

key

While holding down the JUMP/ MATCH key

SESSION

DRUMS key

Switch the TimeDispType

√TAB key

Move to the far left tab from any tab in the

page

LOC 1/2/3/4 keys Move the cursor to the counter H/ M/ S/ m

TAB® key

Move to the far right tab from any tab in

the page

REC/PLAY-

MODE key

Switch the information display

√/®/π/† keys In the Fader Pan, Mixer View, CueLevel,

or SubMix screens, use these keys to

switch the Knob Matrix between groups

of 16

While holding down the (cursor) † key

LOC 1/2/3/4 keys Switch between tab pages (successively

from the left)

In the Meter (TrackView) or Edit Track

screens, use these keys to scroll the view

window up/ down or to zoom the scale

in/ out

* From the left, tab pages 4, 5, and 6 will

alternate each time you press the LOC 4

key

In the Scrub or Wave dialog box

Control the waveform Zoom or Wide

functions

While holding down the UNDO key

+/– keys

Execute Redo/ Undo

MIXER key

Move to the Automation page/ Turn au-

tomation on/ off

While holding down the REC/ PLAY key

1–16 key

Simultaneously set all channels 1–16 to

SYSTEM/MIDI Switch between Jump/ Match operation

Play mode (green LED lit)

key

for the knobs and sliders/ Switch the Fad-

er/ KnobControl setting

17–32 key

Simultaneously set all channels 17–32 to

Play mode (green LED lit)

While holding down the SYSTEM/ MIDI key

While holding down the CH ON key

ENTER key

+/– keys

Enter USB Mode

1–16 key

Simultaneously turn on all channels 1–16

Simultaneously turn on all channels 17–32

Select the pointer speed in the Control tab

page

17–32 key

While holding down the METER key

While holding down the SOLO key

π/† keys

Switch the MeterView type

1–16 key

Simultaneously set channels 1–16 to SOLO

On and channels 17–32 to SOLO Off

√/® keys

Switch between Input, PreFader, and

PostFader

17–32 key

Simultaneously set channels 17–32 to

SOLO On and channels 1–16 to SOLO Off

While holding down the TRACK key

+/– keys

CH (1–16) keys Select the EditTrackType

(1=Copy, 2=Insert ... 15=EraseSilence)

Select the EditTrackType

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Channel/ CH/ ch.

Glossary

A unit of signal routing capacity; the path taken by a sig-

nal that is input to the mixer section as its volume and

pan are adjusted before being output.

16-bit

→ Bit d epth

Cue

A mixing balance or volume balance adjustment that

allows the performer to hear their own performance (e.g.,

through headphones) while they play.

24-bit

→ Bit d epth

Algorithm

Current drive

→ Effect algorithm

The drive (partitioned area of the internal hard drive)

that is currently selected and is the object of editing oper-

ations.

Assign

To specify the source/ destination (or placement) of a

channel or effect.

Current song

The song that is currently selected and is the object of

editing operations.

Attenuator, ATT

A device or circuit that reduces the level of a signal.

Default settings

Audio CD

The factory-set state that appears when the power is

turned on for the ﬁrst time after purchasing the unit. Also

called “factory settings.”

CD-DA (Compact Disc Digital Audio). Commonly called

“music CDs.” A CD that contains only music data.

Auto punch in-out

Dialog box

A function that automatically punches-in (begins record-

ing) when playback reaches a pre-speciﬁed location, and

punches-out (resumes playback) when recording has

continued to a different pre-speciﬁed location.

A window (containing buttons or check boxes etc.) that

asks the user for instructions.

Digital input/ output

Inputting or outputting audio data in digital form. The

D3200 comes with S/ P DIF input/ output as standard.

Automation

A function that records and reproduces the operations or

settings of mixer knobs and faders according to the pas-

sage of internal time code or of externally-input MTC

data.

Disc At Once

A method by which the data to be recorded is converted

into a complete disc image and then written to CD-R/ RW

in a single operation. Once this type of writing is per-

formed, no further data can be written to that CD-R/ RW

even if it contained unused space.

AUX

Inputs or outputs used to connect high-impedance line

level signals. AUX OUT jacks send signals to an external

recorder or effect processor, and AUX IN jacks receive

signals from a recorder or electronic musical instrument.

Dither

Processing that is applied to minimize the noise that

occurs when converting the bit depth of a digital audio

signal as it is output.

Backup

To copy program data or recorded audio data ﬁles onto

another storage medium for safekeeping.

Drive

A device used to store and reproduce data; e.g., a hard

disk or CD-R/ RW drive.

Balanced connection

A connection using a cable with three conductors; two

conductors sending the “hot” (positive phase signal) and

“cold” (negative phase signal), and the third conductor

being the ground. Balanced cables have the advantage of

being less susceptible to hum or noise even when carry-

ing low-level signals.

DSP

Stands for Digital Signal Processor. A digital signal

processing LSI optimized for processing audio or video.

DSPs are built into recent recorders and effect processors.

Their signal processing can be varied by software to per-

form a variety of operations.

Bit depth

The number of bits used to express gradations in the

amplitude of an analog signal when converting it to dig-

ital form. Normally 16 bits or 24 bits are used. The greater

the number of bits, the more precisely the original sound

can be recorded.

Dynamic range

The range of volume level between silence and the maxi-

mum volume, expressed in dB (decibels). This is one of

the elements that determines the accuracy with which a

device can handle audio signals.

Blank disc

Effect algorithm

A disc on which nothing has yet been written.

The calculation method that is the basis of an effect. The

set of calculations that implement a certain type of signal

processing.

Bypass

To send a signal without passing it through a speciﬁc cir-

cuit. By temporarily bypassing an effect, you can hear

how it is modifying the sound.

Effect program

A program that speciﬁes a set of parameters for use by an

effect algorithm. The D3200 provides preset programs

that contain factory settings, and user programs that can

store your own edited settings.

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Equalizer, EQ

Humanize effect

A device that modiﬁes the frequency response to change

the tonal character. There are various types, including

parametric equalizers, graphic equalizers, and shelving

equalizers.

An effect that adds intentional inaccuracy to a perform-

ance in order to give it a more natural sound.

Icon

A small graphic element that visually indicates content or

function.

Export

To output or write data for use by another system or pro-

gram.

Image ﬁle

Before writing data to a CD-R/ RW, the data is converted

into the form in which it will actually be written. This is

the image ﬁle. An image ﬁle must be created before writ-

ing to CD-R/ RW, but if the same song is to be written to

another disc, the image ﬁle need not be re-created. This

means that it will take less time to write the second disc

because the image ﬁle has already been created.

Expression pedal

A pedal used to control the volume or parameters of an

instrument or effect.

Fade-in/ fade-out

“Fade-in” means to gradually raise the volume to a

desired level, and “fade-out” means to gradually lower

the volume to silence.

Impedance

The alternating-current resistance to an audio signal. This

generally indicates the added resistance of an audio sig-

nal input or output.

Fader

A linear control that adjusts the volume of input channels

and outputs.

Import

Fill

To obtain or load data created by another system or pro-

gram.

A short improvisatory phrase differing from the sur-

rounding measures of the song, typically one measure

long, that is added as ornamentation to mark sections in

the song such as between verses or choruses.

Insert effect

An effect used by inserting it into a mixer channel.

Final effect

Library

On the D3200, the effect processor that is applied to the

master bus as the ﬁnal stage of mixdown.

A collection of multiple sets of data for a speciﬁc pur-

pose. The D3200 provides EQ libraries and name librar-

ies.

Finalize

Locate

To apply processing to a CD-R/ RW disc that has been

recorded using the Track At Once method, so that no fur-

ther data can be written to it even though space may

remain on the disc.

A marker function that lets you store a desired location in

a song, and move instantly to that location when desired.

Location

Foot controller

The distance from the beginning of the song, expressed as

an absolute time, number of frames, or number of meas-

ures.

A term covering various foot-operated control devices

such as foot switches and foot pedals.

Foot switch

Mark

A switch operating by pressing it with the foot.

A point that can be assigned to a song to indicate a loca-

tion that you want to use or store for later access.

Format

Master

To prepare a storage medium (such as a hard disk) so that

data can be written to it.

A device that controls another device (e.g., via MIDI).

The device being controlled is called the “slave.”

Frame rate

Master effect

The number of frames that occupy one second of ﬁlm;

describes the type of time-code format used when syn-

chronizing with video equipment.

On the D3200, refers to two effects that are applied to sig-

nals sent from the effect sends of each track. The output

of each master effect is sent to the master bus.

Frequency band

Master track

A speciﬁc portion or region of the range from low to high

frequencies.

A track that holds the stereo two-channel data for the

completed song.

Gain

Mastering

Positive (+) boosts a signal, and negative (–) gain attenu-

ates it.

The process of making ﬁnal adjustments to the balance

and overall tone of mixed-down two-track master data.

Hard disk

MIDI

A storage device containing one or more metal disks with

magnetic recording surfaces. Also called “hard drive” or

“hard disk drive.”

MIDI (Musical Instrument Digital Interface) is a world-

wide data transfer standard for sending a wide variety of

performance-related data between electronic musical

instruments and computers. If you are interested in

learning more about MIDI, please refer to one of the

many published books that provide helpful and in-depth

explanations of MIDI.

Hiss

A type of noise that is output at a constant level regard-

less of the recording level, typical of magnetic recording

tape.

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MIDI Clock

A MIDI message used to synchronize the tempo between

Phantom power

+48V power supply provided via a mic cable in order to

power condenser microphones.

electronic musical instruments. Each beat is divided into

24 clock messages.

Phase

Mix down

The phase of a signal. If signals are at different phases rel-

ative to each other, their volume may be incorrect when

the signals are combined because the signals are partially

canceling each other. Phrase reversal can occur if the pos-

itive (+) and negative (–) wires are accidentally switched,

causing the signals to cancel to silence when they are

added.

Also called “track-down.” The process of adjusting and

combining multiple tracks into a fewer number of tracks,

usually to a two-track stereo mix.

MMC

MMC (MIDI Machine Control) is a speciﬁcation that

allows recorder control signals such as Play, Stop, or

Record to be transmitted via MIDI.

Post fader

The state of a signal after it passes through the fader.

Monitor

Post gap

The speaker system or headphones used to listen to the

playback output, or the act of listening to this playback.

A blank space left after a song when creating a music CD.

MTC

Pre gap

MTC (MIDI Time Code) is a speciﬁcation that allows time

location data to be transmitted via MIDI to allow syn-

chronization between MIDI devices, MTRs, VTRs, and

sequencers.

A blank space left before a song when creating a music

CD.

Pre-fader

The state of a signal before it passes through the fader.

Mute

To silence a sound.

Preset

A program or a set of data for a device that is ﬁxed at the

factory and cannot be changed by the user.

Optical

Refers to a connector that transfers a digital audio signal

in the form of pulses of light sent over an optical ﬁber.

Protect

To temporarily prohibit changes to a saved program or

setting.

Optimize

To adjust hardware (e.g., a hard disk), software, or data

so that it can achieve the maximum possible perform-

ance.

Punch-in/ punch-out

When you want to re-record just a speciﬁc portion of a

performance, you “punch-in” at the point where you

want to begin re-recording, and “punch-out” at the point

where you want to stop recording and resume playback.

Overdubbing

A multi-track recording technique in which previously-

recorded performances are played back while a per-

former records additional material on other tracks.

A term that refers to the narrowness of the frequency

band controlled by a ﬁlter. Higher ‘Q’ results in a nar-

rower bandwidth, causing the frequency response curve

to be a steeper ‘hill’ or ‘valley’.

Pad

An attenuator that can be applied to an input signal

entering a mixer in order to prevent the input amp stage

from being overloaded by an excessively loud input sig-

nal.

Redo

After using Undo to cancel an operation, Redo can be

used to “undo the undo,” reinstating the effect of the

original operation.

Pair

A function that allows the settings of an adjacent odd-

numbered and even-numbered channel to be edited in

tandem, so that editing a value on one channel will cause

a corresponding change on the other channel. This allows

mixer settings to be made simultaneously for both chan-

nels of a stereo track.

Restore

To reload backed-up data so that it can once again be

used.

S/ N

Pan

Signal/ Noise ratio. This is a numerical value indicating

the ratio of the desired signal (audio signal) to the

unwanted noise, and indicates the amount of residual

noise produced by a device when it should be silent, in

units of dB (decibels). A higher S/ N value means less

noise.

The left/ right position of a sound object in the stereo

ﬁeld or “panorama.”

Partition

A method by which a single hardware drive is made to

appear and function as multiple drives. Partitioning is

normally performed when formatting a drive.

S/ P DIF

Stands for Sony/ Philips Digital audio Interface. The ofﬁ-

cial name for this speciﬁcation is IEC60958, but it is more

commonly called S/ P DIF. It is a format for transferring

digital audio signals, and can convey two channels (one

stereo pair) of audio.

Peak hold

A function in which the maximum value reached by a

meter is held for a speciﬁed duration (or until it is manu-

ally reset).

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Sampling rate

Tempo map

A set of events arranged by time, that specify a tempo,

Also called sampling frequency. The frequency at which

an analog input sound is converted into digital data. A

sampling rate of 48 kHz means that the analog level is

converted into digital form 48,000 times each second. The

higher the sampling rate, the broader the frequency

range that can be converted into digital data.

time signature, and rhythm pattern in units of measures.

You can use the tempo map to switch tempo, time signa-

tures, and rhythm patterns at speciﬁed measures.

Tempo source

The source by which the tempo is determined. On the

D3200, you can choose one of three tempo sources; Man-

ual which lets you specify the tempo directly, Pattern

Map which uses the settings that you programmed in the

pattern map, or Tempo Track which uses the tempo data

recorded in the tempo track.

Sampling rate converter

A device that converts the sampling rate of a digital

audio signal. For example, this allows the playback from

a DAT recorder (48 kHz sampling rate) to be recorded

directly to CD or MD (44.1 kHz sampling rate).

Scene

Tempo track

A complete set of parameters for the mixer section. The

D3200 can store 100 scenes for each song.

A memory area that records tap tempo data or MIDI

Clock data received from an external MIDI sequencer.

Scene memory

Threshold level

A function that stores a scene. A stored scene can be

recalled at any time to reproduce those mixer settings.

A speciﬁed value which causes some operation to occur

when it is exceeded by an input level.

Scrub

Time code

A function that allows track data to be played by operat-

ing the value dial. Since the track is played back accord-

ing to the direction and speed with which the dial is

operated, this is a useful way to precisely identify a spe-

ciﬁc location.

Time information that is exchanged in order to synchro-

nize recorders, rhythm machines, and sequencers etc.

Track At Once

A method by which individual tracks can be written to a

CD one by one at different times, as long as free space

remains on the disc.

Send

A signal that is sent to another circuit or device. The

D3200 provides effect sends that are sent to master effects

1 and 2, AUX sends that are sent to the AUX OUT 1 and 2

jacks, and REC sends that are sent to the recorder tracks.

Track/ trk/ tr

Something that can record, store, and play back an indi-

vidual audio signal.

Sequencer

Trigger recording

An automatic playback device that plays back stored

MIDI data to control an electronic musical instrument

such as a synthesizer.

A method by which recording is initiated when the input

level exceeds a speciﬁed threshold.

TRS phone jack

Shufﬂe effect

A 1/ 4" stereo phone jack with separate conductors for the

Tip, Ring, and Sleeve. In addition to conveying a stereo

signal, this type of jack is also used for balanced connec-

tions.

An effect that produces a “bouncy” rhythmic feel by

adjusting the timing of triplets.

Slave

UDF format

A device being controlled (e.g., via MIDI) by another

device, called the “master.”

A packet writing format that writes individual ﬁles to

storage media (such as CD-R or MO) in the same way as

on a hard disk.

Solo

A function that lets you hear only the sound of a selected

channel during mixdown, etc.

Unbalanced connection

A connection using a cable that contains two conductors;

one ‘hot’ (the signal) and the other ‘ground’. It has the

disadvantage that hum noise can easily contaminate the

signal.

Song

A unit of performance data. On the D3200, a song con-

tains sixteen tracks of performance data, stereo master

track data, mixer data, and effect settings.

Undo

Synchronize

After executing an operation, the act of returning to the

state prior to execution.

To cause two or more electronic devices (such as musical

instruments or recorders) to match their playback tempo

and link operations such as start or stop. The device that

controls the tempo etc. is called the “master,” and the

device(s) that are being controlled are the “slaves.”

Unity gain

To output an input signal at the same volume.

USB

System ﬁle

Universal Serial Bus, a speciﬁcation for connecting

peripherals devices to a computer.

A set of data containing software to operate hardware.

New functionality can be added to a device by updating

the system ﬁle.

Tap tempo

A method of specifying the tempo by the interval at

which a key is pressed.

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Virtual track

Each channel track and the master track of the D3200

actually consists of eight separate areas called “virtual

tracks” that can each hold a separate performance. For

each track, you can select one of its virtual tracks for

playback and recording.

WAV

The ﬁlename extension for a Wave ﬁle, the audio ﬁle for-

mat used mainly on Windows computers.

Word clock

A synchronization signal that uniﬁes the timing at which

digital audio data is transferred. If two or more devices

are digitally connected, failure to synchronize the word

clock will cause noise to be heard in the digital audio, or

even make it impossible to transfer the digital audio sig-

nal.

XLR jack

The three-pin balanced connector used for most mic con-

nections.

Zero cross point

A location at which the waveform level crosses ±0.

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Channel

Digital

Index

S w i tch

Displays the settings channel 112

Channel EQ

Audio

Drum pattern

Auditioning the pattern map

Connection

Edit

Copy

Create

Effect

Si m u l taneous

CD-R/ RW

Delete

Change

Effect algorithm list

Effect program

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Loop

Erase

Manual punch recording

Hard disk drive

Event

E d i ting

Indicator

Exchanging data with your

computer

93, 122

MATCH

Ex p and/ compress a track 74, 131

I m plementation chart

Input

S u b

Fader

Mixer

FADER/ PAN/ AUTOMATION 103

File

Finding a precise location 40, 145

Foot controller 57

7, 47

Locate

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Move

Power

Scene

E d i t

Scroll

Select

Name

SE N D (EFF/ AUX/ REC)

Recalling

S O LO

S O NG

Song

E d i t

Re d o

Routing

Playback

Save

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Track

Tab page

E d i tTrk

Ad j u st

Ti m e

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Block diagram

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[Digital Recording Studio]

Model D3200

MIDI Implementation Chart

Date: 2005.4.15

MIDI implementation chart

Recognized

Transmitted

Remarks

Function

Basic

Default

Channel

Changed

Memorized

Messages

Altered

Mode

0 – 127 *1, *2

Note

Number:

True Voice

Velocity

Note On

Note Off

Aftertouch Polyphonic (Key)

Monophonic (Channel)

Pitch bender

EffectControl (Received) ControlChange #000–119 are Recognized

MixerControl (Transmitted/Received) Mixer Ch1–16(Ch17–32) Parameters

(39)

(40)

(41)

(42)

Fader

Pair Switch

Channel OnOff

Pan

12 –13 (44, 45) EffSend1/2

14 –15 (46, 47) AuxSend1/2

16 –27 (48–59) EQ Low/LMid/HMid/High

Control

Change

0 – 111

(60)

(61)

Channel EQ Switch

Attenuator

96 –102 (32–38) Rec/Eff/Aux SendPosition

75 –79

85 –86

MasterEQ Parameters

MasterEff1/2 Return Level

MasterEff1/2 Return Balance

Aux1/2 Master Level

Master Level

103–111

SubMixer Ch1–12 Parameters

Program

Change

0 – 100

Variable Range

System Exclusive

Quarter frame

System

Common

Song Position

Song Select

Tune

*10

System

Clock

Real Time Command

Local On/Off

Aux

Messages

All Notes Off

Active Sense

Reset

Notes

*1: Received as the EffectControl when it is selected in [SYSTEM/MIDI] “Control”.

*6: Received when “MMC Receive” or “MTC Slave” is selected in [SYSTEM/MIDI] “MIDI/MMC”.

*2: Received as Note events if MIDI is checked in the [SESSION DRUMS] “SessionDr.” DRUM KIT dialog box. *7: Transmitted when “MTC Master” is selected in [SYSTEM/MIDI] “MIDI/MMC”.

*3: Transmitted/Received as the MixerControl when ControlChange is enabled in [SYSTEM/MIDI] “MIDI/MMC”. *8: Received when “MTC Slave” is selected in [SYSTEM/MIDI] “MIDI/MMC”.

(Consult your local Korg distributor for more information about MixerControl.)

*4: Transmitted/Received when ProgramChange is enabled in [SYSTEM/MIDI] “MIDI/MMC”.

*5: Transmitted when “MMC Transmit”or “MTC Master” is selected in [SYSTEM/MIDI] “MIDI/MMC”.

*9: Transmitted when “MIDIClockMaster” is selected in [SYSTEM/MIDI] “MIDI/MMC”.

*10: Received when “MIDIClock” is selected in [SessionDrums] “TempoTrk” to record the tempo.

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

:Yes

: No

Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.

189

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IMPORTANT NOTICE TO CONSUMERS

This product has been manufactured according to strict specifications and voltage requirements that

are applicable in the country in which it is intended that this product should be used. If you have

purchased this product via the internet, through mail order, and/or via a telephone sale, you must

verify that this product is intended to be used in the country in which you reside.

WARNING: Use of this product in any country other than that for which it is intended could be

dangerous and could invalidate the manufacturer’s or distributor’s warranty.

Please also retain your receipt as proof of purchase otherwise your product may be disqualified from

the manufacturer’s or distributor’s warranty.

KORG INC.

4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan

 2005 KORG INC.

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