Korg Recording Equipment D16XD User Manual

E 5

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This product has been designed and manufactured

according to FDA regulations “title 21. CFR. chapter 1,

subchapter J. based on the radiation Control for Health

and Safety Act of 1968,” and is classified as a class 1 laser

product. There is no hazardous invisible laser radiation

during operation because invisible laser radiation emitted

inside of this product is completely confined in the

protective housings.

Handling of the internal hard disk

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.

The label required in this regulation is shown below.

CAUTION

Use of controls or adjustments or performance of

procedures other than those specified herein may result in

hazardous radiation exposure.

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

damage the D32XD/ D16XD.

Optical pickup

This device begins to access the hard disk immedi-

ately after the power is turned on.

Type

: PU-W216

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.

Manufacturer : TEAC CORPORATION

Laser output

Wavelength

Less than 2mW(Play) and 45mW(Record)

on the objective lens

: 777-787nm

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.

CAUTION – INVISIBLE LASER RADIATION WHEN OPEN.

AVOID EXPOSURE TO BEAM.

VORSICHT– UNSICHTBARE LASERSTRAHLUNG, WENN ABDECKUNG

GEÖFFNET. NICHT DEM STRAHL AUSSETZEN.

VARNING – OSYNLIG LASERSTRÁLNING NÄR DENNA DEL ÄR ÖPPNAD

STRÁLEN ÄR FARLIG.

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.

CLASS 1 LASER PRODUCT

LASSR KLASSE 1

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.

* 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.

Differences between the D32XD and D16XD

• 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 the text and illustrations of this manual, explanations

enclosed by [* ] refer to the D16XD. Unless there are sig-

niﬁcant differences, the illustrations and LCD screens

are taken from the D32XD.

Keys, buttons, and knobs

• 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.

Words or values printed on the panel, such as MASTER

fader or REC/PLAY key are printed in bold type, and

parameter values are printed in bold type within “dou-

ble quotation marks.”

Bold type is also used to indicate content within the text

that we wish to emphasize.

• 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.

Parameters that appear in the LCD screen “ ”

Parameters that appear in the LCD screen are printed

within “double quotation marks.” However, bold type

is also used for screen items such as the Yes button and

CH cell.

The D32XD/ D16XD uses Korg’s TouchView LCD tech-

nology, allowing a parameter, cell, button, or icon dis-

played on the screen to be selected simply by touching

it. For most operations, you can also use the cursor keys

(√, ®, π, †) to move to the desired parameter, and

press the ENTER key to make a selection.

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.

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

edges.

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

dust, use an air duster or cleaner.

The example operations described in this manual mainly

use the TouchView panel.

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

other than speciﬁed.

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

• Do not bend or drop a disc.

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

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

(→p.■■)

This indicates a reference page within this manual.

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.

These symbols respectively indicate points of caution,

notes of advice, or examples.

..., “xx” tab page

This indicates a page displayed in the LCD screen. To

access this page, press the ... key of the top panel, and

then press the “xx” tab in the LCD screen.

You can use the screen to move between tab pages.

..., ..., “xx” tab page

The MIXER key and CD key of the top panel display a

page jump menu in the LCD screen before displaying

the tab pages. Press the ... button in the LCD screen, and

then press the “xx” tab. When you press the MIXER key

or CD key, you will return to the page jump menu selec-

tion 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

D32XD/ D16XD.

Illustrations of the D32XD/ D16XD

Unless otherwise speciﬁed, illustrations of the D32XD/

D16XD printed in this manual assume the optional 8-

channel analog input board (AIB-8) is installed.

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4. E f fects a nd E Q (e qua l izer) ......................... 24

Applying effects to the input sound ...............24

Applying EQ to the input sound .....................25

Table of Contents

5. R e cordin g ................................................. 26

Preparations for recording ...............................26

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

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

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

Step 3: Overdubbing ...................................28

1. R e cordin g ................................................. 28

Preparations for recording ...............................28

Start recording....................................................28

2. P l a y ba c k .................................................. 28

Step 4: Mixdown a nd mastering ..................29

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

1. Applying effects and EQ to individual

ch a nne l s ................................................... 29

Applying effects to individual channels/ tracks

(Insert Effect) ......................................................29

Applying EQ to each channel/ track ...............29

Ad j u sting the pan ..............................................30

Using the channel/ track sends to apply effects

(Master Effects)...................................................30

Selecting a master effec t ....................................3 1

Adjusting the Master Effect 1 Send amount for

each track ............................................................31

Checking and ad j u sting the master effect ......32

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

Before using the D32XD/ D16XD for the

first time ....................................................... 1

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

Adjusting the Sensitivity of the Moving Faders

(D 3 2 X D)......................................................2

T o uch V i e w L C D ................................................3

Setting the c a l e ndar .........................................3

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

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

P a rts and their function ................................. 7

T o p panel ........................................................7

F r ont panel ....................................................12

R e ar panel.....................................................13

It e ms and functions in the T o uch V i e w displ a y15

B a s ic operatio n ........................................... 17

E x amp l e s of operation ...................................18

2. A p p l ying effects a nd E Q t o the entire song. 32

Checking the volume ........................................32

Applying an effect to the master bus

(Final Effect)........................................................32

Applying EQ to the master bus (Master EQ).33

3. R e cording on the m a s ter tr a c k ................... 34

4. Writing to a CD ........................................ 35

S a v ing your song........................................... 35

Operation ....................................36

Song, L o c a t e................................................36

1. S electing/ cre a t ing a song.......................... 36

1-1. C r eating a new son g ......................... 36

Quick St a rt .................................. 19

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

Using the name library ................................37

Step 1: Prep a ra t ions ................................... 19

1. C o nnections ..............................................19

2. T u rn the D 3 2 X D/ D 1 6 X D o n .......................19

3. L i sten to the demo song .............................20

Step 2: Quick recording .............................. 21

1. C r eate a new song ....................................21

2. Name the song .........................................21

1-3. Selecting a song................................ 37

Selecting a song from the song list .............37

Selecting a song from another song drive.37

2. L o c a t ion ................................................... 38

2-1. Switching the counter displ a y ............ 38

S w i tching the information display area ....38

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

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

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

Moving to a point later in the song

3. Connect your audio sources to the mixer

inputs .......................................................22

Connect devices to the INPUT j a cks ...............2 2

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

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

Moving to a point earlier in the song

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

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Moving within a song....................................... 38

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

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

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

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

Moving to a location registered to a Locate

key .................................................................. 39

Moving using assignable Marks ..................... 39

Registering a mark ....................................... 39

Moving to the location assigned to a

3-6. Group settings (D 3 2 X D)..................... 50

Fader groups ................................................. 50

CH ON groups.............................................. 50

3-7. M o nitor settings ................................ 50

3-8. A d justing the cue level ...................... 51

3-9. Solo settings ..................................... 51

Soloing just one channel.............................. 51

Soloing more than one channel.................. 51

Cancelling solo.............................................. 51

Sending the soloed audio from the master

bus .................................................................. 51

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

Using the MARK J U MP keys to move ...... 39

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

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

3-10.M uting a ch a nnel.............................. 51

4. S toring/ rec a l ling a scene .......................... 52

4-1. Storing a scene ................................. 52

4-2. R e c a l ling a scene .............................. 52

4-3. R e naming a scene............................. 52

4-4. D e l e ting a scene ............................... 52

4-5. E d iting a nd overwriting a scene......... 53

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 ............................................... 41

Protect On...................................................... 41

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 ........ 53

4-7. Specifying parameters that will be

dis a b l e d for a l l scenes....................... 53

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

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

4-8. C o ntrolling scenes via MIDI ............... 53

MIDI output .................................................. 53

MIDI input..................................................... 53

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

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

Inputting audio from a CD ......................... 43

5. A utom a t ion .............................................. 54

5-1. Scene a utomation ............................. 54

Using scene automation .............................. 54

Storing a scene at a different location........ 54

E d i ting the location of a stored scene........ 54

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

Inputting the digital audio signal from a CD

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

Inputting the digital audio signal from an

ADAT device ................................................ 45

5-2. E v ent a utomation (D 3 2 X D) ................ 54

Recording mixer operations ....................... 54

Playing back the events ............................... 55

E d i ting events ............................................... 55

1-3. Sub input ..........................................45

1-4. A n a l og compressor s ..........................46

Using the analog compressors ................... 46

Saving your analog compressor settings

(Comp Program) .......................................... 46

Recalling analog compressor settings

E f fect s ......................................................... 56

Effect type and size ........................................... 56

How D S P p ower is allocated to the effects.... 56

D32XD ............................................................ 56

D16XD ............................................................ 57

(Comp Program) .......................................... 46

2. A udio outputs from the mixer ....................47

3. M ixer settings ...........................................48

1. U sing insert effect s .................................... 57

D32XD ............................................................ 57

D16XD ............................................................ 58

3-1. A d justing the volum e .........................48

Adjusting the volume level of each

1-1. Applying insert effects during

recording.......................................... 58

channel........................................................... 48

Inputting a source at the maximum level. 48

Ad j u sting the overall volume level ........... 48

1-2. Applying insert effects during

p l a y ba c k .......................................... 58

3-2. A d justing the p a n..............................48

2. U sing m a s ter effect s .................................. 58

3. U sing the fin a l e f fect ................................. 58

3-3. E Q (E q ua l izer) ...................................48

Channel EQ ........................................................ 48

Applying EQ to an audio input ................. 48

Applying EQ to the playback ..................... 49

Master E Q ........................................................... 49

4. E d iting the effects...................................... 59

E d i ting the effect parameters........................... 59

For an insert effec t ........................................ 59

For a master effect or final effec t ................ 59

Storing an effect program................................. 59

3-4. EQ library (Storing and recalling EQ

settings) ............................................49

Storing EQ settings....................................... 49

Recalling EQ settings ................................... 49

5. C o ntrolling effects from a n external device 59

6. U sing extern a l e f fects................................ 60

3-5. Pairing..............................................49

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

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

Boosting the maximum volume to the specified

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

R h ythm....................................................... 61

1. S electing a nd p l a y ing rhythm s ...................61

2. Listening to the rhythm while recording a

performance .............................................61

3. R e cording the rhythm ................................61

4. S etting the tempo ......................................62

Manual tempo ....................................................6 2

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

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

Inserting a rhythm pattern by adding a

4. Naming a track ........................................ 78

CD ..............................................................78

1. T r a c k At O nce........................................... 78

tempo map event ..........................................6 3

Overwriting a tempo map event ................6 3

Deleting a tempo map ..................................6 3

Tempo track........................................................6 3

Recording MIDI Clock data from an external

MIDI sequencer, and using it as the tempo

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

Tap temp o ......................................................6 4

2. D isc At O nce............................................. 79

2-1. A l b um C D Project.............................. 79

2-2. C r eating a live CD............................. 80

D a t a ...........................................................82

1. B a c king up a nd restoring .......................... 82

1-1. B a c king up ....................................... 82

B a cking up 1Song .........................................82

B a cking up All Data .....................................83

B a cking up User Data...................................83

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

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

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

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

1-2. R e storing b a c ked-up data ................. 84

2. A udio file s ................................................ 85

1-3. Recording additional tracks while you

p l a y ba c k (O verdubbing)...................65

2-1. I m porting a n aud i o fil e ...................... 85

Importing an audio track into the beginning

of a trac k .........................................................8 5

Importing an audio file into the middle of a

track ................................................................85

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

1-5. Re-recording a specific area (Punch-in/

out)...................................................66

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

Using a foot switch for manual punch-in/

2-2. E x porting a n aud i o fil e ...................... 86

Ex p orting an audio file ................................86

Ex p orting multiple audio files ....................87

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

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

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

3. D r ive a nd data c omp a t ibility with the Digital

Recording Studio series ............................. 87

Using D16XD and D32XD data ..................87

Using D32XD/ D16XD data on a different

model..............................................................87

Using data from a different model on the

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

B o unce recording ...............................................6 8

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

D32XD/ D16XD .............................................8 7

D r iv e ...........................................................88

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

1. Partitioning the hard drive into separate song

drives (P a rtitions)...................................... 88

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

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

Copy a track (CopyTrk)....................................6 9

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

Using the clipboard to copy data to another

song.................................................................7 0

Insert blank space (InsertTrk) ..........................7 1

Erase a track (EraseTrk )....................................7 1

Delete a track (DeleteTrk).................................7 2

Deleting track data .......................................7 2

Deleting all data of a track...........................7 2

Exchange tracks (SwapTrk)..............................7 2

Reverse a track (ReverseTrk) ...........................7 3

Optimizing a track (OptimizeTrk) ..................7 3

Optimizing track data ..................................7 3

Erasing regions of silent audio data...........74

Erasing noise .................................................7 4

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

Copy an entire track/ Copying to a Virtual track

(CopyWholeTrk)................................................7 5

2. R e naming a song drive ............................. 88

3. C h ecking the h a rd d i sk ............................. 89

4. F o rmatting the h a rd d i sk ........................... 89

5. E x ch a ng i ng d a t a with your computer ........ 90

6. E r asing a C D-RW d isc ............................... 90

7. L o ad system ............................................. 90

8. D r ive c a pa c ity........................................... 90

To keep only the audio data that you are

actually using ................................................90

To erase A and B that remain from the first

take, and recover disk space........................91

Deleting the Undo data.....................................91

S h aring event data .............................................91

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9. P C d rive....................................................91

C h ecking, renaming, or deleting files .........91

3b. P AIR/ GR O U P [*PAIR] ............................. 102

3b-1. C h annel Pair ................................. 102

D 3 2 X D ........................................................ 103

3b-2. F a der Group.................................. 103

3b-3. C h annel On Group ........................ 103

USB .............................................................92

1. S a v ing/ lo a d i n g .........................................92

Windows users

(Windows Me/ 2000 or later)...................... 92

Macintosh users (Mac OS9.0.4 or later)..... 92

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

D 3 2 X D ........................................................ 103

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

3 c -2 . A utom a t io n .................................... 104

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

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

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

3 c -6 . M ixer View .................................... 107

D 1 6 X D ........................................................ 107

3 c -1 . F a der P a n ...................................... 107

3 c -2 . E d it Scene ...................................... 108

3 c -3 . S cene F ilt e r .................................... 109

3 c -4 . M ixer View .................................... 109

MIDI............................................................93

1. M IDI c o nnection s .......................................93

MIDI channel settings.................................. 93

2. M IDI m essages used by the D 3 2 X D/ D 1 6 X D 9 3

About the MIDI implementation chart ..... 93

3. U sing MIDI................................................93

Controlling the D32XD/ D16XD from a MIDI

sequence r ....................................................... 93

Synchronizing two D32XD or D16XD

units................................................................ 93

Using MIDI to control the mixer..................... 94

U p grad i ng the system ..................................95

1. D o wnloading the operating syste m ............95

Upgrading via CD-ROM/ R/ RW............... 95

Upgrading via U S B ...................................... 95

3d. EQ/ PHASE/ REC

[*E Q / A T T/ P HASE].................................. 109

3d-1. E Q / A T T ......................................... 109

3d-2. E Q L i br a ry..................................... 110

3d-3. Phas e ............................................ 110

3d-4. M a s ter E Q ..................................... 111

D 3 2 X D ........................................................ 111

3d-5. R e c Send ....................................... 111

2. U p grad i ng the system ...............................95

T o uch P a nel C a l i b ration ...............................95

R e ference .....................................96

3e. S E N D (EFF/ AUX [*/ REC]) ........................ 112

3e-1. E f fect 1 Send.................................. 112

3e-2. E f fect 2 Send.................................. 112

3e-3. A ux1 Send .................................... 112

3e-4. A ux2 Send .................................... 112

D 3 2 X D ........................................................ 113

3e-5. A ux3 Send .................................... 113

3e-6. A ux4 Send .................................... 113

D 1 6 X D ........................................................ 113

3e-5. R e c Send ....................................... 113

C o unter .......................................................96

C o unter displ a y.........................................96

R e name.......................................................97

E d iting a n a m e..........................................97

1. M ETE R .....................................................97

M e ter T r k V i e w .........................................97

2. C H VIEW .................................................98

2-1. C h Vi e w ............................................98

2-2. C h annel R o uting V i e w ........................98

3 f . SO L O / M O N I T O R .................................... 113

3 f -1 . S olo ............................................... 113

3 f -2 . M o nito r .......................................... 114

3 f -3 . C u e L e vel ....................................... 114

3. M IXER .....................................................99

D 3 2 X D ..........................................................99

D 1 6 X D ..........................................................99

3a. I N PU T / O U T P U T / C H ASSIGN ..................100

3a -1. C h annel A ssign ..............................100

3a -2. Sub Mixer 1–8 ...............................101

3a -3. Sub Mixer 9–16 .............................101

3a -4. Sub Mixer 17–24 ...........................101

3a -5. ADAT Out Assign ...........................102

D 3 2 X D ........................................................102

D 1 6 X D ........................................................102

3g. A NA L O G C O M P .................................... 115

3g-1. A n a l og Compressor 1–8 ................ 115

3g-2. A n a l og Compressor 9–16 .............. 116

4. E FFECT .................................................. 116

D 3 2 X D ........................................................ 116

4-1. R o uting A........................................ 116

4-2. R o uting B ........................................ 118

4-3. I n sert E FF ......................................... 119

4-4. M a s ter E FF1 .................................... 120

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4-5. M a s ter E FF2 .....................................120

4-6. F i n al E F F ..........................................121

D 1 6 X D ........................................................121

4-1. E f fect R o utin g ...................................121

4-2. I n sert E F F .........................................122

4-3. M a s ter E FF1 .....................................122

4-4. M a s ter E FF2 .....................................122

4-5. F i n al E F F ..........................................122

19. R EC/ P L A Y M O D E .................................150

20. T r ansport keys.....................................151

E f fect p a rameters .......................152

Al g orithm list.............................................152

E f fect progr a m l ist .....................................152

A b out the effect a l g orithms .......................... 154

5. C D ........................................................ 122

CD P L A YER ..................................................123

Stereo-typ e ............................................. 154

Category: Reverb&Delay

CD W R ITER ..................................................123

5-1. A l b um C D Projec t .............................123

5-2. C D Utility .........................................125

Reverb/ delay-type effects ..............................154

Category: Modulation

Modulation-type effects..................................157

Category: Dynamics&Filter

Dynamics/ Filter-type effects .........................158

Category: Special Effect

S p ecial Effect.....................................................160

6. S Y S T EM ................................................ 126

6-1. C o ntrol ............................................126

D 3 2 X D ........................................................126

D 1 6 X D ........................................................127

6-2. D isk Utility .......................................127

6-3. E d it PC F il e .......................................129

6-4. B a c kup ............................................129

6-5. R e store ............................................130

6-6. Word C l o ck .....................................131

M o naural type effects ............................. 161

Category: Reverb&Delay

Reverb/ delay-type effects ..............................161

Category: Modulation

Modulation-type effects..................................162

Category: Dynamics&Filter

Dynamics/ Filter-type effects .........................163

Category: Special Effect

S p ecial Effect.....................................................164

Category: Multi Effect

7. M IDI/ SY N C........................................... 131

7-1. M IDI/ MMC ......................................131

Multi Effect .......................................................165

8. T EMPO ................................................. 133

8-1. Set U p ..............................................133

8-2. T e mpo M a p .....................................134

8-3. T e mpo T r a c k ....................................135

A p pendices ................................166

T r oubleshooting.........................................166

Power does not turn on................................ 166

Nothing a ppears i n the displ a y .................... 166

V e rtic a l l ines a re visible in the displ a y .......... 166

T o uch V i e w response is poo r ......................... 166

No sound .................................................... 166

F a ders don ’t w ork or don’t move ................. 167

C a n ’t record ................................................ 167

C a n ’t use digit a l i nput.................................. 167

C a n ’t use digit a l output................................ 167

9. S ONG .................................................. 135

9-1. Select Song ......................................135

9-2. E d it Song .........................................136

10. T RACK ................................................ 137

10-1. V irtu a l T r a c k 1 –32 [*1 –16] .............137

10-2. M a s ter T r a c k ..................................138

10-3. E d it T r a c k ......................................138

10-4. I m port F ile .....................................146

10-5. E x port F ile .....................................147

Playback level is lower than the level during

recording ............................................... 167

11. U N D O ................................................ 147

12. S T O R E ................................................ 148

13. S CE N E................................................ 148

14. M ARK ................................................. 148

15. S CRUB ................................................ 148

16. L O C 1 / I N , … L O C 6 .............................. 149

17. E N T ER ................................................ 150

18. M ARK JUMP ....................................... 150

The input or recorded sound is noisy or

distorte d ................................................. 167

E f fects do not a pp l y ..................................... 167

R h ythm ....................................................... 168

A key does not function when presse d .......... 168

C a n ’t e dit PAN, E Q , or S E N D ........................ 168

MIDI ............................................................ 169

CD-R/ RW .................................................... 169

Audio file s ................................................... 169

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USB.............................................................169

ADAT ..........................................................169

V a r i ous mess a ges......................................170

Confirmation messages .................................. 172

Serious error messages ................................... 172

M o re about drives and files........................173

D r ives..........................................................173

CD-R/ RW d rive ......................................... 173

PC (USB) d rive............................................ 173

Audio CDs a nd f iles......................................174

Audio CDs........................................................ 174

Playing an audio CD.................................. 174

Creating an audio CD................................ 174

Files.................................................................... 174

Writin g ......................................................... 174

Loading........................................................ 175

I n st a l ling the option s ..................................176

Please read this before you begin

installation ........................................................ 176

B e fore you begin working.............................. 176

Please note when installing an option board

(ACB-8, AIB-8 and DIB-8 ).............................. 176

Installing the 8-channel analog input board

(AIB-8) and 8-channel analog compressor

board (ACB-8).................................................. 177

Installing the ADAT I/ O board (DI B -8) ...... 178

Cautions when replacing the calendar

battery ............................................................... 179

Replacing the calendar battery...................... 179

Setting the calendar clock .............................. 180

C h ecking a f ter inst a l l a t ion ............................181

Checking the internal CD-R/ RW drive ....... 181

S p ecific a t ions ............................................182

V a r i ous lists...............................................185

R h ythm P a t tern L i st.......................................185

C o mp Program L i st.......................................186

EQ L i br a ry L i st .............................................186

Name L i br a ry L i st.........................................186

D e mo Song L i st ............................................186

Gloss a ry....................................................187

Index ........................................................192

Bl o ck di a gram ...........................................195

MIDI im p l e mentation ch a rt .........................197

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Introduction

Thank you for purchasing the Korg D32XD Xtended Deﬁnition/D16XD Xtended Def-

inition Digital Recording Studio.

To take full advantage of the D32XD/ D16XD’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 D32XD/ D16XD for the ﬁrst time

Important

Please observe the following points when using the D32XD/ D16XD.

Power on/ off

The D32XD/ D16XD 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

D32XD/D16XD and into an AC outlet.

● Power-on

(1)

(3)

(4)

(1)Lower the D32XD/D16XD’s MONITOR LEVEL knob to the

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

ment to their lowest position.

STANDBY

indicator

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

boards that are sending audio to the D32XD/D16XD.

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

rear panel of the D32XD/D16XD.

The STANDBY indicator will light. The D32XD/ D16XD is now

in the “standby” condition.

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

The opening screen when the optional AIB-8,

ACB-8, and DIB-8 are installed (D32XD)

the D32XD/D16XD on.

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

“SelectSong” tab page of SONG page mode will appear.

The next time you turn the power on, the song that 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 D32XD/D16XD is send-

ing audio.

If the power is turned off accidentally while the D32XD/D16XD is being

used, the D32XD/D16XD itself or its internal hard disk drive may be

damaged.

● Power-off

(1)Lower the D32XD/D16XD’s MONITOR LEVEL knob to the –∞ position.

(2)Turn off any devices connected to the D32XD/D16XD’s outputs, such as

your monitor system.

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(3)Hold down the D32XD/D16XD’s power (ON) key (for 2–3

seconds) and the shutdown LCD screen appear.

If you press the Yes button in the LCD screen, the song will

be saved automatically, and the D32XD/ D16XD will enter

the standby state. This process is called “shutdown.”

If you press the No button, you will return to the previous

screen.

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

rear panel of the D32XD/D16XD to turn off the power.

(5)Turn off any devices (such as keyboards) connected to the

D32XD/D16XD’s inputs.

When turning the power off, you must perform the shutdown process. Never turn off the main power switch or dis-

connect 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 D32XD/D16XD and the mixer and effect settings you make are automatically 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 D32XD/D16XD for an extended period of time (for example when you have finished working for the day),

you must turn off the main power switch on the back of the D32XD/D16XD.

Adjusting the Sensitivity of the Moving Faders (D32XD)

The D32XD has touch-sensitive moving faders. By touching a fader that is being automatically

moved by event automation, you can halt automatic changes for that channel.

By default, the moving fader sensitivity is set to a standard

value. However, we recommend that you adjust the sensitiv-

ity so that it will be optimal for your environment and the

way in which you use the D32XD.

(1) Press the SONG key, and then press the “SelectSong” tab.

(2)

(2)Press “TouchSenseAdjust” in the song list to highlight

it, and then press the Select button.

(3)Press the 1–16/17–32 key to switch to faders 17–32 (the

17–32 LED will light).

(2)

(1)

(4) Press the SYSTEM key, and then press the “Control” tab.

(5)Set the Fader Touch Sens value to 30 using the value

dial or the +/– keys.

If you’re using a grounded power cable, set the value to

80.

(5)

(7)

(8)

(7)

(6)Press the PLAY key to start playing the song “Touch-

SenseAdjust” (the faders will move automatically).

Then touch the faders.

(7)If the

icon changes to the icon when you touch

two or more faders simultaneously, increase the Fader

Touch Sens value.

(4)

(8)If touching one fader halts the movement of

adjacent faders, decrease the Fader Touch Sens

value.

(4)

If you need to touch a larger number of faders simultaneous-

ly, increase the Fader Touch Sens value slightly.

(1)

(3)

Repeatedly playing back the song “TouchSenseAdjust” (in-

cluded on the internal drive when the D32XD is shipped) for

an extended period of time will shorten the lifespan of the fad-

ers. Use this song only when you need to adjust the touch

(5)

(7)

(8)

(6)

(7)

(8)

(6)

sensitivity of the faders; do not play it back continuously for

any other purpose.

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TouchView LCD

B o th the angle and contrast of the LCD (→p .9) can be adjusted for optimal visibility.

If it seems that the items displayed in the TouchView LCD are not aligned with

the locations required to select them, please perform the Calibration operation

(→p .95).

In the default factory settings, the D32XD/ D16XD is set to sound a beep when

you select any parameter or operation shown in the touch screen. If you want to

silence this beep, press the SYSTEM key, and in the “Control” tab page turn the

“Beep” setting off (→p .126).

Setting the calendar

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

by the internal calendar.

Set the calendar clock (→p .180) before you use the D32XD/ D16XD for the first

time, after replacing the calendar battery (→p .179), or if you need to change the

calendar date and time for any other reason.

When the D32XD/D16XD is shipped, the calendar time will not have been set.

Connection example

This diagram shows typical connections when using the D32XD/ D16XD.

Connect your equipment as appropriate for your system.

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

DIGITAL IN

MIDI

sequencer

DIGITAL OUT

MIDI

OUT/ IN

AUX

OUT

Computer

Monitor speakers etc.

MONITOR

OUT

MIDI

IN/ OUT

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

INPUT L/ R

S/ P DIF

IN/ OUT

MASTER

OUT

to the AC outlet

USB

Power supply connection

You must use the

included AC power cable

INPUT 1–8

Mic

INPUT 1–16

OUTPUT

Keyboard

Guitar

EXP-2

Foot controller

PS-1

Pedal switch

Headphones

Cautions when making digital connections

If any of the synchronization settings of the D32XD/D16XD do not match those of the con-

nected 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

Features enclosed by [* ] are for the D16XD.

♦ 32 [*16]-track digital multi-track recorder

The D32XD/ D16XD provides studio-quality sound with 64-bit internal

processing, 24/ 16-bit recording and playback, and 96 kHz/ 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 [*16] tracks

❖1

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

Maximum simultaneous recording/ playback

8 tracks/ 16 tracks

❖1

When using 96 kHz sampling and 24-bit depth

Maximum simultaneous recording/ playback

4 tracks/ 8 tracks

Each track (including the master track) has eight virtual tracks, allowing you

to use a total of 256 [*128] + 16 tracks for each song.

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

recording.

♦ XLR input jacks with +48V phantom power, analog inputs, dedicated gui-

tar input jack, and digital connectors

To maximize the beneﬁt of the D32XD/ D16XD’s full-digital processing, all of

the analog inputs use high-performance balanced pre amps.

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 condenser 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, ranging from mic level all the way up to

+26 dBu, exceeding normal professional levels. A dedicated guitar input jack

is also provided.

The S/ P DIF digital input supports sampling frequencies of 96 kHz/ 48 kHz/

44.1 kHz, and 24- and 16-bit depths.

♦ 8-channel analog input board (AIB-8: optional) provides a total of

sixteen analog inputs

Using the optional AIB-8, you can add eight more analog inputs, for a total of

sixteen. Balanced TRS jacks are provided, and unbalanced inputs may also be

connected to these jacks.

♦ 8-channels of analog compression provided for the analog input section

Analog compressors allow you to apply dynamics processing to adjust the

level of the analog signal before it is converted into digital data. This provides

the distinctive character of analog compression that cannot be duplicated by a

digital compressor, and can prevent clipping before A/ D conversion.

An analog compressor board (ACB-8: optional) can also be installed on the 8-

channel analog input board (AIB-8: optional). If the AIB-8 and ACB-8 are both

installed, you can assign analog compressors to all sixteen analog inputs.

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♦ Installable ADAT I/ O board (DIB-8: optional)

This board provides eight channels of ADAT format digital input and output,

plus word clock input/ output.

ADAT input/ output supports 48 kHz/ 44.1 kHz sampling frequencies and

24/ 16-bit depths.

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

band master EQ

The 56-channel/ 14-bus [*40-channel/ 12-bus] mixer section provides full-par-

ametric 4-band equalization with selectable high/ low shelving on the mixer

channels, and 2-band shelving EQ on the sub-mixer.

The EQ applied to the input during recording is independent from the EQ

applied to the track during playback, so there is no danger of applying the

same EQ twice – a problem that often occurs on MTR units containing con-

ventional analog mixers.

Eight-band full parametric equalization is provided for the master EQ, allow-

ing you to make detailed adjustments to the tone during mastering.

♦ 100 scene memories, and 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 automation switches scenes automatically (D16XD)

Scenes can switch automatically according to elapsed playback time.

♦ Record and play back mixer parameter automation events in synchroni-

zation with the song (D32XD)

Scene changes and mixer events such as fader movements and panning oper-

ations can be recorded and reproduced according to elapsed playback time.

Scene automation can be used to switch scenes automatically.

♦ Automation playback with moving faders (D32XD)

The D32XD uses seventeen 100 mm motorized - or “ﬂying” - faders to adjust

the channel balance in realtime. When recording, playing back, or recalling a

scene when automation is on, the faders will move to their programmed loca-

tions. These faders are touch-sensitive. By touching a fader that is being auto-

matically moved by event automation, you can halt automatic changes for

that channel.

♦ Powerful modeling effects operated by control knobs

The built-in effects utilize Korg’s proprietary “

deliver precise and powerful modeling sounds.

” modeling technology to

You can use the four control knobs to edit effect parameters quickly and intu-

itively.

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 for simultaneous use

You can use up to a total of twenty-seven [*eleven] effects, each with internal

56-bit processing: 24 [*8] insert effects, 2 master effects, and 1 ﬁnal effect.

For each effect, you can select an effect program consisting of one of 52 differ-

ent 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.

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

You can also control effects in realtime from an external MIDI controller or

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

♦ Sophisticated editing functionality

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 func-

tions 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.

♦ Easy operation

The TouchView system lets you operate the D32XD/ D16XD simply by touch-

ing the large 320 × 240 pixel LCD screen – a revolutionary leap in fast, intui-

tive operation.

Knobs for editing the effects are located below the large LCD screen, and ded-

icated EQ and send knobs are located to the right of the screen, making it easy

to adjust these parameters in realtime.

♦ Internal hard disk 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 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 insert an audio CD in

the drive, and patch the audio to a mixer channel for recording or playback.

You can create an audio CD either by writing songs individually using Track

At Once or by using Disc At Once with the album edit function.

♦ USB connection for easy data exchange with your computer

The USB connector makes it easy to exchange data with your computer. You

can connect the D32XD/ D16XD to your computer and use 2 GB of the

D32XD/ D16XD’s hard drive capacity as a PC drive for shared data.

What is

(Resonant structure and Electronic circuit Modeling System) is Korg’s

proprietary technology for digitally recreating the numerous factors that pro-

duce and influence a sound, ranging from the sound-production mechanisms

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

D16XD

1 INPUT 1, INPUT 2...INPUT 8 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.

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 optional 8-channel analog input board (AIB-8) can be installed to add INPUT 9–16 using

balanced 1/4" TRS phone jacks (unbalanced phone plugs may also be connected).

If you insert a plug into a TRS phone jack, no signal can be input from the corresponding XLR

jack. If you want to use an XLR jack, do not connect the corresponding TRS phone jack.

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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 condenser mics.

2 MONITOR LEVEL knob

This knob sets the volume level of the signal being sent from the MONITOR

OUT L/R jacks.

3 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.

4 TRIM knobs

These knobs adjust the input level. The LED located at the upper right of each

knob will light to indicate the following conditions.

Lit green: an input signal is present

Lit orange: nominal input level

Lit red: input overload

Use the TRIM knob to make adjustments so that this indicator does not light

red when the input level from the connected device reaches its loudest point.

The TRIM knob has a range of +14 to –34 dBu when PAD is on, or –12 to –60

dBu when PAD is off.

The markings around the knob indicate the input level.

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 re-

sult. Keep the trim knob at its lowest setting when the channel is not in use.

5 CH SELECT keys

Pressing one of these keys will select the track that is currently active in the

“Ch View,” “EQ/ATT,” or the various SEND tab pages. The selected CH

SELECT key will light.

6 CH ON/ SOLO keys

The operation of these keys will depend on the mode selected by the “CH

ON/ SOLO mode key” (See item 11).

In CH ON mode, these keys enable/ disable each channel. They can be used

as a channel mute function. The key will be lit when on (enabled) and dark

when off (disabled).

In SOLO mode, pressing a key will turn the SOLO on/ off for that channel.

You may solo more than one channel if desired. In SOLO mode, the selected

keys will blink.

7 REC/ PLAY keys

These keys switch each recorder track between the record and playback

modes. Each time you press one of these keys, the track status will change.

Key lit green: PLAY (playback)

Key lit red: REC (record)

If the master track MASTER TRACK STATUS key is set to PLAY, all tracks

will automatically be muted (Key dark).

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8 PAN knobs (1...16) ----------- D16XD

These knobs adjust the pan (left/ right position) of the stereo signal being sent

from each channel to the master LR bus. If pairing is on, these knobs will func-

tion as speciﬁed by the “Pan Mode” setting in the “Ch Pair” tab page.

9 Channel faders (1/ 17…16/ 32) [*(1…16)]

The faders adjust the recording/ playback volume of each channel.

The D32XD has touch-sensitive moving faders.

Do not apply excessive force to the moving faders. Doing so will create excessive load, and may

damage the motors of the moving faders.

Do not place any objects on the moving faders. Objects placed on the faders may fall when the

faders move, and will subject the faders to strain, possibly damaging them.

10 1–16/ 17–32 key ----------- D32XD

This switch selects whether the channel faders, REC/PLAY keys, CH ON/SOLO

keys, and CH SELECT keys will apply to channels 1–16 or to channels 17-32.

Each time you press this, the setting will alternate between 1–16 and 17–32, and

the 1–16 (green) or 17–32 (orange) indicator at the right will light.

11 CH ON/ SOLO mode key

This key switches the mode of the CH ON/SOLO keys. Each time you press this

key, the indicator at left will indicate whether the CH ON (lit green) or SOLO (lit

orange) mode is selected. Pressing a CH button in the MIXER, SOLO/MONI-

TOR “Solo” tab page will forcibly switch to SOLO mode.

12 MASTER TRACK STATUS key

This key switches the master track between recording/ playback/ mute. The set-

ting will alternate each time you press this key.

Key lit green: PLAY (playback)

Key lit red: REC (record)

Key dark: muted

13 MASTER fader

The MASTER fader adjusts the overall volume. When the master track is being

recorded, this fader sets the recording level. The D32XD has touch-sensitive

moving faders.

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

tracks, and use the channel faders to adjustment the mix so the output does not distort.

Do not apply excessive force to the moving faders. Doing so will create excessive load, and may

damage the motors of the moving faders.

Do not place any objects on the moving faders. Objects placed on the faders may fall when the

faders move, and will subject the faders to strain, possibly damaging them.

14 DISPLAY UP/ DOWN

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

of the LCD screen over seven steps for best visibility.

Do not use excessive force to move the screen.

15 LCD screen

The D32XD/ D16XD features Korg’s TouchView technology. This allows you to

select pages, tabs, and parameters by simply using your ﬁnger to touch the but-

tons, icons or edit cells shown in the LCD screen.

During recording or playback, this screen displays volume information (level

meters), time data (locations), and various parameters.

The response of the TouchView display can be set using the Calibration operation (→p.95).

Use the Calibration procedure if the location on the screen that must be touched to select an

item is not perfectly aligned with where the item is displayed.

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16 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 contrast 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.

17 Control knobs

Use these knobs to edit various effect parameters in the effect tab pages.

18 SEND knob, INTERNAL 1/ 2, AUX 1/ 2/ 3/ 4 [*AUX 1/ 2] keys

Use these knobs and keys to specify the send amount and destination of each

send (EFF Send 1/ 2, AUX Send 1/ 2/ 3/ 4 [*Send 1/ 2]) and in the “Ch View” tab

page.

Even when other tab pages are displayed, operating this knob or any of these

keys will automatically open the send tab page in the display, allowing you to

edit the settings immediately.

19 Equalizer knobs, equalizer band keys

In the “Ch View” and “EQ/ATT” tab pages you can use these knobs and keys to

adjust the individual equalizer settings.

Even when other tab pages are displayed, operating these knobs or keys will

automatically open the “EQ/ATT” tab page, allowing you to edit the settings

immediately.

20 METER key

This key accesses a screen that shows the audio levels of the song, the presence

or absence of audio events, and a list of virtual tracks (“TrackView”). 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.

21 PAN knobs ----------- D32XD

This knob adjusts the position (pan) in the master LR bus for the channel

selected by the CH SELECT key.

22 AUTOMATION indicator

This will light when the automation function is on.

23 Page mode keys

Press these keys to move to the corresponding page

mode. The MIXER key and the CD key will take

you to the corresponding page jump menu screen.

24 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 six-

teen prior recording or editing operations. (→p .147).

31 32

25 STORE key

Press this key to register the current time location as a locate point, a mark, or for

a scene. (→p .38, 39, 52, 148)

26 SCENE key

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

effect send as a “scene” at the desired location in a song. If you play back with

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automation turned on, the stored scenes will be recalled and changed automati-

cally. You can also edit scenes by rearranging, renaming, or deleting them. (

148)

→p .52,

27 MARK key

This key allows you to register a speciﬁc time location in a song as a mark, so

that it can be instantly recalled. Up to 100 such marks can be stored per song

This key is also used to edit marks by renaming or deleting them etc. (→p .39,

148)

28 SCRUB key

Access the Scrub page. Use the value dial to control the selected function.

(→p .40, 148)

29 LOC1/ IN, LOC2/ OUT, ...LOC6 key

These keys are used to register a speciﬁc time location within a song, or to

instantly jump to a registered 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. (→p .38, 149)

30 MARK JUMP √ ® keys

Use these keys to step through the time locations registered as marks.

31 REC/ PLAY MODE key

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

32 LOOP, TRIGGER, AUTO PUNCH indicators

These indicators will light to show which operation - loop record/ playback, trig-

ger recording, or auto punch recording - was selected using the REC/PLAY

MODE key above.

33 Transport keys

Use the REC, PLAY, STOP, REW, and FF keys to perform playback or recording

operations on the recorder. (→p .151)

34 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 D32XD/D16XD to vibration or impact while this HDD/CD indicator is lit.

35 ON key, standby indicator

This key switches the D32XD/ D16XD between the ON and STANDBY modes.

When the standby indicator is lit, pressing the ON key will turn the D32XD/

D16XD on.

When the D32XD/ D16XD is operating, hold down the ON key to access the

Power Off dialog box.

36 Cursor key

These keys move the cursor allowing you to highlight or select items in the dis-

play.

37 +, – 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 a value in single

increments.

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38 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).

39 ENTER key

Use this key to ﬁnalize a parameter setting or to switch a parameter on/ off.

Front panel

1 2 3 4

1 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.

2 EXPRESSION PEDAL jack

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

control the parameter in realtime while you play or record. (→p .59)

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

jack.

3 FOOT SW jack

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

control basic operations of the D32XD/ D16XD recorder.

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

recording, register a mark, or to record tap tempo. (

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

→p .27, 64, 66, 126)

4 PHONES 1, 2 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 OUT L/R jacks.

5 VOLUME 1, 2 knob

This knob sets the volume level of the headphones. Turning the knob to the right

will raise the volume; turning the knob to the left will lower the volume.

6 CD-R/ RW drive

This drive can be used to backup and restore data, or to play or write audio CDs.

The CD-R/RW drive is a precision device. You must operate the D32XD/D16XD in a hori-

zontal position, in a location that is not subject to vibration.

Inserting a disc

Make sure that the D32XD/ D16XD is on.

Eject button

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

tray. The tray will open about halfway. Manually pull the tray

out far enough to place a disc in the tray.

When opening the CD-R/RW drive for the first time, remove the pickup

stopper from the disc tray before using the drive.

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

(3)Push the disk tray in until it is completely closed.

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Removing a disc

(1) Press the eject button to open the disc tray. The tray will open about halfway.

Manually pull the tray out far enough to remove the disc from the tray.

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

(3)Push the disc tray in until it is completely closed.

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.

Manual eject pinhole

The disc tray will be forced open.

Excessive use of this method may cause the CD-R/RW drives to malfunc-

tion.

This procedure must be performed with the power off.

Rear panel

5 6 7 8 9

12 13

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 D32XD/ D16XD will be in the

standby mode. In the standby mode, pressing the ON key will turn the

D32XD/ D16XD on. While the D32XD/ D16XD is operating, hold the ON key

to access the Power Off dialog box and select Yes to shutdown the D32XD/

D16XD and return to the standby mode. Then 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 Cooling fan outlet

This is the outlet for the internal cooling fan. Do not block this outlet; doing so

will cause heat to build up inside the D32XD/ D16XD, causing malfunctions.

4 DIB-8 cover

Remove this cover when installing the optional ADAT I/ O board (→p .178).

For details on the parts and functions of the DIB-8’s connectors, refer to “Parts

of the DI B -8 and their functions” (→p .178).

5 USB connector

You can use a USB cable to connect the D32XD/ D16XD to your computer.

USB peripheral devices such as external hard disks and CD-R/RW drives cannot be con-

nected to the D32XD/D16XD.

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6 MIDI OUT connector

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

use the D32XD/ D16XD to control an external device via MIDI. (

→p .93, 131)

7 MIDI IN connector

MIDI messages are received at this connector. Use this when you wish to con-

trol the D32XD/ D16XD from an external MIDI device. (→p .93, 131)

8 S/ P DIF OUT jack

This is an optical-type S/ P DIF format (IEC60958, EIAJ CP-1201) digital out-

put 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 OUT L/R jacks, but as a

digital signal at the same sampling frequency and bit depth as the current song.

9 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 equipment.

This input provides a digital audio signal at the same sampling frequency and

bit depth as the current song.

10 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 chan-

nels 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 condenser mic.

If the phantom power switch is on, you must never connect any device other than a con-

denser mic. Doing so may damage your equipment.

11 AUX OUT 1, 2, 3, 4 [*AUX OUT 1, 2] jacks

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

(→p .47, 1 12). You can connect these to the input jacks of an external effect

processor.

These are 1/ 4" unbalanced phone jack outputs.

12 MONITOR OUT L/ R jacks

Connect these jacks to your external monitor system. In MIXER, SOLO/

MONITOR, “Monitor” tab page (→p .50, 1 14) 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.

13 MASTER OUT 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.

Connect these jacks to your external monitor system or 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.

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Items and functions in the TouchView display

The D32XD/ D16XD features Korg’s TouchView LCD technology. By touching

the buttons or icons displayed in the LCD screen, you can quickly and intuitively

select pages, set parameter values, edit song names, save data, and perform many

other operations.

References in this manual to “... button,” “... tab,” or “... icon” indicate items dis-

played in the LCD screen that can be selected using the TouchView display.

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

top panel or front 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

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.

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

Press one of the tabs to select the corresponding page.

d: Edit icon

When you press 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 press 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 press one of these buttons, a dialog box will appear, displaying

parameters and values for you to select.

When you have ﬁnished selecting parameters or setting values, press the Yes

(or OK) button or No (or Cancel) button in the dialog box to close it and to

return to the previous tab page.

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g: List button

h: Scroll bar

When you press 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 press 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

for you to specify a value.

Menu list

h: Scroll buttons

Press the Yes (or OK) button or the No (or Cancel) button in the dialog box to

close the dialog box and return to the previous tab page.

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 press it.

l: Check box

Each time you press 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

In order to access a particular function by using the TouchView screen, you ﬁrst need to select

the page mode that contains that function, using the page mode keys.

The MIXER key and CD key will display a page jump menu in the LCD screen; use 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.96–).

2. Selecting a tab page

Each page mode contains numerous parameters, and these are organized into pages. The pages

are divided by tabs. To select a tab page, press one of the tabs in the LCD screen. You can also

hold down the cursor (▼) key and use the LOC1/IN...LOC6 keys to select a tab.

Some page modes contain only one tab.

3. Selecting and setting parameters

Selecting a parameter

To select a parameter, press 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

• Press 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 use these buttons as well.

Popup buttons, dialog boxes

• Press 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

• Press a button in the LCD screen to select it. In addition, you can use the cursor keys to

highlight the button and then press the ENTER key to select it.

Selecting one item from a menu list

• Press the desired item from the list shown in the LCD screen to select it.

• Use the

buttons in the LCD screen to select the desired item.

• Use the value dial or +/– keys to make your selection.

Fader or pan settings

D32XD

When faders are shown in the LCD screen, moving a fader will automatically select and update

the value of the corresponding on-screen control. In addition, you can select a particular fader

or pan knob in the display by using the cursor keys. In either case, you can then use the value

dial (or the +/– keys) to edit the value. To set the pan, press a CH SELECT key to select a chan-

nel and use the pan knob located at the lower right of the LCD.

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D16XD

When faders or pan knobs are shown in the LCD screen, moving a fader or pan knob will auto-

matically select and update the value of the corresponding on-screen control. In addition, you

can select a particular fader or pan knob in the display by using the cursor keys. In either case,

you can then use the value dial (or the +/– keys) to edit the value.

Send and equalizer

As soon as you change the value of one of the send or equalizer knobs, or select one of the send

or equalizer keys, the LCD screen will automatically call-up the appropriate tab page for edit-

ing the corresponding parameter.

As you continue to use these knobs and keys, you can see as the values are updated in the dis-

play.

Effect settings

When effect parameter knobs are displayed in the LCD screen, you can use the four CONTROL

knobs to select parameters or edit values. If more than four editable effect parameters are dis-

played at one time, use the cursor keys to select the row of knobs that contains the parameter

you wish to edit.

Selecting channels

You can quickly select a channel by using the CH SELECT keys above the faders.

Examples of operation

Figure 1

Figure 1 shows the EFFECT, “MasterEFF1” tab page.

To select this tab page, press the top panel EFFECT key, and then press

the “MasterEFF1” tab in the LCD screen.

The upper row of knob icons in this screen are linked with the control

knobs below. Turning a control knob will directly modify the corre-

sponding value. To select a knob in the lower row of icons, you can ei-

ther use the cursor keys, or simply touch one of the knob icons in the

LCD screen.

Figure 2 shows the MIXER, FADER/PAN/AUTOMATION, “Fader

Pan” tab page.

Figure 2

To select this tab page, press the top panel MIXER key, and then press

the FADER/PAN/AUTOMATION button in the page jump menu that

appears in the LCD screen. If a different tab page (such as EditScene or

SceneFilter) is displayed, press the “Fader Pan” tab.

As you move any of the faders or pan knobs, this screen will automat-

ically show which parameter you are changing, and its new value.

Figure 3 shows the CH VIEW, “Ch View” tab page.

Figure 3

To select this tab page, press the top panel CH VIEW

key. If a different tab page (Ch Routing) is selected,

press the “Ch View” tab.

In this screen, you can adjust the fader and pan set-

tings of the selected channel. The fader and pan knob

can be selected using the cursor keys or by touching

their icons in the LCD display, and then using the val-

ue dial or +/– keys to set the value. You can also sim-

ply move the fader or pan knob for the selected

channel and see the value as it is updated in the dis-

play. Use the CH SELECT keys to select the current channel shown in the display.

You can also use the knobs and keys located at the right of the LCD screen to ad-

just the Send and EQ settings.

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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 D32XD/ D16XD.

Step 1: Preparations

The ﬁrst step explains how to connect your monitor speakers or headphones,

how to turn the D32XD/ D16XD 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 D32XD/

D16XD, 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 D32XD/ D16XD 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 rec-

ommend that you set the date and time (→p .180 “Setting the calendar clock”).

The D32XD/ D16XD was designed to make use of Korg’s

TouchView graphical interface for quick and intuitive oper-

ation.

Monitor speaker etc.

If you have any questions about how to use the TouchView

d i splay, refer to “Items and functions in the TouchView dis-

play” (→p .15).

(1)

(2)

Connections

(1)Connect the MONITOR OUT L/R jacks to your moni-

tor speaker system, or connect a set of headphones to

the PHONES 1 jack.

(1) (2)

(2)Set the MONITOR LEVEL knob to –∞. If you are

using headphones, set the headphone VOLUME knob

1 all the way to the left.

Headphones

2. Turn the D32XD/ D16XD 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 D32XD/D16XD contains pre-recorded demo

songs. This section explains how to listen to one of the demo songs.

(1)Press the SONG key.

If a tab page other than “Select Song” is displayed, press the “SelectSong”

tab.

(2)The top line indicates [Drive A]

Current Song:, and the cur-

(2)

rently selected demo song is

shown below it.

(5)

If you want to select a different

demo song, refer to “1-3. Select-

ing a song” (→p .37).

(3)Verify that the REC/PLAY keys

of channel tracks 1 through 16

are set to PLAY (key lit green).

Press the D32XD’s 1–16/17–32

key, and make sure that the

(1)

REC/PLAY keys of channel tracks 17–32 are set to PLAY mode (key lit

green).

If any of the keys are set to REC (lit red), press those keys to select PLAY (lit

green).

If the MASTER TRACK STATUS key is lit, press it until the key goes dark.

(4)Press the PLAY key to start playing the demo song.

(5)Set the red MASTER fader to the “0” setting. Slowly turn the MONITOR

LEVEL knob toward the right to adjust the playback volume.

If you have connected headphones, turn both the MONITOR LEVEL knob 1

and the VOLUME knob slowly toward the right to adjust the volume.

(6)While the song plays, operate the channel faders and notice that the bal-

ance of the sound changes.

(7)When the demo song ends, press the STOP key.

Hold down the STOP key and press the √MARK JUMP key to return to the

beginning of the song (→p .38 “2. Location”).

(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 “SelectSong” tab page.

(2)Press the New button. The New Song dialog box will appear.

(3)

(1)

(4)

(2)

(1)

(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, select 44.1 kHz/ 16 bit.

(4)Click the OK button in the screen.

A new song named “Song

”* will be created following the last existing

song.

* “

” will be a consecutive number starting from 001.

You can change the location (song drive) in which the song is created (→p.37 “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 “SelectSong” tab page.

If the “EditSong” tab page is displayed, press the “SelectSong” tab.

(2)Press the newly created song to select it; the song will be highlighted.

(3)Press the Rename button to display the Rename dialog box.

(5)

(2)

(4)

(1)

(4)

(3)

(1)

(4)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, use the

buttons to

move the highlighted area, and then press 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.

(5)Conﬁrm the changes.

When you have ﬁnished naming your song, press the OK button in the LCD

screen.

If you decide not to change the name, press the Cancel button.

As an alternative to the above procedure, you can use the Name Library to change the name.

Refer t o “Using the name library” (→p.37).

3. Connect your audio sources to the mixer inputs

Connect devices to the INPUT jacks

This example shows how to connect a guitar, mic,

and keyboard to the mixer inputs.

(3)

Keyboard

Mic

OUTPUT

(1)Set the INPUT 1 TRIM knob to the “–12” posi-

(2)

tion, and connect a guitar to the GUITAR IN

jack.

The GUITAR IN jack is shared with INPUT 1,

and the two cannot be used simultaneously

(→p .12 “1 GUI T A R IN jack”).

Guitar

(2)Set the INPUT 2 TRIM knob to the “–12” posi-

(1)

tion, and connect a mic to the INPUT 2 jack.

(3)Set the INPUT 3 and 4 TRIM knobs to the “–12”

position, and connect the output of a keyboard to INPUT jacks 3 and 4.

Assign the inputs to channels

Connection example

First, specify which channel will be assigned to the gui-

tar input.

Keyboard

Mic

Guitar

(1)Press the MIXER key, and then press the page

jump menu INPUT/OUTPUT/CH ASSIGN button

to access the “Ch Assign” tab page.

(2)In the tab page, press the CH1 SOURCE channel

icon. The icon will be enclosed by a frame.

CD L, R

INPUT2

INPUT1 INPUT3

INPUT4

INPUT5

Rhythm L, R

(3)Use the

buttons to set the number inside the

channel icon to read “1” (INPUT 1).

You can also use the value dial or the +/– keys to

change the number within the icon.

CH32 [*16]

CH1

CH2

CH3

CH4

If you set the CH1 SOURCE number to “2,” INPUT2 (in

the diagram at right, the mic) will be assigned to CH1.

32Tr

Recorder

[*16Tr]

1Tr

3Tr

4Tr

2Tr

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D16XD

D32XD

(1)

(2)

(1)

(3)

(1)

Adjust the CH 1 input level to verify that the sound of the guitar has been

assigned.

(4)Raise the MASTER fader to the “0” position, and lower the CH1

fader to “–∞.”

(5)

(5)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.

(7)

(6)

(8)

(6)Set the CH1 REC/PLAY key to REC (key lit red).

(7)When you play your guitar, the INPUT 1 peak indicator (the LED at

the upper right of TRIM) will light.

Adjust the TRIM knob so that the loudest input level does not cause

the LED to light red.

(4)

(8)Gradually raise the CH1 fader while playing your guitar, and you

will hear sound from your monitor speakers.

If you are using headphones, adjust the PHONES 1 VOLUME knob

and the MONITOR LEVEL knob.

Using the same method, you can assign the mic and keyboard inputs to their own

channels.

(9)Change the number displayed inside the CH2 SOURCE channel icon to “2”

(INPUT 2).

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)Change the number within the CH3 SOURCE channel icon to “3” (INPUT

3), and the number within the CH4 SOURCE channel icon to “4” (INPUT 4).

Using these settings, the sound of 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).

D32XD

D16XD

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4. Effects and EQ (equalizer)

If you want to record the sound of the connected devices without any further

processing, proceed to “5. Recording.” If you want to use the D32XD/ D16XD’s

internal effects and 4-band parametric EQ to process the sound before it is record-

ed, read the following sections “Applying effects to the input sound” and “Ad-

justing the EQ.”

Applying effects to the input sound

It’s also easy to apply the D32XD/D16XD’s effects after recording the sound (→p.29).

Here’s how to apply effects to the input from your guitar.

(1)Press the EFFECT key and select the “Routing A [*EFFRouting]” tab page.

(2)Press the InsEFF1 IN/TR cell (it will become highlighted) and use 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 play-

back.

(3)Press the InsEFF1 CH cell (highlighted) and use the +/– keys to select “1.”

(4)Press the InsEFF1 edit cell (highlighted). Then press the Select button.

(5)The Select Effect Category dialog box will appear. Here you can select what

type of effect you want to use on the guitar.

For this example, select “Dynamics&Filter” from the “Mono” category.

(4)

(3)

(2)

(5)

(4)

(1)

(6)The Select EFF Program dialog box will appear. Here you

can select the effect.

For this example press “Compressor” and then press the OK

button.

(6)

With this setting, “Compressor” can be applied as insert effect 1

to the sound from input 1.

You can apply effects to the mic and keyboard inputs in the same

way.

(7)Set InsEFF2 to IN, and CH to 2.

For the InsEFF2 edit cell, select the “Room” effect from

“Reverb&Delay” in the “Mono” category.

(6)

(8)Set InsEFF3 to IN and CH to 3, and set InsEFF4 to IN and

CH to 4.

For 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 .56 “Effects”)

For details on editing the parameters of the effects you selected,

refer to “4. Editing the effects” (→p .59).

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Applying EQ to the input sound

On the D32XD/D16XD it’s also easy to apply EQ after recording.

Here’s how to apply EQ to the input from your guitar.

(1)Press the MIXER key. In the page jump menu, press the EQ/PHASE/REC

[*EQ/ATT/PHASE] button and then select the “EQ/ATT” tab page.

You can move from another tab page or page mode directly to the “EQ/ATT” tab page by

turning one of the EQ knobs or pressing one of the EQ keys (High, Hi-Mid, Lo-Mid, Low)

located at the right of the LCD screen.

(2)Press the CH cell, and use the

example, 1).

buttons to select a channel (in this

You can also select a channel by pressing one of the CH SELECT keys.

EQ window

(2)

(1)

(2)

(3)

(1)

(3)Press the level meter position cell and set it to read IN/PRE.

IN stands for Input and PRE stands for pre-fader; these settings

allow you to simultaneously check the input signal level, and the

level of the signal immediately after the EQ has been applied.

(4)While playing your instrument, use the EQ knobs and keys located

at the right of the LCD screen to adjust the EQ.

(4)

Press an EQ key to select the frequency band that you want to adjust

(High, Hi-Mid, Lo-Mid, Low), and use the EQ knobs to adjust the

gain, center frequency and Q (resonance/ bandwidth).

(4)

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 clipping.

Using the same method, you can apply EQ to the mic and keyboard inputs as

well.

(5)Press the CH cell and use the

ple, 2).

buttons to select a channel (in this exam-

Now you can apply EQ to the sound from the mic connected to INPUT 2.

Adjust the EQ as described in steps (3) and (4).

(6)Press the CH cell and use the

ple, 3).

buttons to select a channel (in this exam-

Now you can apply EQ to the stereo keyboard connected to INPUT 3. Adjust

the EQ as described in steps (3) and (4).

If you pair the two keyboard channels, the EQ settings you make will also be

applied to the sound of input 4 without your having to perform step (7),

below (→p .49 “3-5. Pairing”).

(7)Press the CH cell and use the

ple, 4).

buttons to select a channel (in this exam-

Now you can apply EQ to the stereo keyboard connected to INPUT 4. Adjust

the EQ as described in steps (3) and (4).

If you paired the two keyboard channels in step (6), you will not be able to adjust the EQ

for channel 4. The EQ settings of channel 3 will also apply to channel 4.

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5. Recording

You are now ready to record one of the sources (guitar, mic, keyboard) that you

set up to record in the previous steps. In this example, let’s record the guitar.

Preparations for recording

(1)Set the recording mode.

Press the REC/PLAY MODE key. In the “Rec/Play” tab

page, set Rec Mode to “Normal.”

(2)Set the RecSend.

Press the MIXER key. Then press the page menu com-

mand EQ/PHASE/REC [*SEND (EFF/AUX/REC)] but-

ton, and in the “RecSend” tab page make sure that the

channel (in this example, 1) that you want to record is

set to PRE. If it is set to PST, press that button to change

(1)

it to PRE.

(1)

(3)Access the track view screen so you can see the record-

ing track status.

Press the METER key to display the level meter screen.

(4)Press the popup button in the screen to display the Meter Trk Type dialog

box.

D16XD

(4)

(5)

(3)

(5)

D32XD

(4)

(5)

(5)Choose “PreFader” as the Select Level Meter Position setting, and choose

“Track View” as the Select View setting. Then press the OK button.

(6)Press the REC/PLAY key of the track you want to record, setting it to REC

(key lit red).

Start recording

The location currently shown in the counter is where the recording will begin.

(→p .38 “2. Location”)

(1)Press the REC key to enter record-ready condition (the key will

blink).

(2)Press the PLAY key to start recording (REC and PLAY keys will

light).

(4) (2) (1)

(3)Begin playing your instrument.

(4)When you have ﬁnished playing your instrument, 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.

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6. Playback

(1)Press the REC/PLAY key of the track 1 you recorded, setting it to PLAY (key

lit green).

(2)Return to the beginning of the song.

Hold down the STOP key and press the MARK JUMP (√) key to return to

the beginning of the song (→p .38 “2. Location”).

(1)

(2)

(3)

(2)(4)

(3)Press the PLAY key to begin playback (the key will light).

• You can apply EQ to the playback audio (→p .49 “Applying EQ to the play-

back”).

• You can ad j u st the level and pan of the playback audio (→p .48 “3-1. A d j u st-

ing the volume,” →p .48 “3-2. A d j u sting the pan”).

• You can apply effects to the playback audio (→p .56 “Effects”).

• You can play internal rhythms along with the playback (→p .61 “Rhythm”).

(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.

You can use a PS-1 foot switch (sold separately) to start/stop playback (→p.126).

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Step 3: Overdubbing

In this step, you can record the output from your mic or keyboard on a new track

while listening to the guitar performance that you recorded in Step 2.

1. Recording

Connection example

For this example, you will be able to listen to the gui-

tar performance while you record the mic input on

track 2.

Keyboard

Mic

Guitar

Preparations for recording

(1)Press the REC/PLAY key of the track (2) you

want to record, setting it to REC (key lit red).

CD L, R

INPUT4

INPUT5

INPUT2

Rhythm L, R

INPUT3

INPUT1

(2)Press the REC/PLAY key of the track (1) that you

want to hear playback, setting it to PLAY (key lit

green).

(3)Move to the location in the song where you want

CH32

[*16]

CH1

CH2

CH3

CH4

to start recording (→p .38).

Start recording

(1)Press the REC key to enter record-ready condi-

tion (the key will blink).

Rec

Play

Rec

Already

recorded

1Tr

32Tr

Recorder

3Tr

[*16Tr]

4Tr

2Tr

(2)Press the PLAY key to start recording (REC and

PLAY keys will light).

You can use a PS-1 foot switch (sold separately) to start/stop recording (→p.126).

(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 applying insert effects,

master effects, and EQ to the recorded tracks, adjusting the

overall balance, and then combining everything into a two-

32Tr

Recorder

[*16Tr]

1Tr

3Tr

4Tr

2Tr

track stereo mix.

CH1

CH2

CH3

CH4

CH32

[*16]

Once you have mixed-down a song, you can apply a final ef-

fect and EQ to add compression and adjust the overall tone

to create a finished master; this process is called “master-

ing.”

Pan

On the D32XD/ D16XD, you can perform the mastering and

the stereo mix-down 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 insert

effect to that mixer channel.

(1)Press the EFFECT key and select the

“Routing A [*EFFRouting]” tab page.

(2)

(2)Press the IN/TR cell (it will become

highlighted), and use the +/– keys to

select “TR.”

(1)

(3)Perform the actions described begin-

ning with step (3) under “Applying

effects to the input sound” (→p .24).

(1)

Applying EQ to each channel/ track

(1)Press the MIXER key, and select EQ/PHASE/REC [*EQ/ATT/PHASE] in the

page jump menu. Then select the “EQ/ATT” tab page.

You can move from another tab page or page mode directly to the “EQ/ATT” tab page by

turning one of the EQ knobs or pressing one of the EQ keys (High, Hi-Mid, Lo-Mid, Low)

located at the right of the LCD screen.

(2)

(1)

(2)

(3)

(1)

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(2)Press the CH cell, and use the

settings you wish to change.

buttons to select the channel whose EQ

You can also select a channel by pressing one of the CH SELECT keys.

(3)Press the position cell and set it to read IN/PRE.

IN stands for Input and PRE stands for pre-fader; 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)Be sure the REC/PLAY key for the track whose EQ settings you wish to

change is set to PLAY (key lit green). Then press the PLAY key to begin

playback of the song.

(5)While listening to the playback, use the EQ knobs and keys located at the

right of the LCD screen to adjust the EQ.

(4)

(5)

(4)

If the level meter (PRE) clips, press 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 to play back. Then press the CH SELECT key of a playback

track and turn the PAN knob to adjust its stereo position.

On the D16XD, turn the PAN knob of each playback track to adjust its stereo po-

sition.

Using the channel/ track sends to apply effects (Master Effects)

The D32XD/ D16XD contains two master effects that can be used to apply spatial

effects such as reverb.

You can set the effect balance by adjusting the effect

send of each channel and the effect return level.

From the EQ

output of

Master bus

Pan

You can select an effect either by using the EFFECT,

“MstrEFF1” tab page as explained here, or by making a se-

lection in the MasterEFF1 cell of the EFFECT, “Routing

A [*EFFRouting]” tab page as explained earlier in Step 1.

If you want to select an effect while viewing (or editing) its

parameters, use the first method. Use the first method if you

want to view (or edit) the effect parameters while selecting

an effect; use the second method if you want to check the

overall balance of the effect without editing it.

each ch.

Post-fader

Send

Pre-fader

Master

Effect 1

Master

Effect 2

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Selecting a master effect

(1)Press the EFFECT key and select the “MstrEFF1” tab page.

(2)

(3)

(1)

(2)Press the popup button beside the effect name, and the

Select EFF Category dialog box will appear.

(3)Press a category button in the LCD screen, and the Select

EFF Program dialog box will appear.

For this example press “Club” and then press the OK but-

ton.

If you want to go back and look in another category, press

Cancel button.

(3)

Adjusting the Master Effect 1 Send amount for each track

(3)

(1)Press the INTERNAL 1 key located beside the SEND

knob to display the “EFF1Send” tab page.

Alternatively, you can access this page by pressing the MIXER key, choosing

SEND (EFF/AUX [*/REC]), and selecting the “EFF1Send” tab page.

(2)Select how the audio signal will be sent to master effect 1.

You can choose to send either the pre-fader signal (PRE) or the post-fader sig-

nal (POST) to master effect 1.

Pan

Master bus

From the EQ output of

each channel/track

Post-fader

Send

Pre-fader

Master

Effect 1

Press the PRE (PST) button located above 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.

Press the SEND knob icon, and turn the SEND knob located to the right of

the LCD screen to adjust the send amount for that track.

(1)

(3)

(2)

(3)

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In this way, the send value controls the level of each track being sent to this mas-

ter effect.

For the tracks you don’t want to use master effect 1, set the send value to “0.”

(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)Press the PLAY key to 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)In the EFFECT, “MstrEFF1” (or “MstrEFF2”) tab page, adjust the return

level and return balance of the signal 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 clips, press the TRIM knob icon in the LCD screen

and adjust the value until no clipping occurs.

For details on editing the parameters of the selected effect, refer to “4. Editing

the effects” (→p .59) in the Operation section.

2. Applying effects and EQ to the entire song

Checking the volume

Use the channel faders to adjust the playback level.

Press the METER key to display the Post Fader level meters.

Press the popup button to open the “Meter Trk Type” dialog box. Set the Select

Level 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)Press the popup button to open the Select EFF Category window, and select

a ﬁnal effect category.

For this example press “Reverb&Delay.”

(2)

(1)

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(3)The Select EFF Program dialog box will appear. Here you

can select the effect.

For this example press “L/C/R Delay” and then press the

OK button. If you want to go back and look in another cate-

gory, press Cancel button.

(3)

(4)Press the PLAY key to play back the song. 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 .59) in the

Operation section.

Applying EQ to the master bus (Master EQ)

(1)Press the MIXER key, press the EQ/PHASE/REC [*EQ/ATT/PHASE] button

in the page jump menu, then select the “MasterEQ” tab page.

(2)For this example, press 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 .48).

(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 to play back the song.

(5)While listening to the output of the master bus or the headphones, select

the various EQ knob icons in the LCD screen and use the value dial (or the

+/– keys) to adjust the EQ settings.

The EQ window displays the EQ curve.

You can switch the master EQ on/ off by pressing 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.

The EQ knobs and keys at the right of the LCD screen will not adjust the master EQ.

(6)When you‘re done adjusting the master EQ, press the STOP key.

EQ window

(1)

(5)

(1)

(2)

(1)

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3. Recording on the master track

To create an audio CD, you will record the mixed-down song onto a stereo master

track.

The master track of each song consists of eight virtual tracks; A–H. Having these

virtual master tracks will allow you to try various “mixes” of your song, and then

listen to pick your favorite.

(1)To specify which of the master virtual tracks you will use, press the TRACK

key, select the “MasterTrack” tab page, and use the V-Level buttons.

(2)Preparing to record to the master track.

Set the MASTER TRACK STATUS key to REC (key lit red) to arm the master

track for recording. The REC/PLAY keys of tracks 1–16 will automatically

change to PLAY (key lit green).

(3)Adjust the recording level.

• Set the MASTER fader to “0.”

• Press the METER key to display the Meter Trk View screen.

• Press the PLAY key to play back the song.

• If the master bus level meter indicates “CLP,” adjust the MASTER fader.

(1)

(3)

(1)

(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).

(2)

When you ﬁnish recording, press the STOP key.

(6)Listen to the recorded result.

(4)

Press the MASTER TRACK STATUS key to set it

to PLAY (key lit green).

The REC/PLAY keys of tracks 1–16 will automati-

cally change to muted (key unlit).

(5)(6)

(5)(6) (5)

Return to the beginning of the song. (→p .38)

Press the PLAY key, listen to the playback, and then press the STOP key.

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4. Writing to a CD

You can use the CD-R/ RW drive to create an audio CD from the master tracks

you recorded.

For details, refer to the Operation section, “CD” (→p .78).

Saving your song

On the D32XD/ D16XD, the song data that you have recorded or edited and the

parameters that you have set are automatically saved during the shut-down op-

eration when you turn off the power. These settings are also saved when you se-

lect a different song. This is called “auto-save.”

You can also save data manually (→p .137 “Save Now”).

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.52 “4. Storing/recalling a scene,” p.59 “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 D32XD/ D16XD’s internal hard disk

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

96 kHz/24-bit

Recording

Playback

Punch recording

can store up to one hundred songs.

32 [*16]

How the hard disk, drives, and songs are related

Hard disk

Song drive: A

Drive: A

(4) Press the OK button.

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: B

Drive: C

The song name will automatically be “Song

*”

Drive: D

(“

*” will be a consecutive number starting from

PC Drive

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 a new song on a different song drive,

start by pressing the Drive button to switch song drives.

(→p .37 “Selecting a song from another song drive”).

1-1. Creating a new 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.73) af-

ter recording or editing multiple tracks simultaneously in a 48

kHz/24-bit 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 “SelectSong” tab

page.

The upper part of the tab page shows which song is

selected as the current song.

Current song

1-2. Renaming 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.

Song names can be up to 16 characters in length.

(1) Press the SONG key and select the “SelectSong” tab

page.

(2) From the song list, select (highlight) the song that you

want to rename.

(3) Press the Rename button to display the Rename dialog

box.

(1)

(2)

(5)

Rename box

(2) Press the New button to display the New Song dialog

box.

(4) Use the buttons in the screen to edit the song name in

the Rename box.

: Enters a space.

(3)

(4)

: Erases the entire name.

(3) Use the radio buttons to select the desired combination

of sampling frequency and bit depth for your new

song.

: Switches between upper and lower case characters.

: Inserts a space, and moves the subsequent char-

acters to the right.

: Deletes the character at the cursor location.

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: Move the cursor to the location of the character

you want to change.

: Displays the name template (name library list).

(5) Finalize your changes.

Selecting a song from another song drive

(1) Press the SONG key and select the “SelectSong” tab

page.

(2) Press the Drive button to display the Select Drive dia-

log box.

Press the OK button to ﬁnalize the edited name, or press

the Cancel button to discard the changes you made.

Using the name library

(1) When the Rename dialog box is displayed, press the

list button ( ) beside the rename box.

(3)

(2) Select (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 press the OK button.

If you decide not to change drives, press the Cancel but-

ton.

(4) The “SelectSong” tab page will display the song list

for the selected drive.

Select (highlight) the desired song, and press the Select

button to conﬁrm.

If there are more than ﬁve songs, use the scroll bar/ but-

tons to scroll up and down through the list.

(3) Edit the song name as desired.

Refer to “1-2. Renaming a song,” steps (4) and (5).

(5) Verify that the song you selected is displayed as the

current song.

1-3. Selecting a song

There are two ways to select an existing song.

Selecting a song from the song list

(1) Press the SONG key and select the “SelectSong” tab

page to display the song list of the current song drive.

(3)

(2)

(2) Select (highlight) the desired song, and press the

Select button to conﬁrm your selection.

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

current song.

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(2) Select the location counter unit that you want to

change (it will be enclosed by a frame).

2. Location

The term “location” refers to a specific point in time within

(2)

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.

(3) Turn the value dial (or use the +/– keys) to move to the

new location.

2-1. Switching the counter display

You can switch the units that the counter uses to display the

current location.

Using the FF and REW keys to move

Moving to a point later in the song (fast-forward)

(1) Press the

button to the left of the counter to open

the Time Disp Type dialog box.

Press the FF key.

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.

(1)

Information display

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).

(2)

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 to a point earlier in the song (rewind)

Press the REW key.

(2)

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.

(2) Select the type of units you want the counter to use,

and press the OK button.

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).

You can choose one of the following three formats

(→p .96 “Counter”).

Time display

• __:__:__.___

“milliseconds”

“hours” : “minutes” : “seconds” .

“measures” . “beats” . “ticks”

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.

Frame display

• __:__:__:.__F

“frames”

Moving within a song

Measure display

Moving to the beginning of the song

Hold down the STOP key and press the MARK JUMP (√)

• ___.__.___

key to move to the beginning of the song.

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 tempo map.

Moving to the end of the song

Hold down the STOP key and press the MARK JUMP (®)

key to move to the end of the song.

(1) Press the

button at the left of the counter to display

Using the Locate keys to move

the Time Disp Type dialog box.

You can register a specific location for each of the Locate

keys, and move immediately to those locations by pressing

the appropriate key.

(2) Press one of the following ﬁve radio buttons, and then

press the OK button.

• Date Time: calendar (date and time)

You can register up to six locations in each song.

• Free Time: remaining time for recording

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 “16. LOC1/IN, … LOC6”

(→p.149).

• 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.

Assigning locations to the Locate keys

• TempoMap: the rhythm pattern at the current location

of the song

(1) Move to the location that you want to register.

Use the counter or the FF/REW keys to move to the

desired location.

2-2. Moving to a different location

(2) Press the STORE key; the Stored Time dialog box will

appear, allowing you to register the location.

If you decide to cancel, press the Exit button or press the

STORE key once again.

Using the counter to move

(1) Select a page in which the counter is displayed at the

top of the screen, such as the SONG, “SelectSong” tab

page.

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(2) In the mark list, press (highlight) the desired mark.

If necessary, use the scroll bar/ buttons to scroll through

the list.

(3) Press 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 JUMP keys to move

(3) Press one of the LOC1/IN, LOC2/OUT, LOC3/TO,

LOC4/END, LOC5, or LOC6 keys to this location to

that key. The registration will be completed, and the

dialog box will close.

You can move to the registered location of a mark simply by

pressing the MARK JUMP keys.

Each time you press the MARK JUMP (®) key, you will

move to the next mark going toward the end of the song.

Each time you press the MARK JUMP (√) key, you will

move to the next mark going toward the beginning of the

song.

You can register a Locate key to a location during playback

or recording simply by performing step (2).

If you want to set a location precisely while viewing the

waveform, refer to “2-3. Finding a precise location (SCRUB)”

(→p .40).

Current

location

Press

once

Press

once

Press

once

Press

once

Press

once

Song

Moving to a location registered to a Locate key

While stopped or playing, press one of the LOC1/IN, LOC2/

OUT, LOC3/TO, LOC4/END, LOC5, or LOC6 keys. You will

move to the registered location.

Mark003

Mark007

Mark004

Mark005

Mark006

Order of locations

Deleting a mark

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.

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, select the mark that you want to

Up to one hundred marks can be registered per song.

delete.

If necessary, use the scroll bar/ buttons to scroll through

the list.

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.79 “2. Disc At Once”).

(3) Press the Delete button to display the Delete Mark dia-

log box.

Registering a mark

(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 Stored Time dialog box

will appear.

If you decide not to register the location, press the Exit

button or press the STORE key once again.

(3) Press the MARK key to register the location as a mark.

The dialog box will close.

(4) If you are sure you want to delete the mark, press the

Yes button.

Mark numbers are automatically re-assigned in numerical or-

der starting at the beginning of the song.

If you decide not to delete the mark, press the No but-

ton.

If you want to delete all marks, press the Select All but-

ton to turn it on (highlighted), and then press the Yes

button to delete all marks.

(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.

During playback or recording, perform steps (2) – (4) to reg-

ister a location as a Mark.

(5) Verify that the mark has been deleted from the mark

list.

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, select the mark that you want to

rename.

If necessary, use the scroll bar/ buttons to scroll through

the list.

(3)

(3) Press the Rename button to display the Rename dialog

box.

(2)

For details on how to edit the name, refer to “1-2.

Renaming a song” (→p .36).

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Finding a zero-cross point

If you press the Search Zero button, the location will move

only to points where the waveform level crosses the ± 0

point.

Turn the dial toward the right to move to the next zero-cross

point.

2-3. Finding a precise location

(SCRUB)

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.

Turn the dial toward the left to move to the previous zero-

cross point.

You can view the waveform as described here in the SCRUB

screen, and in the WAVE screen used for track editing (→p.139).

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.

By watching the waveform as you listen to the audio, you can

find the desired location of the song.

(1) Press the SCRUB key to display the “Scrub” page.

If you press the SCRUB key at a location later than the

end of the song, the location will be set to the end of the

song.

You cannot hear the audio while the Search Zero button is on.

(2)

Waveform

window

(5)

(4)

(2) Press the “Trk” popup button to display the Select

Track dialog box.

D16XD

(3)

D32XD

(3)

(3) Select the track that you want to play back, and press

the OK button.

If you press 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) Use the ZOOM buttons to adjust the size and range of

the displayed waveform.

(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.

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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 .37)

(2) In the SONG, “EditSong” tab page, press the Move

button to display the Move Song dialog box.

If you want to move the song to a different drive, press

the Drive button and use the Select Drive dialog box to

select the drive (→p .37).

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

“EditSong” tab 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 press a button to perform the desired ed-

iting operation.

(2)

(3)

(4)

Current

song

(3) Turn the value dial to select the move-destination song

number.

(4) To move the song, press the Yes button.

If you decide to cancel, press the No button to close the

dialog box.

(5) When the display indicates “Completed,” press the

OK button.

The dialog box will close, and you will return to the

“EditSong” tab 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 .37)

(2) In the SONG, “EditSong” tab page, press the Delete

button to display the Delete Song dialog box.

Verify the drive name and song number of the song that

you want to delete.

(1) Select the song that you want to copy. (→p .37)

(2) In the SONG, “EditSong” tab page, press the Copy

button to display the Copy Song dialog box.

If you want to copy the song to another song drive, press

the Drive button and use the Select Drive dialog box to

select the drive (→p .37).

(2)

(3)

(2)

(3)

(3) To delete the song, press the Yes button.

If you decide to cancel, press the No button to close the

dialog box.

(4)

(3) Turn the value dial to select the copy-destination song

number.

(4) When the display indicates “Completed,” press the

OK button.

The dialog box will close, and you will return to the

“EditSong” tab page.

(4) To copy the song, press the Yes button.

If you decide to cancel, press the No button to close the

dialog box.

Protecting a song

You can protect a song so that it will not be accidentally over-

written or deleted.

If a song is protected, you will not be able to switch to REC

by pressing the REC/PLAY key or MASTER TRACK STA-

TUS key. Also, writing will be disabled for all parameters of

that song.

When you protect a song, it will be saved automatically at

that time (→p .137).

(5) When the display indicates “Completed,” press the

OK button.

The dialog box will close, and you will return to the

“EditSong” tab 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 upward by one (→p.136 “9-2. Edit Song”).

The Undo information within the song will not be copied.

Protect On

(1) Select the song that you want to protect (→p .37).

(2) In the SONG, “EditSong” tab page, press the Protect

button to display the Protect Song dialog box.

Verify the drive name and song number of the song that

you want to protect.

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Mixer

(2)

(3)

Input channels

Analog

ADAT

S/P DIF

L, R

Internal

rhythm

inputs 1–8 inputs 9–16 inputs 1–8

(optional)

Internal

(3) Press the ON button.

CD-R/RW

(4) When the display indicates “Completed,” press the

OK button.

28 inputs

The dialog box will close, and you will return to the

“EditSong” tab page.

Channel assignment

(5) Notice that a lock symbol “ ” is displayed for the cur-

rent song, indicating the song is protected.

1ch

2ch

3ch

32ch

[*16ch]

Protect Off

32 [*16]-channel

mixer

(1) Select the song that you want to un-protect. (→p .37)

Protected songs are indicated by a lock symbol “ ”.

(2) In the SONG, “EditSong” tab page, press the Protect

button to display the Protect Song dialog box.

Verify the drive name and song number of the song that

you want to un-protect.

1. Inputting audio to the mixer

(3) Press the OFF button.

The D32XD/ D16XD provides eight channels of analog input

(sixteen channels if the optional 8-channel analog input

board is installed) and one digital input jack (two if the op-

tional ADAT I/ O board is installed).

(4) When the display indicates “Completed,” press the

OK button.

The dialog box will close, and you will return to the

“EditSong” tab page.

The audio signals coming from devices connected to these

jacks can be assigned to the mixer channels and recorded.

Audio from the internal rhythm tone generator or the CD-R/

RW can also be assigned to the mixer channels.

(5) Verify that the lock symbol “ ” is no longer displayed

for the current song.

Saving a song

Here’s how to assign each input to a mixer channel and check

the audio signal.

Since the D32XD/ D16XD automatically saves song data and

parameters when you perform the shut-down operation or

when you select a song, it is not absolutely necessary for you

to save manually.

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 D32XD/ D16XD in an environment

where the power supply is unreliable.

1-1. Analog input

You can connect audio sources such as guitars, keyboards, or

mics to the analog input jacks.

Inputting audio from a guitar

Connecting a guitar to the GUITAR IN jack and assigning

it to mixer channel 1.

(1) Connect the guitar.

(1) In the SONG, “EditSong” tab page, press the Save

Now button to display the Save Song dialog box.

Lower the MASTER fader, and then connect the guitar

to the GUITAR IN jack.

(2) Verify the drive name and song number of the song

you will save.

(2) Select INPUT 1 as the audio source.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page.

• Use the

buttons to set the CH1 “SOURCE” to

“1”. You can also use the value dial or the +/– keys to

make your selection.

(2)

(3)

The GUITAR IN jack is shared with the INPUT 1 jack. Spec-

ify its input channel and adjust its input level as INPUT 1.

(3) To save the song, press the Yes button.

If you decide to cancel, press the No button to close the

dialog box.

(4) When the display indicates “Completed,” press the

OK button.

The dialog box will close, and you will return to the

“EditSong” tab page.

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(5) Check the audio.

D16XD

(2)

• Set the channel 1 fader to unity gain (0 dB).

• Access the MIXER, SOLO/MONITOR, “Monitor”

tab page.

• Select “Master LR” and turn it on (highlighted).

• Gradually raise the MASTER fader and the PHONES

VOLUME 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

OUT jacks.

D32XD

(2)

(3) Assign the input to mixer channel 1.

• Set the CH ON/SOLO mode key to CH ON (key lit

green), and turn the channel 1 CH ON/SOLO key on

(key lit orange).

• Set the channel 1 REC/PLAY key to REC (key lit red).

Inputting audio from a CD

(4) Adjust the input level.

Assigning audio from the internal CD-R/ RW to mixer

channels 1 and 2.

• Press the METER key to display the Meter Trk View

screen.

(1) Select the internal CD-R/RW as the audio source.

• Press the Meter Trk Type button to display the Meter

Trk Type dialog box.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page.

• For “Select Level Meter Position,” select “CH-Input”

as the level meter mode. Then press the OK button to

return to the previous screen.

• Press the Select button, and in the Source select dia-

log box choose “CD.”

• The “Obey Copyright Rules” message will appear.

Carefully read “COP Y RIG H T W AR N I N G” (→p .iii) in

the owner’s manual, and if you accept the terms, press

the OK button.

• 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.

Select the channel 1 “SOURCE,” and use the

buttons to select “CD L.” You can also use the value

dial or the +/– keys to make your selection.

In the same way, select “CD R” for channel 2.

• If the input is too loud, turn on the PAD key.

• The level meter in the Meter Trk 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.

(2) Assign the input to mixer channels 1 and 2.

• Set the CH ON/SOLO mode key to CH ON, and set

the channel 1 and 2 CH ON/SOLO keys to on (keys lit

orange).

When adjusting the input level, you may find it helpful to set

a longer “Peak Hold Time” in the Meter Trk Type dialog

box.

• Set the channel 1 and 2 REC/PLAY keys to REC (key lit

red).

D16XD

(3) Play the CD.

• Access the CD, CD PLAYER, CD Player page.

• Press the play (

) button.

D32XD

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(4) Adjust the input level settings.

1-2. Digital input

• Press the METER key to display the Meter Trk View

screen.

The D32XD/ D16XD lets you input and record digital sources

from the S/ P DIF or ADAT inputs.

• Press the Meter Trk Type button to display the Meter

Trk Type dialog box.

You can input a digital source only if its sampling frequency

matches the sampling frequency of the currently selected song.

• In “Select Level Meter Position,” set the level meter

mode to “CH-Input,” and press the OK button to

return to the previous screen.

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.

• The CH1 and 2 level meters will move in response to

the input.

You cannot input from ADAT into a 96 kHz/24-bit song.

When making digital input settings for S/P DIF or ADAT, 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.

(5) Check the audio.

• Set the channel 1 and 2 faders to unity gain (0 dB).

• Access the MIXER, SOLO/MONITOR, “Monitor”

tab page.

• Turn “Master LR” on (highlighted).

Inputting the digital audio signal from a CD or DAT

• Gradually raise the MASTER fader and PHONES

VOLUME knob or MONITOR LEVEL knob, and ver-

ify that you hear the sound from your headphones or

your monitor system connected to the MONITOR

OUT jacks.

Connecting the digital output of your external CD player

to the S/ P DIF IN jack, and assigning it to channels 1 and

(1) Connect your CD player.

Lower the D32XD/ D16XD’s MASTER fader, and use an

optical digital cable to connect the digital output of your

CD player to the S/P DIF IN jack.

(2) Specify the S/P DIF inputs as the digital audio source.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page.

D16XD

(2)

D32XD

(2)

• Press the Select button, and in the Source select dia-

log box select “S/P DIF.”

• Adjust the synchronization settings. Add a check in

the “Change Sync source S/P DIF” check box.

The “Obey Copyright Rules” message will appear.

Carefully read “COP Y RIG H T W AR N I N G” (→p .iii) in

the owner’s manual, and if you accept the terms, press

the OK button.

(2)

• Select the channel 1 “SOURCE,” and use 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) Assign the input audio to mixer channels 1 and 2.

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• Set the CH ON/SOLO mode key to CH ON, and turn

(3) Adjust the synchronization settings.

the channel 1 and 2 CH ON/SOLO keys on (keys lit).

• Access the SYSTEM, “Word Clock” tab page.

• Set the channel 1 and 2 REC/PLAY keys to REC (keys

lit red).

• Press the Clock Source button to display the Clock

Source dialog box.

(4) Adjust the input level settings.

• If you want to use your ADAT device as the synchro-

nization clock master, set Word Clock Source to

“ADAT.”

• Press the METER key to display the Meter Trk View

screen.

• Press the OK button to close the dialog box.

• Press the Meter Trk Type button to display the Meter

Trk Type dialog box.

(4) Assign the input audio to mixer channels 1–8.

• In “Select Level Meter Position,” select “CH-Input”

as the level meter mode, and press the OK button to

return to the previous screen.

• Set the CH ON/SOLO mode key to CH ON, and turn

the channel 1–8 CH ON/SOLO keys on (keys lit).

• Press the track 1–8 REC/PLAY keys to set them to REC

(key lit red), and start the Playback on your ADAT

device.

• When you play back your CD player, the CH 1 and 2

level meters will move in response to the input.

(5) Check the audio.

(5) Adjust the input levels.

• Set the channel 1 and 2 faders to unity gain (0 dB).

• Press the METER key to display the Meter Trk View

• Access the MIXER, SOLO/MONITOR, “Monitor”

screen.

tab page.

• Press the Meter Trk Type button to display the Meter

• Select “Master LR,” and turn it on (highlighted).

Trk Type dialog box.

• Gradually raise the MASTER fader and PHONES

VOLUME knob or MONITOR LEVEL knob, and ver-

ify that you hear the sound from your headphones or

your monitor system connected to the MONITOR

OUT jacks.

• In “Select Level Meter Position,” select “CH-Input”

as the level meter mode, and press the OK button to

return to the previous screen.

• When you start your ADAT device, the CH1–8 level

meters will move in response to the input.

Inputting the digital audio signal from an ADAT

device

1-3. Sub input

The audio sources from the INPUT 1–8 jacks can be sent to

the sub-mixer and output directly to the master bus, inde-

pendently of being input to the mixer.

Assigning eight sources from an ADAT device to channels

1–8.

The optional ADAT I/O board must be installed (→p.178).

Sub Mixer 1-8 corresponds to INPUT 1-8 jacks respectively. If the

8-channel analog input board is installed, Sub Mixer 9-16 will be

available and will correspond to INPUT 9-16 jacks. If the ADAT

I/O board is installed, Sub Mixer 17-24 will be available and will

correspond to the ADAT INPUT.

ADAT input cannot be assigned if the current song is 96 kHz/24-

bit.

(1) Connect your ADAT device.

Lower the D32XD/ D16XD’s MASTER fader, and use an

optical digital cable to connect the ADAT OUT jack of

your ADAT device to the D32XD/ D16XD’s ADAT IN

jack.

Here are some ways in which you can use this:

• You can add external input sources to the recorded sounds

that are playing back.

(2) Specify the ADAT input as the digital audio source.

• You can apply external effects to the audio signal sent

from the AUX OUT jacks, and send the processed signal

via the sub-mixer to the master bus.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page.

• Select the channel 1 “SOURCE,” and use the

buttons to select “A1.” You can also use the value dial

or the +/– keys to make your selection.

Inputting audio to the INPUT 1 jack, assigning it to sub-

mixer 1, and outputting the audio.

(1) Connect an audio signal to the INPUT 1 jack.

(2) Adjust the sub-mixer settings.

In the same way, select “A2”–“A8” for channels 2–8.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“SubMix1–8” tab page.

D16XD

(2)

• Since you are inputting audio to the INPUT 1 jack,

press the Sub Mixer 1 ON button.

The “SubMix9–16” and “SubMix1724” tab pages are avail-

able only if the optional 8-channel analog input board and

ADAT I/O board are installed.

D32XD

(2)

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(3) Check the input to the sub-mixer.

(5) If you want the adjacent Comp channel to have the

same settings, press the Link button to display the

Select Link dialog box.

• Set LEVEL, PAN, and EQ in the same way as when

making settings for the ordinary mixer.

Sub mixer 13–16 EQ and sub mixer 17–24 are not available

for 96 kHz/24-bit songs.

• Verify that you hear the input source through your

headphones or monitor system.

1-4. Analog compressors

You can use the analog compressors to prevent distortion

from being caused by excessive input levels prior to digital

conversion.

There are fifty preset programs containing analog compres-

sor settings, and another fifty user-writable programs in

which you can store your own settings, giving you a total of

one hundred compression programs.

• Press the button for the channel you want to link, and

press the OK button.

• The settings of the odd-numbered channel will be cop-

ied to the even-numbered channel.

• The knobs of the odd-numbered and even-numbered

channels will be linked; operating either side will

affect both channels.

You can store your own settings in a user compression pro-

gram, and recall it in the same way as a preset program.

Saving your analog compressor settings (Comp Pro-

gram)

The analog compressors are particularly effective in cases

such as the following:

(1) Use the MIXER, “ANALOG COMP,” “Comp1-8” tab

page to adjust the compressor.

• If the input material ﬂuctuates widely between low and

high levels, adjusting the level according to the high por-

tions will make the volume too low when a low-level por-

tion follows. In such situations, use compression to hold

down the volume of the high-level portions and boost the

low-level portions, making the volume more consistent.

(2) Press the Store button to display the Store Program

dialog box.

(5)

(3)

(4)

• When inputting a vocal from a mic, compression can be

used to prevent the peaks from clipping during climactic

passages or shouts.

(6)

• Compression can be used to enhance the sound of a gui-

tar, making it more cohesive.

Due to the characteristics of analog circuitry, it will take approxi-

mately 15 minutes after power-on for the value of the parameter

settings to stabilize.

(3) Select the compressor channel whose settings you

want to store.

Press the cell to highlight it, and use the value dial (or

the +/– keys) to make your selection.

Using the analog compressors

(4) Select the store-destination program number.

Press the cell to highlight it, and use the value dial (or

the +/– keys) to make your selection.

Restraining the maximum level of a guitar connected to

the GUITAR IN jack.

(1) Connect your guitar to the GUITAR IN jack.

Refer to 1-1. Analog input, “i.e. Connecting a guitar to

the GUITAR IN jack and assigning it to mixer channel

1.”

(5) If you want to name or rename the program, press the

Rename button to open the Rename dialog box.

(6) Save the program.

Press the Yes button to save the program.

If you decide not to save, press the No button.

(2) Access the MIXER, “ANALOG COMP,” “Comp1-8”

tab page.

Recalling analog compressor settings

(Comp Program)

(1) Access the MIXER, “ANALOG COMP,” “Comp1-8”

tab page.

(5)

(4)

(2) Press the Recall button to display the Recall dialog

box.

(4)

(3)

(4)

(3)

(5)

(2)

(3) Press the channel 1 ON button to turn it on.

(3) Select the compressor channel where you want use the

program.

Comp channels 1–8 correspond to INPUT 1–8 jacks; i.e., the

comp channel 1 is for the INPUT 1 jack, and comp channel 2

is for the INPUT 2 jack, etc.

Press the cell to highlight it, and use the value dial (or

the +/– keys) to make your selection.

(4) Begin playing the guitar, and view the level curve as

you adjust the compressor.

(4) Select the program you want to use.

Press the cell to highlighted it, and use the value dial (or

the +/– keys) to make your selection.

While watching the OUT level meter, lower the Thresh-

old and adjust the Ratio.

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Alternatively, you can press the popup button beside the

cell to display the Select Comp Program dialog box, and

make your selection there.

2. Audio outputs from the mixer

MASTER OUT L, R

These outputs provide the audio signals from the master bus.

Use the MASTER fader to adjust the volume of the MASTER

OUT jacks and the level of the signal being recorded on the

master track.

MONITOR OUT L, R

Refer to “3-7. Monitor settings” (→p .50).

AUX OUT 1, 2, 3, 4 [*1, 2]

Refer to “3e-3. Aux1 Sen d ” (→p .112).

ADAT OUT

You can select the channels or tracks that will be output to an

ADAT device.

The optional ADAT I/O board must be installed (→p.178).

ADAT output is not possible if the current song is 96 kHz/24-bit.

(1) Connect the cable to the ADAT OUT jack.

(5) Recall the comp program.

Press the Yes button to recall the program.

If you decide not to recall, press the No button.

(2) Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“ADAT.Out” tab page.

D16XD

D32XD

(3) Select the channels or tracks that you want to output to

ADAT Out 1–8.

CH1–8, CH9–16, CH17–24, CH25–32 [*CH1–8, CH9–16]

The signals of CH1–8, CH9–16, CH17–24, or CH25–32

[*CH1–8 or CH9–16] will be output.

The sound with EQ and effects applied will be output

during playback or recording.

Track 1–8, Track 9–16, Track 17–24, Track 25–32

[*Track 1–8, Track 9–16]

The playback of tracks 1–8, tracks 9–16, tracks 17–24, or

tracks 25–32 [*tracks 1–8 or tracks 9–16] will be output.

The sound without EQ or effects will be output during

playback.

S/ P DIF OUT

This jack sends a digital audio version of the same audio sig-

nal as the MASTER OUT L/ R jacks, at the same sampling fre-

quency and bit depth as the current song.

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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

OUT jacks and the level of the signal being recorded on the

master track.

Use the MONITOR VOLUME knob to adjust the volume of

the MONITOR OUT jacks.

For details on effect settings, refer to “Effects” (→p.56).

Use the MONITOR VOLUME knob or PHONES VOLUME

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

Use the PAN knobs to adjust the pan (stereo position) of each

channel.

• If channels are paired, use the odd-numbered channel

fader (→p .49).

• You can store these settings in a scene (→p .52).

• On the D32XD you can record these adjustments as auto-

• You can store these settings in a scene (→p .52).

• If channels are paired, you can select how the PAN knob

will operate. (→p .102)

• On the D32XD you can record these adjustments as auto-

mation (→p .54).

The channel faders have a range from silence (–∞) – unity gain (0

dB) – +6 dB of gain.

3-3. EQ (Equalizer)

Inputting a source at the maximum level

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 D32XD/ D16XD,

make adjustments according to the signal flow described be-

low.

The D32XD/ D16XD 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 1–16) TRIM

This is the ﬁrst adjustment that affects the level of the

input source.

Channel EQ

You can use four-channel full-parametric EQ to adjust the

tone of each channel.

• Channels to which an insert effect is not applied

Adjust the channel EQ in the MIXER, EQ/PHASE/REC [*EQ/

ATT/PHASE], “EQ/ATT” tab page, or in the CH VIEW, “Ch

View” tab page.

Refer to 1-1. Analog input, step (4) (→p .42).

• Channels to which an insert effect is applied

• Access the EFFECT, “InsertEff” tab page, and select

When you operate one of the EQ knobs or keys located at the right

of the LCD screen, the “EQ/ATT” tab page will appear automati-

cally, allowing you to edit the EQ immediately.

However if you are in the CH VIEW “Ch Routing” tab page, you

will make adjustments in the “Ch View” tab page.

the effect for the channel you are adjusting.

• 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.

Applying EQ to an audio input

You can apply EQ to an audio input, and record the EQ’ed

sound.

For details, refer to “4-3. Insert EFF” (→p .119).

Since the signals from the S/P DIF or ADAT jacks are input

at unity gain (0 dB), you do not need to adjust the TRIM.

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.

(3)

(5)

• Access the EFFECT, “InsertEFF” tab page, and use the

InsEffect edit cell to select the effect whose level you

want to adjust.

(4)

• Adjust “Trim” so that the “FX OUT” level meter does

not reach “CLP” when the audio signal is input.

For details, refer to “4-3. Insert EFF” (→p .119).

3. Attenuator

Finally, applying EQ may increase the volume level,

causing the sound to distort. In this case, make the fol-

lowing adjustment.

(6)

(1) Input an audio signal. (→p .42 “1. Inputting audio to

the mixer”)

• Access the MIXER, EQ/PHASE/REC [*EQ/ATT/

PHASE], “EQ/ATT” tab page, use the CH SELECT

keys to select the channel that you are inputting, and

set the REC/PLAY key to REC.

(2) Access the MIXER, EQ/PHASE/REC [*EQ/ATT/

PHASE], “EQ/ATT” tab page, and make sure that the

REC/PLAY key of the channel whose EQ you want to

adjust is set to REC (key lit red).

• Adjust “ATT” so that the “PRE” level meter does not

reach “CLP” when the audio signal is input.

(3) Press the appropriate CH SELECT key, and make sure

that it is set to “IN.”

For details, refer to “3d-1. EQ/ ATT” (→p .109).

(4) Set the level meter to “IN/PRE.”

(5) Use the ON/OFF button to turn on the EQ.

If this is off, the EQ will not be applied.

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(6) Use the EQ knobs to adjust the EQ. (→p .109 “3 d -1. E Q /

3-4. EQ library (Storing and recall-

ing EQ settings)

You can store channel EQ settings in the EQ library and recall

them as desired.

ATT”)

If the level meter indicates clipping, select the ATT knob icon and

adjust it so that clipping does not occur.

A total of one hundred EQ settings are available; 50 presets

and 50 user-writable settings.

Applying EQ to the playback

(1) Play back the song. (→p .68 “2-1. N ormal playback”)

(2) Access the MIXER, EQ/PHASE/REC [*EQ/ATT/

PHASE], “EQ/ATT” tab page, and make sure that the

REC/PLAY key of the channel whose EQ you want to

adjust is set to PLAY (key lit green).

Storing EQ settings

(1) Adjust the EQ settings as desired.

Refer to “Channel EQ” on the previous page.

(2) Access the “EQ Library” tab page, and press the Store

button.

(3) Press the appropriate CH SELECT key, and make sure

that it is set to “TR.”

The EQ settings that will be stored are the EQ settings of

the channel whose CH SELECT key is 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).

(4) Set the level meter to “IN/PRE.”

(5) Use the ON/OFF button to turn on the EQ.

If this is off, the EQ will not be applied.

(6) Use the EQ knobs to adjust the EQ. (→p .109 “3 d -1. E Q /

ATT”)

(3) If you want to rename the settings, press the Rename

button to display the Rename dialog box.

For the renaming procedure, refer to “1-2. Renaming a

song” (→p .36).

If the level meter indicates clipping, select the ATT knob icon and

adjust it so that clipping does not occur.

(4) In the library number cell, select the desired save-des-

tination.

Master EQ

You can use an eight-band full-parametric equalizer to adjust

the tone of the master bus.

Then press the Yes button to save the EQ settings.

If you decide not to save, press the No button.

(1) Access the MIXER, EQ/PHASE/REC [*EQ/ATT/

PHASE], “MasterEQ” tab page.

Recalling EQ settings

(1) Access the “EQ Library” tab page, and select (high-

light) the EQ settings that you want to use.

(2) Press a CH SELECT key to select the channel for which

you want to use these EQ settings.

(3) Press the Recall button to recall the EQ settings.

Verify the recall-destination channel in the Recall dialog

box, and press the Yes button. If you decide not to recall,

press the No button.

(3)

(2)

(4)

(4) Return to the “EQ/ATT” tab page, check the EQ set-

tings that were recalled, and make adjustments as nec-

essary.

(1)

3-5. Pairing

(2) Use the ON/OFF button to turn on the master EQ.

If this is off, the master EQ will not be applied.

By specifying adjacent odd-numbered and even-numbered

channels (1–2, 3–4, 5–6…31–32 [*15–16]) as a pair, you can ad-

just the values of both channels simultaneously by editing

the value of the odd-numbered channel.

(3) Select the channel whose EQ you want to adjust.

Press the L button if you want to adjust the tone of the

left channel, or press the R button to adjust the tone of

the right channel.

This is convenient when you want to adjust the mixer set-

tings for a stereo source or track.

The following settings can be paired.

If you press the Link button, adjusting the EQ settings of one

channel will automatically set the other channel to the same

values.

• CH ON key

• REC/PLAY key

• EQ/ATT

(4) Select the EQ knob icons, and use the value dial (or the

+/– keys) to adjust the master EQ settings. (→p .111 “3 d -

4. M aster EQ”)

• REC/EFF/AUX SEND

• PAN knob

You cannot use the EQ knobs and keys at the right of the LCD

screen to adjust the master EQ.

• Channel fader

• Group settings (D32XD only)

You can select how the PAN knobs will operate when channels are

paired.

(1) Access the MIXER, PAIR/GROUP [*PAIR], “Ch Pair”

tab page.

(2) In Select Pair Ch, select the channels that you want to

pair.

Press one of the “1 2”–“31 32” [*15 16] buttons to

change the symbol to “ ”.

If you want to disable pairing, press the paired button to

change the symbol to “ ”.

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CH ON groups

D16XD

(2)

(1) Access the MIXER, PAIR/GROUP, “ChOnGroup” tab

page.

(2) Use the radio buttons to select a group (E–H) for each

CH ON button.

(3) Use the Ch On Group On buttons E–H to enable the

desired groups.

D32XD

(2)

You may enable more than one group.

(2)

(3)

(3) Use the Pan Mode radio buttons to select how the PAN

knob will operate for paired channels (→p .102).

(3)

3-6. Group settings (D32XD)

On the D32XD, 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. This can be

extremely useful. As an example, you could assign all the

Drum tracks to one group, and use a single fader to bring all

the drum tracks up and down in the mix.

In addition to fader groups, you can also assign each channel

to a CH ON group. Switching the CH ON key of any channel

in that group will switch all channels in the group. In this

way, if you had three tracks of backing vocals, you could turn

all three off with a single key.

3-7. Monitor settings

Here’s how to select the audio signal that will be output from

MONITOR OUT and PHONE.

(1) Connect your monitor system.

You can either connect ampliﬁed speakers or a similar

system to the MONITOR OUT L/R jacks, or connect

headphones to the PHONES jack.

(2) Select the monitor source.

Access the MIXER, SOLO/MONITOR, “Monitor” tab

page, and select the source that you want to monitor.

Fader groups

(1) Access the MIXER, PAIR/GROUP, “FaderGroup” tab

page.

(2) Use the radio buttons to select a group (A–D) for each

channel fader.

(3) Use 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.

(2)

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 .51 “3-9. Solo settings”).

(3)

Cue

Monitor the volume and pan as set in the cue mix, inde-

pendent of the channel faders and PAN knobs (→p .51

“3-8. Adjusting the cue level”).

Rhythm

If this is on, the rhythm sound will be output only from

the monitor bus. In this case, the TEMPO, “SetUp” tab

page Rhythm Assign setting will be set to “Monitor.”

This is convenient when you want to monitor only the

rhythm, such as during a live performance.

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You can also turn “Rhythm” on by setting the TEMPO,

“SetUp” tab page parameter Rhythm Assign to Monitor.

As an alternative to using the CH ON/SOLO key to select so-

lo, you can press 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 .113).

(3) Adjust the monitor volume.

The monitor volume is adjusted by the MONITOR

LEVEL knob for the MONITOR OUT L/R jacks, and by

the PHONES VOLUME knob and MONITOR LEVEL

for the PHONES jacks.

Soloing more than one channel

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page.

3-8. Adjusting the cue level

(2) Use the Mode radio buttons to select “Mix.”

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 OUT L/R jacks

and the PHONES jacks.

(3) Use steps (3) and (4) in “Soloing just one channel”

(above) to select the channels that you want to solo.

Cancelling solo

(1) Select cue as the source for monitoring.

In the MIXER, SOLO/MONITOR, “Monitor” tab page,

select “Cue” and turn it on (highlighted).

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page, and turn off the button(s) that you selected for

soloing.

If you have made “Solo” settings, defeat “Solo” before you

select Cue.

If you want to clear all solo settings, press the Clear All

button.

(2) Adjust the cue level.

You can also cancel Solo by setting the CH ON/SOLO mode

key to CH ON mode.

Access the MIXER, SOLO/MONITOR, “CueLevel” tab

page. Select the icon for each channel, and use the

buttons to adjust the volume level and pan. You

can also use the value dial or the +/– keys to make your

selection.

(2) Verify the setting.

In the “Monitor” tab page, verify that Solo is now off.

Sending the soloed audio from the master bus

D16XD

D32XD

If you want to, you can send the soloed audio signal to the

MASTER OUT L/R jacks. Use this when you want to hear

the soloed audio through the monitor system connected to

the MASTER OUT L/R jacks.

In the MIXER, SOLO/MONITOR, “Solo” tab page, turn the

Solo→Master button on (highlighted).

3-10. Muting a channel

You can use the CH ON/SOLO keys to mute individual

channels.

(1) Set the CH ON/SOLO mode key to CH ON.

The CH ON/SOLO keys of all channels will light.

(2) When you press the CH ON/SOLO key of a channel, it

will be muted (the key will be dark).

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 OUT L/R jacks and

the PHONES jacks.

Soloing just one channel

(1) Access the MIXER, SOLO/MONITOR, “Solo” tab

page.

(2) Use the Mode radio buttons to select “Last.”

(3) Press the CH ON/SOLO mode key to select SOLO

mode (key lit orange).

The CH ON/SOLO keys of all channels will blink.

(4) Press the CH ON/SOLO 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.

(5) Listen to the soloed signal.

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If Automation is “ON,” you will only be able to recall the

scene that is registered at the current location.

4. Storing/ recalling 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.

(2) In the scene list displayed in “EditScene” tab page,

select (highlight) the desired scene, and press the

Recall button.

The selected scene will be recalled.

Default Scene is automatically registered at the beginning of

the song when you create a new song (→p .36), 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.

D32XD

Since the D32XD uses moving faders, the faders will auto-

matically move to the appropriate positions when you recall

a scene. You can view the other parameters in the SCENE,

“Mix View” tab page to see how they have changed.

The faders of the D16XD do not move.

D16XD

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 .54 “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

Effect return, MASTER fader, AUX level, master EQ

(1) Access the SCENE, “EditScene” tab page, and select

(highlight) the scene you want to rename.

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) Press 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 .97).

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 select

(highlight) the scene you want to delete.

4-1. Storing a scene

(1) Adjust the mixer settings.

(2) Press the Delete button to display the Delete Scene

dialog box.

Adjust the channel faders, PAN knobs, EQ, and effects to

the settings that you want to store.

(3) Press the Yes button to delete the scene.

If you press the No button, you will return to the

“EditScene” tab page without deleting the scene.

(2) Press the STORE key.

The Stored Time dialog box will appear.

If you decide not to store the scene, press the Exit button.

If you want to delete all scenes, press the Select All button to

turn it on, and then press the Yes button to delete all the

scenes stored for this song.

The scene contains the mixer settings and the location at the

point you press the STORE key.

(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.

4-2. Recalling a scene

Here’s how to recall mixer settings that you registered as a

scene.

(1) Access the SCENE, “Automation [*EditScene]” tab

page, and turn Automation “OFF.”

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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 knobs, EQ, and effect

parameters to edit the scene.

Access the SCENE, “SceneFilter” tab page, and press the

buttons for the channels and controls for which you want to

disable scene recall.

Parameters whose buttons are highlighted will not be re-

called.

(3) Press the OverWrite button to display the Over Write

Scene dialog box.

(4) When you press the Yes button, your changes will be

overwritten onto the scene of that number.

If you press the No button, you will return to the

“EditScene” tab page without making any changes.

4-6. Specifying parameters that will

be disabled for an individual

scene

4-8. Controlling scenes via MIDI

MIDI output

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.

A scene change (program change) message is transmitted

when the scene changes.

If the MIDI/SYNC, “MIDI/MMC” tab page Program

Change button is on (highlighted), messages will be output

in the following cases.

(1) Recall the scene.

As described in “4-2. Recalling a scene,” recall the scene

that you want to edit.

• When you select a scene in the SCENE, “EditScene” tab

page.

(2) Press the Disable Prm button to display the Disable

Param dialog box.

• If automation (→p .54) is turned on, when the scene

changes during playback or recording

MIDI input

If the D32XD/ D16XD receives a scene change (program

change) message when automation (→p .104 , 108) is turned

off, it will switch to the scene of the corresponding number.

(1) Connect your external MIDI device (→p .93).

(2) In the MIDI/SYNC, “MIDI/MMC” tab page, set “Glo-

balCh” to the channel of the external MIDI device that

will be transmitting the program change message.

Turn the MIDI/SYNC, “MIDI/MMC” tab page Program

Change button on (highlighted).

(3) Access the SCENE, “Automation [*E d itScene]” tab

page, and turn Automation “OF F .”

(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/ 3/ 4 [*1/ 2] Level,

Effect, Master EQ, and Master Fader parameters, you

can disable settings of the highlighted buttons regardless

of the selected channel.

(4) Send program change messages from your external

MIDI device to recall scenes on the D32XD/D16XD.

When the D32XD/ D16XD receives program change #0,

scene “000” will be recalled.

Program change messages #0–100 correspond to scenes

“000”–“100.”

Fader, CH ON, Pan, EQ, EFF 1/2, and AUX 1/2/3/4 [*1/2]

filter settings apply only to the channels that are disabled

(highlighted).

(4) Press the OK button to close the dialog box.

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5. Automation

Automation is a function that automatically modifies mixer

settings as the song location changes during playback.

The D32XD provides two types of automation; scene auto-

mation and event automation.

The D16XD provides scene automation.

If automation is turned on, the D32XD’s moving faders will

automatically move up and down when you replay the

moves saved using event automation, or when you switch to

a scene whose fader values differ. Use the SCENE,

You can also change the location in the “EventList” tab page.

5-2. Event automation (D32XD)

“MixView” tab page to see changes that occur in other pa-

rameters, or to see fader movements on the D16XD.

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

• CH ON key 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.

Since the channel faders and the master fader are moving

faders, they will move automatically according to the record-

ed events. You can use the Undo function to restore recorded

or edited automation events to their state prior to recording

or editing.

Store the scene at the location where you want the mixer settings

to change (→p.52 “4-1. Storing a scene”).

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 param-

eter(s) you intend to record, so that those parameters will be affect-

ed only by the event automation.

(1) Access the SCENE, “Automation [*EditScene]” tab

page, and turn Automation “ON.”

The automation indicator will light.

(2) Play back the song.

Move to the location where you want the playback to

start, and press the PLAY key.

Recording mixer operations

When playback reaches the location at which the scene

was stored, that scene will be recalled.

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)

Storing a scene at a different location

You can recall a stored scene and store it again at a different

location.

(1) Recall the scene that contains the mixer settings you

want to store again at a different location.

As an example, here’s how to use “Over Write” to record

events while the song plays back.

For the procedure, refer to “4-2. Recalling a scene.”

(1) Select the song that you want to use to record mixer

operations.

(2) Move to the location at which you want to store the

scene (→p .38).

(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.

(3) Store the scene.

For details, refer to “4-1. Storing a scene.”

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.

• 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.

(1) Access the SCENE, “EditScene” tab page, and select

(highlight) the desired scene.

(3) Access the Scene, “Automation” tab page, and select

the channels for which you want to record mixer opera-

tions.

(2) Press the EditLoc button to display the Edit Scene

Location dialog box.

(3) Edit the location, and press the Yes button to ﬁnalize

the change.

If you want to record events for a channel, press its but-

ton to make it indicate “ ”.

If you press the No button, you will return to the

“EditScene” tab page without making any change.

(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.

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If you select Send, events will be recorded for the Send key

(INTERNAL 1/2, AUX 1/2/3/4) that is lit when you begin re-

cording.

(1) Access the SCENE, “Event List” tab page.

(2) Press 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 press the

OK button.

(3)

(4)

(7)

(6)

(5)

(4)

(3)

(2)

(6)

(5) If you selected “Fader,” you have the option of also

recording Master fader operations.

If desired, press the Master Fader button to make it indi-

cate “ ”.

(6) Press the Mode button to access the Event Rec mode

dialog box.

(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, press the Set View button and use the

Set View dialog box to select the desired parameter

(→p .105).

Select “Overwrite,” press the OK button.

(7) Turn “Automation” ON (Rec).

The automation indicator will blink.

(4) Press the Edit button to open the Edit Event dialog box.

The parameter, value, and location of the selected event

will be displayed in detail.

(8) When you play back the song, event recording will

begin.

Adjust the mixer settings for the events you are record-

ing.

• Use the value dial (or +/– keys) to select (highlight)

the item you want to edit.

(9) When you stop the song, event recording will end.

Automation will automatically switch ON (Play), and

the automation indicator will light.

If a scene is selected, you can edit only the location.

In this screen as well, you can select the move cell

and use the value dial (or +/– keys) to change the event

being 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 press the Undo button to return to

the previous state. If the Undo button is displayed as Redo, you

can press it to cancel the Undo.

Playing back the events

Here’s how to play back the recorded events as the song

plays.

(4)

(5)

(1) Select a song that contains recorded events.

(2) Access the SCENE, “Automation” tab page, and set

“Automation” to “ON (Play).”

The automation indicator will light.

(3) When you play back the song, the recorded events will

play back as the song progresses.

(5) Press the OK button to execute the edit and update the

event list.

If fader events are recorded, the faders will move upward and

downward accordingly.

If you decide not to execute, press the Cancel button.

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, “3c-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.

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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 D32XD/ D16XD provides up to twenty-four [*eight] in-

sert effects that you can insert 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.

Effect programs come in various different sizes. The size of

an effect program will determine how much DSP power it

uses. The total DSP power available for all of the effects is di-

vided up into 32 [*16] “blocks.” The number of blocks of DSP

power used by an effect program is referred to as the Effect

Size - size-1, size-2, etc. As an example, the type of effect pro-

grams that can be used to provide 24 [*eight] simultaneous

insert effects are called “size-1” programs. Relative to this,

other more complex effect programs are categorized as “size-

2” or “size-4” programs.

The D32XD provides two effect routes; “Routing A” and

“Routing B.”

“Routing A” consists of insert effects 1–8, master effects 1

and 2, and a final effect.

“Routing B” consists of insert effects 9–24.

The D16XD provides one route, consisting of insert effects 1–

8, master effects 1 and 2, and a final effect.

The number of simultaneously available effects will be different for

a 96 kHz/24-bit song (→“H o w D SP power is allocated to the ef-

fec t s”).

The size of each effect program is shown by an icon “ ” dis-

played at the right of the effect name.

Guitar

How DSP power is allocated to the effects

Keyboard

On the D32XD/ D16XD, the term “DSP power” refers to the

total processing capability that can be used to process effect

programs.

Mic

Effects of the D32XD

DSP power

D16XD

Insert 1–8, Master 1/2, Final

Routing A

100%

Insert effects 1–8

Play

Insert effects

Rec

DSP power

Insert 9–24

D32XD

Routing B

Routing A

Insert effects 1–8

Each track

of the recorder

Effects of the D16XD

Insert effects 9–16

Routing B

Master

effects

DSP power

EFFRouting

Insert 1–8, Master 1/2, Final

Insert effects 17–24

100%

Master track

of the recorder

D32XD

Final

effect

You can use a total of up to 27 effects (the total of insert, mas-

ter, and final effects). However, you are limited to simultane-

ously using no more than 16 effects within Routing A and no

more than 16 effects within Routing B (if the song’s sampling

frequency is 44.1 or 48 kHz). This means that the available

number of effects will depend on the combination of effect

sizes.

There is enough DSP power to process “16 sizes-worth” of ef-

fect programs each for Routing A and Routing B. However

for a 96 kHz/ 24-bit song, the DSP power will process only “8

sizes-worth” of effect programs for each routing.

A total of eleven effects can be used within Routing A, and a

total of sixteen within Routing B.

Rec

to the master bus

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.

A specific amount of DSP power is allocated to the insert,

master, and final effects, and the breakdown for each type of

effect is shown in the following table.

Each song can store its own 32 song effect programs.

You cannot rewrite the preset effect programs. However, a preset

effect can be recalled, edited and stored to a user program.

Number of effects and DSP power for each variety of

effect

Maximum number of

effects that can be used

simultaneously

Maximum size assignable

to one effect

Variety

Routing A + Routing B

Insert

Master

Final

8 + 16

2 + 0

1 + 0

Total

11 + 16

16 + 16 (8 +8)*

* For a 96 kHz/ 24-bit song, the maximum total size is 8 + 8.

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If you use a size-8 effect for insert effect 1, insert effects 2–8 will

be unavailable. Use Routing B insert effects 9–24.

1. Using insert effects

You use insert effects by inserting them into a mixer channel

If you use a size-8 effect for insert effect 8, the master and final ef-

fects will not be available. So that the master effects and final ef-

fects will be available, select the size-8 effect for Routing B insert

effect 9, and select a size-1 effect for insert effect 8.

to process the sound of an input source or audio track.

D32XD

You can use a maximum of 24 insert effects simultaneously.

In Routing A, you can use a total of 8 sizes-worth of insert ef-

fect if you are using the master and final effects.

Since Routing B is only for insert effects, you can use up to a

total of 16 sizes-worth of effects.

When you make effect assignments, pay attention to the DSP

power indicator in the “Routing A” or “Routing B” tab pag-

es.

For details, refer to “Effects that can be used simultaneously”

(→p .117 , 118) in the reference section.

Number of simultaneously usable insert effects and their size

Routing A

D16XD

There is enough DSP power to process “16 sizes-worth” of ef-

fect programs (for a 44.1/ 48 kHz song). However for a 96

kHz/ 24-bit song, the DSP power will process only “8 sizes-

worth” of effect programs.

Final

Insert

Master

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 (for a 44.1/ 48 kHz song), the number

of effects that can be used simultaneously will change, de-

pending on the combination of effect sizes.

Routing B

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Insert

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.

Effect program size (conceptual)

Size-1

Size-2

Size-4

Number of effects and DSP power for each variety of

effect

If you use a size-4 effect for insert effect 1, and a size-4 effect for

insert effect 5, you will be able to use the master and final effects,

as well as sixteen insert effects (9–24) in Routing B.

Maximum number of

effects that can be used

simultaneously

Maximum size assignable

Variety

to one effect

Insert

Master

Final

Routing A

Inser⁵t

Master

Final

Total

16 (8)*

Size-4

Available

* For a 96 kHz/ 24-bit song, the maximum total size is 8.

Routing B

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

If you use a size-8 effect for insert effect 1, insert effects 2–8 will

be unavailable.

Insert

If you use a size-4 effect for master effect 1, master effect 2 will be

unavailable.

Available

When assigning effects, pay attention to the DSP power indi-

cator in the “EFFRouting” tab page to see how much DSP

power is available.

If you use size-2 effects for insert effects 1, 3, and 5, and a size-8

effect for insert effect 7, you will be able to use sixteen insert effects

(9–24) in Routing B but will not be able to use the Routing A mas-

ter effects and final effect. In such cases, you should assign the

size-8 effect to Routing B insert effect 9, and not assign an effect

to insert effect 7; this way, the master effects and final effect will

also be available.

For details, refer to “Effects that can be used simultaneously”

(→p .121) in the reference section.

Routing A

Mas²ter

Final

Insert

Size-2 Size-2 Size-2

Size-8

Master and Final are not available

Routing B

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Insert

Available

Routing A

Final

Available

Insert

Master

Size-2 Size-2 Size-2

Routing B

14 15 16 17 18 19 20 21 22 23 24

¹I¹ns¹e²rt ¹³

Size-8

Available

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For a 96 kHz/ 24-bit song, the DSP power is limited to 8 sizes-

worth for Routing A and 8 sizes-worth for Routing B; this

limits the number of effects you can use. (→p .56 “How DSP

power is allocated to the 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.

D16XD

The D32XD/ D16XD provides two master effects (MstEFF1

and MstEFF2), and these can be used simultaneously. How-

ever if you use a size-4 effect, the available processing power

of both master effects will be used, so only the master effect

1 settings will be applied.

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

Effect program size (conceptual)

Size-1

Size-2

Size-4

Example 1

Example 2

Assign a size-2 program

to master effect 1

Assign a size-4 program

to master effect 1

If you use a size-2 effect for insert effect 1, only six more insert ef-

fects (3–8) will be available.

Master

effect 1

Master

effect 2

Master

effect 1

Master

effect 2

Size-4

Size-2

Available

Size-2

To adjust the depth of the effect, adjust the send level from

each channel.

Available

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, “Routing

A [*EFFRouting]” tab page.

For details on how to use the master effects, refer to Quick

Size-1

Size-4

Start. (→p .30)

Available

In the case of a 96 kHz/ 24-bit song, the DSP power will proc-

ess only “8 sizes-worth” of effect programs, so the number of

programs useable for each effect will be limited. (→p .56

“How D S P p ower is allocated to the effects”)

3. Using the ﬁnal effect

The D32XD/ D16XD provides one stereo-in/ stereo-out final

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.

1-1. Applying insert effects during

recording

You can apply an insert effect to an audio input source con-

nected to the input jack, to the audio being input from the in-

ternal CD-R/ RW drive, or from the built-in rhythm sounds,

and record the sound processed by the effect.

You can select an effect program for the final effect in the EF-

FECT, “FinalEFF” or the EFFECT, “Routing A [*EFFRout-

ing]” tab page.

For details on how to use the final effects, refer to Quick Start.

(→p .32)

For details on how to apply an insert effect on a channel in-

put, refer to Quick Start. (→p .24)

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 apply an insert effect to the track play-

back, refer to Quick Start. (→p .29)

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For a master effect or ﬁnal effect

4. Editing the effects

(1) Access the EFFECT, “MstrEFF1” (or “MstrEFF2”)/

“FinalEFF” tab page.

You can edit the effect programs used by the insert effects,

master effects, and final effect.

(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.

• Press the Store button in the effect tab page to display the

Store Program dialog box.

• Press 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 for each song.

(5)

• Press 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 press the Yes button to store

the effect program.

(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 (InsEFF1–24 [*8]) that you want

to edit.

5. Controlling effects from an

external device

Press the insert effect cell (highlighted), and use the

value dial (or the +/– keys) to select an insert effect 1–24

[*8].

You can use an expression pedal or external MIDI controller

to control the D32XD/ D16XD’s effects in realtime. For details

on the effect parameters that you can control, refer to “Effect

parameter” (→p .152–).

(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, press the popup button

and make your selection.

For a 96 kHz/24-bit song, you cannot control effects from an ex-

ternal device.

(4) If the algorithm contains more than one effect icon,

press 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.

You cannot control insert effects 9–24 of the D32XD from an ex-

ternal device.

Using a pedal or MIDI to control an effect.

If the program consists of only one effect, the displayed

parameters are all that exist.

(1) Connect an expression pedal such as the EXP-2 foot

controller (sold separately) or an external MIDI con-

troller (→p .12).

(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.

(2) Access the SYSTEM, “Control” tab page.

In this example we will use a pedal to control the effect.

In the Control Change area, set the Device cell to

“Pedal.”

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,

“Control” tab page, and set “Control MIDI CH” to the

MIDI channel on which that your external MIDI device is

transmitting.

(6) Use the control knobs located below the LCD screen to

edit the parameter values.

• To edit the value of a parameter, turn the control knob

of the location corresponding to that knob icon.

• To edit the second or lower row of parameter values,

press a knob icon in that row to select it. Now the four

control knobs will correspond to that row.

(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.

• Press the Rename button to access the Rename dialog

box. (→p .36 “1-2. Renaming a song”)

(2)

(3)

• After you have assigned the desired name, press the

OK button.

(3) Select the effect that you want to control.

In the Assign ﬁeld, select the effect (Insert EFF1...8/Mas-

ter EFF 1, 2/Final EFF) that you want to control.

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(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. Press (highlight) this

control icon to display the control-related parameters.

• Turn “Control” on.

• Use the effect knobs to specify the range.

If you want to save these settings, store the program as de-

scribed on “Save Now” (→p.137).

(5)

(6) Operate your expression pedal or external MIDI con-

troller to control the effect parameter you speciﬁed.

6. Using external effects

You can output an effect send signal from the AUX OUT

jacks and use an external effect processor to apply effects.

Then connect the output of your external effect processor to

the INPUT 1–8 jacks and return the effect signal to the master

bus.

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

(1) Connect your external effect processor.

Connect one of the D32XD/ D16XD’s AUX OUT jacks to

the INPUT jack of your external effect processor, and

connect the OUTPUT jacks of the effect processor to the

D32XD/ D16XD’s INPUT 3 jack and INPUT 4 jack.

(2) Send the playback signal to the external effect.

• Access the MIXER, SEND (EFF/AUX [*/REC]), “Aux-

Send” tab page.

• Select the knob icon of the channel that you want to

send to the external effect, and use the

to adjust it.

buttons

• Press 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, INPUT/OUTPUT/CH ASSIGN,

“SubMix 1-8” tab page.

• Adjust the “Level” of each channel to set the return

level, and adjust the “Pan” to set the return pan

(→p .101).

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2. Listening to the rhythm while

recording a performance

Rhythm

The D32XD/ D16XD contains 265 different rhythm patterns

(→p .185 “Rhythm Pattern List”).

You can use these rhythms as a guide, or join several rhythm

patterns to create the drum track for an entire song.

You can listen to a rhythm pattern as a guide while recording

a performance.

You cannot simultaneously record the rhythm using the proce-

dure described below.

(1) Adjust the settings as described in “1. Selecting and

playing rhythms.”

1. Selecting and playing

rhythms

(1) Access the TEMPO, “SetUp” tab page.

(2) Adjust the settings so that you can hear the rhythm

from your monitor system.

In the Rhythm area, use the Assign radio buttons to

select “Monitor.”

(3) Connect your input device or instrument, and begin

recording a performance.

For details, refer to “1. Inputting audio to the mixer”

(→p .42). Press the REC key to enter record-ready mode,

and then press the PLAY key to begin recording. You

will hear the selected rhythm pattern; play along on

your instrument to record your performance.

(4)

(2)

(3)

3. Recording the rhythm

Here’s how to record the D32XD/ D16XD’s internal rhythm

pattern onto a track.

(4)

(5)

Recording the rhythm pattern on tracks 1 and 2

(1) Adjust the settings for recording.

(2) Adjust the settings so that the rhythm sound will be

output from the master bus.

In the Rhythm area, set Assign to “Master.”

• Turn the Rhythm On button on (highlighted).

• In the Rhythm area, set Assign to “CH Input.”

• Select (highlight) the Rhythm “Vol” edit cell, and use

(3) Turn the Rhythm On button on (highlighted).

(4) Specify the tempo, time signature, and rhythm pattern.

the

buttons to set the volume to “100.”

• For this example, use the Tempo Source radio buttons

to select “Manual.”

(2) Specify the input channels.

• Select (highlight) the “Beat” cell, and use the

buttons to specify the time signature.

• Access the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page.

• Select (highlight) the “Rhythm Pattern” cell, and use

• Using the

to “L” (

buttons, set the CH1 SOURCE cell

), and the CH2 SOURCE cell to “R” (

the

buttons to select the rhythm pattern you

want to use.

(3) Record.

You can also press the popup button and choose from a list.

For details, refer to “1-1. Basic recording” (→p .64).

Press the REC key to enter record-ready mode, and press

• Select (highlight) the “Tempo” cell, and use the

buttons to adjust the tempo.

the PLAY key to begin recording.

Instead of the

the +/– keys to adjust the setting.

buttons, you can also use the value dial or

(5) Listen to the rhythm pattern.

• Press the Prev button (highlighted) to preview the

selected rhythm pattern.

• Set the master fader to an appropriate position.

• Select (highlight) the Rhythm “Vol” edit cell, and use

the

buttons to adjust the volume.

Instead of the

buttons, you can also use the value dial or

the +/– keys to adjust the setting.

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4. Setting the tempo

On the D32XD/ D16XD you can specify the tempo three dif-

ferent ways: manual tempo, tempo map, and tempo track.

(2)

You can play the entire song at the same tempo, or make the

tempo change during the song. Alternatively, you can record

tempo data from an external MIDI device and play back ac-

cording to the recorded tempo data.

(3)

(2)

Manual tempo

Here’s how to set the tempo for the entire song, as specified

by the rhythm pattern setting.

(1) Select manual as the tempo source, and adjust the

rhythm settings.

• Access the TEMPO, “SetUp” tab page.

(2)

(3)

• Use the Tempo Source radio buttons to select “Man-

ual.”

• For details, refer to “1. Selecting and playing rhythms”

(→p .61).

(2) When you press the PLAY key to play back the song,

the rhythm pattern will sound at the speciﬁed tempo.

(3) If you want to change the tempo, time signature, or

rhythm pattern during the song, you can add a new

tempo map event.

Tempo map

Tempo maps let you change the tempo, time signature, and

rhythm pattern at various measures throughout the song.

• Press the New button to display the New Map dialog

box.

By using tempo maps to change rhythm patterns, you can

create a drum track for the entire song, including an intro,

breaks, fill-ins, and an ending.

• Specify the tempo in the Tempo cell, the time signa-

ture in the Beat cell, and the rhythm pattern in the

Rhythm Pattern cell.

If you want to record the audio of the rhythm played by the tempo

map you create here, refer to “3. Recording the rhythm” (→p.61).

• Use the Start Meas cell to specify the starting meas-

ure, and the Length cell to specify the number of

measures.

(1) Select the tempo map as the tempo source.

• Access the TEMPO, “SetUp” tab page.

• Press the OK button to add the new tempo map event.

When you add a tempo map event, the tempo map

numbers will be renumbered in sequence starting

from the beginning of the song.

• Use the Tempo Source radio buttons to select “Tempo

Map.”

(2) Specify tempo map “001” at the beginning of the song.

• Access the TEMPO, “TempoMap” tab page.

• By adding tempo map events to switch rhythm pat-

terns, you can put together patterns to create a drum

patterns for an entire song, with intro, ﬁll-in, and end-

ing.

• From the “Tempo Map” list, select (highlight) tempo

map “001:...”

Tempo map “001” sets the tempo at the beginning of the song,

and tempo maps “002”–“200” can be used to change the tem-

po at subsequent measures.

• You can preview a rhythm pattern by pressing the

Prev button.

• Press the Edit button to display the Edit Map dialog

box.

(4) Listen to the tempo map you created.

For details, refer to steps (1) through (3) of “1. Selecting

and playing rhythms” (→p .61)

• Set the Tempo cell to the desired tempo, the Beat cell

to the desired time signature, and select the desired

rhythm pattern in the Rhythm Pattern cell.

Move to the beginning of the song, and press the PLAY

key to play back the song. The rhythm pattern and

tempo will change according to the tempo maps that

you created.

• You can press the Prev button to listen to the rhythm

pattern.

If you press the Link All Map button, all tempo settings of

the tempo map events you created will be changed to match

the current tempo.

Editing a tempo map

If you increase the number of measures, the measure num-

bers of subsequent tempo maps will also increase by the cor-

responding length. If you decrease the number of measures,

the measure numbers of subsequent tempo maps will de-

crease by the corresponding length.

• Use the Length cell to specify the number of measures

that tempo map event “001” will continue.

The starting measure of tempo map “001” cannot be changed

from measure “001.”

(1) Select the tempo map event that you want to edit.

Access the TEMPO, “TempoMap” tab page, and select

(highlight) the tempo map event you want to edit.

• When you have ﬁnished adjusting your settings, press

the OK button.

(2) Edit the settings.

• Press the Edit button to display the Edit Map dialog

box.

• Edit the parameters as desired, and press the OK but-

ton.

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(3) Verify that the settings are correct.

(3) Verify that the tempo map event was deleted as you

intended.

• Access the TEMPO, “TempoMap” tab page to check

Access the TEMPO, “TempoMap” tab page, and check

the tempo map.

Inserting a rhythm pattern by adding a tempo map

event

To create a new tempo map event, access the New Map dia-

log box and press the Insert button to turn it on (highlight-

ed).

If you want to edit the settings, press the Edit button to dis-

play the Edit Map dialog box, and edit the parameters as de-

sired.

Tempo track

This will insert a tempo map event at the specified measure.

The measure number locations of subsequent tempo map

events will be moved backward by the corresponding

number of measures.

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.

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 D32XD/

D16XD song with song data created on a MIDI sequencer in

which the tempo changes continuously.

(1) Verify the location at which you want to insert the

tempo map event.

Access the TEMPO, “TempoMap” tab page, and verify

the current tempo map event. In this example, we will

insert a tempo map event at the beginning.

(2) Create the new tempo map event.

• Press the New button to display the New Map dialog

box.

If MIDI Clock data was not received correctly from your MIDI se-

quencer, recording may stop in the middle of the song.

• Set the parameters.

• Press the Insert button to turn it on (highlighted), and

then press the OK button.

(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

tempo map that begins where the time signature

changes. (→p .62)

(3) Verify that the tempo map event was inserted as you

intended.

Access the TEMPO, “TempoMap” tab page, and check

the tempo map.

Tempo settings will play back in synchronization, but meas-

ures will become incorrectly aligned if the time signature

changes do not match.

Overwriting a tempo map event

If you want to add a tempo map event to switch rhythm pat-

terns, make sure that the Insert button is turned off in the

New Map dialog box before you create the new tempo map

event.

In this case, the tempo map event of the specified measures

will be added, but the overall number of measures will not

change.

(2) Connect the MIDI OUT connector of your MIDI

sequencer to the D32XD/D16XD’s MIDI IN connector.

(3) Set your MIDI sequencer so that it will transmit MIDI

Clock messages.

Refer to the owner ’s manual of your MIDI sequencer.

(4) Specify how you want to record the tempo.

Access the TEMPO, “TempoTrk” tab page, and choose

“MIDI Clock.”

(1) Verify the location at which you want to overwrite the

existing tempo map event.

(5) Record MIDI Clock data.

Access the TEMPO, “TempoMap” tab page, and check

the existing tempo map.

• Press the RecStart button to put the D32XD/ D16XD in

the record-ready state.

(2) Create a new tempo map event.

• Start your MIDI sequencer.

• Press the New button to display the New Map dialog

box.

• When the D32XD/ D16XD starts receiving MIDI Clock

data from your MIDI sequencer, it will indicate

“Receiving MIDI Clock.”

• Set the parameters.

(3) Verify that the tempo map event was replaced as you

intended.

Access the TEMPO, “TempoMap” tab page, and check

the tempo map.

Deleting a tempo map

(4)

(5)

The tempo maps located after the deleted tempo map will be

shifted toward the beginning of the song by the number of

measures that were deleted.

This operation cannot be undone.

(1) Select the tempo map event that you want to delete.

Access the TEMPO, “TempoMap” tab page, and select

(highlight) the tempo map event that you want to delete.

(2) Delete the tempo map event.

(6) When your MIDI sequencer ﬁnishes playing, stop the

MIDI sequencer.

• Press the Delete button. A dialog box will ask you to

conﬁrm the operation.

When the D32XD/ D16XD ﬁnishes recording, it will

indicate “Complete.” Press the OK button.

• Press the Yes button to delete the selected tempo map

event.

(7) Check the tempo source.

If you turn on the Select All button, all tempo map events

other than tempo map event “001” will be deleted, and the set-

tings of tempo map event “001” will be initialized.

When you record the tempo track, the TEMPO, “SetUp”

tab page Tempo Source will automatically be set to

“TempoTrk.”

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Tap tempo

Recorder

The D32XD/ D16XD has 32 [*16] channel tracks for each

song. For each channel track, there are eight virtual tracks; A

through H.

You can record the tempo track by pressing (tapping) the

PLAY key at the beginning of each measure or on each beat

while the song plays.

You can use a PS-1 foot switch (sold separately) instead of the

PLAY key (→p.126).

The D32XD/ D16XD provides a separate master track for

each song, and this master also has eight virtual tracks; A

through H.

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.

This is a two-channel track that is used for recording the final

stereo mix of your song. If you want to create an audio CD,

the data on the master track will be used.

The following table shows the number of available tracks

and the number of tracks that can be used simultaneously.

• 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

tempo map at the location where the time signature

changes.

Number of simultaneously usable tracks for each Song

Type

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

96 kHz/24-bit

Recording

Playback

Punch recording

Tempo settings will play back in synchronization, but meas-

ures will become incorrectly aligned if the time signature

changes do not match.

32 [*16]

(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 D32XD/D16XD.

(3) Specify how you want to record the tempo.

Access the TEMPO, “TempoTrk” tab page, and choose

“MeasTap” (tap at the beginning of each measure) or

“BeatTap” (tap on each beat).

1. Recording

(4) Record the tap tempo track.

The D32XD/ D16XD’s recorder can record analog or digital

audio input sources assigned to mixer channels. Several

types of recording are provided, as described below.

You can also mix your song down to a two-track stereo mix,

and record it on the master track.

• Press the RecStart button to put the D32XD/ D16XD in

record-ready mode. Tap tempo will be recorded from

the beginning of the song.

• When you press the PLAY key or a connected foot

switch, the song will begin playing, and tap tempo

recording will also begin.

1-1. Basic recording

Here’s how to record the audio signal that you specified in

“1. Inputting audio to the mixer” (→p .42).

• 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.

If you want to create a new song for recording, set refer to “1-1.

Creating a new song” (→p.36).

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.

(1) Create a new song (→p .36 “1-1. Creating a new song”).

(2) Adjust the mixer settings (→p .42 “1. Inputting audio to

the mixer”).

(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.

(3) Apply effects to the audio input (→p .56 “Effects”).

(4) Apply EQ to the audio input (→p .48 “Applying EQ to

an audio input”).

(5) Adjust the pan (→p .48 “3-2. A d justing the pan”).

(6) Check the recording mode.

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.

Access the REC/PLAY MODE, “Rec/Play” tab page, and

set Rec Mode to “Normal.”

(7) Set the recording level.

(6) Check the tempo source.

You can set the recording level in one of two ways.

When you record the tempo track, the TEMPO, “SetUp”

tab page Tempo Source will automatically be set to

“TempoTrk.”

Move to the beginning of the song, press the PLAY key

to play back, and check the tempo.

• You can record at the optimum level simply by record-

ing at the level you speciﬁed in steps (1) through (4).

Press 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, set the REC button to

“PST” in the CH VIEW, “Ch View” tab page.

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.

You can also make this setting in the MIXER, EQ/PHASE/

REC [*SEND (EFF/AUX/REC)], “Rec Send” tab page.

(8) Move to the location where you want to start record-

ing. (→p .38)

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(9) Put the D32XD/D16XD in record-ready condition.

1-3. Recording additional tracks

while you play back (Overdub-

bing)

Here’s how to record additional performances while you lis-

ten to the playback of previously-recorded tracks.

Press the REC key (REC and PLAY keys will blink).

(10)Start recording.

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.

(1) Prepare for recording.

Refer to “1-1. Basic recording” (→p .64), steps (1)–(7).

(2) Select the tracks that you want to play back.

Press the REC/PLAY key of the tracks you want to play

back, to set them to PLAY (key lit green).

(3) Select the track(s) that you want to record.

Press the REC/PLAY key of the tracks you want to

record, to set them to REC (key lit red).

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.

(4) Mute the tracks that you will not be using.

Set the CH ON/SOLO mode key to CH ON.

Press the CH ON/SOLO keys to turn off (key unlit) the

tracks that you are not playing or recording, so that these

tracks will be muted.

1-2. Switching virtual tracks

Each song contains up to 32 [*16] tracks and one master track.

In addition, each track has eight “virtual tracks,” labelled A–

When you record or play back, you can specify which of

these virtual tracks A–H will be used.

(5) Record.

Refer to “1-1. Basic recording” (→p .64), steps (8)–(11).

This means that you can switch between virtual tracks to

record multiple “takes” of a performance, and then choose

the best take.

1-4. Trigger recording

Trigger recording is a function that automatically starts re-

cording when the input signal level exceeds a specified val-

ue.

SONG

Trk32

[*16]

Trk1

Trk2

Trk3

Trk4

Trk5

Master Trk

Trigger/ RecStart

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.

Trigger/ Punch In

When the input level exceeds the speciﬁed threshold

value while the song is playing, the recorder will switch

from playback to recording.

(1) Select the desired virtual track.

In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, use

the buttons to select the track that you want to

(1) Prepare for recording.

Refer to “1-1. Basic recording” (→p .64), steps (1)–(5).

record, and then use the “V-Level” ←→ buttons (or the

(2) Adjust the settings for trigger recording.

Access the REC/PLAY MODE, “Rec/Play” tab page, and

choose either “Trigger/RecStart” or “Trigger/Punch In”

(the TRIGGER LED will light).

value dial or +/– keys) to select the virtual track.

In the case of a 96 kHz/24-bit song, the “Vtrk1–32 [*Vtrk1–

16]” tab will be named “Vtrk1–8.”

(3) Specify the input signal level (“Threshold”) at which

recording will begin.

For a 44.1 kHz/24-bit or a 48 kHz/24-bit song on the D32XD,

the “Vtrk 1–32” tab page will be named “Vtrk 1–16.”

(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.”

If a virtual track already contains recorded data, this is graph-

ically indicated by “ ” as shown in the illustration.

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.

(1)

(2)

(3)

(4)

(1)

(2) Record.

For details, refer to “1-1. Basic recor d i ng,” steps (2)–(11).

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(5) Press the REC key to put the D32XD/D16XD 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

D32XD/ D16XD 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, “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).

Set “Function” to “PunchIn-Out.”

If you are using the PS-1 foot switch, make sure that “Polar-

ity” is set to “–” (→p.126).

(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.

(“1-1. Basic recording” (→p .64), step (10))

Auto punch-in/ out

Here’s how to punch-in and punch-out automatically at the

locations you specify beforehand.

1-5. Re-recording a speciﬁc area

(Punch-in/ out)

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 turn

“Cue” on. Then go to the “CueLevel” tab page, and

adjust the “LEVEL” of the track that you want to re-

record (→p .51).

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 turn “Cue” on.

Then go to the “CueLevel” tab page, and adjust the

“LEVEL” of the track that you want to re-record

(→p .51).

(4) Access the REC/PLAY MODE, “Rec/Play” tab page,

select 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.)

(4)

(5)

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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(6) Begin recording.

1-6. Creating a master track

• 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).

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.”

• 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.)

The master track data you create here can also be copied to a

channel track (→p .75).

After recording or track editing, you can use the Undo function to

return to the state prior to recording or editing (→p.147).

(7) Stop recording.

• 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.)

If you recorded on a different virtual track, check the virtual track

that is selected after executing Undo.

Mixing down the audio of tracks 1–32 [*16] and record-

ing a master track for a 44.1 kHz/ 16-bit song

• When the post-roll time ends, the recorder will stop.

(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) 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).

Loop recording

• Select a virtual track for the master track.

When using punch-in/ out recording, you can turn the Loop

Play button on so that recording will occur repeatedly over

the IN–OUT region. When you are finished recording, you

can use the Undo/ Redo functions to compare different takes,

and keep the best one.

(1) Adjust the settings for auto punch-in/out.

Refer to “Auto punch-in/ out” (→p .66) steps (1)–(5).

(1)

(2) Press the Loop Play button to turn it on (highlighted).

The Loop indicator will light.

(3) Begin recording.

• When you press the REC key, you will move to a point

ahead of the speciﬁed IN (recording start) location as

set by the pre-roll time, and the D32XD/ D16XD 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.)

(2) Set the MASTER TRACK STATUS.

• Press the master track MASTER TRACK STATUS

key to select record mode (key lit red). All channel

tracks will automatically be set to play (key lit green).

• Use the CH ON/SOLO keys to turn off (key unlit) any

channels that you do not want to be recorded to the

master track.

• Recording will end when you reach the OUT point,

and playback will continue for the post-roll time. (The

REC key will go dark.)

(3) Apply insert effects (→p .57).

(4) Apply EQ (→p .48).

• Then you will move to the pre-roll time, and the same

process will be repeated.

(5) Adjust the pan (→p .48).

(6) Apply master effects (→p .58).

(7) Apply a ﬁnal effect (→p .58).

(8) Apply master EQ (→p .48).

• 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.

• 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).

(9) Set the recording mode.

Access the REC/PLAY MODE, “Rec/Play” tab page, and

set Rec Mode to “Normal.”

(10)Adjust the recording level.

• Set the master fader to unity gain (0 dB).

• Play back the song.

Loop recordings appear in the list as “Record Track,” just as

conventional recordings.

• 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.

• In the “Undo/Redo” tab page, use the Undo button

and Redo button to select a recorded take. The

selected performance will be recalled.

If the sound of the master track is clipping (distorting), lower

the master fader.

(5) Listen to the recorded performance.

• Press the PLAY button to play back, and listen to the

recording. If “LoopPlay” is on, the region between the

IN (beginning of recording) and OUT (end of record-

ing) points will continuously play back.

(11)Return to the beginning of the song (→p .38).

If you are creating an album CD project, the beginning of the

master track will be the beginning of the CD track.

• Repeat this process to select the best performance.

The data in the list lets you go back through the most recent

sixteen levels.

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(12)Begin recording.

2. Playback

• Press the REC key to enter record-ready condition,

This section explains the basic methods of playback used in

and then press the PLAY key to begin recording.

the D32XD/ D16XD.

• When you are ﬁnished recording, press the STOP key

to stop recording.

(13)Listen to the recorded result.

2-1. Normal playback

(1) Select the track(s) that you want to play back.

Set the CH ON/SOLO mode key to CH ON (key lit

green).

• Press the master track MASTER TRACK STATUS

key to set it to PLAY (key lit green). All channel tracks

will automatically be muted (the REC/PLAY keys will

go dark).

For each track that you want to play back, set the CH

ON/SOLO key to CH ON (key lit).

For each track that you want to play back, press the

REC/PLAY key to select PLAY (key lit green).

• Move to the beginning of the song, and press the

PLAY key to hear the playback.

• Press the STOP key to stop.

(2) Move to the location at which you want to start play-

Bounce recording

back (→p .38).

Bounce recording is a way to combine the data from multiple

tracks down to just one or two tracks. This is useful in creat-

ing “submixes” that free up additional tracks for recording.

By using the Master Track of the D32XD/ D16XD as the

bounce record destination, you can perform bounce record-

ing while keeping the original tracks intact. To perform

bounce recording, just play back the tracks you want to

bounce, and record them onto the master track.

(3) Press the PLAY key to begin playback (the PLAY key

will light).

(4) Apply insert effects (→p .57).

(5) Apply EQ (→p .48).

(6) Adjust the pan (→p .48).

(7) Apply master effects (→p .58).

(8) Apply a ﬁnal effect (→p .58).

(9) Apply master EQ (→p .49).

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 .144)

(10)Press the STOP key to stop playback (the PLAY key

will go dark).

In order to play back the master track, you must set the master

track MASTER TRACK STATUS key to PLAY (key lit green).

Playback will continue until you press the STOP key, even if you

pass the end of the audio data that actually exists.

You can use a PS-1 foot switch (sold separately) to start and stop

playback (→p.126).

2-2. Loop playback

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).

(1) Select the track(s) that you want to play back.

For details, refer to “2-1. N ormal playback” step (1),

above.

(2) Specify the region (IN–OUT) that you want to loop

(→p .38).

(3) Access the REC/PLAY MODE, “Rec/Play” tab page,

and turn the Loop Play button on (highlighted).

(4) Play back the loop.

When you press the PLAY key, playback will start from

the IN location, and will repeatedly play the IN–OUT

region.

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.

An album CD project lets you arrange songs in a desired or-

der for playback. You can then record the output onto a DAT,

MD, or cassette tape recorder.

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 .79).

Registering the edit region

Specify the edit region by storing the appropriate points in

the LOC1/IN through LOC4/END keys.

When using Album CD Project, playback will stop if you

move to a different screen.

LOC1/IN key: IN point

(2) Connect your external recorder.

LOC2/OUT key: OUT point

LOC3/TO key: TO point

LOC4/END key: END point

Connect your external recorder to the D32XD/ D16XD’s

MASTER OUT LR 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 LOC1/IN, LOC2/

OUT, LOC3/TO, or LOC4/END to store the location in that

key. The location is stored the moment you press the key.

For details, refer to “Assigning locations to the Locate keys”

(→p .38).

• Return to the beginning of the album CD project, start

recording on your external recording device, and then

press the D32XD/ D16XD’s play button.

If you want to specify a location more precisely while viewing the

waveform, press the Wave button in one of the editing screens, and

use the Wave dialog box (→p.139).

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

(2) Select “CopyTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Copy

Trk” and press the OK button.

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(3) Select the copy mode.

(2) Specify the region that you want to copy.

Set the following locations to specify the region for copy-

ing (→p .69).

Press the Mode button. In the Copy Mode dialog box,

select the desired mode and press the OK button.

OverWrite: The track data existing at the copy-destina-

• Set the IN point to specify the beginning of the region

to be copied

tion will be overwritten.

Insert:

The copied data will be inserted; subsequent

existing data will be moved toward the end

of the song.

• Set the OUT point to specify the end of the region to

be copied

(3) Select “CopyTrk.”

(4) Select the copy-source track number.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Cop-

yTrk” and press the OK button.

• For the Source cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Source

Wave button, and use the Wave dialog box (→p .139)

to set the location.

(4) Select the copy-source track number.

• For the Source cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Source

Wave button, and use the Wave dialog box (→p .139)

to set the location.

(5) Select the copy-destination track number.

• For the Destination cell, select track “2”.

If you specified two or more tracks as the “Source,” you must

(5) Select the clipboard as the copy-destination track

number.

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, press the Destina-

tion Wave button, and make your settings in the Wave

dialog box (→p .139).

For the Destination cell, select track “Clip.”

(6) Execute the copy.

Refer to step (7) of “Copying tracks within the same

song.”

(6) Specify the number of time that you want to copy the

data.

Any data currently in the clipboard will be overwritten.

In the Times cell, specify the number of copies as “3”.

(7) Select song 002 (→p .37 “1-3. Selecting a song”).

(8) Register the TO location. (→p .69)

(2)

(4)

(5)

(3)

Verify that the TO location is correct. If you want to set

the location with more precision, press the Destination

Wave button, and make your settings in the Wave dialog

box (→p .139).

(6)

(7)

(9) Select “CopyTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell.

In the Edit Trk Type dialog box, choose “CopyTrk” and

press the OK button.

(10)Select the copy mode.

Press the Mode button. In the Copy Mode dialog box,

select the desired mode and press the OK button.

OverWrite: The track data existing at the copy-destina-

(7) Execute the editing operation.

tion will be overwritten.

Press the Exec. button. Then in the CopyTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

Insert:

The copied data will be inserted; subsequent

existing data will be moved toward the end

of the song.

(11)Select the clipboard as the copy-source track number.

For the Source cell, select track “Clip1.” The number

indicates the number of tracks in the clipboard.

(8) Check the results of the editing operation.

Press the LOC3/TO key, and play back from the TO loca-

tion 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 .147)

(12)Select the copy-destination track number.

Set the Destination cell to track “2”.

(13)Specify the number of times that the data will be cop-

ied.

Using the clipboard to copy data to another song

Set the Times cell to “1”.

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.

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks as the “Destination.”

(14)Execute the operation.

Press the Exec. button to display the CopyTrk dialog

box. If you want dithering to be performed, turn on the

Dither button.

Press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

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.

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

(15)Check the results of the editing operation.

Press the LOC3/TO key, and play back from the TO loca-

tion 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 .147)

Before you make these copy settings, verify that the correct virtual

tracks are selected for the copy-source (Source) and copy-destina-

tion (Destination).

(1) Select song 001 (→p .37 “1-3. Selecting a song”).

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Insert blank space (InsertTrk)

Erase a track (EraseTrk)

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.

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

located following the OUT point to move forward.

• You can insert space into one or more tracks simultane-

ously.

• You can erase data from the IN–OUT region of one or

more tracks simultaneously.

• 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.

Erasing 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.

Inserting blank space into the IN–OUT region of track 1

Before you make settings for this operation, check the virtual track

(1) Specify the region whose data you want to erase.

Set the following locations to specify the region for eras-

ing (→p .69).

of the Destination track into which you will insert blank space.

(1) Specify the region into which you want to insert blank

space.

• Set the IN point to specify the beginning of the region

to be erased.

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.

• Set the OUT point to specify the end of the region to

be erased.

(2) Select “EraseTrk.”

• Set the OUT point to specify the end of the blank

space.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Era-

seTrk” and press the OK button.

(2) Select “InsertTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“InsertTrk” and press the OK button.

(3) Select the track number from which you want to erase

data.

• For the Destination cell, select track “1”.

(3) Select the track number into which you want to insert

blank space.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

• For the Destination cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(2)

(3)

(2)

(3)

(4)

(4) Execute the editing operation.

Press the Exec. button. Then in the EraseTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(4) Execute the editing operation.

Press the Exec. button. Then in the InsertTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(5) Check the results of the editing operation.

Press the LOC1/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 LOC1/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 .147)

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .147)

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Delete a track (DeleteTrk)

Exchange tracks (SwapTrk)

This command deletes the specified region (IN–OUT) of a

track. When an area is deleted, the subsequent data (follow-

ing the OUT point) will be shifted toward the beginning of

the song.

This command exchanges (swaps) recorded track data be-

tween the specified region (IN–OUT) and the corresponding

region of another track.

• You can swap the data of one or more tracks simultane-

ously.

• You can delete data from the IN–OUT region of one or

more tracks simultaneously.

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.

Deleting track data

Deleting the IN–OUT region of track 1

(1) Specify the region whose data will be swapped.

Set the following locations to specify the region for

swapping (→p .69).

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 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 swapped.

• Set the OUT point to specify the end of the region to

be swapped.

• Set the IN point to specify the beginning of the region

to be deleted.

(2) Select “SwapTrk.”

• Set the OUT point to specify the end of the region to

be deleted.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“SwapTrk” and press the OK button.

(2) Select “DeleteTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Dele-

teTrk” and press the OK button.

(3) Select the track numbers whose data you want to swap.

• For the Source cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(3) Select the track number from which you want to delete

data.

• For the Destination cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(4) Select the swap-destination track number.

Set the Destination cell to track “2”.

If you specified two or more tracks as the “Source,” you must

specify the same number of tracks as the “Destination.”

(2)

(3)

(2)

(3)

(4)

(5)

(4) Execute the editing operation.

(5) Execute the editing operation.

Press the Exec. button. Then in the DeleteTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

Press the Exec. button. Then in the SwapTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(5) Check the results of the editing operation.

Press the LOC1/IN key, and play back from the IN loca-

tion to verify that the editing operation has done cor-

rectly.

(6) Check the results of the editing operation.

Press the LOC1/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 .147)

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .147)

Deleting all data of a track

(1) In the TRACK, “Vtrk1–32 [*Vtrk1–16]” 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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(7) Check the results of the editing operation.

Press the LOC3/TO key, and play back from the TO loca-

tion to verify that the editing operation has done cor-

rectly.

Reverse a track (ReverseTrk)

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).

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .147)

• The data of the IN–OUT region can be copied one or more

times in succession by a single operation.

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.

• You can copy just one track, or multiple tracks of data at

the same time.

• The existing track data at the copy-destination (TO loca-

tion) will be overwritten.

Optimizing a track (OptimizeTrk)

Copying the IN–OUT region of track 1 three times in re-

verse to the TO location of track 2

This operation optimizes the track data of the region (IN–

OUT) you specify.

For details on the effect of each optimize mode, refer to “Op-

timizeTrk” (→p .142) in the reference section.

Select the virtual tracks of the copy-source (Source) and copy-des-

tination (Destination) before you make settings for this Copy op-

eration.

Before you execute this operation, check the virtual track of the

Destination track you want to optimize.

(1) Specify the region that you want to copy.

Set the following locations to specify the region for copy-

ing (→p .69).

Optimizing track data

• Set the IN point to specify the beginning of the region

to be copied

Here’s how to optimize track 1 in order to prevent “Disk

too busy.” error messages that occur after repeated track

editing or recording.

• Set the OUT point to specify the end of the region to

be copied

(1) Specify the region that you want to optimize.

• Set the TO point to specify the beginning of the copy-

destination

Set the locations as follows (→p .69).

• Set the IN location to the beginning of the region you

want to optimize.

(2) Select “ReverseTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“ReverseTrk” and press the OK button.

• Set the OUT location to the end of the region you want

to optimize.

(2) Select “OptimizeTrk.”

(3) Select the track number whose data you want to use as

the reverse-source.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, select “Opti-

mizeTrk” and press the OK button.

• For the Source cell, select track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Source

Wave button, and use the Wave dialog box (→p .139)

to set the location.

(3) Select the optimize mode.

Press the Mode button to display the Optimize Mode

dialog box.

For this example, select “Normal” and press the OK but-

ton to return to the “EditTrk” tab page.

(4) Select the reverse-destination track number.

• For the Destination cell, select track “2”.

(2)

(4)

(3)

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, press the Destina-

tion Wave button, and make your settings in the Wave

dialog box (→p .139).

(5)

(5) Specify the number of time that you want to copy the

data.

In the Times cell, specify the number of copies as “3”.

(2)

(3)

(4)

(4) Select the track number whose data you want to opti-

mize.

(5)

(6)

• For this example, set the Destination cell to track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(5) Execute the editing operation.

Press the Exec. button. Then in the OptimizeTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(6) Execute the editing operation.

Press the Exec. button. Then in the ReverseTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(6) Verify the results of the operation.

Press the LOC1/IN key, and play back from the IN point.

If necessary, you can use Undo to return to the state

prior to execution (→p .147).

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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.

For this example, select “Erase Punch Noise” and press

the OK button to return to the “EditTrk” tab page.

(4) Select the destination track number for optimization.

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 Optimize (normal) operation with Destination set to

All, and the IN-OUT parameters set to the beginning and end of

the song.

• For this example, set the Destination cell to track “1”.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(5) Execute the editing operation.

Press the Exec. button. Then in the OptimizeTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

Erasing regions of silent audio data

Erasing regions of recorded silence, or areas of a recorded

track where no audio information is present, restores valua-

ble blank space to the hard drive for increased recording ca-

pacity.

(6) Verify the results of the operation.

Press the LOC1/IN key, and play back from the IN point.

If necessary, you can use Undo to return to the state

prior to execution (→p .147).

Erasing regions of silent audio data from the IN–OUT re-

gion of track 1, converting them to blank space

If this does not remove the noise, use Undo to return to the previ-

ous state, and in the Optimize Mode dialog box of step (3), raise

the “Sense” value slightly (→p.143).

(1) Specify the region that you want to optimize.

Set the locations as follows (→p .69).

• Set the IN location to a point slightly earlier than the

region of silence that you want to erase.

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.

• Set the OUT location to the point after the region of

silence.

(2) Select “OptimizeTrk.”

Expand/ compress a track (ExpCmpTrk)

This command expands or compresses the specified region

(IN–OUT) of recorded track data to fit the specified region

(TO–END) of another track.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, select “Opti-

mizeTrk” and press the OK button.

(3) Select the optimize mode.

• The expanded or compressed data can be created in a dif-

ferent track, while preserving the original data.

Press the Mode button to display the Optimize Mode

dialog box.

For this example, select “Erase Silence” and press the

OK button to return to the “EditTrk” tab page.

• You can specify whether to convert the pitch.

• You can simultaneously convert up to two tracks of data.

• The converted data can be copied one or more times in

succession.

(4) Select the destination track number for optimization.

• For this example, set the Destination cell to track “1”.

This command can be used in ways such as the following.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

• To convert drum loops of differing tempos to the same

tempo.

• To make a phrase ﬁt within a speciﬁed location.

(5) Execute the editing operation.

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

Press the Exec. button. Then in the OptimizeTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

Before you execute this operation, check the virtual tracks of the

expansion/compression Source and Destination.

(6) Verify the results of the operation.

Press the LOC1/IN key, and play back from the IN point.

If necessary, you can use Undo to return to the state

prior to execution (→p .147).

(1) Specify the regions for expansion/compression.

Set the locations as follows (→p .69).

• Set the IN point to the beginning of the source region.

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.

• Set the OUT point to the end of the source region.

• Set the TO point to the beginning of the destination

region.

Erasing noise

• Set the END point to the end of the destination region.

Erasing noise from the IN–OUT region of track 1

(2) Select “ExpCmpTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“ExpCmpTrk” and press the OK button.

(1) Specify the region that you want to optimize.

Set the locations as follows (→p .69).

• Set the IN location to a point slightly earlier than

where the noise occurs.

(3) Select the expansion/compression-source track

number.

• Set the OUT location to a point after the noise.

• For the Source cell, select track “1”.

(2) Select “OptimizeTrk.”

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Source

Wave button, and use the Wave dialog box (→p .139)

to set the location.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, select “Opti-

mizeTrk” and press the OK button.

(3) Select the optimize mode.

Press the Mode button to display the Optimize Mode

dialog box.

(4) Select the expansion/compression-destination track

number.

• For the Destination cell, select track “2”.

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If you specified two or more tracks as the “Source,” you must

specify the same number of tracks in “Destination.”

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.

• Check the TO and END locations. If you want to set

the location more precisely, press the Destination

Wave button, and make your settings in the Wave dia-

log box (→p .139).

• You can copy one or more tracks simultaneously.

• You can specify the copy-destination virtual track.

(5) Specify the number of time that you want to copy the

data.

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.

In the Times cell, specify the number of copies as “3”.

(2)

(3)

(4)

(6)

Copying to a virtual track

Copying the data of track 1 virtual track “A” to track 2 vir-

tual track “B”

(5)

(7)

(1) Select the copy-source virtual track.

In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, select

virtual track “A” for track 1.

(2) Verify the copy-destination.

In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, verify

that virtual track “B” of track 2 is either empty or con-

tains data you don’t mind losing (i.e., data that it is OK

to overwrite).

(3) Select “CopyWholeTrk.”

(6) Select the expansion/compression mode.

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Cop-

yWholeTrk” and press the OK button.

Press the Mode button to display the ExpCmp Mode

dialog box, select the desired mode, and press the OK

button.

For details on the effect of each mode, refer to “ExpCmp-

T r k” (→p .143) A5. Mode.

(3)

(4)

(5)

For this example, select “Fast” (priority given to process-

ing speed) and “Fixed” (pitch remains unchanged).

Then press the OK button to return to the “EditTrk” tab

page.

(6)

(7)

(7) Execute the editing operation.

Press the Exec. button. Then in the ExpCmpTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(8) Check the results of the editing operation.

Press the LOC3/TO key, and play back from the TO loca-

tion to verify that the editing operation has done cor-

rectly.

(4) Select the copy-source track number.

If you are not satisﬁed with the results, you can use

Undo to return to the previous state. (→p .147)

For the Source cell, select track “1”.

(5) Select the copy-destination track number.

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.

For the Destination cell, select track “2”.

If you specified two or more tracks as the “Source,” you must

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.

Press the Exec. button. Then in the CopyWholeTrk dia-

log box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(8) In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, select

virtual track “B” for track 2.

(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 .147)

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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 [*Vtrk1–16]” tab page, select

track 1 virtual track “A.”

(2) Select “FadeTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Fade-

Trk” and press the OK button.

(2) Select the destination track that you want to swap.

In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, verify

that track 2 virtual track “B” is the track you want to

swap.

(3) Select the fade-in curve.

Press the Mode button to display the Fade Mode dialog

box.

(3) Select “SwapWholeTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose

“SwapWholeTrk” and press the OK button.

A.B.C: Fade-in curve

D.E.F: Fade-out curve

For details on how these curves differ, refer to “Fade-

Trk” (→p .145).

For this example, select the type “A” curve and press the

OK button to return to the “EditTrk” tab page.

(3)

(4)

(5)

(4) Select the track number that you want to fade-in.

• For the Destination cell, select track “1”.

(6)

(7)

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(2)

(4)

(3)

(4) Select the swap-source track number.

For the Source cell, select track “1”.

(5) Select the swap-destination track number.

(5)

For the Destination cell, select track “2”.

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.

(5) Execute the editing operation.

Press the Exec. button. Then in the SwapWholeTrk dia-

log box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

Press the Exec. button. Then in the FadeTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(8) In the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page, select

virtual track “B” for track 2.

(6) Check the results of the editing operation.

Press the LOC1/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 .147)

(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 .147)

In this case, return the track 1 virtual track selection to

“A.”

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.

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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 lower than necessary, you

can use this operation to boost the overall level of the speci-

fied region (IN–OUT) so that its maximum volume reaches

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, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Fade-

Trk” and press the OK button.

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.

Press 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 .145).

• Set the IN point to specify the beginning of the region

to be normalized.

• Set the OUT point to specify the end of the region to

be normalized.

(2) Select “NormalizeTrk.”

In the TRACK, “EditTrk” tab page, press the Edit Trk

Type cell. In the Edit Trk Type dialog box, choose “Nor-

malizeTrk” and press the OK button.

For this example, select the type “D” curve and press the

OK button to return to the “EditTrk” tab page.

(4) Select the track number that you want to fade-out.

(3) Specify the maximum level.

• For the Destination cell, select track “1”.

Press the Mode button to display the Normalize Mode

dialog box. Set the “Normalize Gain Level” value, and

press the OK button.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

(4) Select the track number that you want to normalize.

• For the Destination cell, select track “1”.

(5) Execute the editing operation.

• Check the IN and OUT locations. If you want to set

the locations with more precision, press the Destina-

tion Wave button, and use the Wave dialog box

(→p .139) to set the location.

Press the Exec. button. Then in the FadeTrk dialog box,

press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(5) Execute the editing operation.

(6) Check the results of the editing operation.

Press the LOC1/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 .147)

Press the Exec. button. Then in the NormalizeTrk dialog

box, press the Yes button to execute the operation.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

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.

(2)

(4)

(3)

(5)

(6) Check the results of the editing operation.

Press the LOC1/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 .147)

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.

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4. Naming a track

You can assign a name to each track.

When you create a new song, the track name will be “No

Name.”

We recommend that you rename the track so that you can re-

member which part is recorded on which track.

You can use the internal CD-R/ RW drive to create an origi-

nal CD from any of your songs that have been mixed down

to the master tracks.

There are two ways to create a CD.

(1) Use the TRACK, “Vtrk1–32 [*Vtrk1–16]” tab page to

select the track that you want to rename.

Track At Once

With this method, you write each song individually, one

at a time.

(2) Press the Rename button.

(3) Edit the name in the Rename dialog box.

Disc At Once (Album CD Project)

For details, refer to “1-2. Renaming a song” (→p .36).

With this method, you arrange your completed songs in

the desired playback order, and write all songs to the CD

in one operation.

1. Track At Once

With this method, songs are written to the CD one at a time.

A two-second gap will automatically be added between

songs.

In order to play back the completed CD, you must finalize

the disc.

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

Write the first song

Song

Writable area

Trk1

Write the second song

Song

Writable area

Trk2

Trk1

Automatically-created two-second gap

Write the third song

Song

Writable area

Trk2

Trk1

Trk3

Finalize

Song

Un-writable area

Trk2

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 ”).

(2) Insert a disc into the CD-R/RW drive.

Use a blank disc or a disc that has not been ﬁnalized.

(3) Select the song that you want to write to the disc

(→p .37).

You must select a song for which a master track has been cre-

ated.

(4) Access the CD, CD WRITER, “CD Utility” tab page,

and press the Get Information button.

The “CD Information” area will show either “Blank

Disc” or the CD track number(s).

Make sure that “Free” shows a duration that is longer

than the song you want to write.

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2. Disc At Once

2-1. Album CD Project

(4)

(7)

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.

(5)

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.

You can create one Album CD Project for each song drive,

and can also back up the data to CD-R/ RW (→p .82).

(5) Write the song.

If you use Album CD Project to write a disc, no additional data

can be written to that disc.

• Press the WriteToCD button to display the Write To

CD dialog box.

When you create an Album CD Project, new audio data for writ-

ing will be created; this will occupy additional hard disk space.

Even if you delete the original songs, the Album CD Project audio

data will not be deleted.

Songs you have created

Song

• Select the writing speed.

You must use a disc that supports the selected writing speed.

Select the songs, specify their order, and adjust the gaps

• 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 press the Yes button if you

accept the terms.

Song

Trk2

Song

Trk1

Trk3

If the selected song is 24-bit, press the Dither button to turn

it on if you want dithering to be performed.

Post-

gap

Pre- Post- Pre-

gap gap gap

• The D32XD/ D16XD will begin creating an image ﬁle.

Write all songs at once

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.

Song

Un-writable area

Trk2

Trk1

Trk3

Blank space according to the gaps you adjusted

You can abort creation of the image file by pressing the Can-

cel button.

(1) Collect all the songs you want to use for the Album CD

• When the image ﬁle has been created, the D32XD/

D16XD will begin writing it to disc.

Project into a single song drive (→p .41).

(2) Select the song drive.

• When writing is completed, the display will indicate

“Completed.” If you want to create another disc with

the same data, press the Yes button. Otherwise, press

the No button to proceed to the next step.

Access the CD, CD WRITER, “Album CD” tab page,

press the Drive button, select the song drive that con-

tains the songs you want to write, and press the OK but-

ton.

If you create another disc with the same data, the process will

take less time since the image file has already been created.

(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.

(6) If you want to write another song to the CD, repeat

steps (2) through (5).

Each song will be written following the end of the last

song on disc.

(2)

(7) Finalize the disc.

When you are ﬁnished writing songs to this CD, and

want to be able to play the disc on an audio CD player,

press the Finalize button to ﬁnalize the disc. A message

will ask you for conﬁrmation. If you are sure you want

to ﬁnalize the disc, press the Yes button.

(4)

(7)

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.

(5)

(3)

(8) When ﬁnalization is completed, the CD-R/RW drive

tray will open.

• Select (highlight) TR01, and press the Add button to

display the Add TR dialog box.

The LCD screen will indicate “Completed.” Press the

OK button to return to the “CD Utility” tab page.

• Select the ﬁrst track of the CD (it will become high-

lighted), and press the OK button. The display will

ask “Are You Sure?”, so press the Yes button.

(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.

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If the selected song is 24-bit, press 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.

• The display will indicate “Completed,” so press the

OK button.

• If you want to create another disc with the same data,

press the Yes button. Otherwise, press the No button.

• 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.

Press the Gap button, specify the pre-gap and post-gap,

and press the OK button.

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).

2-2. Creating a live CD

You can set the gaps independently for each song.

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

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.

Song you already created

Song A (Live)

For a song that fades-out, you can reduce the gaps to avoid a

unwanted sense of waiting between songs.

Figure

Master track already created

(5) Audition the Album CD Project.

Press the ® button in the screen to play back the album

project. Listen to it through your headphones or monitor

system.

Assign marks

Song A (Live)

Third song

First Second

song song

Fourth

song

Figure

Introduction

MC1 MC2

The album project will be played back exactly as it will

sound when written to the CD.

Mark Mark Mark

Mark Mark Mark Mark Mark Mark

(6) Insert a disc into the CD-R/RW drive.

You must use a blank disc.

Song A (Live)

Figure

First Second

song song

Fourth

song

Introduction

Third song

MC1 MC2

(7) Write the album to disc.

• Press the WriteToCD button to display the Write To

CD dialog box.

Mark Mark Mark

1# 2# 3#

Mark

Mark Mark Mark

7# 8# 9#

#: Mark with “Use As CD Tr”

Load into the Album CD Project track list

First Second

Fourth

song

Introduction

Third song

TR04

MC1 MC2

Figure

song

TR01 TR02

TR03

TR05 TR06 TR07

Delete unwanted tracks (TR01,TR06), and write the song

First Second

Fourth

song

Third song

TR03

MC1

TR04

Figure

• Select the writing speed.

song

TR01

TR02

TR05

You must use a disc that supports this 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 press the Yes button if you

accept the terms. The D32XD/ D16XD will begin creat-

ing an image ﬁle.

(1) Select the song that you want to make into a live CD

(→p .37). [Fig u re A]

Create a master track for this song.

(2) Assign marks at appropriate locations within the song

(→p .39). [Fig u re B]

You can abort creation of the image file by pressing the Can-

cel button.

(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 press the Use As CD Tr but-

ton to add a “Use As CD Tr” mark.

• When the image ﬁle has been created, the D32XD/

D16XD will begin writing it to disc.

You cannot abort this writing operation.

• The disc will automatically be ﬁnalized.

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.)

• When ﬁnalization has been completed, the “Write

Another CD?” message will appear.

(4) Access the CD, CD WRITER, “Album CD” tab page.

(5) In the track list, select the song that you want to write

[Figure D].

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Press the Add button, select song A, and press the OK

button.

The display will ask “Are You Sure?” Press the Yes but-

ton.

If the selected song is 24-bit, press 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.

The display will indicate “Completed.” Press the OK

button 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]

• 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.

(“2-1. Album CD Project” (→p .80), step (5))

(8) Perform steps (6)–(8) of “Album CD Project.”

You can also use this same method to create track indexes in-

side one single long song, so that a certain section can be ac-

cessed instantly.

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1. Backing up and restoring

Data

Whenever you switch songs or turn off the power, the

D32XD/ D16XD’s Auto Save function will automatically save

(to the hard drive) the songs or parameters that you recorded

or edited.

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 (→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 D32XD/

D16XD that you want to save on a CD-R/ RW or your com-

puter, or when you want to delete data from the hard disk to

obtain more free space.

Depending on the type of data, you can use either Backup or

Export to save it.

Data you back up can be used again by restoring or import-

ing it.

User Data

Back up only the user data (user effect programs, user

EQ libraries, user comp programs).

A backed-up song cannot be played back directly. In order to play

the song, you must restore it.

Backing up 1Song

D32XD/ D16XD

Hard disk

(1) Select the song that you want to back up (→p .37).

(2) Select the type of backup.

In the SYSTEM, “Backup” tab page, press the “1Song”

radio button.

Song Drive A

Song Drive B

Backup/Restore

(3) Select the backup-destination drive.

Press the Drive button to open the Select Drive dialog

box. Press either the “CD” or “PC” radio button, and

then press the Yes button.

Export/Import

Song Drive C

Backup/Restore

Export/Import

Song Drive D

PC drive

(4) If you are backing-up to CD-R/RW, insert a disc in the

CD-R/RW drive.

CD-R/RW drive

Use a blank disc or an ISO9660 format disc that has not

been ﬁnalized.

(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 .173).

If you want to save data on your computer, first store the data in

the PC drive of the D32XD/D16XD’s hard disk, and then save

that data on your computer.

(6)

(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

Data for one song + User data

(3)

All song data on the selected song

drive + Album CD project + User Data

Backup/

Restore

All Data

User effect programs + User EQ librar-

ies + User comp programs

User Data

Export/Import

Audio ﬁle data (WAV format)

(5) Edit the ﬁle name.

A ﬁle name is assigned automatically (→p .174).

If you want to edit the ﬁle name, press 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 press the Exec. button, the Backup conﬁrma-

tion dialog box will appear.

(1) Select the song drive that you want to back up.

In the SONG, “SelectSong” tab page, press the Drive

button. In the Select Drive dialog box, select the drive

and press the OK button.

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 CD-R/ RW, you

will need to prepare the appropriate number of discs.

(2) Select the type of backup.

In the SYSTEM, “Backup” tab page, press the “All

Data” radio button.

Required

space

(2)

• Use the WriteSpeed cell to select the writing speed.

(3) Select the backup-destination drive.

Press the Drive button to open the Select Drive dialog

box. Press either the “CD” or “PC” radio button, and

then press the Yes button.

• If you want to make it impossible to write any further

data on this CD when you are done backing up, check

the Finalize CD check box.

• Press the Yes button to begin the backup.

(4) If you are backing-up to CD-R/RW, insert a disc in the

CD-R/RW drive.

• The D32XD/ D16XD will begin creating an image ﬁle.

You can press the Cancel button to abort creation of the im-

age 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 .174).

If you want to edit the ﬁle name, press the Rename but-

ton.

• 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 press the OK button.

Use the Rename dialog box to edit the ﬁle name

• When the backup is ﬁnished, the display will indicate

“Completed.” Press the OK button.

(→p .36).

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 CD-R/RW, the written data is automat-

ically compared to ensure that an invalid backup CD is not

created.

(6) Execute the backup.

When backing up to the PC drive

Refer to the preceding section “B a cking up 1Song,” step

(6).

The screen will indicate the space required for the

backup. Press the Yes button to begin the backup.

When the display indicates “Completed,” press the

OK button. This completes the backup.

Backing up User Data

The “1Song” or “All Data” backup operations also back up User

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.

Data.

(1) Select the type of backup.

In the SYSTEM, “Backup” tab page, press the “User

Data” radio button.

(2) Select the backup-destination drive.

Press the Drive button to open the Select Drive dialog

box. Press either the “CD” or “PC” radio button, and

then press the Yes button.

(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 .174).

If you want to edit the ﬁle name, press 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 1Song,” 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 data that previously backed-up.

When backed-up song data is restored into the D32XD/

D16XD, 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.

(1) Select the restore-destination drive (→p .37).

If you are restoring song data or an album CD project,

select the restore-destination song drive.

When restoring an album CD project

(2) Select “Restore.”

• Since the project will be restored to the current drive,

you do not need to specify the restore-destination.

Access the SYSTEM, “Restore” tab page.

(3) Select the restore-source drive.

Press the Drive button to open the Select Drive dialog

box, select either “CD” or “PC,” and press the Yes but-

ton.

• When you restore, the album CD project in the current

drive will be overwritten.

When restoring other data ﬁles

• Since these ﬁles are common to all song drives, you do

not need to specify the restore-destination.

If you selected “CD,” insert the backup disc into the CD-

R/ RW drive.

• When you restore, the existing data ﬁles will be over-

written.

(4) Select the restore-source ﬁle.

Press the Select File button to open the Select Restore

Data File dialog box.

When restoring all data ﬁles in a folder at once

Folders will be created depending on the type of backup.

Open the folder and select the data ﬁle you want to

restore.

For details on the icons that are displayed, refer to “More

about drives and ﬁles” (→p .175).

• 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.

(6) Execute the restore.

• From the ﬁle list, select the folder that contains the

data ﬁle you want to restore, and press the Open but-

ton. If you decide to select a different folder, press the

Close button to return to the next higher level.

Press the Exec. button. In the conﬁrmation dialog box,

press the Yes button to execute. If you press the No but-

ton, the restore operation will be aborted.

If you are restoring a backup that spanned more than

one disc, the D32XD/ D16XD will ask you for the next

disc when it has ﬁnished reading one disc. Insert the

next disc and press the Yes button. Insert the discs in the

order in which they were written during the backup

operation.

• From the ﬁle list, select the data ﬁle that you want to

restore, and press the OK button.

• If you want to restore all ﬁles in the folder as a single

operation, press the Select All button.

(7) When the restore operation is ﬁnished, the display will

indicate “Completed.” Press the OK button.

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.

(3)

(4)

(5)

(6)

(2)

(3)

(4)

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(5) Select the audio ﬁle that you want to import.

2. Audio ﬁles

• Press the Select File button to open the Select File dia-

Audio files saved on CD-ROM/ R/ RW or the PC drive can be

imported (loaded) into the D32XD/ D16XD and pasted into a

song track. Also, any audio track data that you copied to the

D32XD/ D16XD’s clipboard can be exported (written) to CD-

R/ RW or the PC drive as an audio file.

log box.

• You can preview the ﬁrst few seconds of the selected

audio ﬁle by pressing the Prev button.

• Select “D16XD_ST.WAV” and press the OK button.

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)

(5)

2-1. Importing an audio ﬁle

Here’s how to load an audio file from CD-ROM/ 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 D32XD/

D16XD, and then perform the procedure described below.

(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.

• Press 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, press the

Dither button so that dithering will be performed.

Importing a 44.1 kHz/ 24-bit stereo audio file named

“D16XD_ST.WAV” from CD, and loading it into the begin-

ning of tracks 1 and 2 of a 44.1 kHz/ 16-bit song

• Press the Yes button to execute the import.

• When the operation is ﬁnished, the display will indi-

cate “Completed.” Press the Yes button.

(1) Insert the disc containing the audio ﬁle into the CD-R/

RW drive.

The length of time required for this operation to be completed

(2) Select the song into which you want to import the

will increase in proportion to the size of the file being import-

ed.

audio ﬁle. (→p .37 “1-3. Selecting a song”)

(3) Select the Import command.

(8) Change the location to the beginning of the song, and

verify that the data was imported correctly.

Access the TRACK, “Import” tab page.

(4) Select the import-source drive.

Importing an audio ﬁle into the middle of a track

• Press the Drive button to open the Select Drive dialog

box.

Importing a 44.1 kHz/ 16-bit stereo audio file named

“D16XD_ST.WAV” from the PC drive, and loading it into

the TO location (the location stored in the LOC3 key) of

tracks 1 and 2 of a 44.1 kHz/ 16-bit song

• Select “CD” and press the Yes button.

(1) Select the song into which you want to import the

audio ﬁle. (→p .37 “1-3. Selecting a song”)

(2) Select the Import command.

Access the TRACK, “Import” tab page.

(4)

(6)

(5)

(7)

(3) Select the import-source drive.

• Press the Drive button to open the Select Drive dialog

box.

• Select “PC” and press the Yes button.

(4) Select the audio ﬁle that you want to import.

• Press the Select File button to open the Select File dia-

log box.

(3)

• You can preview the ﬁrst six seconds of the selected

audio ﬁle by pressing the Prev button.

• Select “D16XD_ST.WAV” and press the OK button.

(4)

(5) Select the clipboard as the import-destination track

number.

In the Trk cell, select “Clip.”

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(6) Execute the import.

2-2. Exporting an audio ﬁle

Here’s how to export an audio file.

Press the Exec. button to open the Import dialog box,

and press the Yes button to execute.

When exporting to CD-R/RW, use either a blank disc or an

ISO9660 format disc that has not been finalized.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

An audio file exported to CD-R/RW can be loaded by the D32XD/

D16XD or by a computer even if the disc has not been finalized.

The length of time required for this operation to be completed

will increase in proportion to the size of the file being import-

ed.

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 D32XD/

D16XD’s hard disk, and then save that file onto your computer.

(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”).

Exporting an audio ﬁle

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (9)–(14).

Copying the audio data from the master track of a 96

kHz/ 24-bit song to the clipboard, and exporting it to the

PC drive as a stereo audio file named “D16XD_ST.WAV”

(1) Select a 96 kHz/24-bit song, and copy the master track

audio data to the clipboard.

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (1)–(6).

(2) Select the Export command.

Access the TRACK, “Export” tab page.

(3) Select the export-destination drive.

Press the Drive button to open the Select Drive dialog

box. Choose “PC” and press the Yes button.

(4) Rename the audio ﬁle.

A name of NONAMEST.WAV will be assigned automat-

ically.

Press the Rename button to open the Rename dialog

box, and change the name to D16XD_ST.WAV (→p .36).

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .173).

If the export-destination already contains an identically-

named file, you will not be able to export the file.

(4)

(3)

(5)

(2)

(3)

(5) Execute the export command.

Press the Exec. button. In the Export dialog box, press

the Yes button to execute.

When the operation is ﬁnished, the display will indicate

“Completed.” Press the OK button.

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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, D1200, D16, and

D1600.

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

“D16XD_01.WAV”–“D16XD_16.WAV”

(1) Insert a disc in the CD-R/RW drive.

(2) Select a 44.1 kHz/24-bit song, and copy the tracks 1–16

audio data to the clipboard.

However, you can exchange WAV format audio files with

the D12, D1200, D16, and D1600.

• Refer to “Using the clipboard to copy data to another

song” (→p .70), steps (1)–(6).

Using D16XD and D32XD data

(3) Select the Export command.

D16XD backup data can be restored into the D32XD. Similar-

ly, D32XD data can also be restored into the D16XD, but the

following data will be ignored.

Access the TRACK, “Export” tab page.

(4) Select the export-destination drive.

Press the Drive button to display the Select Drive dialog

box. Choose “CD” and press the Yes button.

• Data for tracks 17–32 and mixer

• Mixer event automation data

• Group data

(5) Rename the audio ﬁle.

Here the display will show the ﬁle name of the ﬁrst

track.

The names NONAME01.WAV–NONAME16.WAV will

be assigned automatically.

Press the Rename button to open the Rename dialog

box, and change the ﬁle name to D16XD_01.WAV

(→p .36).

• Data for insert effects 9–24

• Data for AUX3/ 4 Send

Using D32XD/ D16XD data on a different model

(1) On the D32XD/D16XD, export the data to a WAV for-

mat audio ﬁle. “2-2. Exporting an audio ﬁle” (→p .86)

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .173).

(2) On the other device, import the WAV format audio ﬁle.

(Refer to the manual for the device you are using.)

If an identically-named file already exists, you will be unable

to execute this operation. Please change the file name.

Using data from a different model on the D32XD/

D16XD

(6) Execute the export.

(1) On the other device, export the data to a WAV format

audio ﬁle. (Refer to the manual for the device you are

using.)

• Press the Exec. button to open the Export File dialog

box, and specify the speed at which the data will be

written to CD (→p .147).

(2) On the D32XD/D16XD, import the WAV format audio

• 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 .147).

ﬁle. “2-1. Importing an audio ﬁle” (→p .85)

When exporting to CD-R/RW, the written data is automati-

cally compared to ensure that an invalid backup CD is not

created.

• When the operation is ﬁnished, the display will indi-

cate “Completed.” Press the OK button.

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1. Partitioning the hard drive

into separate song drives

(Partitions)

You can divide the song drive area of the hard disk into one,

two, or four individual song drives, or partitions, and assign

a name to each of these song drives.

Drive

The D32XD/ D16XD’s hard disk is 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 D32XD/ D16XD 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.

When you partition the hard disk, all data in the song drive area

will be erased. However, the data on the PC drive will not be

erased.

D32XD/ D16XD

Hard disk

Drive A

(1) Access the SYSTEM, “DiskUtility” tab page, and press

the Partition button to display the Partition dialog box.

Drive B

Drive C

(2) Press the Partition list button and selectthe number of

hard disk partitions you wish to create.

Drive D

CD-R/RW drive

PC drive

The D32XD/ D16XD provides the following utility functions

for managing these drives.

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

(3) Execute the Partition operation.

USB Slave Mode: Transfer data to or from a computer

Load System: Update the system

When you press the Yes button, the display will ask “Are

You Sure?” Press the Yes button to begin the operation.

Partitioning will erase all data from the song drive area of the

hard disk. When the operation is completed, the display will

indicate “Completed.” Press the OK button to return to the

“DiskUtility” tab page.

Erase CDRW: Erase the data from a CD-RW disc

The song drives are identified as A, B, C, and D.

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 press the Drive button in the “Select-

Song” or “Album CD” tab page.

(1) Access the SYSTEM, “DiskUtility” tab page.

You can also check the size of files in the PC drive, and re-

name or delete them. (→p .91)

(2) Press 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, press the Rename button, and rename it

in the Rename dialog box (→p .36).

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .173).

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3. Checking the hard disk

4. Formatting 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.

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.

You cannot check the PC drive.

When you execute the Format operation, all data on the disk will

be erased. Be sure to check the contents of the disk before you for-

mat it.

(1) Access the SYSTEM, “DiskUtility” tab page, and press

the Check Drive button to display the Check Drive

dialog box.

If a power failure or similar accident occurs during the formatting

process, it is possible that the D32XD/D16XD will no longer op-

erate correctly. If this occurs, please contact your Korg distributor.

(2) Press one of the Area list buttons to specify the area

that you want to check.

(1) Access the SYSTEM, “DiskUtility” tab page, and press

the Format button to display the Format dialog box.

Current Song

Check and repair the area used by the currently

selected song.

(2) Press the “Drive” popup button, and select the drive

that you want to format.

Unused

A...D: the speciﬁed individual song drive

PC: the PC drive

A-D: all song drives

Of the unused area, check and repair the next 2 GB

that will be used.

Current Partition

ALL: the entire hard disk

Check and repair the area of the currently selected

song drive (partition).

(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

operation 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.

All Partitions

Check and repair all partitions and the area used by

the system.

(3) Execute the check.

• Press the Yes button to begin checking.

• If you want to stop mid-way through the check, press

the Cancel button.

• When the operation is completed, the display will

indicate “Completed.” Press the OK button.

ALL → approximately 7 hours: 40 GB

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 .170).

(4) Press the Yes button. The display will ask “Are You

Sure?” To execute the operation, press the Yes button.

• If you decide not to format, press the No button.

• Formatting will erase all data from the selected drive.

• When the operation is completed, the display will

indicate “Completed.” Press the OK button.

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5. Exchanging data with your

computer

8. Drive capacity

This section explains how you can make the best use of the

D32XD/ D16XD’s song drive capacity. For explanatory pur-

poses, we will assume that you have recorded a song with

the following structure.

Use USB Slave Mode to transfer data between your computer

and the PC drive.

For the procedure refer to “USB” (→p .92).

Intro

Break

Solo

Ending

The Optimize Track operation described here does not need to be

performed 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.

6. Erasing a CD-RW disc

This operation erases the data that was written on a CD-RW

disc.

Erasing a disc lets you use the entire capacity of the disc, just

as when it was unused (blank).

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.

When you execute this operation all data will be erased from the

CD-RW disc.

Intro

Silence

Break

Silence

Ending

This operation cannot be performed on any disc other than a CD-

RW disc.

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.

(1) Insert the CD-RW disc into the CD-R/RW drive.

(2) Access the SYSTEM, “DiskUtility” tab page and press

the Erase CDRW button to display the Erase CDRW

dialog box.

To keep only the audio data that you are actually

using

(3) Select the desired method.

Execute the Optimize Track operation on track 1, from the

beginning of the song to the end of the song. Set the Optimize

Track “Mode” parameter to “Erase Silence,” and execute.

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.

Quick: Erase the CD-RW disc at high speed.

Full: Erase the CD-RW disc completely. Use this

method if you experience problems such as the

disc failing to be recognized after being format-

ted by Quick. This method requires a longer

time.

Intro Data exists

Break

Data exists

Ending

(4) To execute the erasure, press the Yes button to begin.

• If you decide not to erase the CD-RW, press the No

button.

OUT

“OptimizeTrack”

• When the operation is ﬁnished, the display will indi-

cate “Completed.” Press the OK button.

After execution

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’.

Intro

Break

1st take

You can erase a disc in the same way by using the CD, CD WRIT-

ER, “CD Utility” tab page Erase button.

Recorded second take

(5) Access the CD, CD WRITER, “CD Utility” tab page

and press the Get Information button.

1st take

2nd take

Intro

Break

The CD Information will indicate “Blank.”

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.

7. Load system

This lets you easily update the operating system of the

D32XD/ D16XD. For the update procedure, refer to “Upgrad-

ing the system” (→p .95).

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To erase A and B that remain from the ﬁrst take, and

recover disk space

Execute the Optimize Track command on track 1 from the be-

ginning to the end of the song. At this time, set the optimize

track “Mode” to “Normal.”

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.

9. PC drive

The PC drive is an area used to share data with your compu-

ter. Its size is fixed.

You can use the SYSTEM, “PC File” tab page command 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

• D32XD folder (D16XD folder):

This folder contains system ﬁles for updating the

system.

Break

Intro

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

2nd take Intro

Break

Checking, renaming, or deleting ﬁles

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.

You can check the size, rename, or delete files that are on the

PC drive.

(1) Access the SYSTEM, “PC File” tab page.

To move to a lower level, select a folder and press the

Open button.

Deleting the Undo data

Even if you use the drive space efficiently as described above

To return to the next upper level, press the Close button.

(

), the old data will be kept on the drive for use by the

(2) To rename a ﬁle, select the ﬁle, press the Rename but-

ton, and rename the ﬁle (→p .36).

Undo function.

To delete this undo data, either press the Clear button in the

“Undo/Redo” tab page (→p .147), or put the D32XD/ D16XD

in standby mode (shut down). After restarting, all undo data

will be deleted, recovering free space on the drive.

Be aware that restarting the D32XD/ D16XD will delete the

undo data of all the songs.

For details on the ﬁle names you can use, refer to “More

about drives and ﬁles” (→p .173).

(3) To delete a ﬁle, select the ﬁle and press the Delete but-

ton.

• The display will ask “Are You Sure?” Press the Yes

button to delete the ﬁle.

• If you decide not to delete the ﬁle, press the No but-

ton.

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.

• When the ﬁle has been deleted, the display will indi-

cate “Completed.” Press the OK button.

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 D32XD [*D16XD]” drive

that appeared in step (4), you will see the contents of the

PC drive area within the D32XD/ D16XD’s internal hard

disk.

USB

USB stands for Universal Serial Bus, and is an interface for

transferring data between a computer and peripheral devic-

es.

Copy the desired data onto your computer. You may

also copy data from your computer back to the D32XD/

D16XD’s PC drive.

USB peripheral devices such as hard disks or CD-R/RW drives

cannot be connected to the D32XD/D16XD.

(6) Disconnect the D32XD/D16XD from your computer.

The D32XD/ D16XD has a USB connector which can be con-

nected directly 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.

Left-click the (

) icon that is displayed in the right side

of your computer ’s taskbar.

(6)

1. Saving/ loading

From the menu that appears, left-click “Stop USB disk

drive (KORG D32XD [*D16XD]).” Verify that you see a

message of “Safely remove USB Mass Storage Device.”

Press the Exit button of the USB Slave Mode screen.

After you have exited USB Slave mode, unplug the USB

cable from the D32XD/ D16XD.

Do not format the D32XD/D16XD’s PC drive from your compu-

ter. This may be formatted only by the D32XD/D16XD itself

(→p.89).

Windows users (Windows Me/ 2000 or later)

If you are using Windows Me, “USB high capacity storage de-

vice” will be displayed as “USB disk.”

In order to use the D32XD/ D16XD with Windows 98, you

must install a device driver. For details on obtaining and in-

stalling the device driver, refer to the Korg website (http:/ /

www.korg.com).

Macintosh users (Mac OS9.0.4 or later)

(1) Use a USB cable to connect the D32XD/D16XD to your

computer.

The computer screen will differ depending on your system. The

screens shown here are for Windows XP.

Connect the USB cable from your computer to the

D32XD/ D16XD’s USB connector. Make sure that the

connector is oriented correctly, and press it all the way

in.

(1) Use a USB cable to connect the D32XD/D16XD to your

computer.

Connect the USB cable from your computer to the

D32XD/ D16XD’s USB connector. Make sure that the

connector is oriented correctly, and press it all the way

in.

(2) Access the SYSTEM, “DiskUtility” tab page.

(3) Press the “USB Slave Mode” button to display the USB

Slave Mode dialog box.

Before you make this connection, turn on your computer and

start up the operating system.

Do not disconnect the USB cable or turn your computer on/

off while this screen is displayed.

(2) Access the SYSTEM, “DiskUtility” tab page.

(4) A drive named “KORG D32XD [*D16XD]” will appear

on the desktop of your computer.

(3) Press the “USB Slave Mode” button to display the USB

Slave Mode dialog box.

When you connect the D32XD/D16XD to your computer for

the first time, a device driver will be installed.

Do not disconnect the USB cable or turn your computer on/

off while this screen is displayed.

(5) Use your computer to save the data.

When you open the “KORG D32XD [*D16XD]” drive

that appeared in step (4), you will see the contents of the

PC drive area within the D32XD/ D16XD’s internal hard

disk. Copy the desired data onto your computer. You

may also copy data from your computer back to the

D32XD/ D16XD’s PC drive.

(6) Drag the added drive into the trash.

When you want to disconnect the D32XD/ D16XD,

either drag the drive from the desktop into the trash, or

select the “File” menu command “Put Away.” Press the

Exit button of the USB Slave Mode screen to exit USB

Slave mode, and then unplug the USB cable from the

D32XD/ D16XD.

(4) A drive named “KORG D32XD [*D16XD]” will appear

on your computer.

When you connect the D32XD/D16XD to your computer for

the first time, a device driver will be installed.

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3. Using MIDI

MIDI

Controlling the D32XD/ D16XD from a MIDI

sequencer

You can use MMC messages transmitted and received from

a MIDI sequencer to control D32XD/ D16XD 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 D32XD/ D16XD

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 D32XD/ D16XD and your

MIDI sequencer to each other.

MIDI IN connector

Receives MIDI messages from another MIDI device.

Connect this to the MIDI OUT connector of the external

device.

(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.

MIDI OUT connector

Transmits MIDI messages from the D32XD/ D16XD.

Connect this to the MIDI IN connector of the external

device.

(3) Turn on MMC reception.

In the MIDI/SYNC, “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 .132 “GlobalCh”)

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

D32XD/ D16XD

Note On (Note, velocity), aftertouch, pitch-bend:

The D32XD/ D16XD uses these messages to control

effects.

Program change:

The D32XD/ D16XD uses these messages to switch

scenes.

Control change:

The D32XD/ D16XD 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 D32XD/ D16XD will

be controlled. (For details, refer to the manual of your

MIDI sequencer.)

MMC messages can be transmitted from the D32XD/

D16XD to control an external MMC-compatible

sequencer or recorder. MMC messages can be transmit-

ted from an external sequencer or recorder to control the

D32XD/ D16XD.

Synchronizing two D32XD or D16XD units

Here’s how you can make two D32XD or D16XD units play

back in sync. One D32XD/ D16XD will be the MTC master,

and the other will be the MTC slave.

MTC (MIDI Time Code):

The D32XD/ D16XD can transmit or receive MTC mes-

sages to synchronize with an external sequencer or

recorder.

(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 D32XD/

D16XD units to each other.

MIDI Clock:

The D32XD/ D16XD 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.

(2) Make settings on the master D32XD/D16XD.

In the MIDI/SYNC, “MIDI/MMC” tab page, set “MIDI

Sync” to “MTC Master,” and set “MMC Mode” to

“Receive.”

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.

For this example, set “Device ID” to “10.”

(3) Make settings on the slave D32XD/D16XD.

In the MIDI/SYNC, “MIDI/MMC” tab page, set “MIDI

Sync” to “MTC Slave,” and set “MMC Mode” to

“Transmit.” Set “Device ID” to “10” to match the setting

of the master device.

* A detailed explanation of the D32XD/D16XD’s MIDI functionality

can be found in the separate MIDI implementation. Consult your lo-

cal Korg distributor for more information on MIDI Implementation.

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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”).

Receiving the mixer operations recorded above in “i.e.

Recording D32XD/ D16XD mixer operations ...” from

your external MIDI sequencer to control the D32XD/

D16XD mixer

(4) Press the PLAY key of the slave D32XD/D16XD unit.

An MMC message will be transmitted from the slave

D32XD/ D16XD 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.

(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 D32XD/ D16XD and your

MIDI sequencer to each other.

(2) Adjust the synchronization settings on the D32XD/

D16XD and on your external MIDI sequencer.

Access the MIDI/SYNC, “MIDI/MMC” tab page, and

set “MIDI Sync” to “MTC Master.”

It may take several seconds for synchronization to be

achieved.

Set your external MIDI sequencer to function as MTC

Slave. (For details, refer to the manual of your MIDI

sequencer.)

Using MIDI to control the mixer

Recording D32XD/ D16XD mixer operations on your ex-

ternal MIDI sequencer

(3) Enable control change reception on the D32XD/

D16XD.

(1) Use a MIDI cable to connect the two devices.

Use a MIDI cable to connect the D32XD/ D16XD’s MIDI

OUT connector to the MIDI IN connector of your exter-

nal MIDI sequencer.

• In the MIDI/SYNC, “MIDI/MMC” tab page, turn the

“MIDI” parameter “Control Change” on.

• In the SCENE, “Automation [*EditScene]” tab page,

turn “Automation” off.

(2) Adjust the synchronization settings on the D32XD/

D16XD and on your external MIDI sequencer.

Access the MIDI/SYNC, “MIDI/MMC” tab page, and

set “MIDI Sync” to “MIDIClockMaster” or “MTC

Master.”

(4) Press the D32XD/D16XD’s PLAY key.

When the D32XD/ D16XD starts playing, your external

MIDI sequencer will also begin playing in synchroniza-

tion.

Adjust the synchronization settings on your external

MIDI sequencer as well. (For details, refer to the manual

of your MIDI sequencer.)

The previously-recorded mixer operation data will be

transmitted from the MIDI sequencer, causing the set-

tings of the D32XD/ D16XD’s mixer to change.

(3) Enable control change transmission on the D32XD/

D16XD.

• In the MIDI/SYNC, “MIDI/MMC” tab page, turn the

“MIDI” parameter “Control Change” on.

• If you want scene change data and mixer parameter

changes created by event automation playback to be

transmitted, turn the SCENE, “Automation

[*EditScene]” tab page “Automation” parameter on,

and also turn the MIDI/SYNC “MIDI/MMC” tab

page “MIDI” “Program Change” parameter on.

The D16XD will transmit only scene change data.

(4) Put the external MIDI sequencer in record-ready

mode.

The D32XD/ D16XD’s mixer control data is transmitted

on MIDI channels 1–16. Set your external MIDI

sequencer so that it will record all sixteen MIDI chan-

nels. (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.

(5) Begin recording.

Press the D32XD/ D16XD’s PLAY key to begin playback,

and the external MIDI sequencer will begin synchro-

nized recording. Now if you operate the mixer parame-

ters (faders, pan, EQ etc.), the corresponding control

change messages will be transmitted from the D32XD/

D16XD and will be recorded on the external MIDI

sequencer.

(6) Stop the D32XD/D16XD.

When you press the D32XD/ D16XD’s STOP key to stop

playback, the external MIDI device will also stop record-

ing. The D32XD/ D16XD’s mixer parameter operations

have now been recorded on the external MIDI device.

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Upgrading the system

Touch Panel Calibration

If the LCD screen does not respond as you expect, or if press-

ing the LCD screen selects a button or cell at a different loca-

tion, you can perform this procedure to re-align the LCD

screen with the touch panel.

1. Downloading the operating

system

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.

(1) In the SYSTEM, “Control” tab page, press the Calibra-

tion button.

The Touch Panel Calibration dialog box will appear.

(2)

Upgrading via CD-ROM/ R/ RW

Insert the media containing the system file into the CD-R/

RW drive.

Upgrading via USB

Use a USB cable to connect the D32XD/ D16XD to your com-

puter, and copy the system files to the D32XD [*D16XD] fold-

er of the PC drive.

2. Upgrading the system

(1) Access the SYSTEM, “DiskUtility” tab page.

(4)

(3)

(2) Press the square in the upper left of the LCD.

When your touch has been detected correctly the square

will be highlighted.

(2) Specify the loading source for the system ﬁle.

Press the Load System button to display the Load Sys-

tem dialog box. Press either the “CD” or “PC” radio but-

ton to specify the loading source.

(3) Press the square in the lower right of the LCD.

When your touch has been detected correctly the square

will be highlighted.

(4) Press the Done button.

If your touch was not detected correctly, an error message

will appear. Please perform the procedure once again.

(3) Press the Yes button to begin the update.

If an unexpected accident such as power failure occurs while

updating the system, the D32XD/D16XD may become inca-

pable of normal operation. In such cases, please contact Korg

distributor.

(4) When the upgrade is ﬁnished, the D32XD/D16XD will

automatically restart using the new system.

If the upgrade fails, the D32XD/ D16XD will display an

message and will not restart. Note the contents of the

message (→p .170 “V a rious messages”).

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Reference

2. Information display radio buttons

These select the information that will be shown in the

information display.

Counter

Date Time:

Calendar display, showing the current year/ month/

date and time (hours and minutes).

Counter display

Press the counter button, and select the desired counter dis-

Free Time:

Displays the amount of recording time available on

the currently selected drive. From the left, this indi-

cates hours, minutes, and seconds.

play method in the Time Disp Type dialog box.

Scene:

Displays the currently-used scene name and scene

location.

Mark:

Displays the currently-used mark name and mark

location.

1. Song display

Displays the song drive name, song name, sampling fre-

quency, and bit depth.

TempoMap:

Displays the currently-used rhythm.

2. Information display

Displays date, remaining recordable time, scene, mark,

and tempo map data.

3. Counter button

Press this to display the Time Disp Type dialog box.

4. Counter display

Displays the current recorder location and measure.

Time Disp Type dialog box

1. Location radio buttons

These select the format and type of units used in the

counter display.

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).

* 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 .132).

* Maximum value is 23:59:59.29F (when using 30

frames/ second)

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)

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Rename

1. METER

Editing a name

Meter Trk View

When the Rename button is displayed in a parameter setting

tab page (such as Song, Track, Effect, Scene), you can press

the button to edit the corresponding name.

Alternatively, you can choose an appropriate name from the

name library and then edit it.

This displays the level meters and a list of the virtual tracks

that shows whether any of them contain audio events. By

changing the “Meter Trk Type” settings you can switch the

signal shown by the level meters, or select a “Fader View”

that shows fader and pan values.

Highlight the name you want to edit, and press 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 .174).

The audio event locate points (IN, OUT, TO, END) are also

displayed in this screen.

D32XD Track View

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

D16XD Track View

Cancel

0…9, A…Z/…@

Inputs the numeral, character, or symbol at the

highlighted location

List button

Rename box

1. Display select button

Press this button to display the Meter Trk Type dialog

box, where you can select the information you want to

view. Press the OK button to apply your selections, or

press the Cancel button to discard them.

Using the name library

When you press 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 press that name to input it in the list box.

For details on the name library, refer to “Name Library List”

(→p .186).

1a. Select Level Meter Position

[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

Name library

channel

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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

2. CH VIEW

∞: Continue holding the peaks

This setting applies to the level meters in each page.

2-1. Ch View

1c. Select View

[TrackView, FaderView]

This displays the settings and status for a single channel.

Press one of the CH SELECT keys to select the channel that

will be displayed.

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

D32XD

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 .38).

IN:

OUT:

TO:

END:

D16XD

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

Use these buttons to magnify or shrink the area dis-

played in the track view window.

In this screen you can set the following parameters.

•

Pairing (→p .102)

D32XD Fader View

Pan (→p .103 , [*1 07])

Channel on/ off (→p .8)

Input (→p .100)

Attenuator (→p .109)

Phase (→p .110)

Recording location (→p .111 , [*113])

Solo on/ off (→p .113)

EQ on/ off, ﬂat (→p .109)

Fader (→p .103 , [*1 07])

Level meter position (→p .97)

Group (→p .103) ....... D32XD

Send (→p .112)

EQ (→p .109)

D16XD Fader View

Send and EQ parameters can also be edited using the Send and

equalizer knobs and keys located at the right of the display.

2-2. 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.

Press one of the CH SELECT keys to select the channel that

will be displayed.

7. Name window

This displays the names of each track and of the master

effects.

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

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D16XD

3. 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.

Press the menu button that contains the parameters you want

to edit.

To return to this page jump menu screen, press the MIXER

key.

D32XD

a. INPUT/OUTPUT/CH ASSIGN button

Opens the INPUT/OUTPUT/CH ASSIGN page mode

screen (see below)

b. PAIR button

Opens the PAIR 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 .109)

e. SEND (EFF/AUX/REC) button

Opens the SEND (EFF/AUX/REC) page mode screen

(→p .112)

a. INPUT/OUTPUT/CH ASSIGN button

Opens the INPUT/OUTPUT/CH ASSIGN page mode

screen (see below)

f. SOLO/MONITOR button

Opens the SOLO/MONITOR page mode screen

(→p .113)

b. PAIR/GROUP button

Opens the PAIR/GROUP page mode screen (→p .102)

c. FADER/PAN/AUTOMATION button

Opens the FADER/PAN/AUTOMATION page mode

screen (→p .103)

g. ANALOG COMP button

Opens the ANALOG COMP page mode screen (→p .115)

d. EQ/PHASE/REC button

Opens the EQ/PHASE/REC page mode screen (→p .109)

e. SEND (EFF/AUX) button

Opens the SEND (EFF/AUX) page mode screen (→p .112)

f. SOLO/MONITOR button

Opens the SOLO/MONITOR page mode screen

(→p .113)

g. ANALOG COMP button

Opens the ANALOG COMP page mode screen (→p .115)

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Rhythm L, R:

The rhythm selected by “Rhythm Pattern” will be

input to the mixer channel. If the “Rhythm,” “Assign”

is set to “CH Input” and the Rhythm On button is on,

the rhythm will sound. You can record this rhythm.

(→p .133)

3a. INPUT/ OUTPUT/ CH ASSIGN

3a-1. Channel Assign

Here you can specify the input for each mixer channel 1–32

[*16].

A1…A8:

...

The signal from an external ADAT device connected to

the ADAT connector will be input to the mixer chan-

nel.

When you select a digital input such as S/P DIF or ADAT, noise

may occur if the digital data is not synchronized. You should turn

down these faders or turn down the volume of your monitor sys-

tem before you change these settings.

You cannot assign ADAT input if the current song is 96 kHz/

24-bit.

2. Source Select CD or S/P DIF

Press the Select button to display the Source Select dia-

log box.

D32XD

Here you can select either “CD” or “S/P DIF” as the dig-

ital INPUT source.

A message of “Obey Copyright Rules” will appear.

Carefully read the section “COP Y RIG H T W AR N I N G”

(→p .iii) in the manual, and press the OK button if you

accept the terms. Digital input will be enabled.

If selecting “S/P DIF” causes a message of “Audio Sync

Error” to appear, and/ or there is something wrong with

the sound, add a check mark to the “Change Sync source

S/P DIF” check box.

If “Audio Sync Error” appears even when “Change Sync

source S/P DIF” is checked, verify that in the SYSTEM,

“Word Clock” tab page, the “Word Clock” frequency is the

same as the sampling frequency of the current song.

D16XD

If “Change Sync source S/P DIF” is checked, the D32XD/

D16XD will stop operating if synchronization is interrupted

during recording/playback or if the synchronization frequency

changes. If the D32XD/D16XD stops operating due to a syn-

chronization problem during recording, please format that

song drive.

1. CH1…32 [*16]

[1…16, CD L, CD R, L, R,

Rhythm L, R, A1…8]

buttons

The number of assignable channels will depend on the sam-

pling rate and bit depth of the current song (→p.136).

Use these up/ down buttons to select the INPUT source.

You can select the input sources 9…16 or ADAT 1…8 only if

the 8-channel analog input board or the ADAT I/O board op-

tions are installed respectively.

Select a channel icon “CH1”–“CH32 [*16],” and then

select the source that will be input to this channel.

INPUT 1…16:

…

The analog signal from an instrument etc. connected

to the INPUT 1/ GUITAR IN–INPUT 16 jacks will be

input to the mixer channel.

CD L, R:

The audio track of audio CD inserted in the internal

CD-R/ RW drive will be input to the mixer channel.

You can select this if “Source Select CD or S/P DIF” is

set to “CD.”

S/F 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.

You can select this if “Source Select CD or S/P DIF” is

set to “S/P DIF.”

100

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3a-2. Sub Mixer 1–8

3a-3. Sub Mixer 9–16

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 8 jacks, or so that the sound of an instru-

ment connected to these jacks can be mixed with the track

playback. (→p .45)

After completing a song on the D32XD/ D16XD, you can syn-

chronize a sequencer to the D32XD/ D16XD and use sub in-

puts to mix the sequenced sounds with the track playback of

the D32XD/ D16XD.

This screen is available only if the optional 8-channel analog

input board (AIB-8) is installed.

For details on the parameters and values, refer to “3a-2. Sub

Mixer 1–8.”

If the optional board is not installed, the message shown be-

low will appear.

In the case of a 96 kHz/24-bit song, EQ is not available for sub

mixer 13–16.

These inputs are sent to the master bus.

Use the AUX OUT jack to transmit the effect send to your exter-

nal effect processor. (→p.112)

3a-4. Sub Mixer 17–24

This screen is available only if the optional ADAT I/ O board

(DIB-8) is installed.

For details on the parameters and values, refer to “3a-2. Sub

Mixer 1–8.”

1. HIGH.G

[–15 dB…+15 dB]

If the optional board is not installed, the message shown be-

low will appear.

Sets the high-frequency gain of the sub input.

2. HIGH.Fc

[21 Hz…20.1 kHz]

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]

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.

6. ON

[ON, OFF]

Speciﬁes whether the sub input will be sent to the master

bus (ON) or not (OFF).

7. Level

[0…100]

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 edit the parameter values.

101

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3a-5. ADAT Out Assign

This screen is available only if the optional ADAT I/ O board

(DIB-8) is installed. Here you can specify the output sources

for ADAT OUT.

3b. PAIR/ GROUP [*PAIR]

3b-1. Channel Pair

D32XD

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 1/2/3/4 Send [*AUX 1/2 Send], ATT, REC/

PLAY, Group (only D32XD)

CH1–8/CH9–16/CH17–24/CH25–32

Output the post-fader signal of CH1–8/ CH9–16/ CH17–

24/ CH25–32.

Track1–8/Track9–16/Track17–24/Track25–32

Output the playback of tracks 1–8/ tracks 9–16/ tracks 17–

24/ tracks 25–32 directly, without passing the signal

through the mixer.

Channels that are paired will be controlled by the knobs and faders

of the odd-numbered channels. Operating the knobs or fader of the

even-numbered channel will have no effect.

D32XD

D16XD

CH1–8/CH9–16

Output the post-fader signal of CH1–8/ CH9–16.

Track1–8/Track9–16

Output the playback of tracks 1–8/ tracks 9–16 directly,

without passing the signal through the mixer.

1. Select Pair Ch

D32XD [1 2…31 32]

D16XD [1 2…15 16]

Press the 1 2–31 32 [*15 16] buttons to select the

channels that are paired (the heart icon

played for paired channels).

will be dis-

2. PanMode

[Indiv, Sync, Cross, Balance]

Select how panning will occur.

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.

Balance: The pan control will function as channel balance.

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.

102

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D32XD

3c. FADER/ PAN/ AUTOMATION

3b-2. Fader 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 beas-

signed to only one of these Fader groups.

D32XD

3c-1. Fader Pan

Since the D32XD has moving faders, the actual fader posi-

tions will match the position of the fader icons in this tab

page. If you select a fader in the screen and use the value dial

or the +/– keys to modify the value, the actual fader will

move correspondingly.

[A, B, C, D]

1. Group buttons

These buttons select the fader group for each channel. To

select the group, press the corresponding button (it will

be highlighted).

Use the scroll bar/ button to move the range of channels

that is displayed.

1. Pan

[L63...C...R63]

This indicates the pan position. The value is displayed

below the icon.

2. Group on buttons

[A, B, C, D]

To enable fader grouping, press the corresponding button

(highlighted). If these buttons are pressed, the faders will

move to preserve the balance of the group when you

operate any fader in that group.

2. Level

[–∞…+6]

This shows the setting of the currently selected channel

fader. The value and fader group are displayed below the

icon.

When you turn on a 1. “Group button” to add a channel to an

existing group, the level of the channel at that moment will be

set as that fader’s balance in the group.

3. Level meter

This indicates the master L/ R output level.

4. Master level

[–∞...+0]

This indicates the MASTER fader setting. The numerical

3b-3. Channel On Group

value is shown below the icon.

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.

[E, F, G, H]

1. Group buttons

These buttons select the CH ON group for each channel.

To select the group, press 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, press the corresponding but-

ton (highlighted). If these buttons are pressed, 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 group, the on/off status of the channel at that moment

will determine the on/off status for the group.

103

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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. Previously-recorded events will remain

unchanged in the areas where you do not record

parameter operations.

3c-2. 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.

If you select Fader as the parameter to be recorded,

fader data will be overwritten only while you are

operating the faders (i.e., from when you touch a fader

knob until you release it), regardless of the In Time

and Out Time.

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.

Use the LOC5 key to register the In Time (the location

at which event recording will begin), and the LOC6

key to register the Out Time (the location at which

event recording will end). (→p .38)

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 press to make it indicate

(Rec) .

2. Record parameter buttons

5c. Release Time

[0 ms...5 s]

[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; press a radio button to highlight the

desired parameter.

When the recording method is “Punch Write,” this

speciﬁes the time from when you take your ﬁnger off

the fader until the level returns to the level of the

already-recorded events.

If you select Send, automation will be recorded for sends whose

Send key (INTERNAL 1/2, AUX 1/2/3/4) is lit when recording

begins. However, “6. Snap Shot” will record all Send parameters.

If you select Expression, press 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, press this button to make it indicate “ ”.

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.

6. SnapShot

Pressing this button when “4. Automation” is on and the

recorder is stopped will record a “snapshot” of events for

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. The fader will automatically move

when this occurs. New automation events will not be

recorded.

channels whose record channel button is set to

(Rec).

7. Undo

Press 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.

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. The fader will automatically move

when this occurs. 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).

You can use “3c-3. Event List” to make detailed changes to the

recorded events.

This data is held in common with the “8. Undo” data of “3c-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.

8. Free event memory amount

This indicates the amount of remaining memory in which

you can record events.

If automation is on and you have not stored any scene, the Default

Scene will automatically be selected. If you want to edit scene-re-

lated parameters, be sure to store the scene.

3c-3. Event List

Here you can view or edit the events and scenes that you re-

corded using automation.

5. Mode

When you press this button, the Event Rec Mode dialog

box will appear, allowing you to select the automation

recording method. Press the OK button to apply your

selection, or press the Cancel button to cancel it.

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5. Cut

Press 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).

To execute the cut, press the Yes button. To cancel, press

the No button.

To cut all events in the event list, press (highlight) the

Select All button and then execute Cut.

6. Copy

Press 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, press the Yes button. To cancel, press

the No button.

To copy all events in the event list, press (highlight) the

Select All button and then execute Copy.

1. Set View

Press this button to open the Set View dialog box. Press

the OK button to apply your selections, or press the Can-

cel button to cancel them.

7. Paste

1a. Event View Source

Press 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, press the Yes button. To cancel,

press the No button.

Press a radio button to choose the parameter that will

appear in the event view.

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.

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 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

Press 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.

The data is held in common with the “7. Undo” data of “3c-2.

Automation.” If you press the Automation Undo button

immediately after event-editing, the last event-edit will be

undone – not the automation recording.

2. Event view

This area shows the events of the source you selected in

Set View.

3. Event list

9. Select List

Displays the events selected in the “9. Select List.” To edit

an event, select (highlight) it by pressing it in the list.

Press 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.

4. Edit

Press this button to open the Edit Event dialog box.

4a. Event select button

Use this to select the event you want to edit. Press this

button and use the value dial (or +/– keys) to make

your choice.

3c-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 “3c-2. Automation”

setting “Automation” is on). You can also recall a scene

when desired as a set of general-purpose settings (→p .52).

You can store one hundred scenes for each song.

4b. Parameter/Parameter value [MIDI value]/Location

Select (highlight) the parameter or location that you

want to edit, and use the value dial (or +/– keys) to

edit it.

The only way to edit a scene is to change its location.

The values will not be updated until you press the OK

button to conﬁrm your edits.

A scene may contain the following settings.

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Channel parameters

If a button is off (i.e., ﬁltering off), those settings of the

scene will be applied.

Filtering is applied to the selected scene as a “playback

ﬁlter.”

CH ON, PlayEQ, ATT, sends, insert effect assignments,

fader, pan

Effects

Effect program numbers and Trim of the insert, master,

and ﬁnal effects.

Fader, CH ON, Pan, EQ, EFF1/2, and AUX1/2/3/4 filter set-

tings apply only to channels that are disabled (highlighted).

Effect return, MASTER fader, AUX levels, master EQ

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, press the OverWrite button to

save your edits. Otherwise, the scene will revert to the

state prior to editing when you exit this screen.

5. Edit Loc

Here you can change the location where the scene is

stored.

In the scene list, select the scene whose location you want

to edit.

Press 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.

1. Scene select cell

This area displays the currently selected scene (current

scene).

If no scene is selected, the Default Scene will be selected.

Press the Yes button to apply your changes, or press the

No button to discard your changes.

Choose a song in the scene list and press 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 press the OverWrite button.

If you turn off the power before pressing the OverWrite

button, the edits you made will be lost, and the scene will

revert to the state prior to editing.

2. Scene list

6. Rename

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.

Here you can rename the scene.

In the scene list, select the current scene whose name you

want to edit, and press the Rename button to display the

Rename dialog box. You can assign a name of up to six-

teen characters. (→p .97)

7. Delete

If Automation is on, scenes that have this overlap warning

In the scene list, select the scene that you want to delete,

and press 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.

Press the Yes button to delete the scene(s), or press the

No button to cancel the operation.

icon will not play back.

3. Disable Prm

Press this button to display the Disable Param dialog

box.

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.

3c-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.

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/ 3/ 4 sends, you must also select which channels will

have these parameters disabled.

The EFF1/ 2 Return, Effect, Aux 1/ 2/ 3/ 4 Level, Mas-

terEQ, and MasterFader parameters can be disabled

without regard to the channel.

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 you want to enable/disable parameters for a specific scene of the

song, make settings in the “EditScene” tab page 3.Disable Prm.

Press 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/ 3/ 4 Level, MasterEQ, and

MasterFader parameters can be disabled independently of

the channel.

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Fader, CH ON, Pan, EQ, EFF 1/2, and AUX 1/2/3/4 filter set-

tings are valid only for channels that are disabled (highlighted).

D16XD

The Effect button enables/disables and Trim the effect program

3c-1. Fader Pan

number and insert effect assignments.

The EFF 1/2 Return button enables/disables the Return Level

and Balance settings of the master effect 1/2.

1. Post Fader level meters

These indicate the post-fader levels. The MASTER fader

is shown as L/ R.

2. Pan

[L63…C…R63]

Displays the pan setting. The value is displayed below

the icon.

3c-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.

3. Master level

[–∞…+0]

This indicates the MASTER fader setting. The numerical

value is shown below the icon.

Faders, CH ON, pan, EQ LOW Gain/EQ MID Gain/

HIGH MID Gain/HIGH Gain, EFF1/2 Send, AUX 1/2/3/

4 Send, AUX 1/2/3/4 LEVEL, EFF 1/2 Return Level, EFF

1/2 Return Balance

4. Level

[–∞…+6]

This shows the setting of the currently selected channel

fader. The numerical value is shown below the icon.

If you move the faders and pan knobs on the top panel, the

screen will be updated to change the value accordingly, and

the selection will move to that parameter. If you operate the

EQ and send knobs, the changes will show when you return

to the “Mixer View” tab page.

Pan/fader guide

If the pan or fader value of the currently selected channel

differs from the position of the pan knob or fader, a guide

icon is displayed.

Recording and playback will occur according to the set-

tings shown in the screen. However if you want the set-

tings to match the physical positions of the faders and

knobs, set the SYSTEM “Control” parameter Fader/

Knob Control to Match (→p .127), and make adjustments

while watching the icons. If you set this parameter to

Jump, the guide icon will disappear since the value will

jump immediately to the position of the fader or knob

you move.

Fader

Difference from

current value

Relationship between position

and value

Icon

Large

Lower the fader position (the fader

is higher than the value)

Medium

Small

None

Small

(none)

The position and value match

Raise the fader position (the fader

is lower than the value)

Medium

Large

Pan

Difference from

current value

Relationship between position

and value

Icon

Large

Medium

Small

Turn the pan knob toward the right

(the knob is to the left of the value)

(none)

None

The position and value match

Small

Turn the pan knob toward the left

(the knob is to the right of the value)

Medium

Large

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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.

The EFF1/ 2 Return, Effect, Aux 1/ 2 Level, MasterEQ,

and MasterFader parameters can be disabled without

regard to the channel.

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.

3c-2. 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 “Automation” is on). You

can also recall a scene when desired as a set of general-pur-

pose settings (→p .52). You can store one hundred scenes for

each song.

A scene may contain the following settings.

Channel parameters

CH ON, PlayEQ, ATT, sends, insert effect assignments,

fader, pan

Filtering is applied to the selected scene as a “playback

ﬁlter.”

Effects

Fader, CH ON, Pan, EQ, EFF1/2, and AUX1/2 filter settings

apply only to channels that are disabled (highlighted).

Effect program numbers and Trim of the insert, master,

and ﬁnal effects.

If you want to enable/disable scene parameters for all the

Effect return, MASTER fader, AUX levels, master EQ

scenes in a song, use the “SceneFilter” tab page.

4. Automation

Turns scene playback on/ off.

ON: Scenes will play back. When song playback reaches

the location at which a scene is registered, that scene

will be recalled, and the mixer settings will auto-

matically change. If this is on, the Automation indi-

cator will light.

OFF: Scenes will not play back. In this case, you will be

able to freely recall scenes as general-purpose set-

tings regardless of their location (→p .52 “4-2. Re-

calling a scene”).

5. Recall

1. Scene select cell

Recalls the settings that are registered in a scene. If you

recall and edit a scene, press the OverWrite button to

save your edits. Otherwise, the scene will revert to the

state prior to editing when you exit this screen.

This area displays the currently selected scene (current

scene).

If no scene is selected, the Default Scene will be selected.

Choose a song in the scene list and press 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 press the OverWrite button.

If you turn off the power before pressing the OverWrite

button, the edits you made will be lost, and the scene will

revert to the state prior to editing.

6. Edit Loc

Here you can change the location where the scene is

stored.

In the scene list, select the scene whose location you want

to edit.

Press the EditLoc button to display the Edit Scene Loca-

tion dialog box, and edit the location at which the scene

is stored.

When you press the unit (hour, minute, second, etc.) that

you want to edit, it will be enclosed by a frame, and you

can use the value dial or the +/– keys to edit the value.

Press the Yes button to apply your changes, or press the

No button to discard your changes.

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.

If Automation is on, scenes that have this overlap warning

icon will not play back.

3. Disable Prm

Press this button to display the Disable Param dialog

box.

7. Rename

Here you can rename the scene.

In the scene list, select the scene whose name you want to

edit, and press the Rename button to display the Rename

dialog box. You can assign a name of up to sixteen char-

acters. (→p .97)

8. Delete

In the scene list, select the scene that you want to delete,

and press 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.

Press the Yes button to delete the scene(s), or press the

No button to cancel the operation.

For each scene, you can ﬁlter speciﬁc mixer settings

(parameters) so that they will not be recalled when that

scene is played back.

Undo is not available for this Delete operation.

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9. OverWrite

Overwrites the current mixer settings onto the selected

scene number. Use this when you want to make ﬁne adjust-

ments to the scene or replace it with a different scene.

3d. EQ/ PHASE/ REC

[*EQ/ ATT/ PHASE]

Even when scenes are disabled, selecting a song will recall the

mixer settings, meaning that the mixer may be operating with set-

tings that do not match the actual fader and knob positions. The

mixer settings that are recalled will be the values that were current

at the time the song was saved (→p.137).

Here you can adjust the equalizer, attenuator, EQ library,

and phase settings for each channel, and adjust the master

EQ settings.

3d-1. EQ/ ATT

3c-3. Scene Filter

Use the CH SELECT keys to select a channel and view its set-

tings. 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.

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.

You can use the switches located to the right of the display to

select the four equalizer bands. The Gain/ Freq/ Q knobs lo-

cated to the right of the display can be used to adjust the

equalizer G/ F/ Q parameters.

Press 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 Master-

Fader parameters can be disabled independently of the channel.

Equalizer settings used here can be loaded from the EQ li-

brary, or registered in the EQ library (see the section below,

“3d-2. EQ Library”).

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.

The EFF 1/2 Return button enables/disables the Return Level

and Balance settings of the master effect 1/2.

1. CH

D32XD [1…32]

D16XD [1…16]

Use the CH SELECT keys (or this edit cell) to select the

channel whose equalizer settings you want to edit. This

channel is linked with “CH” in the “EQ Library” tab

page.

3c-4. Mixer View

You can use the Mixer View screen to check the settings of a

scene.

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

Here you can view and edit the following parameters.

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.

Faders, CH ON, pan, EQ LOW Gain/EQ 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

3. EQ curve graph

The EQ curve produced by the settings is shown here as a

graph.

If you move the faders and pan knobs on the top panel, the

screen will be updated to change the value accordingly, and

the selection will move to that parameter. If you operate the

EQ and send knobs, the changes will show when you return

to the “Mixer View” tab page.

4. Level meter button

Each time you press 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.

PST: Post-fader level. The level after passing through the

fader is displayed.

5. ATT

[–63.5 dB…0 dB]

Here you can adjust the attenuator. Lowering this value

will lower the level that is input to the EQ.

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6. LOW G/F/Q

[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10, Shlv]

Use the library list to select the library that you want to

load.

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.

Press the button to display the Recall dialog box, verify

the library and the loading-destination channel, and

press the Yes button. If you decide not to load, press the

No button.

7. LOW-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 low-mid frequency region.

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.

5. Store

This stores the EQ settings of the “EQ/ATT” tab page into

one of the user EQ libraries.

9. HIGH G/F/Q

[–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.

The EQ settings of the channel selected by 2.”CH” will be

stored.

A name will automatically be assigned to the stored

library.

The PlayEQ of channel 8: CH08-I.EQ

The RecEQ of channel 10: CH10-EQ

Verify the store-destination number and press the Yes

button. If you decide not to store, press the No button.

10.FLAT

Sets the Gain of each equalizer band to 0 dB. The EQ set-

tings for that channel will be initialized.

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.

5a. Rename

You can press this button to edit the name of the

library program (→p .97).

3d-2. EQ Library

Here you can load EQ settings from an EQ library. You can

also store EQ settings in a user EQ library.

There are 50 preset EQ libraries, and 50 user EQ libraries.

An EQ library stores parameters 6–9 of the preceding section

“3d-1. EQ.”

5b. Program number cell

Here you can select the store-destination program

number. Press the cell to highlight it, and use the

value dial (or the +/– keys) to make your selection.

3d-3. Phase

You can invert the phase of each channel.

If an audio device is input in stereo via a jack whose hot and

cold conductors are reversed, their stereo position may be

blurred, or portions of the sound may be cancelled. This set-

ting lets you invert the phase to correct such situations.

D32XD

1. EQ library list

Press the screen to select an EQ library. The list shows the

library number (P** are presets, U** are user) and library

name.

2. CH

[1…16]

Press a CH SELECT (or the edit cell) to select the channel

into which you will load an EQ library or whose EQ set-

tings you will store in an EQ library.

This channel is linked with “CH” of the “EQ/ATT” tab

page.

3. EQ curve graph

The EQ curve of the selected library is shown as a graph.

4. Recall

Loads the selected library into the channel you selected

in 2. “CH.”

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7. Link

Sets the left and right channels of the master EQ to the

D16XD

identical settings. You can adjust the settings from either

the left or right channel.

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.

D32XD

3d-5. Rec Send

1. PHASE

[N, R]

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.

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).

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 D32XD/D16XD, pin 2 is hot and pin 3 is cold (→p.7).

Set this to “R” if the connected audio device uses the opposite

pin wiring.

3d-4. Master EQ

Here you can adjust the equalizer settings for the master bus.

This is an eight-band peaking equalizer. Bands 1 and 8 can

also be set to a shelving-type (Shlv) EQ.

The master EQ is used as a Rec EQ for the master track.

The switches and Gain/Freq./Q knobs located at the right of the

display cannot be used to adjust the master EQ.

The master EQ cannot be used when playing back the master track

or when using “Solo→Master.”

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

2. Select All

Links the PRE/PST buttons of all channels.

1. EQ curve graph

This graphically displays the EQ curve speciﬁed by the

parameters.

2. Band 1…8 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.

* By selecting Shlv as the “Q” value for bands 1 and 8,

you can switch them to shelving-type EQ; in this case

the F value will become the cutoff frequency.

3. FLT (Flat)

This sets the Gain of each band to 0 dB.

4. Level meter

This indicates the level of the master bus.

If clipping occurs, adjust the MASTER fader.

5. L

Selects the master EQ settings for the left channel.

6. R

Selects the master EQ settings for the right channel.

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3e-3. Aux1 Send

You can adjust the send levels from each mixer channel to the

AUX OUT 1 jack.

3e. 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.

3e-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 .60.

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).

D32XD

D16XD

1. 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

1. 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

2. SEND

Adjusts the send level.

PST: Send the post-fader level

3. Select All

2. SEND

This links the operation of all channels.

It will link the PRE/PST buttons and the SEND knobs.

Adjusts the send level.

3. Select All

4. SEND 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 AUX1 Out.

5. AUX1 Send meter

4. SEND LEVEL meter

Adjusts the level of the AUX1 Out.

Indicates the level of the Effect 1 Send bus.

buttons

5. Effect 1 L/R meter

Use these up/ down buttons to edit the parameter values.

Indicates the level of the Effect 1 Return L/ R bus.

buttons

Use these up/ down buttons to edit the parameter values.

3e-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, “3e-

3. Aux1 Send.”

3e-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, “3e-

1. Effect 1 Sen d.”

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D32XD

3f. SOLO/ MONITOR

3e-5. Aux3 Send

Here you can adjust the send level that is output from each

mixer channel to the AUX 3 jack.

For details on the parameters, refer to the section above, “3e-

3. Aux1 Send.”

3f-1. Solo

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

OUT 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.

3e-6. Aux4 Send

Here you can adjust the send level that is output from each

mixer channel to the AUX 4 jack.

For details on the parameters, refer to the section above, “3e-

3. Aux1 Send.”

D32XD

D16XD

3e-5. Rec Send

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.

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).

D16XD

1. CH buttons

[1…16]

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 D32XD/ D16XD will automatically switch

to Solo mode, and the CH ON/SOLO key of that channel

will blink.

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

2. Send, Return buttons

Use these buttons to turn the Solo function on (high-

lighted) or off for each send or return.

EFF1 Send, EFF2 Send:

2. Select All

Solo the send signal to effects 1 or 2

Links the PRE/PST buttons of all channels.

AUX1 Send, AUX2 Send, AUX3 Send, AUX4 Send

[*AUX1 Send, AUX2 Send]:

Solo the send signal to external output AUX OUT 1, 2,

3 or 4 [*AUX OUT 1, 2] jacks

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 OUT L/R jacks. Use this setting if

your monitor system is connected to the MASTER OUT

L/R jacks and you want to listen to the soloed audio

through these outputs.

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4. Mode

Last: Solo only the last-selected signal (multiple selec-

3f-3. Cue Level

tions are not possible)

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.

Mix: Solo all selected signals (multiple selections are pos-

sible)

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.

If you switch from Mix to Last, all solo settings will be turned

off.

5. ClearAll

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.

Turns all solo settings off.

3f-2. Monitor

D32XD

Here you can select the audio signals that will be output from

the monitor output (MONITOR OUT L/R jacks) and head-

phone output (PHONES jack).

D16XD

1. Master LR

Sends the master LR bus to the monitor output. Normally

you will select this.

2. Solo

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.

1. Pan

Adjusts the panning of each channel’s cue signal.

2. Level [0…100]

[L63…C…R63]

3. Cue

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.

Adjust the level of each channel’s cue signal.

Unity level is 100.

3. Level meter

This bar graph indicates the cue mix output volume.

buttons

4. Rhythm

Use these up/ down buttons to edit the parameter values.

Sends the internal rhythm sound directly to the monitor

output. You can use this when you want to hear the

rhythm only in the headphones while you output the

track playback audio from the MASTER OUT L/R jacks

during a live performance. Normally you will leave this

turned off.

The rhythm will not be output unless you turn on the Rhythm

On button in the TEMPO, “SetUp” tab page.

If you turn Rhythm on here, the TEMPO, “SetUp” tab page

“Assign” setting will switch to “Monitor.” If you turn Rhythm

off, the TEMPO “SetUp” tab page “Assign” parameter will au-

tomatically change to “CH Input.”

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6. OUTGAIN

[–20 dB…+20 dB]

Adjusts the output level of the compressor. This lets you

boost a level that was attenuated by compression.

3g. ANALOG COMP

7. ON

Turns the compressor on for the selected channel. When

on, part of the button will be highlighted.

3g-1. Analog Compressor 1–8

8. Gain reduction (GR) meter

Indicates the reduction in level that is being produced by

the compressor.

9. Comp channel

Indicates the currently selected comp channel.

10.Comp program

Indicates the number and name of the comp program

used by the currently selected comp channel.

This will not be displayed unless a program has been recalled

for the comp channel.

11. Level curve

Displays the level curve of the currently selected comp

channel.

12.IN/OUT/GR bar meters

These bar meters indicate the input/ output levels and

gain reduction level for the currently selected comp chan-

nel.

Here you can set the analog compressor parameters.

These settings apply compression to the analog inputs of IN-

PUT jacks 1 through 8.

13.Recall button

Fifty different compressor settings are stored as preset comp

programs, and there are another fifty user comp programs

that you can rewrite, giving you a total of one hundred pro-

grams that you can recall by using the Recall button.

Changes the comp program for the selected comp chan-

nel.

When you press this button, the Recall dialog box will

appear. Press the Yes button to change the program, or

press the No button to cancel.

Comp channels 1–8 correspond to INPUT jacks 1–8; i.e., comp

channel 1 applies to the INPUT 1 jack, and comp channel 2 applies

to the INPUT 2 jack.

Due to the characteristics of analog circuitry, the displayed pa-

rameter values are approximate.

13a

13b

1. Link

Press this button to display the Select Link dialog box.

13a. Comp channel cell

Selects the comp channel that will use this program.

Press the cell to highlight it, and use the value dial (or

the +/– keys) to select a comp channel.

13b. Program cell

Select the program that you want to use. Press the cell

to highlight it, and use the value dial (or the +/– keys)

to select a comp program. Alternatively, you can press

the popup button located beside the cell to display the

Select Comp Program dialog box, and make your

selection.

When compressing a stereo source, you can link adjacent

compression channels and parameters.

Press the channel buttons that you want to link, and then

press the OK button. An “=” symbol will be displayed

between comp channels that are linked.

2. THRSHLD (Threshold)

[0 dB…–40 dB]

Sets the threshold level at which the compressor begins

to apply.

The displayed value is relative to full scale.

3. RATIO

[1.5:1…inf:1]

Sets the compression ratio that will be applied to an input

signal when it exceeds the threshold level.

Setting this to inf (∞):1 will produce the operation of a limiter.

4. ATTACK

[1 mS…200 mS]

Sets the speed (attack time) at which the compressor will

begin to apply after the input signal exceeds the thresh-

old level.

14.Store button

5. RELEASE

[10 mS…10 S]

Stores the current settings as a compressor program.

Press this button to display the Store Program dialog

box. Press the Yes button to store the program, or press

the No button to cancel.

Sets the speed (release time) at which the compressor will

stop being applied after the input signal falls below the

threshold level.

Distortion may occur if the release time is too short.

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14a

14b

4. EFFECT

14c

D32XD

14a. Rename

4-1. Routing A

Renames the comp program.

This lists the effect programs used by the insert 1–8, master,

and final effects, and shows their status.

The D32XD lets you simultaneously use up to 24 insert ef-

fects, two master effects, and one final effect.

Insert effects 9–24 can be viewed and edited in “4-2. Routing

B.”

Press the button to display the Rename dialog box,

and edit the name. You can assign a name of up to

eight characters.

14b. Comp channel cell

Selects the comp channel whose program you want to

save. Press the cell to highlight it, and use the value

dial (or the +/– keys) to select the comp channel.

The number of simultaneously usable effects will differ depending

on the size of the effect programs, and on how they are assigned.

14c. Program number cell

[U01…U50]

In this screen you can also select effect programs and edit

some of their parameters.

To select a program, use the value dial or press the Select

button in the screen and choose from a list of effect programs

by category.

Selects the save-destination program number. Press

the cell to highlight it, and use the value dial (or the +/

– keys) to select the program number. The existing

program at that number will be overwritten.

How THRESHOLD, RATIO, and OUT GAIN affect the in-

put

THRESHOLD

1.5:1

RATIO

OUT

GAIN

inf:1

Input level

How ATTACK and RELEASE operate

Input waveform

Input

level

1. CH

[1…32]

Selects the channel to which each insert effect 1 through 8

will be applied.

THRESHOLD

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).

Time

3. Insert EFF 1…8

If the attack and

release are fast

If the attack and

release are slow

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.

RATIO inf: 1

Attack time

Release

time

The letter “E” is displayed at the beginning of the effect

number to indicate an effect that is being edited.

: Effect size icon

Indicates the DSP size of the effect.

Time

: Control icon

Indicates an effect to which effect control is assigned.

: On/off icon

Indicates the on (enabled) or off (disabled) status of

the effect.

3g-2. Analog Compressor 9–16

This tab page is available if an optional 8-channel analog

compressor board (ACB-8) is installed on the optional 8-

channel analog input board (AIB-8).

This lets you apply compression to the analog inputs from

INPUT jacks 9 through 16.

For the possible combinations and how they will operate,

refer to “Effects that can be used simultaneously”

(→p .117).

Due to the input/output structure of the mixer, you cannot use

a stereo program for insert effect 8.

Comp channels 9–16 correspond to INPUT jacks 9–16; i.e., comp

channel 9 applies to the INPUT 9 jack, and comp channel 10 ap-

plies to the INPUT 10 jack.

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.

For details on the parameters and values, refer to “3g-1. An-

alog Compressor 1–8.”

If the above options are not installed, this tab page cannot be

selected.

You cannot use a mono effect program for MasterEFF 1 or 2.

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5. FinalEFF

Effects that can be used simultaneously

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.

The effect programs used by the D32XD’s effects are classi-

fied as being different “sizes” according to the amount of

DSP processing power they consume.

Effect programs of a type for which you can use up to eight

of them as Routing A insert effects are called “size-one” ef-

fect programs. Relative to these, other effect 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.

One “size” corresponds to one of the on/ off icons in each ef-

fect cell.

You cannot use a mono effect program for FinalEFF.

6. Navigation buttons

Use these to select parameters within the page.

7. Select

Choose the effect you want to use, and then press this

button 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 that you want to use.

In the case of a 44.1 kHz/ 48 kHz song, a maximum of sixteen

“sizes” worth of effects can be used simultaneously.

In the case of a 96 kHz/ 24-bit song, a maximum of eight “siz-

es” worth of effects can be used simultaneously, due to the

increased amount of calculating power that must be con-

sumed for effect processing.

The available effect processing power for Routing A and B is inde-

pendent; for each of these, you can use “sixteen sizes worth” of ef-

fect programs.

Techniques for assigning effects

On the D32XD, 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.

To cancel an effect, cancel its channel assignment, and also select

NO EFFECT as the effect.

Using the Restrct button

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.

7a. Cancel

Returns to the “Routing A” tab page without selecting

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 press 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.

a category.

7b. OK

After selecting an effect program, press this button to

conﬁrm your selection and return to the “Routing A”

tab page.

7c. Cancel

Returns to the Select EFF Category dialog box.

8. On/Off

Using the On/Off button

This is available only for a 96 kHz/ 24-bit song.

This button switches the currently selected (highlighted)

effect on/ off. This will affect the amount of DSP Power

that is used. If there is sufﬁcient DSP Power, effects that

are assigned but off will be turned on.

When assigning effects in a 96 kHz/ 24-bit song, the usa-

ble effect sizes will be halved, and will be On in order of

priority (starting from the effect cell in the top row).

However, the assignment data of effects that do not get

turned on will still be maintained.

If there is insufﬁcient DSP Power so that not all of the

assigned effects can be enabled simultaneously, you can

use this button to enable/ disable effects without chang-

ing the effect assignment settings.

If an effect that you actually what to use is turned off, you

can turn off one or more effects that are unintentionally

on in order to allocate the necessary 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.

9. DSP Power indicator

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.

The DSP Power is halved for a 96 kHz/ 24-bit song, so

watch this indicator and set 8. “On/ Off” appropriately.

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 “ ”.

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Insert effects that can be used simultaneously

4-2. Routing B

This lists the effect programs and used for inserts 9–24, and

their state.

The effect programs used by the D32XD’s effects are classi-

fied as being different “sizes” according to the amount of

DSP processing power they consume.

Effect programs of a type for which you can use up to sixteen

of them as Routing B insert effects are called “size-one” ef-

fect programs. Relative to these, other effect 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.

In the case of a 96 kHz/ 24-bit song, insert effects 9–16 are

available; 17–24 cannot be used.

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 press the Select

button in the screen and choose from a list of effect programs

by category.

One “size” corresponds to one of the on/ off icons in each ef-

fect cell.

In the case of a 44.1 kHz/ 48 kHz song, a maximum of sixteen

“sizes” worth of effects can be used simultaneously.

You cannot use MIDI or pedals to control the parameters of insert

effects 9 through 24.

In the case of a 96 kHz/ 24-bit song, a maximum of eight “siz-

es” worth of effects can be used simultaneously, due to the

increased amount of calculating power that must be con-

sumed for effect processing.

The available effect processing power for Routing A and B is inde-

pendent; for each of these, you can use “sixteen sizes worth” of ef-

fect programs.

Techniques for assigning insert effects

On the D32XD, lower-numbered effects 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.

To cancel an effect, cancel its channel assignment, and also select

NO EFFECT as the effect.

1. CH

[1…32]

Selects the channel to which each insert effect 9 through

24 will be applied.

Using the Restrct button

First assign a size-one effect to insert effect 9, and a size-

two effect to insert effect 10.

2. Insert effect location

[IN, TR]

Next, let’s suppose that you assign a size-two program to

insert effect 9.

Selects whether each insert effect 9 through 24 will be

applied to the input (IN) or to the playback track (TR).

When you do so, insert effect 10 (whose priority is lower)

will be masked by effect 9; you will unable to turn insert

effect 10 off, and insert effect 11 will be unavailable.

In this state, insert effect 10 is a “dead effect.” The on/ off

icon of the effect will change to the dead effect icon “ ”.

In this case you can press the Restrct button to release the

dead effect so that insert effect 11 will again be available,

and the wasted DSP power will be recovered.

3. Insert EFF 9…24

Selects the program for each insert effect 9 through 24. A

maximum of sixteen 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.

The letter “E” is displayed at the beginning of the effect

number to indicate an effect that is being edited.

: Effect size icon

Indicates the DSP size of the effect.

: On/off icon

Indicates the on (enabled) or off (disabled) status of

the effect.

For the possible combinations and how they will operate,

refer to “Insert effects that can be used simultaneously.”

Due to mixer input/output considerations, insert effect 24 (in-

sert effect 16 if you’re running at 96 kHz) cannot use a stereo

program.

4. DSP Power indicator

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.

5. 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 “ ”.

6. Select

Choose the effect you want to use, and then press this

button 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 that you want to use.

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Select the effect program that you want to rename, press

the Rename button to open the dialog box, and edit the

name. You can assign a name of up to sixteen characters

(→p .97).

4-3. Insert EFF

You can apply insert effects to input sources during record-

ing, or to tracks during playback.

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.

You can use a maximum of 24 [*8] insert effects. You can use

the control knobs located below the LCD screen to edit the

parameters for which a knob icon is displayed.

11. Store

This stores the effect program with its edited parameters

and name.

The user-writable effect programs of the D32XD are 128

user effect programs that can be used by songs on any

song drive, and 32 song effect programs for each song.

Press the button to display the Store Program dialog box.

1. Insert effect location

[IN, TR]

Press the “Area” list button to select U (User) or S (Song),

and use the number cell to select the save-destination

number.

Selects whether the insert effect will be applied to the

input (IN) or to the track playback (TR).

2. CH

[1…32 [*16]]

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.

Selects the channel to which you will apply the insert

effect.

3. Insert effect select

Select the insert effect (1–24 [*8]) that you want to edit.

Press the Yes button to execute the save, or press the No

button to cancel.

When you save, the new data will overwrite the data pre-

viously stored in that number, and the previous settings

will be lost.

You can also press the CH SELECT key to select the insert ef-

fect assigned to that channel. If you select a channel to which

no insert effect is assigned, the effect will not change.

4. Insert effect program

Use the value dial to select an effect program, or press the

popup button in the screen and choose from a category

list of effect programs.

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.

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.

6. Effect chain display

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. Control knob

icons.”

7. Control 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 control knobs

(located below the LCD screen) to edit the value of the

corresponding parameter.

To use the control knobs to edit a parameter in a different

row, you can either select the icon in the screen, or use the

cursor arrows to move that row.

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.

10.Rename

This lets you rename the effect program.

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2. Trim knob

[0…100]

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.

4-4. 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 control knobs located below the LCD screen

to edit the effect parameters displayed as knob icons.

3. Effect chain display

This shows the chain of effects that make up the effect

program.

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.

4. Control knob icons

Use these to edit the parameters of each effect.

For details, refer to “4-3. Insert EFF” (→p .119), 7. Control

knob icons.

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.

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.

5. 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.

6. Level meter

This shows the input/ output level of the effect and the

GR (gain reduction) level.

7. Effect return

Sets the effect return level and balance.

8. Rename

Use this to rename an effect program.

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).

For details, refer to “4-3. Insert EFF” (→p .119), 10. Rena m e.

9. Store

Use this to store the effect program whose parameters or

name you have edited.

For details, refer to “4-3. Insert EFF” (→p .119), 11. Store.

Signal flow for the master effect

from the EQ

output of each

channel

4-5. Master EFF2

For details on the parameters, refer to the section above, “4-

4. Master EFF1.”

Pan

to the Master bus

Direct sound

Post-fader

Master Effect

Return

Level

Balance

Send

Pre-fader

Effect

Program

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 press

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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D16XD

4-6. 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.

You can use the control knobs located below the LCD screen

to edit the parameters displayed as knob icons.

4-1. Effect Routing

This lists the effect programs used by the insert 1–8, master,

and final effects, and shows their status.

The D32XD/ D16XD lets you use up to eight insert effects,

two master effects, and one final simultaneously.

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 press the Select

button in the screen and choose from a list of effect programs

by category.

For details on the parameters and value, refer to D32XD “4-

1. Routing A”.

1. Effect program selection

To select an effect program, use the value dial, or press

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.

2. Trim knob

[0…100]

With a setting of 100, the level will be the same as the

input level.

Effects that can be used simultaneously

If distortion is caused by an excessively high input level

when you apply the effect, use this parameter to lower

the input level.

The effect programs used by the D32XD/ D16XD’s effects are

classified as being different “sizes” according to the amount

of DSP processing power they consume.

3. Effect chain display

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.

This shows the chain of effects that make up the effect

program.

4. Control knob icons

Use these to edit the parameters of each effect.

For details, refer to “4-3. Insert EFF” (→p .119), 7. Control

knob icons.

One “size” corresponds to one of the on/ off icons in each ef-

fect cell.

5. ON/OFF

In the case of a 44.1 kHz/ 48 kHz song, a maximum of sixteen

“sizes” worth of effects can be used simultaneously.

This is an on/ off switch for the selected effect within the

effect chain.

In the case of a 96 kHz/ 24-bit song, a maximum of eight “siz-

es” worth of effects can be used simultaneously, due to the

increased amount of calculating power that must be con-

sumed for effect processing.

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.

7. Rename

Techniques for assigning effects

Use this to rename an effect program.

For details, refer to “4-3. Insert EFF” (→p .119), 10.

Rename.

On the D32XD/ D16XD, 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 but-

tons to make adjustments while watching the DSP Power in-

dicator, in order to make the best use of the available effects.

8. Store

Use this to store the effect program whose parameters or

name you have edited.

For details, refer to “4-3. Insert EFF” (→p .119), 11. Store.

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.

To cancel an effect, cancel its channel assignment, and also select

NO EFFECT as the effect.

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Using the Restrct button

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.

5. CD

Here you can use the internal CD-RW drive to create or play

audio CDs.

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 press 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.

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.123 “5-1. Album CD Project”,

6. Gap)

Music discs utilizing copy-protection technology that does not

comply with the Compact Disc (CD) specification cannot be

played back.

Using the On/Off button

When assigning effects in a 96 kHz/ 24-bit song, the usa-

ble effect sizes will be halved, and will be On in order of

priority (starting from the effect cell in the top row).

However, the assignment data of effects that do not get

turned on will still be maintained.

If an effect that you actually what to use is turned off, you

can turn off one or more effects that are unintentionally

on in order to allocate the necessary 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.

When you press the CD key, this page jump menu will ap-

pear. Press either the CD PLAYER button or the CD WRIT-

ER button.

You can return to this page jump menu by pressing the CD

key.

Playback

Writing

4-2. Insert EFF

Refer to D32XD “4-3. Insert EFF” (→p .119)

4-3. Master EFF1

Refer to D32XD “4-4. Master EFF1” (→p .120)

4-4. Master EFF2

Refer to D32XD “4-4. Master EFF1” (→p .120)

4-5. Final EFF

Refer to D32XD “4-6. Final EFF” (→p .121)

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CD PLAYER

CD WRITER

5-1. Album CD Project

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.

1. CD Monitor

When this is on (highlighted), the audio output of the

internal CD-R/ RW drive will be sent to the monitor bus.

If this is off, the output will not be sent to the monitor

bus.

This setting is valid only in this page; it will automati-

cally be turned off when you switch pages.

If CD Monitor is on, other signals will not be output to the

monitor bus.

If the audio output of the internal CD-R/RW drive is assigned

in the MIXER, INPUT/OUTPUT/CH ASSIGN, “Ch As-

sign” tab page to a mixer channel, you will be able to listen to

the CD even if CD MONITOR is off. In this case, the sound

will be routed through the mixer (including EQ and effects).

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.

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.

3. Control buttons

Use these buttons to access the playback controls and to

select tracks on the audio CD.

2. Preview player

: Plays the track.

: Stop the track.

: Pauses the track.

: Moves to the preceding track each time you press this

button. If you press this during playback, you will

move to the beginning of the currently-playing track.

: Rewinds the track.

These buttons let you play back the songs shown in the

list.

: Plays the song.

: Stops the song.

: Moves to the preceding song each time you press

this button. If you press this during playback, you

will move to the beginning of the currently-playing

song.

: Moves to the next song each time you press this but-

ton. If you press this during playback, you will

move to the beginning of the next song.

: Fast-forwards the track.

: Moves to the next track each time you press this but-

ton. If you press this during playback, you will move

to the beginning of the next track.

You cannot eject the CD while paused. If you switch to another

page while paused, the CD player will change from Pause to

Stop.

You cannot use these buttons if the list contains no songs.

3. Add

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 press 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.

The song data that will be written to the CD-R/ RW will

be the song data as of when you pressed Add button. If

you edit that song after pressing 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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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.148).

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 press 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.

Cancel button

•

When you press the Yes button, the Write to CD dia-

log box will appear.

Returns to the “Album CD” tab page without adding

the selected song to the list.

Use the “Write Speed” list button to specify the speed

at which the data will be written to CD-R/ RW.

When you press the Yes button, the D32XD/ D16XD

will begin creating the image ﬁle. You can press the

Cancel button to abort this process.

OK button

Adds the selected song to the list.

When you press 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” tab

page.

•

When the image ﬁle has been created, the D32XD/

D16XD will begin writing the disc. This cannot be

aborted.

You cannot add a song whose master track contains no data.

•

The disc will automatically be ﬁnalized.

When the disc has been written a message of “Write

Anoter CD?” will appear.

If you want to create another identical CD, press the

Yes button. If not, press the No button.

If you select a song that is other than 44.1 kHz/ 16-bit,

press 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 capac-

ity. If the song has a different sampling frequency, con-

version will be performed; this will take a certain amount

of time to complete.

•

If you press the Yes button, 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 press

the OK button.

If you successively write another disc, the D32XD/

D16XD will not need to create the image ﬁle again, so the

process will take less time.

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 press this button to dis-

play the Delete dialog box. Press the Yes button to delete

the song from the list. Subsequent song tracks will be

moved back one track.

A CD-R/RW disc written using Album CD Project will be

finalized automatically.

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.

If you want to delete all songs from the list, press the

Select All button and then press the Yes button.

5. Drive

Selects the drive that contains the songs you want to

write to the CD-R/ RW disc. When you press 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.

The songs to be written to one CD-R/RW disc must all be on

one song drive.

6. Gap

This lets you specify a duration of silence that will be

inserted before and after a song. When you press 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.

6a. PreGapTime

[0…59 (sec), 0…75 (Frm)]

Speciﬁes the duration of silence to be inserted before

the track (song). The default is two seconds.

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If you press the Yes button, 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 press

the OK button.

If you successively write to another disc, the D32XD/

D16XD will not need to create the image ﬁle again, so the

process will take less time.

5-2. CD Utility

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.

4. Get Information

When you press 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: 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

1. Erase

Blank: A blank disc containing no data

Audio: A disc containing audio data

Data Disc: A disc containing backup data, WAV etc.

Other: A disc containing data other than audio or

backup data.

This erases all the data that has been written to a CD-RW

disc.

When you press this button, the Erase CD-RW dialog box

will appear. Use “Option” to select the method of eras-

ure, and press the Yes button to erase the disc.

Quick: Erase the disc quickly.

Disc capacity usage

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 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)

This operation cannot be performed on a CD-R disc. Data that

is erased by this operation cannot be recovered.

If the disc content is Other

nothing will be displayed.

2. Track cell

This shows the song number, song name, and recording

time of the song whose track you will write to the CD.

5. Finalize

This button ﬁnalizes the disc.

3. Write To CD

In order for a CD-R/ RW disc created by the D32XD/

D16XD 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 press this

button. Press the Yes button to execute.

This button writes the song shown in the track cell to the

CD-R/ RW disc.

When you press 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.

This can be used only to finalize a Track At Once audio CD

that was written in this screen.

•

When you press the Yes button, the Write to CD dia-

log box will appear.

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 press the Finalize button to finalize

the disc.

•

Use the “Write Speed” to specify the speed at which

the data will be written to CD-R/ RW.

If the selected song is 24-bit, press the Dither button to turn it

on if you want dithering to be performed.

You cannot play back a disc that has not been finalized.

•

When you press the Yes button, the D32XD/ D16XD

will begin creating the image ﬁle. You can press the

Cancel button to abort this process.

The data will be written to CD as a 44.1 kHz song. If you select

a song whose sampling rate is other than 44.1 kHz, the data

must be converted, and a certain amount of time will be re-

quired for the conversion to be performed before the song ap-

pears in the track list.

•

When the image ﬁle has been created, the D32XD/

D16XD will begin writing to the disc. This cannot be

aborted.

•

When the disc has been written a message of “Write

Anoter CD?” will appear.

If you want to create another identical CD, press the

Yes button. If not, press the No button.

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Set this to the MIDI channel that you are using for control.

5. Device

6. SYSTEM

[Pedal, After Touch, Pitch Bend, Velocity, Note Number,

CC#000…119]

Selects the external device that will control one of the

D32XD/ D16XD’s internal effects. The effect you specify in

3. “Control Change Assign” can be controlled in realtime.

6-1. Control

D16XD

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.

D32XD

After Touch, Pitch Bend, Velocity, NoteNumber:

MIDI aftertouch, pitch bend, velocity, or note number

data will control the effect.

Connect the MIDI OUT of an external MIDI device to

the D32XD/ D16XD’s MIDI IN connector, and trans-

mit the appropriate MIDI data from the external MIDI

device to control the effect.

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 D32XD/ D16XD’s MIDI IN connector, and trans-

mit the appropriate MIDI control change message

from the external MIDI device to control the effect.

1. Polarity

[–, +]

Speciﬁes the polarity of the foot switch.

6. Beep

Connect a foot switch (separately sold option: PS-1 or

equivalent) to the front panel FOOT SW jack, and set this

parameter so that the “ ” symbol lights when you press

the foot switch.

If “Touch” is checked, a beep tone will sound when you

press a button in the touch panel or select an edit cell.

If “Alert” is checked, a beep tone will sound when CD-

R/ RW writing is completed or when an operating error

occurs.

2. Function

[PunchIn-Out, Mark, PlayStop]

Selects the function that will be controlled by the foot switch.

A sustained “beeeep” indicates successful completion; a “bip

bip bip ...” indicates an error.

PunchIn-Out

Perform manual punch-in and punch-out recording

(i.e., switch between recording and playback).

Set the PLAY/REC key of the desired track to REC,

and begin playback. Recording will begin the moment

you press the foot switch, and will end when you

press the foot switch once again.

If you want to silence the beep tone, uncheck both of

these options.

7. Calibration

When you press this button, the Touch Panel Calibration

dialog box will appear.

If you are unable to perform input in the LCD screen as

you expect, or if pressing the LCD screen selects a button

or cell in a location other than where you pressed, per-

form this adjustment to correct any discrepancy between

the LCD screen and the touch panel.

Mark

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.

For details, refer to “T o uch Panel Calibration” (→p .95) in

the Operation section.

8. Calendar Set

Play/Stop

This activates the 9. “Date” and 10. “Time” settings you

speciﬁed. The settings will take effect the moment you

press this button.

Switch between playback start and stop. Press the foot

switch to start playback, and press it again to stop playback.

3. Control Change Assign

9. Date

[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 5. “Device.”

This displays (and lets you set) the current date, dis-

played as Month:Date:Year (four digits).

10.Time

Off:

This displays (and lets you set) the current time, dis-

played in 24-hour time as Hours:Minutes:Seconds.

No effect will be controlled.

InsertEFF1…8:

Control an insert effect 1, 2, …8 respectively.

MasterEFF 1, 2:

D32XD

11. Fader Touch Sens

Control master effect 1 or 2.

[1…99]

FinalEFF:

This adjusts the faders’ sensitivity to touch. Higher settings

make the faders more sensitive. Adjust this parameter so

Control the ﬁnal effect.

that the

icon appears when you’re touching the fader

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.119) in the effect chain display for the effect

program.

knob and the icon appears when you’re not touching it.

The touch sensitivity is affected by the temperature and hu-

midity of the environment, and by the dryness of the finger

that operates the fader.

Insert effects 9–24 of the D32XD cannot be controlled even if

you select an effect that has control functions.

If the sensitivity is set too low, the D32XD will not detect that

you have touched the fader knob. If the sensitivity is set too

high, the D32XD may falsely detect that you’ve touched a fad-

er (and operate accordingly) when you haven’t.

4. Control MIDI CH

[1…16]

Speciﬁes the channel that will be used to control the

internal effect via MIDI.

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3. Drive Info

D16XD

Here you can view information about the hard disk.

When you press this button, the Drive Info dialog box

will appear. Press the Exit button to return to the

“DiskUtility” tab page.

12.Fader/Knob Control

[Match, Jump]

After you have used the value dial (or the +/– keys) to

edit fader or pan values, or after scene settings have been

loaded, the parameter values may not match the posi-

tions of the physical faders or pan knobs.

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 pan knob movements.

Match: After the fader or pan 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 pan

knob location the instant the fader or pan knob is

moved.

6-2. Disk Utility

Here you can format a drive, create partitions, and check a

drive.

3a. Song drive list

This displays the song drives.

The partition drive name (A–D), total capacity, song

drive name, used capacity, and free capacity are dis-

played.

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 press this button. Use the

Rename dialog box to edit the name (→p .97).

Press the Yes button to execute the settings. If you

decide not to execute, press the No button.

4. Check Drive

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.

1. Drive list

(HDD, CD)

This displays information about the drive (capacity, drive

name).

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 2.0 GB PC (USB) area.

This drive is referred to as the PC drive.

CD: Indicates the type of CD, CD-R, or CD-RW.

2. Partition

Here you can make partition settings.

[1…4]

When you press this button, the Partition dialog box will

appear. Specify the number of partitions you want to cre-

ate, and press the Yes button to execute the settings. If

you decide not to execute, press the No button.

Press the Area

button to display the list.

Current Song

Check and repair the area used by the currently

selected song.

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.

All Partition

Check and repair all partitions and the area used by

the system.

Specify the desired Area, and press the Yes button to exe-

cute the Check Drive operation. If you decide not exe-

cute, press the No button.

When you execute the Partition operation, the data on that

drive will be lost.

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Executing the “Edit Track” operation “OptimizeTrk”

(→p.142) 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 press the button, the Format dialog box will

appear. Select the drive you wish to format and the

desired option, and press the Yes button to execute for-

matting. If you decide not to format, press the No button.

7. Load System

This loads system ﬁles to update the operating software.

When you press this button, the Load System dialog box

will appear. Use “Source” to select the system ﬁle that

you want to load, and press the Yes button to begin the

update.

When you execute the Format operation, the data on that drive

will be lost.

You cannot cancel this operation once formatting has begun.

For details, refer to “Upgrading the system” (→p .95).

5a. Drive

Select the drive that you want to format.

A…D: an individual song drive

A–D: all song drives

8. Erase CDRW

This lets you erase all data from the CD-RW inserted in

the CD-R/ RW drive.

PC:

the PC drive

When you press this button, the Erase CDRW dialog box

will appear. Press an Option button to select the desired

method, and press the Yes button to erase the disc. If you

decide not to execute, press the No button.

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.

Quick: Erases the data of the CD-RW disc at high speed.

Full: Completely erase the CD-RW disc. Use this meth-

od if you still experience problems after perform-

ing a Quick erase, such as the disc failing to be

ALL → approximately 7 hours for 40 GB

6. USB Slave Mode

recognized. This method will require more time.

Places the D32XD/ D16XD in USB Slave mode. When the

D32XD/ D16XD is in this mode, data can be transferred

between the D32XD/ D16XD’s internal PC drive and

your personal computer. To execute this mode, perform

the “Safely Remove Hardware” (→p .92) operation on

your computer, and then press the Exit button in the USB

Slave dialog box.

You cannot execute this on a CD-R disc. Erased data cannot

be recovered.

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6-3. Edit PC File

6-4. Backup

Here you can view, delete, and rename the folders and files

in the PC drive.

This operation saves back-up data to CD-R, CD-RW, or the

PC drive.

By connecting the D32XD/ D16XD’s USB connector to your

personal computer, you can save data from the PC drive onto

your computer.

For details regarding limitations on files, refer to “More about

drives and files” (→p.173).

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 D32XD/ D16XD, such as a computer. In

order to play this data, you must Restore it into the

D32XD/ D16XD.

User data

This is user-editable data such as user effect program

data and compressor program data. Since this data is in a

proprietary Korg format, it cannot be edited on a compu-

ter or other device.

In order to use this data, you must Restore it into the

D32XD/ D16XD.

1. Backup

[1Song, All Data, User Data]

Select the type of data that you want to back up.

1Song

Audio files

From the selected drive, back up the data for one song,

and the user data.

Audio ﬁles are 44.1/ 48/ 96 kHz, 16-bit/ 24-bit WAV for-

mat data. For details on creating audio ﬁles, refer to “2-2.

Ex p orting an audio ﬁle” (→p .86).

All Data

Back up all song data on the selected drive, the user

data, and the Album CD Project.

For details regarding limitations on files, refer to “More about

drives and files” (→p.174).

User Data

Do not delete files named “AUTORUN.INF” or “KORG02.ICO

[*KORG01.ICO],” since these contain settings.

Backup only the user data (user effect programs, user

EQ library, user comp programs)

Song Effect Programs are backed up as song data (1 Song, All

Data); they are not included in User Data.

2. Backup source

This displays the drive etc. for the song you selected in

the SONG, “SelectSong” tab page (→p .135).

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. Backup destination

This displays the backup-destination drive and the name

of the ﬁle in which the data will be saved.

4. Drive

[CD, PC (USB)]

This selects the backup-destination drive. The Select

Drive dialog box will appear when you press this button.

Use the radio buttons to select a drive, and press the Yes

button.

1. File list

This area lists the ﬁles.

Upper area: PC folder names (:folder names…)

Lower area: folders/ ﬁle names

5. Rename

This lets you rename the backup ﬁle. Press this button to

display the Rename dialog box. Edit the ﬁle name and

press the OK button.

For details on the allowable ﬁle names, refer to “More

about drives and ﬁles” (→p .173).

2. Close

Moves to the next higher folder level.

3. Open

If a folder is selected, opens that folder.

4. Rename

6. Exec.

Renames a ﬁle (→p .97).

For details regarding limitations on ﬁle names, refer to

“More about drives and ﬁles” (→p .173).

This executes the backup.

Press this button and the Backup dialog box will appear,

showing the space required for the backup.

5. Delete

•

If you are backing up to the PC drive, check the free

space and press the Yes button.

Deletes the selected ﬁle.

•

If you are backing up to CD, prepare the necessary

number of CD-R/ RW media to accommodate the

backup, specify the writing speed, and press the Yes

button.

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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, “SelectSong” tab page.

6-5. Restore

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.

From an “All Data” backup file, you can restore either one

selected song, or all song data, User Data and album CD

project data.

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.

From a “User Data” backup file, you can restore user effect

program, user EQ library, and user comp program data.

Song data

For details regarding limitations on files, refer to “More about

drives and files” (→p.173).

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.

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.

1. Drive

[CD, PC (USB)]

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.

This selects the backup-source drive. Press this button to

display the Select Drive dialog box. Use the radio but-

tons to select a drive, and press the Yes button.

2. Restore ﬁle

This displays the ﬁle that will be restored.

If you are restoring from the CD drive, insert the disc

containing the backup into the drive.

3. Select File

Press 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 press

the OK button.

3a. Restore-source display

This area displays the restore-source drive and folder

name.

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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6-6. Word Clock

The “Word Clock” tab page displays the current word clock

source and frequency, and lets you make synchronization

settings for the audio data clock.

7. MIDI/ SYNC

7-1. MIDI/ MMC

On the D32XD/ D16XD you can use MIDI to do the following

things.

You may hear noise if synchronization cannot be achieved. Before

you change these settings, please turn down the faders or turn

down the volume of your monitor system.

•

Control effects (→p .59)

MTC Synchronizing with a sequencer or other MIDI

device (→p .93)

Switch scenes (→p .53)

Use control changes to control mixer parameters

•

The D32XD/ D16XD can transmit and receive MMC (MIDI

Machine Control) messages.

This means that when synchronizing two D32XD/ D16XD

units, or when using the D32XD/ D16XD with a MMC-com-

patible MIDI sequencer, you can control operations such as

song playback, and stop from the master device.

You can use MIDI Time Code to synchronize the D32XD/

D16XD with an external MIDI sequencer or other device, so

that the D32XD/ D16XD’s track audio will play back in syn-

chronization with external MIDI source sources.

The D32XD/ D16XD can operate in synchronization with an

external MIDI device by using MTC (MIDI Time Code) syn-

chronization.

The device that outputs the synchronization clock is called

the master, and the device that receives this clock is called the

slave. The D32XD/ D16XD can function either as the master

or slave.

1. Clock Source

Press this button to display the Clock Source dialog box.

Select a clock source, and press the OK button to display

the Working dialog box. If you decide not to change the

clock source, press the Cancel button. Synchronization to

44.1 kHz, 48 kHz, and 96 kHz is supported, but 96 kHz is

not supported for ADAT.

Internal: Synchronize to the internal clock.

S/P DIF: Synchronize to the S/ P DIF clock.

External Word Clock: Synchronize to the word clock.

ADAT: Synchronize to the ADAT clock.

Some MIDI devices may not support the MMC functionality of

the D32XD/D16XD. For details on the MMC functionality of the

D32XD/D16XD, refer to the MIDI implementation.

MIDI Clock can be received if you select MIDI Clock in the TEM-

PO “Tempo Track” tab page and record the tempo track.

When the clock calculation is ﬁnished, the display will

indicate “Completed.” Press the OK button, and the

“Word Clock” tab page will indicate the frequency of the

clock source.

If the display indicates “Error,” check the “Clock Source”

settings and the connections of your devices.

1. Control Change

Here you can turn control change message reception/

transmission on (highlighted) or off.

You can select Word Clock or ADAT only if the optional

ADAT I/O board (DIB-8) is installed.

When you operate mixer parameters, the D32XD/ D16XD

will transmit corresponding messages. These messages

can be recorded on an external MIDI sequencer, and the

re-transmitted back to the D32XD/ D16XD to control the

corresponding mixer parameters.

If the digital input audio sounds wrong, or if “Audio Sync Er-

ror” is displayed, check the “Clock Source” setting or the

connections from your other equipment.

For details on the parameters you can control, refer to the

MIDI implementation.

If you have selected other than “Internal” as the “Word

Clock Source,” the D32XD/D16XD will stop operating if the

clock is interrupted during recording/playback or if the clock

frequency changes. If the D32XD/D16XD stops operating due

to a clock problem during recording, please format that song

drive.

MIDI control of effects can be used regardless of the Control

Change on/off setting.

These messages will be received only if Automation (→p.104,

[*1 08]) is turned off.

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.

2. Program Change

Here you can turn program change message reception/

transmission on (highlighted) or off.

When you switch scenes, the D32XD/ D16XD will trans-

mit a corresponding program change message. These

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program change messages can be recorded on an external

MIDI sequencer, and re-transmitted back to the D32XD/

D16XD to select the corresponding scene.

9. Chase Mode

[ON, OFF]

This is available if “MIDI Sync” is set to “MTC Slave.”

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 D32XD/ D16XD,

playback will stop and wait for MTC synchroniza-

tion to resume.

OFF: MTC messages will be chased during playback

only when MTC synchronization begins. Once

playback begins, it will continue even if the re-

ceived time code no longer matches the internal

time code or if time code stops arriving.

These messages will be received only if Automation (→p.104,

[*1 08]) is turned off.

3. Global Ch

[01…16]

This sets the Global MIDI Channel.

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 D32XD/ D16XD, and set

the MIDI channel of your connected device to the same

MIDI channel as the D32XD/ D16XD’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 D32XD/ D16XD and the exter-

nal 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 D32XD/

D16XD as the MTC master, incompatibilities between the de-

vices may cause synchronization problems unless you play

back from the beginning of the song.

If this is set to 127, the D32XD/D16XD can transmit and re-

ceive MMC commands to and from units of any device ID set-

ting.

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…23:59:59.27F] (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.

MIDIClock Master: MIDI clock data will be transmitted.

Off: Synchronization messages will not be transmitted or

received.

MTC Master: The D32XD/ D16XD will operate as the

master device. At this time if the MMC

Mode is set to Transmit, the Mode setting

will automatically be turned Off.

MTC Slave: The D32XD/ D16XD will operate as the

slave device. At this time if the MMC

Mode is set to Receive, the Mode setting

will automatically be turned Off.

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4. Assign

Here you can assign the output of the rhythm.

CH Input:

Outputs the rhythm as a channel input source.

Master:

Outputs the rhythm to the master bus.

Monitor:

Outputs the rhythm to the monitor bus.

[CH Input, Master, Monitor]

8. TEMPO

Here you can make settings for the tempo, time signature,

and rhythm (metronome) of the song.

If the counter is displaying “MBT” (measure, beat, 1/ 96th

beat), the counter (→p .96) w i ll operate according to the spec-

ified tempo.

If you select “CH Input,” use the “Ch Assign” tab page

(→p.100) to assign the rhythm to the desired channel.

8-1. SetUp

5. Prev

Turn this on (highlighted) if you want to preview the

rhythm.

This is valid only in this tab page; it will automatically be

switched off if you play back the recorder or move to

another page.

6. Rhythm On

Turn this on (highlighted) if you want to play the rhythm.

7. Vol

Adjusts the volume of the rhythm.

8. Rhythm Pattern

[000…100]

When TempoSource is set to “Manual,” press the popup

button to open the Rhythm Pattern dialog box, select a

rhythm from the list, and press the OK button. You can

also make your selection by selecting (highlighted) the

Rhythm Pattern cell and using the value dial (or the +/–

keys).

The rhythms you can select will depend on the “Beat”

(→p .185).

In the case of “TempoMap” or “TempoTrack,” this will

show the rhythm for the current location created in the

“TempoMap” tab page.

1. TempoSource

[Manual, TempoMap, TempoTrack]

Speciﬁes the tempo source.

Manual

The current “Tempo” and “Beat” settings will be

used. It will not be possible to automatically change

the tempo, time signature, and rhythm pattern during

the song.

TempoMap

In the case of a 96 kHz song, you will be able to select only

Metro, Hihat, and Blank.

The tempo, time signature, and rhythm pattern will

change automatically during the song, according to

the tempo maps you create. Use the “TempoMap” tab

page to create tempo maps.

buttons

Use these up/ down buttons to edit the parameter values.

If you want to add or edit tempo map events in the “Tem-

poMap” tab page, select “TempoMap” as the tempo

source.

TempoTrack

The tempo will be determined by the recorded tap

tempo or MIDI clock. Use the “TempoTrack” tab page

to record tap tempo or sequencer tempo, and then

select “TempoTrack” here.

The time signature will follow the settings you created

in the “TempoMap” tab page. (→p .135)

“TempoTrack” can be selected after the data is created.

If you create a tempo track in the “TempoTrack” tab page,

the tempo source will automatically be switched to “Tempo

Track.”

2. Tempo

[40…240, (***)]

Speciﬁes the tempo when “TempoSource” is set to

“Manual.”

If TempoSource is set to “TempoMap,” this area will indi-

cate the tempo for the current time location as speciﬁed

by the tempo maps you created in the “TempoMap” tab

page. If “TempoSource” is set to “TempoTrack,” this area

will indicate “***.”

The range is ꢀ =40–240.

3. Beat

[1/4…16/16)]

Speciﬁes the time signature when “TempoSource” is set

to “Manual.”

If TempoSource is set to “TempoMap” or “TempoTrack,”

this area will indicate the time signature for the current

time location as speciﬁed by the tempo maps you created

in the “TempoMap” tab page.

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3e. Link All Map

If this is on, the tempo of all tempo map events will be

edited simultaneously.

8-2. Tempo Map

You can set the tempo map to automatically change the tem-

po, time signature, and rhythm pattern during recording or

playback.

3f. Beat

Speciﬁes the time signature.

[01/04…16/16]

Here you can also create an original tempo map.

3g. Rhythm Pattern

Speciﬁes the rhythm

Tempo map data is specified in units of one measure.

Press the popup button to display the Rhythm Pattern

dialog box, select a rhythm from the list, and press the

OK button. Alternatively, you can select (highlight)

the Rhythm Pattern cell and use the value dial (or the

+/– keys) to make a selection.

The rhythms that you can select will depend on the

“Beat” (→p .185). If you want to create a period of

silence, choose a rhythm (such as 001 Blank 04) that

contains silence.

3h. Prev

Turn this on if you want to preview the rhythm.

4. Edit

Edits the settings of a tempo map event.

Select this if you want to modify an existing tempo map

event. Select (highlight) the tempo map event you want

to modify, and press this button to display the Edit Map

dialog box where you can edit the parameters. (See the

preceding section, 3. New)

1. Tempo map window

[001…200]

Here you can select a tempo map event.

This area shows the tempo map event number, starting

measure, ending measure, tempo, time signature, rhythm

pattern name, and the number of measures in the pattern.

5. Delete

Deletes a tempo map event.

2. Prev

In the tempo map window, select the tempo map event

you want to delete and press this button to open the

Delete dialog box.

Turn this on (highlighted) if you want to preview the

rhythm that is selected in the tempo map window.

This setting is valid only in this page, and will automati-

cally be switched off when you play back the recorder or

move to another page.

3. New

Creates a new tempo map event.

To add a new tempo map event, press this button.

The New Map dialog box will appear.

Press the Yes button to delete the tempo map event. If

you decide not to delete it, press the No button.

When you execute this operation, the selected tempo

map event will be deleted, and subsequent tempo map

events will be moved forward.

If you want to delete all tempo map events in a single

operation, turn the Select All button on (highlighted).

The tempo map event number will be displayed as “***”.

3a. Insert

[On, Off]

If this is on (highlighted), tempo map event editing

will occur in Insert mode, and the tempo map event

you edit will be inserted.

If this is off, tempo map editing will occur in Over-

write mode, and your edits will overwrite the existing

tempo map event.

3b. Start Meas

[0001…9999]

Speciﬁes the location at which the tempo map event

will be created (begun, inserted, overwritten), in units

of measures.

3c. Length

[0001…9999]

Speciﬁes the number of measures for the tempo map

event. Beside this is displayed the number of meas-

ures in the pattern, and the number of repeats.

3d. Tempo

[40…240]

Speciﬁes the tempo in a range of ꢀ =40–240.

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8-3. Tempo Track

Here you can record the tempo track. You can do this in one

of two ways.

9. SONG

•

Recording MIDI clock messages

9-1. Select Song

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 deter-

mine the tempo of the song.

•

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.

For the recording procedure refer to “Tempo track” (→p .63).

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.

1. Select Song window

If the memory becomes full while recording tempo data, recording

will end automatically.

Here you can select a song. When you select a song, the

song name will be highlighted. The top line shows the

song to which your recording, playback, and editing

operations will apply (i.e., the “current song”). The EDIT

symbol will appear when you record or edit the song.

When you save the recorded or edited content, the EDIT

symbol will disappear (→p .42).

The display shows the song number:, song name, sam-

pling frequency, bit depth, protect setting, and date the

song was last modiﬁed.

If you want to select songs from another drive, press the

Drive button and select a drive.

2. Drive

[I, A…D]

Here you can choose the current drive. When you press

this button, the Select Drive dialog box will appear.

1. Tempo Track

[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.

Drive

window

BeatTap:

The tempo track will be created by tapping at the

beginning of each beat.

2. RecStart

This button displays the record-ready dialog box.

If you are recording MIDI clock messages, recording will

begin when the D32XD/ D16XD receives MIDI clock mes-

sages from your external MIDI sequencer.

In the drive window, press a drive name to select it.

Press the OK button to conﬁrm your selection. If you

decide not to change drives, press the Cancel button.

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.

If you want to rename the song drive, press 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 .97)

The tempo will be recorded from the beginning of the song.

3. Select

The tempo at the measure or beat where you stop tempo record-

ing will be automatically copied all the way to the end of the

song.

Press this button to load the song you highlighted in the

song list (i.e., to make it the current song).

4. New

Press 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 press

this button. Use the radio buttons to specify the sampling

frequency and bit depth for the new song, and press the

OK button.

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Press the Yes button to execute the copy, or press the No

button to cancel. When the copy operation is ﬁnished and

the display indicates “Completed,” press the OK button.

This Copy operation cannot be undone.

2a. Copy-destination song number cell

4a. Song Type

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.

[44.1 kHz/16 bit, 48 kHz/16 bit, 44.1 kHz/24 bit,

48 kHz/24 bit, 96 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

Before copying

Song Type

44.1 kHz/16-bit

48 kHz/16-bit

44.1 kHz/24-bit

48 kHz/24-bit

96 kHz/24-bit

Recording

Playback

Punch recording

Song name

ABC

CDR

AAA

ZZZ

32 [*16]

Song number

Copy to song number “3”

Moved backward

After copying

Song name

AAA

ZZZ

AAA

ABC CDR

Song number

You can change the “Song Type” (sampling frequency/bit

depth) only when creating a new song.

2b. Copy-destination drive

It is not possible to continuously record for more than 12 hours

(more than 6 hours at 96 kHz).

If you want to copy the song to a song drive other than

the current drive, press this button to open the Select

Drive dialog box. Select the desired drive and press

the OK button.

5. Rename

This lets you edit the song name that is highlighted in the

song select window. Press the button to display the

Rename dialog box, and edit the song name. You can

input a name of up to sixteen characters. (→p .97)

3. Move

This operation moves the selected song to another song

number of the drive you specify.

When you press this button, the Move Song dialog box

will appear. Press the Yes button to execute the move, or

press the No button to cancel. When the move operation

is ﬁnished and the display indicates “Completed,” press

the OK button.

9-2. Edit Song

You can use these operations to edit the current song.

This Move operation cannot be undone.

3a. Move-destination song number cell

This shows the current drive, and lets you select the

song number.

If you are moving a song within the current drive, you

can choose from the existing song numbers. If you are

moving a song between different song drives, you can

select a number in the range of “001” through “exist-

ing song numbers + 1”.

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.

1. Song cell

Information about the current song is displayed here.

The display shows the drive name, song number: song

name, sampling frequency, bit depth, protect setting, and

date of last modiﬁcation.

2. Copy

This operation copies the current song to another song

number in the drive you specify.

When you press this button, the Copy Song dialog box

will appear.

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Before moving

10. TRACK

Song name

EFF

AAA

ZZZ

ABC

CDR

Song number

10-1. Virtual Track 1–32 [*1–16]

Here you can select a virtual track for each channel track.

Move to song number “4”

Renumbered forward

After moving

Song name

ZZZ

EFF

AAA

ABC

CDR

D32XD

Song number

3b. Move-destination drive

If you want to move the song to a drive other than the

drive shown in the song cell, press this button to open

the Select Drive dialog box. Select the drive and press

the OK button.

When you move a song from another drive, song numbers will

be adjusted in the same way as for the Copy operation.

4. Delete

This operation deletes the current song.

When you press this button the Delete Song dialog box

will appear. Press the Yes button to delete the song, or

press the No button to cancel.

D16XD

When you execute this operation, the selected song will

be deleted and subsequent songs will be renumbered for-

ward.

When the song has been deleted and the display indi-

cates “Completed,” press the OK button.

This Delete operation cannot be undone.

5. 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.

1. Virtual track selection

The song will automatically be saved when you turn this

protect setting on.

Select a track “1”–“32 [*16],” and specify a virtual track

for each track.

Each track has eight virtual tracks; “A”–“H.” Recording

or playback operations will be performed using the vir-

tual track you select here.

When you press this button, the Protect dialog box will

appear. Press the ON button to turn protect on, or press

the OFF button to turn protect off. When the protect set-

ting has been applied and the display indicates “Com-

pleted,” press the OK button.

Virtual track

Audio events

When protect is on, a protect symbol ( ) will appear fol-

lowing the sampling frequency indication of the song.

Active

Ready

Audio exists

If protect is on, adjustments to the faders or EQ will be reflect-

ed during editing, but will not be recorded.

No audio exists

6. Save Now

This operation immediately saves the current song in its

present state. Press the Yes button to execute the save, or

press the No button to cancel.

When the song has been saved and the display indicates

“Completed,” press the OK button.

2. Rename

This button lets you edit a track name.

Select the track that you want to rename, press this but-

ton to display the Rename dialog box, and edit the name.

You can input a name of up to sixteen characters. (→p .97)

Since the D32XD/ D16XD automatically saves song data

and parameters when you shut down the power or when

you select a song, it is not absolutely necessary that you

perform this operation in order to save data.

However if the power should be interrupted by a power

failure or other accident, the data that has been recorded

or edited since the most recent power-on (or since a song

was selected) will be lost.

We recommend that you use this command to save the

data periodically after recording or editing for an

extended period, or if you are using the D32XD/ D16XD

in an environment where the power supply is unreliable.

3. Select All

[On, Off]

If you want to select the same virtual track number for

every track (tracks 1–32 [*16]), turn this button on (high-

lighted) and then select the desired virtual track.

The same virtual track number will be selected for all

tracks.

4. V-Level

[A…H]

Here you can select one of the eight virtual tracks “A”–

“H.”

For virtual tracks that contain data, one corner of the icon

will be folded down.

buttons

The song is saved when the following operations occur.

• When you select the current song

• When you execute the Protect Song operation

• When you execute Save Now

Use these up/ down buttons to select a track.

• When you shut down

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10-2. Master Track

10-3. Edit 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.

Here you can edit tracks.

Editing operations will apply to the currently selected tracks

1–16.

The other virtual tracks (i.e., the virtual tracks that are not se-

lected) will not be affected by your editing. (However, “Cop-

yWholeTrk” 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 .142).

The locations stored in the LOC1/IN through LOC4/END

keys determine the region(s) that will be edited (→p .38).

LOC1/IN key: IN location

LOC2/OUT key: OUT location

LOC3/TO key: TO location

LOC4/END key: END location

After executing one of these editing operations, you can use the

Undo operation to cancel the results.

You cannot make settings that would cause the IN–OUT region

or the TO–END region to be longer than 12 hours (for 96 kHz,

longer than 6 hours).

1. V-Level

Here you can select one of the eight virtual tracks “A”–

“H.”

[A…H]

For virtual tracks that contain data, one corner of the icon

will be folded down.

Recording or playback operations will be performed

using the virtual track you select here.

1. Edit type

[CopyTrk, InsertTrk, EraseTrk, DeleteTrk, SwapTrk,

ReverseTrk, OptimizeTrk, ExpCmpTrk, CopyWholeTrk,

SwapWholeTrk, Fade Trk, NormalizeTrk]

When you press this button, the Edit Trk Type dialog box

will appear. Select the desired editing operation and

press the OK button to return to the “EditTrk” tab page.

The screen display of area “A” will change depending on

the edit type you select here.

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 .38) are shown in the upper part of this

area.

IN:

OUT:

TO:

END:

At the right are displayed the name of each track and the

virtual track usage status.

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4. Exec.

When you press this button, a dialog box will appear,

allowing you to conﬁrm the editing operation you have

speciﬁed. Press the Yes button to execute, or press the No

button to cancel.

Separate explanations are given below for each

editing operation you select in 1. Edit Type.

2a. Dither

If you turn this button on, dithering will be performed

CopyTrk

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.

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.

A3. Times

[1…99]

Speciﬁes the number of times that the data will be copied.

A4-1. Wave

A4-2. Wave

You can press these buttons to view the waveform of the

OUT

SourceTrack

track audio.

TIMES

DestTrack

This allows you to set the editing locations (IN, OUT, TO,

END) more accurately.

Press the A4-1 button if you want to edit IN and OUT, or

press the A4-2 button if you want to edit TO and END.

You will find it convenient to set IN (LOC1), OUT (LOC2),

TO (LOC3), and END (LOC4) to their approximate locations

before you use this function.

A5. Mode

When you press this button, the Copy Mode dialog box

will appear. Select the desired mode and press the OK

button.

A4-1

A4-2

OverWrite:

Track data previously at the copy-destination will be

overwritten.

A1. Source

D32XD [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]

Insert:

The copied data will be inserted, and subsequent track

data will be shifted toward the end of the song.

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, 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.

Wave dialog box

To open this dialog box, press the Source Wave button if

you are setting the “Source” region, or press the Destina-

tion Wave button if you are setting the “Destination”

region.

*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 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Destination

D32XD [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]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL, Clip]

Select the copy destination track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

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.

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5a. Track selection

InsertTrk

Press the popup button, press a radio button in the

Select Track dialog box to select the track whose loca-

tion you want to specify, and press the OK button.

If you press (highlight) the Stereo button, the wave-

forms of two adjacent channels will be displayed in

the upper and lower parts of the waveform window.

This operation inserts a blank in the IN–OUT range of the in-

sert 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.

OUT

DestTrack

D32XD

DestTrack

Blank

A1. Destination

D16XD

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the insert destination track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Wave

5b. Preview playback buttons

stops playback

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 .139 Edit Type: “CopyTrk,” Wave dia-

log box)

plays approximately two seconds from the location

(“Play From”)

plays approximately two seconds ending at the lo-

cation (“Play To”)

EraseTrk

plays the location (from In to Out)

plays as a loop

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.

5c. Search Zero

You can press this button and turn the value dial to

move to the next or previous zero-cross point.

OUT

DestTrack

A “zero cross” point is a point where the waveform level

crosses the ±0 amplitude (the center line in the waveform

window).

DestTrack

5d. Waveform window

Blank

This displays the waveform of the selected track.

5e. Locate

Use 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.

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.

A1. Destination

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the erase destination track.

When you press the OK button, the locations you speci-

ﬁed will be overwritten to the corresponding key (LOC1/

IN, LOC2/OUT, LOC3/TO, LOC4/END). If you press the

Cancel button, your changes will be discarded.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

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For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

SwapTrk

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.

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 .139 Edit Type: “CopyTrk,” Wave dialog

box)

OUT

SourceTrack

DeleteTrk

This operation deletes the track data from the IN–OUT range

of the delete destination track (Destination).

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.

DestTrack

OUT

SourceTrack

DestTrack

OUT

DestTrack

A1. Source

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

A1. Destination

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

Select the swap source track.

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the track(s) from which data will be deleted.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Destination

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

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 .139 Edit Type: “CopyTrk,” Wave dialog

box)

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the swap destination track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A3. Wave

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .139 Edit Type: “CopyTrk,” Wave dialog box)

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ReverseTrk

OptimizeTrk

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.

Optimizes the track data in the IN–OUT region of the opti-

mize-destination track (Destination).

When this is executed (Exec.), the copied data will be re-

versed, so that the playback will be backward.

OUT

SourceTrack

A B C ...

TIMES

DestTrack

A1. Destination

A B C . . . A B C . . . A B C . . .

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

The specified range of the reverse destination track will be over-

written.

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Selects the track that will be optimized.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

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 .139 Edit Type: “CopyTrk,” Wave dialog

box)

A1. Source

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

A3. Mode

[Normal, Erase Silence, Erase Punch Noise]

1-4...13-16, 1-8...9-16, 1-16, ALL]

Selects the type of optimization that will be performed.

Select the reverse source track.

Normal

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

This operation re-creates the audio events in the IN–

OUT region 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 D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Destination

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

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.

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the reverse copy destination track.

OUT

SourceTrack

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

DestTrack

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A3. Times

[1…99]

Erase Silence

Specify the number of times that the data will be copied.

In an extended recording that contains signiﬁcant

amounts of silence, this operation erases the silent

regions, and divides the areas containing sound into

separate events.

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 .139 Edit Type: “CopyTrk,”

Wave dialog box)

OUT

Before

execution

After

execution

Levels lower than –36 dB will be considered as silence.

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Erase Punch Noise

A3. Times

Specify the number of times that the data will be copied.

A4. Wave

[1…99]

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 “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.

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 .139 Edit Type: “CopyTrk,”

Wave dialog box)

A5. Mode

Select how the expansion/ compression will be proc-

essed.

OUT

This will appear when you press the ExpComp Mode

button.

Before

execution

After

execution

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.

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

When this is executed (Exec.), the expansion/compression desti-

nation track will be overwritten.

However if “5b.Pitch” is set to “Variable,” this setting

will have no effect.

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.

5b. Pitch

[Fixed, Variable]

Select the pitch at which the data will play back after

expansion/ compression has been performed.

Fixed:

The pitch will remain the same

OUT

SourceTrack

Variable: The pitch will be change

A B C ...

TIMES

END

When you press the OK button, expansion/ compression

will be executed with the conversion mode that you

selected. Press the Cancel button to cancel without exe-

cuting.

DestTrack

A B C ... A B C ... A B C ...

A1. Source

D32XD [1...32, ML, MR, 1-2...31-32, MST]

D16XD [1...16, ML, MR, 1-2...15-16, MST]

Select the expansion/ compression source track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Destination

D32XD [1...32, ML, MR, 1-2...31-32, MST]

D16XD [1...16, ML, MR, 1-2...15-16, MST]

Select the expansion/ compression copy destination

track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

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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

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the copy source track.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

A1. Source

D32XD [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 D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A2. Destination

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the swap source track.

D16XD [1...16, ML, MR, 1-2...15-16, MST,

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the copy destination track.

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

A2. Destination

D32XD [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 D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A3. DestVTrack

[A…H]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the swap destination track.

Select the virtual track of the copy destination track (Des-

tination) to which the data will be copied.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A3. DestVTrack

[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

Press the OK button to ﬁnalize the selected fade type, or

press the Cancel button 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

D32XD [1...32, ML, MR, 1-2...31-32,

MST, 1-4...29-32, 1-8...24-32,

1-16, 17-32, 1-32, ALL]

D16XD [1...16, ML, MR, 1-2...15-16, MST,

1-4...13-16, 1-8...9-16, 1-16, ALL]

Select the track to be edited.

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

A1. Destination

D32XD [1...32, ML, MR, 1-2...31-32, MST]

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

D16XD [1...16, ML, MR, 1-2...15-16, MST]

Select the normalize-destination track.

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 .139 Edit Type: “CopyTrk,” Wave dialog

box)

For a 96 kHz/24-bit song, you can choose only up to tracks 1–

For D32XD 48 kHz/24-bit or 44.1 kHz/24-bit songs, only

tracks 1-16 can be selected.

A3. Mode

A2. Wave

Press this button to display the Fade Mode dialog box.

Use “Fade Curve” to select the desired fade-in or fade-

out curve.

This displays the waveform of the track audio, allowing

you to set the editing locations (IN, OUT) more accu-

rately. (→p .139 Edit Type: “CopyTrk,” Wave dialog box)

A3. Mode

[0 dB…–63.5 dB]

Press this button to display the Normalize Mode dialog

box, and set “Normalize Gain Level” to specify the level.

Press the OK button to set the selected normalize level, or

press the Cancel button to discard your settings.

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You cannot play back while loading the file.

10-4. Import File

An audio file from the D32XD/ D16XD’s PC drive or CD-R/

RW drive can be pasted into the beginning (location 0) of a

track (→p .85).

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.

4. Trk

D32XD [1...32, ML, MR, 1-2...31-32, MST, Clip]

D16XD [1...16, ML, MR, 1-2...15-16, 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 press this button, the Import File dialog box

will appear.

Press the Yes button to execute the import, or press the

No button 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.

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.

5a. Dither

By pressing 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.

1. File name cell

Displays the name of the import-source audio ﬁle. This

will be the ﬁle name you chose by pressing the Select File

button.

2. Drive

[CD, PC (USB)]

Selects the import-source drive. When you press this but-

ton, the Select Drive dialog box will appear. Select a

drive and press the Yes button.

3. Select File

Selects the audio ﬁle that will be imported.

When you press this button, the Select File dialog box

will appear. Select a ﬁle and press the OK button. If you

press the Cancel button, your selection will be discarded.

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.

3e. Prev

Plays back the ﬁrst six seconds (for 44.1 kHz/ 16-bit

data) of the selected audio ﬁle.

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10-5. Export File

Audio track data copied to the D32XD/ D16XD’s clipboard

can be exported as an audio file to the PC drive or CD-R/ RW

drive (→p .86).

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.

11. UNDO

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.

•

Recording

Track editing

CopyTrack, InsertTrack, EraseTrack, DeleteTrack,

SwapTrack, ReverseTrack, OptimizeTrack, Exp/

CompTrack, CopyWholeTrack, SwapWholeTrack,

FadeTrack, NormalizeTrack

•

Audio ﬁle import

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. 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 press this

button, the Select Drive dialog box will appear. Select the

desired drive, and press the Yes button.

3. File name

Displays the ﬁle name that will be saved on the export-

destination. If you want to edit this name, press the

Rename button.

1. Current undo level

4. Rename

This area indicates the current state, which you can revert

to prior states.

When you press 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 .174).

2. Undo list

[01…16]

This lists the operations that can be undone.

When you execute Undo, you will return to the state

prior to executing the selected operation.

The undo list saves up to the 16 most recent operations.

5. Exec.

When you press this button, the Export File dialog box

will appear. Press the Yes button to export the data, or

press the No button to cancel.

If you want to abort an export operation while it is being

performed, press the Cancel button.

Use the Redo or Undo buttons to select “undo levels” in the

undo list. You cannot select these directly by pressing the

screen.

When the export has been completed, the display will

indicate Completed. Press the OK button.

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.

3. Redo

Executes a Redo operation.

4. Undo

Executes an Undo operation.

5. Clear

It is not possible to perform just the Finalize operation here.

Finalization will be performed after the export is executed.

You can press this button to erase the undo data that is

preserved, thereby recovering more free space on the

disk.

The D32XD/D16XD preserves up to sixteen levels of record-

ing and editing 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 other-

wise expect.

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4. EditLoc

When you press this button, the Edit Mark Location dia-

12. STORE

This stores the current location so it can be saved as a loca-

log box will appear. Edit the location of the mark selected

in the mark list, and press the Yes button to apply the

change. To discard the change, press the No button.

tion, mark or scene.

You cannot edit the location mark 001.

When you press the STORE key, the location at that moment

is preserved, and you can assign that location to a locate,

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 discarded.

For details on registering and using locations, refer to Locate

(→p .38), Scene (→p .52), or Mark (→p .39).

5. Rename

This lets you rename the mark selected in the mark list.

Press 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 .97)

6. Delete

Press this button to open the Delete dialog box, and

delete the mark. If you turn the Select All button on

(highlighted), all marks will be selected for deletion.

To delete the marks, press the Yes button. If you decide

not to delete, press the No button.

13. SCENE

Refer to “3c. FADER/ PAN/ AUTOMATIO N” (→p .105,

You cannot delete mark 001.

Deletion of a mark cannot be Undone.

[*1 08]), E d i t Scene.

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.

14. MARK

When you select a mark in the mark list and press the

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 .39)

Use 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 pressing

the Use As CD Tr button once again.

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).

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.126)

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.”

15. SCRUB

This lets you “scrub” the audio data in order to register or

edit locate points or mark locations more precisely.

Press the SCRUB key to display the “Scrub” page. To exe-

cute the Scrub function, press any other page mode key.

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.

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.

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. 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 press this button, the mark selected in the

mark list will be recalled, and the current song location

will change to that location.

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1. Track selection

Press 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 press the OK button. If you press the

Stereo button, the waveforms of two adjacent channels

will be displayed in the upper and lower part of the

waveform window.

16. LOC1/ IN, … LOC6

These keys are used to store locations within the song. LOC1/

IN…LOC6 are used in the following ways.

•

Locate points (→p .38)

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)

D32XD

To register a location, press the STORE key and then press

the desired LOC1–6 key.

Locate functions

The location that you register for the LOC1/IN key is

used for the following purposes.

•

Locate point 1 (IN location)

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”

D16XD

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”

Starting location for “FadeTrk”

Starting location for “NormalizeTrk”

2. Preview playback buttons

Plays back approximately two seconds starting from

the current location (the Play From function).

Plays back approximately two seconds ending at the

current location (the Play To function).

The location that you register for the LOC2/OUT key is

used for the following purposes.

3. Search Zero

•

Locate point 2 (OUT location)

If this button is pressed, you can turn the value dial to

ﬁnd the next or previous zero-cross point.

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”

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).

4. Waveform window

Ending location of the erased region for “EraseTrk”

Ending location of the deleted region for

“DeleteTrk”

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”

This displays the waveform of the selected track.

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.

6. ZOOM

Adjusts the size of the waveform display and the play-

back speed:

vertically expands the waveform display.

vertically shrinks the waveform display.

horizontally expands the waveform display.

horizontally shrinks the waveform display.

Ending location for “FadeTrk”

Ending location for “NormalizeTrk”

The location that you register for the LOC3/TO key is

used for the following purposes.

•

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”

Starting location + copy-destination location of the

expanded/ compressed data for “ExpCmpTrk”

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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.

The location that you register for the LOC4/END key is

used for the following purposes.

•

Locate point 4 (END location)

The following location for a track editing operation

Ending location of the expanded/ compressed data for

“ExpCmpTrk”

Trigger/RecStart recording

Trigger

The location that you register for the LOC5 key is used

for the following purposes.

Threshold

•

Locate point 5

Punch-in location (In Time) for D32XD’s mix automa-

tion event editing (→p .104 “5b. In Ti m e, Out T i m e”)

PreTriggerTime

Recording

Stopped

The location that you register for the LOC6 key is used

for the following purposes.

Record-start location

•

Locate point 6

Punch-out location (Out Time) for D32XD’s mix auto-

Trigger/Punch-In recording

mation event editing (→p .104 “5b. In Ti m e, Out T i m e”)

Trigger

Threshold

PreTriggerTime

17. ENTER

By pressing the ENTER key, you can finalize a parameter se-

Playing

Record-start location

Start playback

Recording

lection or turn it on/ off.

Trigger/RecStart:

Press the REC key (REC and PLAY keys will blink) to

enter record-ready mode.

18. MARK JUMP

Each time you press these keys, you will move to the location

of the previous or next mark. Refer to “Using the MARK

J U MP keys to move” (→p .39).

When the signal being input to a channel whose REC/

PLAY key is set to REC 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.

Trigger/Punch-In:

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.

19. REC/ PLAY MODE

Here you can make settings for trigger, loop, and auto-

punch.

4. 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.

5. 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.

1. Loop Play

If this is on, the region between LOC1/IN and LOC2/

OUT will play back repeatedly. (→p .68)

The LOOP indicator will light at this time.

Loop Play is not available if the “MIDI Sync” setting

(→p.132) is “MTC Slave.”

2. Normal

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.

Recording will occur normally.

3. 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 press either of these radio buttons, the

Trigger indicator will light.

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6. 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.

20. Transport keys

PLAY key

Press this button to begin playback (key lit). This key will

blink during fast-forward, rewind, MTC Slave, or Trig

Rec Start.

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.

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

D32XD/ D16XD will enter record-ready mode (key blink-

ing), and recording will begin when you then press the

PLAY key (key lit).

7. Roll Time Unit

Select the units for the pre/ post roll times. You can select

either seconds or measures.

The conditions for initiating recording will differ depending

on the RecMode, MMC, and MTC settings.

8. Pre Roll Time

9. Post Roll Time

If the foot switch function is set to “Punch In Out,” you can

use the foot switch instead of the REC key.

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.

STOP key

Stops recording or playback.

By holding down the STOP key and pressing the MARK

JUMP (√) key you can move to the beginning of the

song. By holding down the STOP key and pressing the

MARK JUMP (®) key you can move to the end of the

song.

Pre Roll Time

Post Roll Time

LOC 1

LOC 2

Playback

Recording

Playback

FF key

Fast-forward will occur while you hold down the FF key

during playback.

Begin recording

Stop recording

Auto punch-in/out recording

If you press the FF key while stopped, fast-forward will

continue until you press the STOP, PLAY, LOC, or

MARK JUMP keys.

Loop recording (this region will be repeated)

If you perform auto punch-in/out recording when Loop Play is on,

recording will occur repeatedly, and each “pass” or “take” will be

preserved in the undo list.

The key will light while fast-forward is occurring.

REW key

When recording the master track, the only “Rec Mode” you can

use is Normal and Auto Punch.

Rewind will occur while you hold down the REW key

during playback.

If you press the REW key while stopped, fast-forward

will continue until you press the STOP, PLAY, LOC, or

MARK JUMP keys.

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.136). If you attempt to

record more than the allowable number of tracks, recording cannot

be executed.

The key will light while rewind is occurring.

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, LOC, or MARK

JUMP keys.

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.

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Effect parameters

Algorithm list

Effect 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 Eary Reﬂection

8 ARENA

3 Reverb Wet Plate

4 Reverb Dry Plate

5 Reverb Room

6 Bright Room

7 Eary 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 Eary 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 Compessor

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

65 Room

107 Vintage Dyna Mic

108 Vintage Tube Mic

109 Studio Mic & Pre

110 Drums Dyna Mic

111 Purcussion Mic

112 OverTop Mic

51 Mic Simulator

66 Small Hall

67 Light Plate

68 Studio Room

69 EaryReftections

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

115 VOX AC30

116 VOX AC30TB

117 BLACK 2X12

118 TWEED 1X12

119 TWEED 4X10

120 BOUTIQUE CLEAN

121 BOUTIQUE OD

122 UKBLUES

123 UK'70S

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

74 Analog Chorus

75 Flanger

76 Bass Flanger

77 Phaser

78 Vintage Phaser

79 Tremolo

80 Vintage Tremolo

81 Pitchshifter

82 Octave Voice

124 UK'80S

125 UK'90S

126 UK MODERN

127 RECTO

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 (1.250sec)

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

Values shown in parentheses ( ) are for 96 kHz operation.

4: Reverb Dry Plate

Parameters marked by an “*” in front of the screen parameter

name can be controlled by an external device such as an ex-

pression pedal.

This plate reverb simulates dry (light) reverberation.

Rev Time (Reverb Time)

0.1...10.0sec

Sets the reverberation time

53Hz...20.0kHz, THRU

HiDamp (High Damp)

Sets the damping amount in the high range

0...200msec

Stereo-type

PreDelay (Pre Delay)

Category

No. Name

Size

Sets the delay time from the dry sound

Dry, 1:99...99:1, Wet

Reverb&Delay

1 Reverb Hall

Dry:Wet

2 Smooth Hall

Sets the balance between the effect and dry sounds

–15...+15dB

3 Reverb Wet Plate

4 Reverb Dry Plate

5 Reverb Room

EQ Trim

Sets the equalizer trim level

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

6 Bright Room

7 Eary Reﬂection

8 L/C/R Delay

Sets the gain of High EQ

0...100%

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 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

6: Bright Room

26 Multiband Limiter

27 St.Analog Record

28 Talking Modulator

29 St.Ring Modulator

30 Rotary Speaker

This room-type reverb emphasizes the early reflections that

make the sound brighter

SFX&Etc

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: Eary 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 (1.360sec)

Sets the left delay time

0...2.730sec (1.360sec)

Sets the right delay time

Stereo, Cross

Type

Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reflection

10...800msec

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 (1.360sec)

Sets the delay time of TapL

0...2.730sec (1.360sec)

Sets the delay time of TapC

0...2.730sec (1.360sec)

Sets the delay time of TapR

Dry, 1:99...99:1, Wet

Tap1Time

Tap2Time

Type

0...2.730sec (1.360sec)

Sets the delay time of Tap1

0...2.730sec (1.360sec)

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 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 Deley)

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 (1.250sec)

Sets the left delay time

0...2.500sec (1.250sec)

Sets the right delay time

0.02...20.00Hz

: 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 LFO speed

Dry:Wet

Dry, 1:99...99:1, 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 (1.360sec)

Sets the left delay time

0...2.730sec (1.360sec)

Sets the right delay time

0.02...20.00Hz

Sets the feedback amount of right delay

–180...+180deg

Sets the phase obtained when the left LFO is reset

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 (1.360sec)

Sets the left delay time

0...2.730sec (1.360sec)

Sets the right delay time

–100...+100%

Sets the damping amount in the high range

Waveform (LFO Waveform)

Triangle, Sine

Selects LFO Waveform

–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

Modulation-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

Responce

Slow, Medium, Fast

Selects the response speed

0...100

: LFO Waveform

This parameter selects the LFO waveform.

Tube Sat (Tube Satulation)

: 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 (680msec)

Sets the left delay time

0...1.360sec (680msec)

Sets the right delay time

Pre (Pitch), Post (Dly)

Switches the feedback connection

0...100%

Sets the compression ration of the signal

0...1.00sec

Attack

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

Responce

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 de-links the left/ right channels for envelope control

Env.Select (Envelope Select)

Env.Resp (Envelope Responce)

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%

Responce

Slow, Medium, Fast

Selects the response speed

0...100

Sets the sensitivity of envelope control

Tube Sat (Tube Satulation)

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 de-links the left/ right channels for envelope control

Env.Resp (Envelope Responce) 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

Responce

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

Satulation (Tube Satulation)

0...100%

Env.Resp (Envelope Responce)

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 (1.360sec)

Sets the left delay time

L Delay (L Delay Time)

R Delay (R Delay Time)

*Manual (Manual Control)

Dry:Wet

Category: Special Effect

Special Effect

0...2.730sec (1.360sec)

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

Oscilator (Oscilator 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

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L-R Phase (LFO L-R Phase)

–180...+180deg

Monaural type effects

Sets the LFO phase difference between the left and right

L Delay (L Delay Time)

0...2.730sec (1.360sec)

Sets the left delay time

0...2.730sec (1.360sec)

Sets the right delay time

53Hz...20.0kHz, THRU

MONO TYPE

Category

No. Name

Size

R Delay (R Delay Time)

HiDamp (High Damp)

Reverb&Delay

31 Mono Reverb Hall

32 Mono Reverb Plate

33 Mono Reverb Room

34 Mono ER

Sets the damping amount in the high range

L Fdback (L Feedback)

–100...+100%

35 Mono Delay

Sets the feedback amount for the left channel

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

R Fdback (R Feedback)

–100...+100%

Sets the feedback amount for the right channel

Dry, 1:99...99:1, Wet

Modulation&Pitch

Dynamics&Filter

Dry:Wet

Sets the balance between the effect and dry sounds

In Level (Input Level)

0...100%

Sets the input level to the effect

: Oscillator Frequency [Hz]

This parameter sets the oscillator frequency.

46 Mono Filter

30: Rotary Speaker

47 Mono Wah

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.

SFX&Etc

Multi

48 AnalogRecord

49 Mn.Ring Modulator

50 Tube Pre Amp Sim

51 Mic Simulator

52 GuitarMulti

Speed Sw (Speed Switch)

Switches the speaker rotation speed between slow and fast

HornRatio (Horn Ratio) Stop, 0.50...2.00

Slow, Fast

Adjusts the (high-range side) horn rotation speed. Standard

value is 1.00. Selecting “Stop” will stop the rotation

Category: Reverb&Delay

Reverb/ delay-type effects

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

Rotor:Horn (Horn:Rotor Balance)

Rotor, 1:99...99:1, Horn

Sets the level balance between the high-range horn and low-

range rotor

31: Mono Reverb Hall

Rotate Sw (Rotate Switch)

Rotate, Stop

32: Mono Reverb Plate

Switches between speaker rotation and stop

HrnAccel (Horn Acceleration)

0...100

Rev Time (Reverb Time)

0.1...10.0sec

Sets the reverberation time

THRU, 21Hz...8.00kHz

How quickly the horn rotation speed in the high range is

switched

LoDamp (Low Damp)

RtrAccel (Rotor Acceleration)

0...100

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

Determines how quickly the rotor rotation speed in the low

range is switched

HiDamp (High Damp)

Dry:Wet

Sets the damping amount in the high range

Dry, 1:99...99:1, Wet

MicDistance

0...100

Sets the distance between the microphone and rotary speaker

Sets the balance between the effect and dry sounds

MicSpread

0...100%

Sets the angle of left and right microphones

Dry, 1:99...99:1, Wet

SideRﬂct (Side Reﬂection)

0...100%

Sets the amount of reflections from the side walls

Dry:Wet

BackRﬂct (Back Reﬂection)

0...100%

Sets the balance between the effect and dry sounds

Sets the amount of reflection from the back wall

: Horn Acceleration, : Rotor Acceleration

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.

33: Mono Reverb Room

Rev Time (Reverb Time)

0.1...3.0sec

Sets the reverberation time

THRU, 21Hz...8.00kHz

: MicDistance, : MicSpread

This is a simulation of stereo microphone settings.

LoDamp (Low Damp)

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

Modulation-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

Sets the time taken from the original sound to the first early

reflection

Dry:Wet

Dry, 1:99...99:1, Wet

*Depth

0...100

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 (1.360sec)

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 Satulation)

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 Satulation)

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 (1.360sec)

Sets the delay time of Tap1

0...2.730sec (1.360sec)

Sets the delay time of Tap2

0...2.730sec (1.360sec)

Sets the delay time of Tap3

0...100%

LFO Shape

Determines how much the LFO waveform is changed

Fb HiCut (Feedback High Cut)

53Hz...20.0kHz, THRU

Sets the damping amount in the high range

0...50.0ms

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

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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

Responce

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)

Responce

–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 Satulation)

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

Responce

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

Responce

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 Satulation)

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

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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 Responce)

Oscilator (Oscilator 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 (1.360sec)

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 Responce)

Slow, Mediumd, 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 Satulation)

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 Satulation)

0...100%

Category: Special Effect

Special Effect

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 Satulation)

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,

UK’80S, UK’90S, UK MDN, RECTO, US HI-G

LowCut

Sets the damping amount in the low range

53Hz...20.0kHz, THRU

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 (Outpur 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 Effect

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 (1.360sec)

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 Responce)

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

Is CD Monitor set to on? (→p .123)

Is the 1–16/17–32 key set correctly? (→p .10)

Troubleshooting

Input sound is inaudible or too soft

Is the TRIM knob raised to an appropriate level?

Power does not turn on

After connecting your audio source to an input jack, did

you assign it to a mixer channel?

Is the power cable connected to an outlet? (→p .1)

→ In the MIXER, INPUT/OUTPUT/CH ASSIGN, “Ch

Assign” tab page, assign the source to a mixer channel.

(→p .42)

Is the rear panel POWER ON (power supply) switch

turned on? (→p .1)

Verify that audio is being input.

→ Press the METER key, and in “Meter Trk View,” set

“Select Level Meter Position” to “CH-Input.” Watch

the meters to verify that audio is being input to each

mixer channel (→p .42).

Nothing appears in the display

Is the top panel power on key lit? (→p .1)

Is the contrast adjusted correctly? (→p .10)

Are you using the analog compressor? (→p .46)

Is the REC/PLAY key set to REC? (→p .8)

Are the monitor settings appropriate?

Vertical lines are visible in the display

→ 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 .50)

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 and

angle (→p .10).

Is the CH ON key turned on? (→p .9)

Is the PAD key on?

TouchView response is poor

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.

Press the SYSTEM key, and use the “Control” tab page

item “Touch Panel Calibration” to calibrate the touch

panel (→p .95).

If cue is selected, the cue level of each channel may have

been lowered.

→ In the MIXER, SOLO/MONITOR, “CueLevel ” tab

page. (→p .51)

Is the 1–16/17–32 key set correctly? (→p .10)

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.

No sound

Is the power of the D32XD/ D16XD or a connected

device turned off? (→p .1)

Is the MASTER fader, MONITOR LEVEL knob, or

PHONES 1, 2 VOLUME knobs set to low?

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.

Can’t hear an audio CD inserted in the CD-R/ RW

drive

Is the output of the internal CD-R/ RW drive correctly

assigned to the mixer channels?

→ Go to the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page, and assign the CD output to the

appropriate mixer channels.

Is the Solo function activated?

→ If Solo is being used, you will not hear channels that

are not being soloed.

Was the D32XD/ D16XD subjected to vibration or

impact?

The D32XD/ D16XD’s CD-R/ RW drive is a removable

drive.

→ Verify that the CD-R/ RW drive is installed correctly.

(→p .181 “Checking the internal CD-R/ RW drive”)

Can’t hear the playback

If the REC/PLAY key set to PLAY? (→p .8)

Is the CH ON key turned on? (→p .9)

Has solo been turned on, so that other tracks are not

Can’t hear sound other than the audio CD

heard? (→p .9, 97)

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 .51)

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 CD, CD PLAYER CD Monitor button on?

→ If the CD Monitor button is on, all sounds other than

the internal CD drive will be muted. Turn this button

off except when you want to use the internal CD drive

to monitor an audio CD. (→p .123)

No sound from AUX OUT

“Can ’t a pply external effect (AUX OUT)” (→p .168)

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Can’t hear rhythm sound

Playback level is lower than the level during

recording

“Rhythm sound is not output” (→p .168)

Can’t hear scrub playback

If you lowered the attenuator during recording while

using the input EQ, could you have forgotten to reset the

attenuator for playback?

The incorrect track may be selected in the scrub page.

→ Select the correct track.

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.

Faders don’t work or don’t move

Fader does not work

When pairing is on, the even-numbered faders of

channels 1–32 [*1–16] will not function.

The audio level of paired channels is controlled by the

fader of the odd-numbered channel at the left.

The input or recorded sound is noisy or dis-

torted

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. (D16XD only)

→ Raise or lower the fader so that it matches the actual

volume level.

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 8 jacks (INPUT 1– INPUT 16 jacks if the optional

board is installed), press the METER key to access

“Meter Trk View,” and set “Select Level Meter Posi-

tion” to “CH-Input.” Then adjust the TRIM knobs as

high as possible without allowing the “CLP” indicator

to appear in the level meter.

Faders don’t move, don’t stop, or vibrate (D32XD)

If the touch sensitivity is not adjusted correctly, the

D32XD may not be able to detect that you’ve touched a

fader knob, or may falsely detect that you’ve touched a

fader (and operate accordingly) when you haven’t.

→ Adjust the touch sensitivity. (→p .126)

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 record

If the effect input or output is still distorted, make the

following adjustments.

Are the D32XD/ D16XD’s channel fader(s) lowered?

Is the recording-destination track’s REC/PLAY key set to

REC?

→ Input

Insert effect:

Is the CH ON key turned on? (→p .9)

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 there enough space on the drive?

→ Set the counter display to “FreeTime,” and check the

available recording time. (→p .38, 96)

→ Increase the free space on the song drive by deleting

unwanted songs or songs you have already backed up.

(→p .41, 82)

Is the input source you want to record assigned to a

mixer channel?

Master effect:

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:

→ In the MIXER, INPUT/OUTPUT/CH ASSIGN, “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.

Is the REC/ PLAY MODE appropriate? (→p .64, 150)

→ Output

Insert effect:

Adjust the effect parameters or TRIM knob, and listen

for any distortion.

Can’t use digital input

If you want to use S/ P DIF input, access the MIXER,

INPUT/OUTPUT/CH ASSIGN, “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 .43).

Master/ﬁnal effect:

While you watch the meters in the EFFECT, “Master-

EFF”/“FinalEFF” tab page, adjust the effect parame-

ters so that “CLP” does not light.

If the sound is distorting in the EQ, make the following

adjustments.

→ Adjust the EQ gain values (→p .48).

→ Adjust the attenuator (→p .48).

Is the S/ P DIF input format incorrect?

→ Connect an instrument or digital audio device that

complies with the S/ P DIF format.

Do the sampling frequency and bit depth of the current

song match that of the input?

Could you be using the analog compressor?

→ Adjust the compressor parameters. (→p .46)

Did you use Cue during or after recording?

→ Make sure that the channel fader and channel Cue lev-

el are not both raised (→p .51).

Can’t use digital output

Is the ADAT output assignment appropriate?

→ Make the appropriate ADAT output assignment

(→p .47).

Effects do not apply

You may have selected effect program number 00.

→ Set “EffectNumber” to other than “000” (=NO EF-

FECT).

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Insert effects do not apply

Rhythm

Is the effect inserted at the appropriate location?

→ In the EFFECT, “Routing A/Routing B [*EFFRout-

ing]” tab page, select “IN” if you want to apply the in-

sert effect to the input, or “TR” if you want to apply it

to the playback. (→p .58)

Rhythm sound is not output

In the TEMPO, “SetUp” tab page, could the Rhythm On

button be turned off?

→ Go to the EFFECT, “Routing A/Routing B [*EFFRout-

ing]” tab page and verify that the effect assign channel

(track) is correct. (→p .24)

→ Turn on the Rhythm On button.

Is the rhythm assign setting appropriate?

→ If the rhythm is assigned to a CH Input, input the

rhythm to a mixer channel.

Can’t apply master effects

Is the recorder stopped?

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.

→ 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 TEMPO, “SetUp” tab page and turn

the Prev button on.

Is the return level set to zero or nearly zero?

→ Go to the EFFECT, “MasterEFF” tab page, and raise

the “Return Level” setting.

You may have selected a silent rhythm pattern.

The rhythm volume may be too low.

→ In the TEMPO, “SetUp” tab page, use “Vol.” to adjust

the volume.

If you are monitoring the sound from the MONITOR

OUT L/R jacks, the monitor LR bus output may be

turned off.

→ In the MIXER, SOLO/MONITOR, “Monitor” tab

page, press the MasterLR button to turn it “On.”

Can’t hear the rhythm

Is the Rhythm On button off? (→p .61)

Is rhythm assign set to “Monitor” or “Master”?

Can’t apply the ﬁnal effect

If you are monitoring the sound from the MONITOR

OUT L/R jacks, the master LR bus output may be turned

off.

→ In the MIXER, SOLO/MONITOR, “Monitor” tab

page, press the MasterLR button to turn it “On.”

Can’t select rhythm

Could a 96 kHz/ 24-bit song be selected?

→ For a 96 kHz/ 24-bit song you can select only Metro,

Hihat, and Blank.

Can’t use the expression pedal or MIDI to control an

effect

A key does not function when pressed

In the SYSTEM, “Control” tab page, is the effect selected

by “Control Change Assign” enabled?

→ Go to the EFFECT, “Routing A/Routing B

[*EFFRouting]” tab page and verify that the effect is

enabled.

Some keys do not function while the recorder is playing

or recording.

→ Stop the recorder, and then perform the operation.

Some keys do not function while Scrub is on.

→ Turn off Scrub, and then perform the operation.

(→p .40, 148)

Is a dialog box open?

→ Press either the Yes, No button to close the dialog box.

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,

“Control” tab page. (→p .126)

The 1–16/ 17–32 key does not work (D32XD)

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?

In the case of a 24-bit song, only sixteen channels are

available, so this key will not function.

If you are controlling via MIDI, does the MIDI channel

number of the D32XD/ D16XD match the MIDI channel

of the transmitting MIDI device? (→p .131)

This key is disabled while you are touching a channel

fader knob.

→ If the touch sensitivity is not set correctly, the D32XD

may falsely detect that you’re touching a fader even if

you are not. (→p .126)

Is the effect program’s Ctrl setting turned on? (→p .121)

Can’t apply external effect (AUX OUT)

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.

Can’t edit PAN, EQ, or SEND

When pairing is on, you cannot edit even-numbered

channels 1–32 [*16].

To edit an even-numbered channel, edit the odd-num-

bered channel to its left.

Is the output of your external effect connected to the

INPUT 1–INPUT 8 jacks (INPUT 1–INPUT 16 jacks if the

optional board is installed), and input to the mixer

channels?

→ Go to the MIXER, INPUT/OUTPUT/CH ASSIGN,

“Ch Assign” tab page and make the appropriate as-

signments.

Can’t make group settings (D32XD)

You cannot make group settings while you are touching

a channel fader knob.

→ If the touch sensitivity is not set correctly, the D32XD

may falsely detect that you’re touching a fader even if

you are not. (→p .126)

Have sub input settings been made correctly? (→p .45,

101)

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MIDI

CD-R/ RW

MIDI sequencer won’t synchronize/ MIDI control is

not possible

Can’t write

No further data can be written to a CD-R/ RW disc that

has been finalized. (→p .123)

No data can be written to a CD-RW disc that contains

data written by another device.

Are the MIDI cables connected correctly? (→p .14)

A MIDI cable may be broken.

Can’t synchronize using MTC or MIDI Clock

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.

Are the master and slave settings correct? (→p .93)

Does the synchronization signal being output by the

D32XD/ D16XD match the synchronization signal your

MIDI sequencer is receiving?

→ Go to the MIDI/SYNC, “MIDI/MMC” tab page and

check the “MIDI Sync” setting. (→p .131)

→ 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.

If “Tempo Source” is set to “Tempo Track,” is MIDI

clock or tap tempo data recorded in the tempo track?

(→p .63)

Are the synchronization settings of your MIDI sequencer

appropriate?

Can’t create an audio CD.

→ Use a blank disc.

→ Refer to the owner’s manual of your MIDI sequencer.

Can’t play back on an audio CD player

The D32XD/ D16XD doesn’t receive MMC

Did you finalize the disc?

→ In the CD, CD WRITER, “CD Utility” tab page, press

the Finalize button to finalize the disc. (→p .125)

In the MIDI/SYNC, “MIDI/MMC” tab page, is “MMC

Mode” set to “Receive”?

Did you use CD-R disc?

→ Some CD players are unable to play back CD-RW disc.

We recommend that you use CD-R disc.

In the above page, is “MMC Device ID” set to match the

MMC device ID setting of your MIDI sequencer?

(→p .131)

→ For some MIDI sequencers, the MMC device ID setting

may differ.

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.

Is your MIDI sequencer set to transmit MMC?

→ Refer to the owner’s manual of your MIDI sequencer.

Can’t use MIDI to control scenes

Do the MIDI channels of the D32XD/ D16XD and your

MIDI sequencer match?

→ Go to the MIDI/SYNC, “MIDI/MMC” tab page and

check the “Global Ch” setting. (→p .131)

Audio ﬁles

Can’t preview

Are program changes turned off?

→ Check the settings in the MIDI/SYNC, “MIDI/MMC”

tab page. (→p .131)

Is the audio file format supported?

→ Preview a WAV file of a supported format. (→p .85,

146)

The D32XD/ D16XD does not synchronize as a slave

→ If the D32XD/ D16XD is set as an MTC slave, it may

take several seconds for synchronization to occur.

→ Do the Frame Rate settings match? (→p .131)

→ If you are using MTC to synchronize, the MIDI se-

quencer to which you are synchronizing must support

MTC.

USB

Computer does not recognize the D32XD/ D16XD

Is the USB cable connected correctly? (→p .13)

Is the D32XD/ D16XD set to USB Slave mode? (→p .92)

Error occurred when you disconnected the D32XD/

D16XD from the computer

Can’t control another device via MMC

In the MIDI/SYNC, “MIDI/MMC” tab page, is “MMC

Use the correct procedure to disconnect. (→p .92)

Mode” set to “Transmit”?

Is the MMC slave device set so that it will receive MMC?

When you connected the D32XD/ D16XD, the com-

puter asked you to install software or a device driver

Does the D32XD/ D16XD’s MMC Device ID match the

external MIDI device’s MMC Device ID?

Does the operating system of your computer support the

D32XD/ D16XD? (→p .92)

Can’t use MIDI to control mixer parameters

Is the device that is receiving the control changes set to

record all MIDI channels 1–16?

ADAT

Are control changes turned off?

→ Check the settings in the MIDI/SYNC, “MIDI/MMC”

tab page. (→p .131)

“ADAT.Out” tab page is not displayed

Is the optional ADAT I/ O board (DIB-8) installed?

Could you have selected a 96 kHz/ 24-bit song?

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Disk too busy.

Various messages

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.

The message dialog box will disappear when you press the

OK button.

→ In the TRACK, “EditTrk” tab page, execute the

“OptimizeTrk” operation with “Mode” set to “Normal.”

If this error message still appears even after you execute

“OptimizeTrk,” go to the SYSTEM, “DiskUtility” tab

page and execute “CheckDrive.”

Auto-Punch is not available in MTC Slave/ Master mode.

Auto-punch recording cannot be performed if the MIDI

Sync setting is set to MTC Slave or MTC Master.

Battery voltage for Calender is low.

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.

The calendar battery has insufficient voltage.

→ Replace the battery as described in “Replacing the

calendar battery” (→p .179).

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 D32XD/D16XD before you ex-

ecute the Check Drive operation.

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

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.73) af-

ter recording or editing multiple tracks simultaneously in a 48

kHz/24-bit song.

wish to save before deleting it from the hard drive.

Check Sum Error occurred.

The system update has failed.

→ Try the update procedure once again from the

beginning. If this message still appears, please contact

your Korg distributor.

Drive Error occurred.

An error has occurred while accessing the drive.

Clock source changed to internal because S/ P DIF Error

occurred.

→ 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.

Because the S/P DIF clock could not be detected

correctly, the Word Clock setting Clock Source has been

switched to Internal.

→ If this message appears while you are working on the PC

drive, format the PC drive.

→ Make sure that the signal is being output correctly from

the external device.

→ 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.

→ Make sure that the D32XD/ D16XD is correctly

connected with the external device.

→ Make sure that the optical digital cable is not faulty.

Exceeds drive capacity.

Clock source changed to internal because the sampling

frequencies do not match.

There is not enough free space on the drive.

→ 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.

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.

→ If this message appears while you are working on the PC

Completed.

drive, delete unneeded files or folders.

The operation has been completed successfully.

Exp/ Cmp ratio is out of range.

Continuous recording time limit exceeded.

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.

The maximum continuous recording time is 12 hours (6

hours at 96 kHz). It is not possible to continuously

record for longer than this.

Directory Path is too long.

Failed to receive MIDI data.

Access is not possible because the directory path is too

long.

Reception of MIDI data has failed.

→ The D32XD/ D16XD cannot access a path that is longer

than 64 characters. Do not create a directory path longer

than 64 characters.

Failed to write CD.

Writing to the CD-R/ RW disc has failed.

→ Refer to the “Troubleshooting” section on CD-R/ RW.

Disc is not CD-RW.

Failed to write System.

The disc currently in the drive is not a CD-RW.

→ Insert a CD-RW disc.

System updating has failed.

→ It is possible that the D32XD/ D16XD has malfunctioned.

Please contact your Korg distributor.

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File List data error.

Repaired, but some audio data was lost.

There is an error in the audio data, and the song cannot

be selected or saved.

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.

→ Format the affected song drive.

Frame Rate does not match.

→ You can minimize the pops by executing

The frame rate of the incoming time code does not match

the frame rate of the current song.

“OptimizeTrk.”

Root Directory is full.

Illegal Range. In = Out or Out < In.

You have reached the maximum number of files or

folders that can be saved in the root directory of the PC

(USB) drive.

The operation cannot be executed because there is a

problem with the IN and OUT locations specified for

track editing or loop playback.

→ Delete unneeded folders or files.

→ The IN and OUT locations are the same, or the OUT

Sampling Frequency does not match.

location is earlier than the IN location.

The external sampling frequency clock does not match

the sampling frequency of the current song.

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.

Scrub Location exceeded song end.

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.

→ The TO and END locations are the same, or the END

location is earlier than the TO location.

In ~ Out is out of range.

The operation cannot be executed because there is a

problem with the IN and OUT locations specified for

track editing or auto-punch recording.

Song Data error.

The song data contains an error, and cannot be selected

or saved.

→ Set the IN-OUT region not to exceed 12 hours (6 hours at

96 kHz) in length.

→ Delete the song that cannot be selected or saved.

Insert next disc and press OK.

→ Format the affected song drive.

Insert the next disc.

Song End out of range.

Insufﬁcient space available on the CD.

Executing the track editing operation would cause the

ending location of the song to exceed the allowable song

length.

This CD-R/ RW disc does not contain enough free space

to write the selected data.

→ A song cannot be more than 23:59:59.999 in length.

Maximum number of tracks is 99.

A maximum of 99 tracks can be written to one CD.

Song List data error.

The song list data contains an error, and the song cannot

be selected or saved.

No audio events on the master track.

The master track does not contain any audio events.

→ Format the affected song drive.

No REC-READY tracks.

S/ P DIF Error occurred.

None of the tracks have been set to the record ready

mode.

An error has occurred in the S/ P DIF digital connection.

→ Make sure that the external device is correctly connected

Not enough Memory.

to the D32XD/ D16XD.

The current recording or track editing operation would

exceed the amount of memory space available.

→ Make sure that the optical digital cable is not faulty.

Tempo too fast.

→ Delete unneeded track data from the song.

When recording tempo, recording failed because the

tempo was too fast.

→ In the TRACK, “EditTrk” tab page, execute

“OptimizeTrk” with “Mode” set to “Normal.” If error

messages still appear after you execute “OptimizeTrk,”

go to the SYSTEM, “DiskUtility” tab page and execute

“CheckDrive.”

→ If you are recording MIDI Clock data, set the MIDI

output device to a slightly slower tempo.

→ If you are recording tap tempo, tap more slowly.

Number of tracks does not match.

Tempo too slow.

When executing a track edit operation, the number of

tracks before and after the operation does not match.

When recording tempo, recording failed because the

tempo was too slow.

→ If you are recording MIDI Clock data, set the MIDI

Operation canceled.

output device to a tempo of ꢀ =40 or faster.

The operation was canceled.

→ If you are recording tap tempo, tap more quickly.

Repaired successfully.

The data is unchanged.

When the hard drive was checked, errors found on the

disk were repaired successfully. The audio data has also

been completely recovered.

The operation was executed, but the results are identical

to the previous state.

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The location cannot be stored.

Conﬁrmation messages

The current location cannot be stored.

Info: “****”

This CD is not playable.

This will appear when there is information to be

conveyed to the user.

The CD cannot be played because is not an audio CD or

because it has not been finalized.

→ Press the OK button and continue operation.

This ﬁle name is already in use.

An identically-named file already exists.

→ Change the file name.

Serious error messages

Fatal: “****”

This format is not supported.

This will appear if a problem or malfunction has

occurred on the D32XD/ D16XD.

The inserted disc is in a format that the D32XD/ D16XD

is unable to read.

→ If this type of message appears, write down the contents

of “****” and contact your Korg distributor.

This is a blank CD.

You have inserted a blank disc.

This operation is not available.

It is currently not possible to perform this operation.

To ~ End is out of range.

The track editing operation cannot be executed because

there is a problem with the TO and END locations you

specified.

→ The TO-END region must not exceed 12 hours (6 hours

at 96 kHz).

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 has a capacity of 2 GB, and will be recognized by

your computer with a name of KORG D32XD [*KORG

D16XD].

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)

KORG01.ICO (file)

D32XD [*D16XD]

(folder)

Supported ﬁle

Supported format

Operations

CD-DA

Audio CD

playback, writing

(Red book compliant)

ISO 9660 Level 1

Backup ﬁle

backup, restore

import, export

WAV format audio ﬁle

•

By erasing a CD-RW, you can once again use it 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.

BACKUP folder

When backing up → back up to the BACKUP folder.

When restoring

→ 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 through

ﬁnalization in a single step. No additional writing will be

possible.

AUTORUN.INF, KORG01.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 KORG01.ICO files.

D32XD [*D16XD] 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 D32XD/D16XD. 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.92).

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 D32XD/ D16XD to

the internal drive.

Audio CDs

•

Backup ﬁles (data speciﬁc to the D32XD/ D16XD)

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, 24-bit/ 96 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.

Creating an audio CD

Backup ﬁles

Using Disc At Once

The amount of space required for the backup is displayed

when you make settings for the backup.

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.)

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.

•

Maximum number of tracks 99

Pre-gap time [0–59 seconds/ 74 frames], default value

2 seconds *1

•

Post-gap time [0–59 seconds/ 74 frames], default value

0 seconds

•

Minimum track duration 4 seconds

*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.

PC (USB) drive

An error message will appear if the drive does not have

enough free space.

Using Track At Once

Backup data filenames

Use this method when you want to write one track at a

time. You can continue writing additional tracks until

you ﬁnalize the disc.

The following names are automatically assigned accord-

ing to the type of backup.

1 Song

Finalize the disc if you want to play it back on a CD

player.

XXXXXX + YY + extension (.DBK)

•

Maximum number of tracks 99

Silence between songs 2 seconds

Minimum track duration 4 seconds

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.

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.

→“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 D32XD/ D16XD by perform-

ing the Import operation.

Filenames for audio data

If the import-destination song drive has insufficient space, an er-

ror message will appear. →“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 .129)

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 D32XD/ D16XD.

•

Backup ﬁles (data speciﬁc to the D32XD/ D16XD)

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 D32XD/ D16XD by perform-

ing the Restore operation.

If the restore-destination song drive has insufficient space, an

error message will appear. →“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

: EQ library icon

Indicates user EQ library data.

Indicates song data that was divided into more than

one backup volume. You cannot open this.

: Comp data icon

: User data icon

Indicates user comp data.

Indicates user data. Select this to display the contents.

:Album CD project icon

: Song icon

Indicates album CD project data.

Indicates song data.

: Effect data icon

Indicates user effect data.

: EQ library icon

Indicates user EQ library data.

: Comp data icon

Indicates user comp data.

:Album CD project icon

Indicates album CD project data.

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Installing the options

Before you begin working

■ Did you disconnect the power cable?

You must turn off the main power switch of the D32XD/

D16XD, and then disconnect the power cable.

Please read this before you begin instal-

lation

■ Has 30 minutes passed since you turned off the

power?

Safety precautions

Warnings

The interior of the D32XD/D16XD reaches a high tem-

perature during operation. Wait until the interior has

cooled before you begin the installation.

•

Before installing an option, be sure to disconnect the

power supply cable and the connecting cables to any

peripheral devices. Failure to do so could cause electrical

shock or may damage the device.

■ Did you back up your data?

An installation error or other problem may cause saved

data to be lost. Back up your important data on a CD be-

fore you perform the installation.

•

When installing, repairing, or replacing an option, you

must perform only those actions that the owner ’s manual

directs, and no other.

Do not apply excessive force to the electronic compo-

nents or connectors on the circuit board(s) of an option,

or attempt to disassemble them.

Please note when installing an option

board (ACB-8, AIB-8 and DIB-8)

This could cause electric shock, ﬁre, or malfunction.

•

So that static electricity in your body does not damage

the electronic components, touch the ground wire of a

grounded device or an unpainted metallic component to

discharge any static electricity in your body before

installing an option board or memory. Internal compo-

nents of the D32XD/ D16XD and of the option boards

may be damaged by static electricity.

Cautions

•

Before touching the option, touch a metal component of

the device into which it will be installed, to discharge any

static electricity that may be present in your body.

Static electricity may damage the electronic components.

Be careful of any sharp edges or pointed metal parts on

the option or the device into which the option is being

installed.

•

Follow the installation procedure, and be sure that each

part is installed correctly and in the correct orientation.

Please use care in handling option boards. Dropping

them or applying pressure to them may damage the com-

ponents.

Sharp edges or points may cause injury.

•

Danger of explosion if battery is incorrectly replaced.

Replace only the same or equivalent type.

When handling an option, never touch parts that are not

related to the installation.

Doing so may cause electrocution or malfunctions.

When handling an option, be careful not to touch the

leads on the back side of the circuit board (the side oppo-

site that on which the components are mounted).

The sharp points may cause injury.

•

Avoid touching exposed metal edges of the circuit board,

or portions that need not be handled during installation.

Be careful not to lose the screws that you remove.

Do not use screws other than those that are installed in

the option board and the D32XD/ D16XD. Using screws

of a different shape or length may damage the unit or

cause it to malfunction.

•

Be sure to ﬁrmly tighten the screws used for attachment.

Be sure that the option board is inserted correctly into the

connector or locking pins. After installation, be sure to

check that the board is installed correctly. If the board is

not inserted all the way, faulty contact or power supply

shorts can occur, making the unit malfunction.

Be careful not to drop parts or the option board into the

inside of the instrument.

Do not allow the option or other device being installed to

become wet, and do not allow objects to be placed on top

of it.

Doing so could cause malfunction.

When installing an option, be careful that screws or other

parts do not fall into the device into which it is being

installed.

•

If you are unable to retrieve a screw or part that was

dropped inside the instrument, please contact your local

Korg distributor.

Doing so could cause malfunction.

Korg Inc. takes no responsibility for any malfunctions or

damage that may occur from improper use or modiﬁcation

of this product. Nor will Korg Inc. be responsible for any

damages resulting from the loss or destruction of data.

You will need a Philips (“+”) screwdriver.

Use a screwdrive of the appropriate size for the screws.

The screw heads may be damaged if you use a screw-

drive of the wrong size.

176

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5. Insert the AIB-8’s ﬂat cable into the connector.

Make sure that the cable is oriented correctly, and push it

ﬁrmly all the way in.

Installing the 8-channel analog input

board (AIB-8) and 8-channel analog

compressor board (ACB-8)

An 8-channel analog input board (AIB-8) can be installed to

add analog input channels INPUT 9–16. An 8-channel analog

compressor board (ACB-8) can also be installed for INPUT 9–

16 channels.

Installation procedure

1. You will need a Philips (+) screwdriver.

2. Turn off the power of the D32XD/D16XD, and discon-

nect all cables.

The interior of the D32XD/D16XD reaches high temperatures

during operation. Before you perform this operation, turn off

the power and wait at least 30 minutes for the interior to cool

down.

3. Use the screwdriver to remove the four screws that fas-

ten the AIB-8 cover.

Be careful not to lose the screws you removed.

Protrusions

Tab

AIB-8 cover

6. Install the AIB-8 in the D32XD/D16XD.

Insert the edge containing the AIB-8’s TRIM knobs into

the opening that had been covered by the AIB-8 cover, so

that the ﬂat cable is folded inside the D32XD/ D16XD.

4. Remove the AIB-8 cover.

If you are installing the ACB-8 on the AIB-8, perform steps

‘a’ and ‘b’.

a. Align the three holes of the ACB-8 with the lock-

ing pins and connector of the AIB-8, and press it

in.

Locking pin insertion holes

Pin B

Pin A

Connector

Pin A

AIB-8 panel

7. Fasten the AIB-8 in place, using the screw driver to fas-

ten the four screws you removed.

b. Press in until the two locking pins A and one lock-

ing pin B are locked. When doing so, apply pres-

sure to areas where no components are mounted.

8. When you are ﬁnished, turn on the power and verify

that the AIB-8 is installed correctly. (→p .181 “Checking

after installation”)

Locked

Not locked

ACB-8

Pin A

Pin B

Pin A

Pin B

AIB-8

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Parts of the DIB-8 and their functions

Installing the ADAT I/ O board (DIB-8)

An ADAT I/ O board (DIB-8) can be installed in the D32XD/

D16XD to add eight channels and word clock in/ out of dig-

ital input.

Installation procedure

1. You will need a Philips (+) screwdriver.

1. ADAT output jack

2. Turn off the power of the D32XD/D16XD, and discon-

nect all cables.

This jack outputs an ADAT format (ADAT Type I/ II for-

mat) digital signal of the same sampling frequency and

bit depth as the current song.

3. Use the screwdriver to remove the two screws that fas-

ten the DIB-8 cover.

96 kHz output is not supported.

Be careful not to lose the screws you removed.

2. ADAT input jack

This jack inputs an ADAT format (ADAT Type I/ II for-

mat) digital signal of the same sampling frequency and

bit depth as the current song.

96 kHz input is not supported.

3. Word clock output jack

This jack outputs the internal clock as a word clock sig-

nal.

4. Word clock input jack

This jack inputs a word clock signal from an external

device.

5. 75Ω switch

4. Remove the DIB-8 cover.

This switches the 75Ω word clock terminator on/ off.

Turn the switch On if this is the end of the connection, or

Off if the connection is branched.

5. Install the DIB-8, making sure that the vertical and hor-

izontal alignment are correct.

The side with the components mounted faces up, and the

side with the connector is at the rear.

Word clock connection

When using the D32XD/ D16XD as the word clock master

and connecting multiple word clock slave devices to it, use

T-type BNC branching connectors to distribute the word

clock. When using the D32XD/ D16XD as a word clock slave,

you will need to set the 75Ω switch appropriately. Turn this

switch on for the last connected device, and off for devices

from which the word clock is being branched.

If the D32XD/D16XD is transmitting the word clock

(Master)

D32XD [*D16XD]

Master

OUT

6. Press the DIB-8 in until its panel touches the rear panel.

Press it down so that the tab at the bottom is below the

bottom panel.

T-type BNC connector

75Ω switch: off

75Ω switch: on

D32XD/D16XD rear panel

DIB-8 panel

75Ω switch: off

Slave device A

Slave device B

Slave device C

If the D32XD/D16XD is receiving the word clock (Slave)

Tab

D32XD/D16XD

bottom panel

Master device

7. Fasten the DIB-8 cover using the two screws that you

removed.

OUT

T-type BNC connector

8. When you are ﬁnished, turn on the power and verify

that the DIB-8 is installed correctly. (→p .181 “Checking

after installation”)

75Ω switch: off

75Ω switch: on

Slave device A

Slave device

D32XD [*D16XD]

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Cautions when replacing the calendar

battery

Place at each corner to avoid the key or knobs

•

So that static electricity in your body does not damage

the electronic components, touch the ground wire of a

grounded device or an unpainted metallic component to

discharge any static electricity in your body before

installing an option board or memory. Internal compo-

nents of the D32XD/ D16XD and of the option/ memory

boards may be damaged by static electricity.

•

Follow the installation instructions, being careful not to

reverse the polarity of the battery.

Avoid touching exposed metal edges of the circuit board,

or portions that need not be handled during installation.

All screws (and washers) that are removed will be used,

so be careful not to misplace them.

Do not use screws other than those that are installed in

the D32XD/ D16XD. Using screws of a different shape or

length may damage the unit or cause it to malfunction.

Be sure to ﬁrmly tighten the screws used for attachment.

When installing the battery, do not use excessive force.

Pressing the battery too hard or using excessive force

may cause malfunctions or damage.

View from below

•

Make sure that the battery is completely inserted into the

battery holder. After installation, check to make sure that

the battery is ﬁrmly in place.

When installing the battery, be careful not to drop it

inside the device.

If you drop the battery inside the device and are unable

to retrieve it, please contact your Korg distributor.

You will need a Philips (“+”) screwdriver.

•

Use a screwdrive of the appropriate size for the screws.

The screw heads may be damaged if you use a screw-

drive of the wrong size.

HDD cover

4. Use the screwdriver to remove the four screws that hold

the HDD cover.

Replacing the calendar battery

Be careful not to lose the screws you removed.

The calendar battery maintains the date and time that are

used to time-stamp data when it is saved. Use a CR2043 bat-

tery. Before you replace the battery, be sure to read “Please

read this before you begin installation” and “B e fore you be-

gin working” on p.176.

The hard disk is attached to the HDD cover. Do not subject it

to impact or vibration.

The following CR2032 batteries may be used with the

D32XD/D16XD

•

Sony CR2032 batteries

Replacement procedure

1. You will need a Philips (+) screwdriver and a stack of

magazines or similar objects (used to prevent damage

to the keys and knobs, as shown in step 3 below).

2. Turn off the power of the D32XD/D16XD, and discon-

nect all cables.

3. As shown in the illustration below, place stacks of mag-

azines at the four corners to prevent damage to the

D32XD/D16XD’s knobs and keys, and place the D32XD/

D16XD upside down, supported by the stacks of maga-

zines.

179

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5. Remove the HDD cover.

Setting the calendar clock

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

and time provided by the internal calendar.

Perform the following procedure before you first use the

D32XD/ D16XD for the first time, after you have replaced the

calendar battery (→p .179), or if you need to change the calen-

dar date and time for any other reason.

When the D32XD/D16XD is shipped, the calendar time will not

have been set.

1. Press the SYSTEM key.

Calendar battery

2. Press the “Control” tab.

3. Press the year area of the Date ﬁeld to highlight it.

4. Use the value dial or the +/– keys to set the year.

5. Press the month area of the Date ﬁeld to highlight it,

and set it in the same way.

6. In the same way, set the day, hour (in 24-hour format),

minute, and second areas of the Date ﬁeld.

7. Press the Set button to ﬁnalize the setting.

6. Notice where the calendar battery is located.

7. Remove the worn-out calendar battery.

Press on the battery at the location shown below to

remove it from the tab of the battery holder, and lift up

the battery to remove it.

Be careful not to drop the battery into the interior of the

D32XD/ D16XD.

3 4

5 6

Press this area

of the battery

Release the catch Insert a new battery

and lift up

8. Install the new calendar battery.

With the “+” side of the battery upward, insert it diago-

nally into the battery holder and press it into place.

9. Close the HDD cover by reversing the procedure with

which you opened it.

10.When you have ﬁnished, turn on the power and verify

that the message “Battery voltage for Calender is low.”

no longer appears.

You must perform this checking step immediately after step 9.

11. Reset the calendar to the correct time and date. (→next

item “Setting the calendar clock”)

If excessive force was applied to the hard disk harness or connector

while replacing the battery, a drive-related error message will ap-

pear.

The internal calendar will continue operating even if the D32XD/

D16XD’s power is off. This means that once you set the internal

calendar, you will not need to set it again except in special circum-

stances, such as after replacing the calendar battery.

180

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Checking the internal CD-R/ RW drive

Checking after installation

When shipped from the factory, a removable CD-R/ RW

drive is installed in the D32XD/ D16XD. When moving or

transporting the D32XD/ D16XD, you should be careful to

avoid subjecting it to vibration or impact.

If the CD-R/ RW drive icon fails to appear after the D32XD/

D16XD has been moved or transported, or if error messages

appear frequently, use the following procedure to check that

the CD-R/ RW drive is installed correctly.

When you turn on the D32XD/ D16XD, the currently-in-

stalled option boards will be shown in the LCD screen.

After installing an option board, be sure to turn on the power

and verify that the icon for the option board you installed ap-

pears in the LCD screen when you turn on the power.

Before performing this procedure, you must turn off the power of

the D32XD/D16XD and disconnect the power cable.

1. You will need a Philips (+) screwdriver and a stack of

magazines or similar objects.

2. Turn off the power of the D32XD/D16XD, and discon-

nect all cables from it.

3. As described in the preceding section “Replacing the

calendar battery,” lay the D32XD/D16XD on its face

with stacks of magazines etc. supporting its four cor-

ners so that the knobs and keys are not damaged.

AIB-8 icon

Analog

compressor icon

(For Input 1–8)

CD-R/RW

drive icon

4. From the bottom of the D32XD/D16XD, remove the sin-

gle screw that fastens the internal CD-R/RW drive.

DIB-8 icon

ACB-8 icon

(For Input 9–16)

If the icon does not appear, you may have installed the board

incorrectly. Immediately turn off the power, and check that

you installed the board correctly.

If the calendar battery is not installed correctly, or if it has run

low, the LCD screen will display a message of “Battery volt-

age for Calender is low.” when you turn on the power and

the D32XD/ D16XD has started up. Once again make sure

that you are using a battery that has not run down, and that

the battery is installed correctly.

CD-R/RW drive

5. Slide the removal switch in the direction of the arrow,

and the CD-R/RW drive will be pushed out of the

D32XD/D16XD.

If you have questions about installation, contact your Korg

distributor.

If you are simply checking that the drive is installed, it is suf-

ficient for the drive to be pushed out by this distance. You do

not need to pull the drive out any farther.

6. Push the CD-R/RW drive in until the front panel of the

drive is aligned with the front panel of the D32XD/D16XD.

Press the location indicated by the arrow until you hear a

click, so that the internal connector is ﬁrmly connected.

7. Fasten the screw that you removed in step 4.

181

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Song editing:

Display format:

Locate format:

Copy, move, delete, rename, protect, save

now

Speciﬁcations

Calendar time, HDD remaining capacity,

scene, mark, tempo map

Operating temperature:

+5 – +35 °C (do not allow condensation)

Hour/ Min/ Sec.ms, Hour/ Min/ Sec.Frame,

Meas/ Beat/ Tick

■ Main sections

MIDI functionality: Mixer control, effect control,

MMC transmission/ reception,

MTC transmission/ reception,

Number of tracks:

D32XD

272 tracks (including virtual tracks)

MIDI Clock transmission

Simultaneous playback 32 tracks,

simultaneous recording 8 tracks

@ 48 kHz/ 44.1 kHz, 16-bit

(If the AIB-8 is installed, 16 tracks of

simultaneous recording)

Internal processing:69-bit

Inputs:

D32XD

56 channels (32 recorder channels, 24 sub-in)

Simultaneous playback 16 tracks,

simultaneous recording 8 tracks

@ 48 kHz/ 44 kHz, 24-bit

D16XD

40 channels (16 recorder channels, 24 sub-in)

Buses:

D32XD

14 buses

Simultaneous playback 8 tracks,

simultaneous recording 4 tracks

@ 96 kHz, 24-bit

2 Eff Send buses, 4 AUX buses, 2 SOLO

buses (stereo), 2 CUE buses (stereo), 2

MASTER buses (stereo), 2 MONITOR buses

(stereo)

D16XD

144 tracks (including virtual tracks)

Simultaneous playback 16 tracks,

simultaneous recording 8 tracks

@ 48 kHz/ 44.1 kHz, 16-bit

(If the AIB-8 is installed, 16 tracks of

simultaneous recording)

D16XD

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)

Simultaneous playback 16 tracks,

simultaneous recording 8 tracks

@ 48 kHz/ 44 kHz, 24-bit

Equalizer:

D32XD

Recorder channels 1–32

4-band full parametric EQ

Simultaneous playback 8 tracks,

simultaneous recording 4 tracks

@ 96 kHz, 24-bit

Sub Mixer channels 1–24

2-band shelving EQ

Recording format: 24-bit/ 16-bit uncompressed,

44.1 kHz/ 48 kHz/ 96 kHz

Master track

8-band full parametric EQ

Recording time:

44.1 kHz, 16-bit: maximum 119 hours

96 kHz, 24-bit: maximum 27 hours

* when using a 40 GB hard disk

D16XD

Recorder channels 1–16

4-band full parametric EQ

Number of songs: 100 songs per drive

Sub Mixer channels 1–24

2-band shelving EQ

Locate points:

Mark points:

Six points per song

Master track

100 points per song (marks can be named)

8-band full parametric EQ

Metronome/ Rhythm patterns:

265

Dynamics:

analog compressor

maximum 16 channels (when the ACB-8 is

installed)

MMC functions:

Transmitted and received

Synchronization: MTC transmission/ reception, MIDI Clock

transmission

Scene memories: 100 scene per song

Tempo map (200 events per song)

Sync track (one track per song)

Tempo recording

Internal processing:56-bit

Structure:

D32XD

Insert × 24 (maximum)

Master × 2 (maximum)

Final × 1

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

All usable simultaneously at 44.1/ 48 kHz

D16XD

Insert × 8 (maximum)

Master × 2 (maximum)

Final × 1

USB functions:

Backup/ restore, audio file (WAV format)

import/ export (FAT16), system load

PC (USB) drive capacity:

2 GB

All usable simultaneously at 44.1/ 48 kHz

Programs:

128 preset, 128 user, 32 song

Track editing:

Copy (overwrite/ insert), erase, delete,

Algorithms:

swap, reverse, optimize (normal/ erase

silence/ erase punch noise), expand/

compress, fade, normalize

182

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■ Analog/ digital input and output spec-

Display:

320 × 240 pixel, four-level grayscale

Movable LCD with backlight and touch

panel

iﬁcations

Power supply:

AC Local Voltage

Connectors:

XLR-3-31 type (+48 V phantom power,

Power consumption:

switchable), 1/ 4" TRS phone jack (balanced)

D32XD: 98 W

120 W (AIB-8, ACB-8, DIB-8 is installed)

D16XD: 56 W

Input impedance: 4 kΩ (XLR-3-31), 10 kΩ (TRS phone jacks)

Nominal level:

–60 dBu to –12 dBu @ TRIM=max. – min.

PAD OFF

70 W (AIB-8, ACB-8, DIB-8 is installed)

Dimensions:

682 mm (W) × 474 mm (D) × 185 mm (H)

26.85" (W) × 18.66" (D) × 7.28" (H) (including

protrusions)

–34 dBu to +14 dBu @ TRIM=max. – min.

PAD ON

Maximum level:

–48 dBu to 0 dBu @ TRIM=max. – min.

PAD OFF

Weight:

D32XD

13.5 kg/ 39.76 lbs

14 kg/ 30.86 lbs (when the AIB-8, ACB-8

and DIB-8 is installed)

–22 dBu to +26 dBu @ TRIM=max. – min.

PAD ON

Source impedance: 600 Ω

D16XD

12 kg/ 26.46 lbs

12.5 kg/ 27.56 lbs (when the AIB-8, ACB-8

and DIB-8 is installed)

* If the 8-channel analog input board (AIB-8) is installed

Connectors:

1/ 4" TRS phone jack (balanced)

Input impedance: 10 kΩ

■ Principal speciﬁcations

Frequency response:

Nominal level:

–60 dBu to –12 dBu @ TRIM=max. – min.

PAD OFF

10 Hz – 20 kHz ±1 dB

–34 dBu to +14 dBu @ TRIM=max. – min.

PAD ON

@ fs 44.1 kHz, +4 dBu, 10 kΩ load

10 Hz – 22 kHz ±1 dB

Maximum level:

–48 dBu to 0 dBu @ TRIM=max. – min.

PAD OFF

@ fs 48 kHz, +4 dBu, 10 kΩ load

10 Hz – 44 kHz ±1 dB

–22 dBu to +12 dBu @ TRIM=max. – min.

PAD ON

@ fs 96 kHz, +4 dBu, 10 kΩ load

S/ N:

103 dB (typical)

Source impedance: 600 Ω

Dynamic range:

THD+N:

0.02% (typical) 20 Hz–20 kHz

+16 dBu,10 kΩ load

Threshold level:

0 to –40 dB

1.5:1 to inf:1

1 to 200 mS

10 mS to 10 S

±20 dB

A/ D conversion: 24-bit 64 times oversampling

D/ A conversion: 24-bit 128 times oversampling

Ratio:

Attack time:

Release time:

Out gain:

Sampling frequency

Internal: 44.1 kHz, 48 kHz, 96 kHz

External: 44.1 kHz±6%, 48 kHz±6%,

96 kHz±6%

Record/ Playback bit:

16-bit, 24-bit

Connector:

1/ 4" phone jack (unbalanced)

Input impedance: 1 MΩ

Nominal level:

–60 dBu to –12 dBu @ TRIM=max. – min.

PAD OFF

–34 dBu to +14 dBu @ TRIM=max. – min.

PAD ON

Maximum level:

–48 dBu to 0 dBu @ TRIM=max. – min.

PAD OFF

–22 dBu to +12 dBu @ TRIM=max. – min.

PAD ON

Source impedance: 600 Ω

Connectors:

1/ 4" phone jack (balanced)

Output impedance: 150 Ω

Nominal level:

+4 dBu

Maximum level:

+16 dBu

Load impedance: 10 kΩ or higher

183

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■ Included items

Connectors:

1/ 4" phone jack (balanced)

AC cable

Output impedance: 150 Ω or higher

Owner’s manual

Nominal level:

+4 dBu

Maximum level:

+16 dBu

■ Separately sold options

PS-1 pedal switch

Load impedance: 10 kΩ or higher

XVP-10 EXP/ VOL pedal

EXP-2 foot controller

Connectors:

1/ 4" phone jack (unbalanced)

Output impedance: 150 Ω

8-channel analog compressor board (ACB-8)

Nominal level:

–10 dBu

+2 dBu

8-channel analog input board (AIB-8)

ADAT I/ O board (DIB-8)

Maximum level:

Load impedance: 10 kΩ or higher

Appearance and speciﬁcations of this product are

subject to change without notice. (07, 2003)

Connector:

1/ 4" stereo phone jack

Output impedance: 100 Ω

Maximum level:

50 mW @ 32 Ω

Connector:

optical

Format:

24-bit S/ P DIF (IEC60958)

<USB>

Connector:

Type B

Format:

Slave, USB 1.1 compliant

Supported OS:

Window Me, Windows 2000 or later

Mac OS 9.0.4 or later

* If using the D32XD/ D16XD with Windows

98, please refer to the Korg website or

contact your Korg distributor.

* If the ADAT I/ O board (DIB-8) is installed

Connectors:

Format:

Optical

ADAT Type I/ II format

* If the ADAT I/ O board (DIB-8) is installed

Connectors:

Format:

BNC

TTL/ 75 Ω

Connectors:

DIN 5-pin × 2

Connector:

1/ 4" phone jack (use separately sold PS-1)

Connector:

1/ 4" stereo phone jack

(use separately sold XVP-10 or EXP-2)

184

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Various lists

Rhythm Pattern List

For 96 kHz/ 24-bit songs, you can select only (Blank), Metro, and HiHat.

For Beat settings other than 3/ 4, 4/ 4, and 6/ 8, only (Blank), Metro, and HiHat can be selected.

For Beat settings of 3/ 4, 4/ 4, and 6/ 8, the following rhythm patterns can be selected in addition to (Blank), Metro, and HiHat.

[I], [F], and [E] indicate Intro, Fill, and Ending patterns. The Length and Tempo values in this list are the number of measures in

each rhythm, and the recommended tempo.

Beat:4/ 4 (242pattern)

Beat:3/ 4 (11pattern)

Name

Tempo Name

[F] SurfRock

Tempo Name

Tempo

150

8bt Rock1

8bt Rock2

8bt Rock3

8bt Rock4

8bt Rock5

8bt Rock6

8bt Rock7

8bt Rock8

[I] 8bt Rock1

[I] 8bt Rock2

[I] 8bt Rock3

[F] 8bt Rock1

[F] 8bt Rock2

[F] 8bt Rock3

[F] 8bt Rock4

[F] 8bt Rock5

[E] 8bt Rock1

[E] 8bt Rock2

8beat 1

120

100

[E] 16beat 1

[E] 16beat 2

Shuff 1

100

130

150

169

165

Beguine1

120

100

3/4

[E] SurfRock

Twist

Beguine2

[F] Beguine

Mambo1

Mambo2

[I] Mambo

[F] Mambo1

[F] Mambo2

[E] Mambo

Salsa

[I] 3/4

[E] 3/4

Shuff 2

[I] Twist

JazzWaltz 1

JazzWaltz 2

[I] JazzWaltz

[F] JazzWaltz

Waltz

Shuff 3

[F] Twist

Shuff 4

[E] Twist

Shuff 5

Reggae

Shuff 6

[F] Reggae

HipHop 1

HipHop 2

HipHop 3

HipHop 4

HipHop 5

HipHop 6

HipHop 7

HipHop 8

HipHop 9

HipHop10

[I] HipHop 1

[F] HipHop 1

[F] HipHop 2

[E] HipHop 1

Rap1

Shuff 7

[I] Waltz

Shuff 8

[F] Waltz

[E] Waltz

Shuff 9

[I] Salsa

[I]Shuff 1

[F] Salsa1

[F] Salsa2

[E] Salsa

Samba1-1

Samba1-2

Samba1-3

[I] Samba1

[F] Samba1

[E] Samba1

Samba2-1

Samba2-2

[I] Samba2

[F] Samba2

Gipsy1

[I] Shuff 2

[F] Shuff 1

[F] Shuff 2

[F] Shuff 3

[E] Shuff 1

[E] Shuff 2

HalfTime1

HalfTime2

[I] HalfTime

[F] HalfTime

[E] HalfTime

RockBld 1

RockBld 2

[I] RockBld 1

[I] RockBld 2

[F] RockBld 1

[F] RockBld 2

[E] RockBld 1

[E] RockBld 2

R&Funk 1

R&Funk 2

R&Funk 3

R&Funk 4

R&Funk 5

R&Funk 6

R&Funk 7

R&Funk 8

R&Funk 9

R&Funk10

[I] R&Funk 1

[I] R&Funk 2

[F] R&Funk 1

[F] R&Funk 2

[F] R&Funk 3

[E] R&Funk 1

[E] R&Funk 2

JAZZ 1

Beat:6/ 8 (12pattern)

Name

Tempo

120

6/8 Var1

6/8 Var2

6/8 Var3

6/8 Var4

6/8 Var5

6/8 Var6

[I] 6/8 1

[F] 6/8 1

[F] 6/8 2

[F] 6/8 3

[E] 6/8 1

[E] 6/8 2

8beat 2

8beat 3

8beat 4

8beat 5

8beat 6

Rap2

8beat 7

[I] Rap

120

100

120

8beat 8

House 1

130

160

130

132

Gipsy2

8beat 9

House 2

[I] Gipsy

[F] Gipsy

[E] Gipsy

Analog 1

Analog 2

Analog 3

Analog 4

Analog 5

Agogo1

8beat 10

House 3

[I] 8beat1

House 4

[I] 8beat 2

[F] 8beat 1

[F] 8beat 2

[F] 8beat 3

[E] 8beat 1

[E] 8beat 2

16bt Rock1

16bt Rock2

16bt Rock3

[I] 16bt Rock1

[I] 16bt Rock2

[F] 16bt Rock1

[F] 16bt Rock2

[F] 16bt Rock3

[E] 16bt Rock1

16beat 1

[I] House 1

[I] House 2

[F] House 1

[F] House 2

[E] House 1

[E] House 2

Jungle 1

100

120

Agogo2

Jungle 2

Bongo

Jungle 3

Clave1

Jungle 4

Clave2

[I] Jungle

[F] Jungle1

[F] Jungle 2

[E] Jungle

Techno 1

Techno 2

Techno 3

Techno 4

Techno 5

Techno 6

Techno 7

[I] Techno 1

[I] Techno 2

[F] Techno 1

[F] Techno 2

[E] Techno 1

[E] Techno 2

Bossa nova1

Bossa nova2

[I] Bossa

Conga1

Conga2

Guiro

Shaker1

Shaker2

Tambourin

Timbales

Triangle1

Triangle2

CLICK1

16beat 2

16beat 3

16beat 4

16beat 5

100

120

169

16beat 6

JAZZ 2

CLICK2

16beat 7

[I] JAZZ1

CLICK3

16beat 8

[F] JAZZ1

[F] JAZZ2

[E] JAZZ

CLICK4

16beat 9

CLICK5

16beat10

CLICK6

16beat11

Motown

CLICK7

[I] 16beat

[I] Motown

[F] Motown

[E] Motown

SurfRock

CLICK8

[I] 16beat

CLICK9

[F] 16beat 1

[F] 16beat 2

[F] 16beat 3

CLICK10

CLICK11

CLICK12

CLICK13

CLICK14

[I] SurfRock

[F] Bossa

185

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Comp Program List

No. Name

BassDr.Tight

Cymbal2

Syn.Bass2

Male Vocal2

Trumpet

BassDr.Loose

BassDr.Fat

SnareDr.Tight

SnareDr.Loose

SnareDr.Fat

Tom-Tom1

High Hat1

High Hat2

Percussion1

Percussion2

Finger Bass

Slap Bass

Pick Bass

Wood Bass

Syn.Bass1

Piano1

Female Vocal1

Female Vocal2

Rock Vocal

Pop Vocal

Ballade Vocal

Soul Vocal

Rap Vocal

Chorus

Brass

Piano2

Pipe

A.G.Strum

A.G.Arpegio

Nylon Guitar

Jazz Guitar

E.G.Lead

Violin

Strings

Digital Drms

Dance Mix

Total Comp1

Total Comp2

Total Comp3

Tom-Tom2

Tom-Tom3

E.G.Rhythm

Male Vocal1

Cymbal1

Sax

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 AnalogComp, EQ Library, 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

Intro

Fill

A Melo

B Melo

Solo

Name

INTRO

FILL

A_MELO

B_MELO

SOLO

Vocal

Guitar

Bass

Chorus

Kick

VOCAL

GUITAR

BASS

CHORUS

KICK

HiHat

Snare

Tom

RimShot

Cymbal

Ride

Crash

Percuss

Key

Piano

Strings

Organ

SFX

Ending

Take

HIHAT

SNARE

TOM

RIMSHOT

CYMBAL

RIDE

CRASH

PERCUSS

KEY

PIANO

STRINGS

ORGAN

SFX

ENDING

TAKE

Track

Dance

Groove

Rock

Pop

TRACK

DANCE

GROOVE

ROCK

POP

JAZZ

FUSION

LOOP

Jazz

Fusion

Loop

Live

Studio

Event

LIVE

STUDIO

EVENT

Count

COUNT

Demo Song List

D32XD

D16XD

“Feelin’ Free”

001: Feelin’ Free

002: Take Me Away

001: Innocense

002: Take Me Away

Composed, arranged and performed by: Larry Dunn (Malaya Music), Foley (Foley’s Music) and

“Innocense”, “Take Me Away”

produced by Huston Singletary, written and performed by OVER OCTOBER

WWW.HUSTONMUSIC.COM

WWW.OVEROCTOBER.COM

186

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Bypass

To send a signal without passing it through a speciﬁc cir-

Glossary

cuit. By temporarily bypassing an effect, you can hear

how it is modifying the sound.

16-bit

→ Bit d epth

Channel/ CH/ ch.

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.

24-bit

→ Bit d epth

ADAT

Cue

Stands for ALESIS Digital Audio Tape recorder. A digital

multi-track recorder produced by the ALESIS Corpora-

tion, and the recording and signal format that it used.

A mixing balance or volume balance adjustment that

allows the performer to hear their own performance (e.g.,

through headphones) while they play.

Algorithm

Current drive

→ Effect algorithm

The drive that is currently selected and is the object of

editing operations.

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

The factory-set state that appears when the power is

turned on the ﬁrst time after purchasing the unit. Also

called “factory settings.”

Audio CD

CD-DA (Compact Disc Digital Audio). Commonly called

“music CDs.” A CD that contains only music data.

Dialog box

Auto punch in-out

A window (containing buttons or check boxes etc.) that

asks the user for instructions.

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.

Digital input/ output

Inputting or outputting audio data in digital form. The

D32XD/ D16XD comes with S/ P DIF input/ output as

standard, but you can install an optional ADAT I/ O card

(DIB-8) to support ADAT input/ output as well.

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

Balanced connection

A device used to store and reproduce data; e.g., a hard

disk or CD-R/ RW drive.

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

A disc on which nothing has yet been written.

Effect algorithm

The calculation method that is the basis of an effect. The

set of calculations that implement a certain type of signal

processing.

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Effect program

Icon

A small graphic that visually indicates content or func-

A program that speciﬁes a set of parameters for use by an

effect algorithm. The D32XD/ D16XD provides preset

programs that contain factory settings, and user pro-

grams that can store your own edited settings.

tion.

Image ﬁle

Before writing data to a CD-R/ RW, the data is converted

Equalizer, EQ

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 can be reused.

A device that modiﬁes the frequency response to change

the tonal character. There are various types, including

parametric equalizers, graphic equalizers, and shelving

equalizers.

Export

Impedance

To output or write data for use by another system or pro-

gram.

The alternating-current resistance to an audio signal. This

generally indicates the added resistance of an audio sig-

nal input or output.

Expression pedal

A pedal used to control the volume or parameters of an

instrument or effect.

Import

To obtain or load data created by another system or pro-

gram.

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.

Insert effect

An effect used by inserting it into a mixer channel.

Fader

Library

A linear control that adjusts the volume of input channels

and outputs.

A collection of multiple sets of data for a speciﬁc pur-

pose. The D32XD/ D16XD provides EQ libraries and

name libraries.

Final effect

Locate

On the D32XD/ D16XD, the effect processor that is

applied to the master bus as the ﬁnal stage of mixdown.

A marker function that lets you store a desired location in

a song, and move instantly to that location when desired.

Finalize

Location

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.

The distance from the beginning of the song, expressed as

an absolute time, number of frames, or number of meas-

ures.

Foot controller

Mark

A term covering various foot-operated control devices

such as foot switches and foot pedals.

A point that can be assigned to a song to indicate a loca-

tion that you want to use or store for later access.

Foot switch

Master

A switch operating by pressing it with the foot.

A device that controls another device (e.g., via MIDI).

The device being controlled is called the “slave.”

Format

Master effect

To prepare a storage medium (such as a hard disk) so that

data can be written to it.

On the D32XD/ D16XD, refers to two effects that are

applied to signals sent from the effect sends of each track.

The output of each master effect is sent to the master bus.

Frame rate

The number of frames that occupy one second of ﬁlm;

describes the type of time-code format used when syn-

chronizing with video equipment.

Master track

A track that holds the stereo two-channel data for the

completed song.

Frequency band

Mastering

A speciﬁc portion or region of the range from low to high

frequencies.

The process of making ﬁnal adjustments to the balance

and overall tone of mixed-down two-track master data.

Gain

MIDI

Positive (+) boosts a signal, and negative (–) gain attenu-

ates it.

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.

Hard disk

A storage device containing one or more metal disks with

magnetic recording surfaces. Also called “hard drive” or

“hard disk drive.”

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

D32XD/ D16XD, you can choose one of three tempo

sources; Manual which lets you specify the tempo

directly, Tempo Map which uses the settings that you

programmed in the tempo 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

D32XD/ D16XD 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

D32XD/ D16XD 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. The D32XD adds AUX OUT 3 and 4.

Track status

The current state of a track (e.g., recording or playing).

Track/ trk/ tr

Something that can record, store, and play back an indi-

vidual audio signal.

Sequencer

An automatic playback device that plays back stored

MIDI data to control an electronic musical instrument

such as a synthesizer.

Trigger recording

A method by which recording is initiated when the input

exceeds a speciﬁed threshold level.

Slave

TRS phone jack

A device being controlled (e.g., via MIDI) by another

device, called the “master.”

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.

Solo

A function that lets you hear only the sound of a selected

channel during mixdown, etc.

Unbalanced connection

Song

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.

A unit of performance data. On the D32XD/ D16XD, a

song contains thirty two (sixteen on the D16XD) 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.

Virtual track

Each channel track and the master track of the D32XD/

D16XD actually consists of eight separate areas called

“virtual tracks” that can each hold a separate perform-

ance. For each track, you can select one of its virtual

tracks for playback and recording.

Tap tempo

A method of specifying the tempo by the interval at

which a key is pressed.

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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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Track name

PC (USB)

Drive capacity

Drive Info

173, 175

Index

Channel Assign

100

Channel EQ

Input

Track

127

Edit

Event

Track

ACB-8

177

178

Channel faders

102

ADAT I/ O board

ADAT OUT

Channel Pair

Channel Routing View

Check Drive

ADAT Out Assign

Adjusting the volume

AIB-8

127

Edit PC File

Edit Scene

Edit Song

Edit Track

Editing a name

Effect

Checking the hard disk

177

Checking the internal CD-R/ RW

drive

Album CD Project

Analog Compressor

69, 79, 123

46, 115

181

138

Comp Program List

Compatible

Connect mic

186

Analog compressor board

Analog input

Analog input board

ATT

7, 42

Can be used simultaneously 56,

117, 118, 121

32, 58, 121

29, 57, 119

30, 58, 120

Connection

Cautions

Digital

Example

MIDI

External

Final

Input sound

Insert

Master

Playback

178

Attenuator

Audio CD

Audio files

Word clock

Auto punch-in/ out

AUTOMATION

Automation

AUX OUT

Connection example

CONTRAST

Control

Effect 1 Send

Effect 2 Send

Effect Routing

ENTER

25, 48, 109

Control change

Control knobs

CopyTrk

93, 131

AUX send

Aux1 Send

38, 96

Aux2 Send

EQ Library

EQ Library List

EQ/ ATT

CopyWholeTrk

Counter

Aux3 Send

Aux4 Send

109

Create

EQ/ ATT/ PHASE

EQ/ PHASE/ REC

109

78, 123

Backup

Live CD

Master Track

Song

Equalizer

Channel

Input sound

Knobs

Master

Playback

109

25, 48

Backup files

Block diagram

B o unce

Creating a live CD

Cue

25, 48

33, 49, 111

Cue Level

Cursor

114

29, 49

Erase

Calendar

3, 126, 179, 180

CD-RW

Undo data

125, 128

Data

Calendar battery

Erase Track

Delete

Mark

Scene

Song

EraseTrk

CD Monitor

CD PLAYER

CD Utility

CD WRITER

Erasing a CD-RW disc

Error message

123

170, 172

125

Event

Editing

Playing back

Recording

123

Track

CD-R/ RW

Delete Track

DeleteTrk

72, 141

Disc removal

Inserting a disc

Removing a disc

Deleting files

Demo song

Event automation

Event List

104

CD-R/ RW drive

Ch On Group

12, 173, 181

Demo Song List

DIB-8

186

178

Exchanging data

103

Exchanging data with your

computer

CH ON/ SOLO

Digital connection

Digital input

Disc At Once

Disk Utility

92, 128

CH ON/ SOLO mode

CH SELECT

Expand/ compress a track 74, 143

ExpCmpTrk

CH VIEW

Export

Change

Counter display

File name

Name a song drive

Song drive

Song neme

DISPLAY UP/ DOWN

Export File

Displays the settings channel

Download

EXPRESSION PEDAL

12, 59

Drive

CD-R/ RW

173

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Locate

11, 36

38, 149

149

Name

Mark

Scene

Locate keys

Locate point

Location

Fade Track

76, 145

Fader

38, 96

Channel

MASTER

Song

Loop

Song drive

Track

Playback

Recording

Fader Group

Fader Pan

FadeTrk

103

103, 107

76, 145

Name Library

37, 97

186

Name Library List

Normalize Track

NormalizeTrk

Macintosh

Features

FF key

77, 145

1, 13

151

Main power switch

Manual punch-in/ out

Manual tempo

File

Audio

Backup

85, 175

174, 175

OptimizeTrk

Optimizing

Overdubbing

73, 142

Final EFF

Final Effect

Finalize

121

32, 58, 121

125

MARK

Delete

Name

11, 39, 148

28, 65

Finding a precise location 40, 148

Foot controller

MARK JUMP

Master EFF1

Master EFF2

Master Effect

Master EQ

11, 39

120

PAD

FOOT SW

120

Foot switch

12, 66, 126

89, 128

Page mode

PAIR

30, 58, 120

33, 49, 111

Format

49, 102

102

Formatting the hard disk

Frame Rate

PAIR/ GROUP

MASTER fader

MASTER OUT

Master Track

132

PAN

Knobs

9, 10, 30, 48

9, 10

14, 47

34, 67, 138

Partition

88, 127

Glossary

MASTER TRACK STATUS

Partitioning separate song drives 88

187

50, 103

Mastering

PC (USB) drive 91, 129, 173, 175

Phantom power

Phase

Group

METER

10, 97

Guitar

MIDI

GUITAR IN

MIDI channel

MIDI implementation chart

MIDI IN

PHONES

PLAY key

151

Playback

Channel Track

Loop

Hard disk

Check

Format

MIDI messages

MIDI OUT

27, 68

PostGap

MIDI/ MMC

Mixdown

131

Headphone

Power-off

Power-on

1, 19

MIXER

42, 99

PreGap

Mixer Assign

Mixer channel

Mixer input

Import

Import File

Info: “****”

INPUT

85, 146

146

Program change

Protect

93, 131

22, 42

107, 109

172

Protect song

Punch-in/ out

Mixer View

MMC

Input

ADAT

CD (external)

CD (internal)

DAT

Monitor

50, 114

MONITOR LEVEL knob

MONITOR OUT

REC key

151

111, 113

14, 47

Rec Send

Move

Guitar

Sub

Counter

FF, REW keys

Locate keys

Mark

REC/ PLAY

REC/ PLAY MODE

Recorder

11, 150

Input level

Insert EFF

Insert Effect

Insert Track

InsertTrk

119

Recording

Auto punch

Bounce

Channel

Loop

Manual punch

Master Track

Mode

Overdubbing

Rhythm

150

29, 119

71, 140

Moving to the beginning of

the song

Moving to the end of the song

MTC

Mute

LCD

Level Meter

Load system

LOC

175

149

Trigger

Recording mode

150

193

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Redo

10, 91, 147

Scene

SubMix1–8

SubMix1724

SubMix9–16

TempoMap

TempoTrk

Undo/ Redo

Vtr1–16

Rename

Sub input

Replacing the battery

Re-recording

Restore

179

Sub Mixer

101

Sub Mixer 1–8

Sub Mixer 17–24

Sub Mixer 9–16

Swap Track

Swap Whole Track

SwapTrk

101

84, 130, 175

101

Restoring backed-up data

Reverse Track

ReverseTrk

73, 142

151

101

Vtr1–32

WordClock

Tap tempo

REW key

TEMPO

Manual

Tap

62, 133

Rhythm

Recording

Select

SwapWholeTrk

Synchronization

SYSTEM

Tempo Map

Tempo Track

Time

62, 134

63, 135

38, 126

3, 9, 95

Tempo

Rhythm Pattern List

185

Routing

116, 118, 121

Tab page

ADAT.Out

Album CD

Automation

Aux1Send

Aux2Send

Aux3Send

Aux4Send

Backup

CD Utility

Ch Assign

Ch Pair

Ch Routing

Ch View

ChOnGroup

Comp1–8

Comp9–16

Control

CueLevel

DiskUtility

EditScene

EditSong

EditTrk

Eff1Send

Eff2Send

EFFRouting

EQ Library

EQ/ ATT

EventList

Export

Fader Pan

FaderGroup

FinalEFF

Import

InsertEFF

Master EQ

MasterTrk

MIDI/ MMC

Mixer View

Monitor

MstrEFF1

MstrEFF2

PC File

Phase

RecSend

Restore

Routing A

Routing B

SceneFilter

SelectSong

SetUp

Touch Panel

Touch Sens

TouchView

Examples of operation

S/ P DIF IN

S/ P DIF OUT

14, 47

TouchView LCD

TRACK

Save

137

Comp Program

Computer

Data

Effect

EQ library

Song

Track

Clipboard

Copy

Copy an entire

Delete

Erase

35, 42, 137

SCENE

10, 52

54, 108

105, 108

Erasing noise

Scene automation

Scene edit

Scene Filter

SCRUB

Erasing regions of silent 74, 142

Exchange

Exchange two entire

Expand/ compress

Fade-in

Fade-out

Insert blank space

Name

Normalize

Optimize

Reverse

11, 40, 148

114

127

Select

Rhythm

Tempo

105, 108

136

Select Song

Send

SEND (EFF/ AUX)

SEND (EFF/ AUX/ REC)

Setting the tempo

SetUp

112

62, 133

133

Track At Once

Track editing

Transport keys

Trigger recording

TRIM knobs

Shutdown

SOLO

9, 51, 113

113

103, 107

SOLO/ MONITOR

SONG

UNDO

Song

10, 91, 147

Copy

Create

Delete

Edit

Name

Save

41, 136

21, 36

Unity gain

Upgrading the system

USB

13, 92

21, 36

35, 42, 137

Select

Value dial

Virtual Track

VOLUME

65, 137

12, 32

Song editing

Copy

Delete

Move

Protect

WAV

Specifications

Specify the input

STOP key

175

139

106, 109

Wave dialog box

Windows

Word Clock

Writing

135

133

113

STORE

Mark

10, 148

131, 178

174

Solo

194

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Block diagram

195

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196

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[Digital Recording Studio]

Model D32XD/D16XD

MIDI Implementation Chart

Date: 2003.8.20

MIDI implementation chart

Recognized

Transmitted

Remarks

Function

Basic

Default

Channel

Changed

Memorized

Messages

Altered

Mode

0 – 127

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 – 119

(60)

(61)

Channel EQ Switch

Attenuator

30–31 (62–63) AuxSend3/4

96–102 (32–38) Rec/Eff/Aux SendPosition

*10

75–79

85–86

87–88

MasterEQ Parameters

MasterEff1/2 Return Level

MasterEff1/2 Return Balance

Aux1/2 Master Level

Aux3/4 Master Level

Master Level

103–111

SubMixer Ch1–16 Parameters

112–119

SubMixer Ch17–24 Parameters

Program

Change

0 – 100

Variable Range

System Exclusive

Quarter frame

System

Common

Song Position

Song Select

Tune

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] “Control”.}

*6:Transmitted when “MTC Master” is selected in [MIDI].

*2:Transmitted/Received as the MixerControl when ControlChange is enabled in [MIDI]. *7:Received when “MTC Slave” is selected in [MIDI].

(Consult your local Korg distributor for more information about MixerControl.) *8:Transmitted when “MIDIClockMaster” is selected in [MIDI].

*3:Transmitted/Received when ProgramChange is enabled in [MIDI].

*4:Transmitted when “MMC Transmit”or “MTC Master” is selected in [MIDI].

*5:Received when “MMC Receive” or “MTC Slave” is selected in [MIDI].

*9:Received when “MIDIClock” is selected in [TEMPO]

“TempoTrk” to record the tempo.

*10:Only for D32XD

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.

197

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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.

15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan.

 2003 KORG INC.

1605 CTH Printed in Japan

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