1E
To ensure long, trouble-free operation, please
read this manual carefully.
Precautions
Location
Using the unit in the following locations can result in a malfunction.
• In direct sunlight
• Locations of extreme temperature or humidity
• Excessively dusty or dirty locations
• Locations of excessive vibration
Power supply
Please connect the designated AC/AC power supply to an
AC outlet of the correct voltage. Do not connect it to an AC
outlet of voltage other than that for which your unit is
intended.
The AC/AC power supply will produce a certain amount of
heat during operation, but this is not a malfunction. When
power is connected, place it in a well ventilated location,
and avoid placing it on a plastic object or where heat
buildup might occur.
Interference with other electrical devices
This product contains a microcomputer. Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios
and televisions.
Handling
To avoid breakage, do not apply excessive force to the
switches or controls.
Care
If the exterior becomes dirty, wipe it with a clean, dry cloth.
Do not use liquid cleaners such as benzene or thinner, or
cleaning compounds or flammable polishes.
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to Part 15 of
the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and
can radiate radio frequency energy and, if not installed and
used in accordance with the instructions, may cause harmful interference to radio communications. However, there is
no guarantee that interference will not occur in a particular
installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can
void the user’s authority to operate this equipment.
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of
AC mains operated apparatus until December 31, 1996
means it conforms to EMC Directive (89/336/EEC) and CE
mark Directive (93/68/EEC). And, CE mark which is
attached after January 1, 1997 means it conforms to EMC
Directive (89/336/EEC), CE mark Directive (93/68/EEC)
and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company’s products
of Battery operated apparatus means it conforms to EMC
Directive (89/336/EEC) and CE mark Directive (93/68/
EEC).
Keep this manual
After reading this manual, please keep it for later reference.
Keeping foreign matter out of your equipment
• Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a
breakdown, fire, or electrical shock.
• Be careful not to let metal objects get into the equipment. If something does slip into the equipment,
unplug the AC/AC power supply from the wall outlet.
Then contact your nearest Korg dealer or the store
where the equipment was purchased.
ii
Handling of the internal
hard disk
Do not apply physical shock to this device. In particular, you must never move this device or apply
physical shock while the power is turned on. This
can cause part or all of the data on disk to be lost, or
may damage 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 disk drive. If the device is used
in this condition, it may malfunction, so please allow
several hours to pass before operating the device.
Do not repeatedly turn the power on/off. This may
damage not only the D12, but also any SCSI devices
that are connected.
This device begins to access the hard disk immediately after the power is turned on.
Never turn off the power while the HDD access indicator is lit or blinking. Doing so can cause all or part
of the data on disk to be lost, or may cause malfunctions such as hard disk damage.
If the hard disk has been damaged due to incorrect
operation, power failure, or accidental interruption
of the power supply, a fee may be charged for
replacement even if this device is still within its
warranty period.
About copyright
This device is intended for use with material of
which you yourself are the copyright owner or for
which you have received permission from the copyright owner to duplicate. If you are not the copyright owner or have not received permission from
the copyright owner to duplicate the material, you
are in violation of copyright law, and may be liable
for damages and penalties. If you are unsure of
your rights to the material, please consult a legal
specialist.
CAUTION FOR LASER
This product utilizes a laser.
Use of control, adjustment or performance of procedures other than
those specified herein may result in hazardous radiation exposure.
Do not open covers and do not repair yourself. Refer servicing to
qualified personnel.
Laser diode properties
Material Semiconductor laser GaAlAs
Laser output Less than HHS and IEC 825-1 Class 1 Limit
Wave length 778-787 nm
Location of the required label.
* Appearance and specifications of this product are subject to change without notice.
• Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their
respective owners.
1
Table of Contents
Introduction......................................5
Features........................................................................... 5
Printing conventions in this manual........................... 7
Panel overview of the D12 ..................................... 8
Top panel ........................................................................ 8
Front panel ................................................................... 10
Rear panel..................................................................... 11
Side panel ..................................................................... 12
Objects in the LCD screen and their functions ........ 13
Objects in the LCD screen ..........................................13
Adjusting the LCD screen contrast........................... 14
Basic operation............................................................. 14
1. Selecting a mode..................................................... 14
2. Selecting a tab page................................................ 14
3. Selecting and setting a parameter........................ 14
Basic operation............................... 15
Step 0. Starting.................................................... 15
1. Using the D12.......................................................... 15
Step 1. Making connections, and turning the
power on/off....................................................... 17
1. Connections............................................................. 17
2. Turning the power on/off..................................... 18
Listening to the demo songs ...................................... 19
Step 2. Creating/selecting a song......................... 21
1. Creating a new song .............................................. 21
2. Naming a song........................................................ 21
3. Selecting another song........................................... 22
Step 3. Assign audio inputs to the mixer............... 23
1. Analog inputs.......................................................... 23
2. Digital input ............................................................ 25
3. Using the tuner .......................................................25
Step 4. Recording ................................................ 27
1. Adjust the recording level, and record................ 27
2. Recording on virtual tracks................................... 27
3. Playback while recording addition tracks:
Overdubbing........................................................... 28
4. Re-record part of a performance: Punch-in/out 28
5. Combining multiple tracks into two: Bounce ....29
Other recording methods ........................................... 31
Step 5. Playback.................................................. 33
1. Playback................................................................... 33
2. Program play........................................................... 33
Other playback options ..............................................33
Step 6. Changing the time location ....................... 35
1. Switching the counter display.............................. 35
2. Moving the current time location ........................ 35
3. Using scrub playback etc. to find a precise
time location............................................................ 36
Step 7. Using the mixer........................................ 37
1. Adjusting the volume ............................................ 37
2. Adjusting the stereo position................................ 37
3. Using EQ to adjust the tone .................................. 37
4. Pairing...................................................................... 38
5. Monitor settings...................................................... 38
6. Solo settings............................................................. 39
7. Registering and playing scenes............................ 39
Step 8. Using effects .............................................43
Overview of the effects............................................... 43
1. Insert effects............................................................ 43
2. Master effects.......................................................... 45
3. Final effect............................................................... 46
4. Editing an effect ..................................................... 46
Controlling an effect from an external device ........ 47
Using an external effect.............................................. 48
Step 9. Mixdown..................................................49
1. Creating an audio CD............................................ 49
2. Recording to a master tape................................... 50
3. Using the sub inputs.............................................. 50
Step 10. Track editing...........................................51
1. Track editing functions ......................................... 51
2. Track editing examples ......................................... 52
Step 11. Song editing ...........................................59
1. Song editing procedure......................................... 59
2. Examples of song editing...................................... 59
Step 12. Rhythm/tempo settings ...........................61
1. Specifying and playing a rhythm ........................ 61
2. Recording your performance while you listen
to the rhythm .......................................................... 61
3. Recording the rhythm ........................................... 61
4. Setting the tempo ................................................... 62
Step 13. Saving your data ....................................65
1. Copy Song, Copy All Songs ................................. 65
2. Backup/Restore ..................................................... 65
3. Connecting external drives................................... 67
4. Importing/exporting WAV files.......................... 68
Drive and data compatibility within the Digital
Recording Studio series.............................................. 70
Regarding disk capacity............................................. 71
Note when using DOS format disks......................... 72
Step 14. MIDI.......................................................73
1. MIDI connections................................................... 73
2. MIDI messages used by the D12.......................... 73
3. Using MIDI ............................................................. 73
Reference....................................... 75
1. COUNTER ........................................................75
Counter: Counter display .......................................... 75
2. SYSTEM............................................................75
P1 Control: Foot switch/control change device
(pedal/MIDI) settings ........................................... 75
P2 MIDI: MIDI settings............................................... 76
P3 Sync: Synchronization settings ............................ 76
P4 MMC: MMC settings............................................. 77
P5 B–U/Rst: Backing-up and restoring data to
removable disk ....................................................... 77
P6 DiskUtil: Initialize/format/check a drive.......... 79
3. RECORD...........................................................80
P1 RecMode: Selecting the recording mode............ 80
P2 Bounce: Settings for bounce recording ............... 80
4. TRACK .............................................................81
P1 Vtr1–6: Select virtual tracks 1–6........................... 81
P2 Vtr7–12: Select virtual tracks 7–12....................... 81
P3 EditTrk: Track editing ........................................... 81
P4 Import: Import a WAV file ................................... 86
P5 Export: Export a WAV file.................................... 87
2
5. SONG............................................................. 88
P1 SelSong: Selecting a song ...................................... 88
P2 EditSong: Song editing .......................................... 89
P3 PrgPlay: Program playback of songs................... 90
P4 CDR/RW: Creating and playing a CD-R/RW .. 90
6. STORE............................................................. 91
7. MARK ............................................................. 92
P1 Mark: Editing marks .............................................. 92
8. SCENE............................................................. 92
P1 ReadDel: Scene playback on/off and editing .... 92
P2 MixView: Pan/fader scene display .....................94
9. TEMPO/RHYTHM ............................................. 94
P1 SetUp: Tempo and rhythm settings..................... 94
P2 TmpMap: Editing the tempo map .......................95
P3 TmpTrk: Create a tempo track .............................96
10. IN/LOC1, OUT/LOC2, TO/LOC3, END/LOC4.. 97
11. AUTO PUNCH................................................ 98
P1 AtPunch: Settings for auto punch-in/out
recording.................................................................. 98
12. LOOP ............................................................ 99
P1 Loop: Loop playback/recording settings ........... 99
13. UNDO........................................................... 99
14. TRIGGER...................................................... 100
P1 Trigger: Settings to start trigger recording ....... 100
15. SCRUB......................................................... 101
16. ENTER ......................................................... 101
17. INPUT ......................................................... 102
P1 Ch1–6: Select the inputs for mixer channels
1–6........................................................................... 102
P2 Ch7–12: Select the inputs for mixer channels
7–12......................................................................... 103
P3 InEq1–4: EQ settings for inputs 1–4................... 103
P4 Tuner: Tuner .........................................................103
18. EQ/PHASE .................................................. 104
P1 Eq1–4: EQ settings for mixer channels 1–4....... 104
P2 Eq5, 6: EQ settings for mixer channels 5, 6....... 104
P3 Eq7–12: EQ settings for mixer channels 7–12... 104
P4 Phase: Phase settings for mixer channels.......... 104
19. INSERT EFFECT............................................. 105
P1 InsAss: Insert effect insertion location/type .... 105
P2 InsEff1: Selection and settings for Insert
Effect 1.................................................................... 106
P3 InsEff2: Selection and settings for Insert
Effect 2.................................................................... 107
P4 InsEff3: Selection and settings for Insert
Effect 3.................................................................... 107
P5 InsEff4: Selection and settings for Insert
Effect 4.................................................................... 107
P6 Ins5–8: Selection and settings for Insert
Effects 5–8.............................................................. 107
20. MASTER EFFECT/AUX/FINAL EFFECT............. 107
P1 MstEff1: Selection and settings for master
effect 1 .................................................................... 107
P2 MstEff2: Selection and settings for master
effect 2 .................................................................... 108
P3 EffSnd1: Send settings for effect 1...................... 108
P4 EffSnd2: Send settings for effect 2...................... 108
P5 AuxSend: External send settings........................ 108
P6 FinalEff: Selection and settings for the
final effect...............................................................108
21. SOLO/MONITOR .........................................109
P1 Solo: Solo select .....................................................109
P2 Monitor: Monitor settings....................................110
22. METER/TRACK VIEW ....................................111
23. TRACK STATUS............................................. 111
24. PAN/BALANCE ............................................111
25. FADER .........................................................112
26. TRANSPORT KEYS ........................................112
Effect Parameter List ..................... 113
Insert (2in2outx2)/Master/Final Effect.................113
Reverb RV1 – RV7 Category: Reverb-type effects 113
1: RV1: Reverb Hall............................................................. 113
2: RV2: Smooth Hall............................................................ 113
3: RV3: Reverb Wet Plate.................................................... 113
4: RV4: Reverb Dry Plate.................................................... 113
5: RV5: Reverb Room.......................................................... 113
6: RV6: Bright Room............................................................ 113
7: RV7: Early Reflection...................................................... 113
Delay DL1 – DL6 Category: Delay-type effects....113
8: DL1: L/C/R Delay.......................................................... 113
9: DL2: St/Cross Delay (Stereo/Cross Delay)................. 114
10: DL3: St.Multitap Delay (Stereo Multitap Delay) ........ 114
11: DL4: St.Modulation Delay ............................................. 114
12: DL5: St.Dynamic Delay (Stereo Dynamic Delay) .......114
13: DL6: St.Auto Panning Delay.......................................... 115
Modulation MO1– MO7
Category: Modulation-type effects..........................115
14: MO1: St.Chorus (Stereo Chorus)................................... 115
15: MO2: St.Flanger (Stereo Flanger).................................. 115
16: MO3: St.Phaser (Stereo Phaser)..................................... 115
17: MO4: St.Vibrato (Stereo Vibrato) ..................................115
18: MO5: St.Tremolo (Stereo Tremolo)............................... 116
19: MO6: St.Auto Pan (Stereo Auto Pan) ........................... 116
20: MO7: Ensemble................................................................ 116
Dynamics DY1 – DY7 ...............................................116
Category: Dynamics-type effects.............................116
21: DY1: St.Compressor (Stereo Compressor)................... 116
22: DY2: St.Limiter (Stereo Limiter).................................... 116
23: DY3: Multiband Limiter ................................................. 117
24: DY4: St.Gate (Stereo Gate) ............................................. 117
25: DY5: St.Exciter/Enhancer ..............................................117
26: DY6: St.Decimator (Stereo Decimator)......................... 117
27: DY7: St.Parametric 4band EQ....................................... 118
Special Effect SE1 – SE4 Category: Special Effect..118
28: SE1: St.Ring Modulator .................................................. 118
29: SE2: Doppler..................................................................... 118
30: SE3: St.Analog Record ....................................................118
31: SE4: Talking Modulator.................................................. 118
Insert (2in2outx2), Final...................................... 119
Large size LS1 – LS7 Category: Large size effects.119
32: LS1: St.Graphic 7band EQ.............................................. 119
33: LS2: St.Multiband Limiter.............................................. 119
34: LS3: Vocoder .................................................................... 119
35: LS4: St.Pitch Shifter .........................................................119
36: LS5: Early Reflections L.................................................. 119
37: LS6: Rotary Speaker ........................................................120
38: LS7: Center Canceller...................................................... 120
Insert (1in2outx2)...............................................120
GT1 – GT6 Category: Guitar multi ..........................120
39: GT1: Guitar Multi1.......................................................... 120
40: GT2: Guitar Multi2.......................................................... 120
41: GT3: Guitar Multi3.......................................................... 120
42: GT4: Guitar Multi4.......................................................... 120
43: GT5: Guitar Multi5.......................................................... 120
3
44: GT6: Guitar Multi6.......................................................... 120
AS1 – AS3 Category: Guitar amp simulator.......... 120
45: AS1: Amp Simulator1..................................................... 120
46: AS2: Amp Simulator2..................................................... 120
47: AS3: Amp Simulator3..................................................... 120
PA1 Category: Pre-amp simulator.......................... 121
48: PA1: Pre Amp Simulator................................................ 121
EB1 – EB3 Category: Bass multi .............................. 121
49: EB1: Bass Multi1 .............................................................. 121
50: EB2: Bass Multi2 .............................................................. 121
51: EB3: Bass Multi3 .............................................................. 121
MS1 Category: Mic multi ......................................... 121
52: MS1: Mic Multi ................................................................ 121
VO1 – VO2 Category: Vocal multi.......................... 121
53: VO1: Vocal Multi1........................................................... 121
54: VO2: Vocal Multi2........................................................... 121
Effects within multi-effect programs GT1–VO2,
and their parameters................................................. 121
Dist (Distortion)..................................................................... 121
NR (Noise Reduction)........................................................... 121
Comp (Compressor/Limiter).............................................. 121
P4EQ (Parametric 4band EQ) .............................................. 121
Exctr (Exciter)......................................................................... 121
Wah ......................................................................................... 121
Filter ........................................................................................ 121
AmpSim (AmpSimulator).................................................... 122
CabRes (CabinetResonator) ................................................. 122
Tone......................................................................................... 122
Gate ......................................................................................... 122
DeEss (Deesser) ..................................................................... 122
Cho/Fl (Chorus/Flanger).................................................... 122
Treml (Tremolo) .................................................................... 122
Phaser...................................................................................... 122
Delay ....................................................................................... 122
S.Dly (Stereo Delay).............................................................. 122
Pitch (Pitch shifter)................................................................ 122
MicSim (Mic Simulator) ....................................................... 123
Insert (1in1outx4) .............................................. 123
55: MM1: P4EQ – Exciter...................................................... 123
56: MM2: P4EQ – Wah.......................................................... 123
57: MM3: P4EQ – Cho/Flng ................................................ 123
58: MM4: P4EQ – Phaser ...................................................... 123
59: MM5: P4EQ – Mt.Delay.................................................. 123
60: MM6: Comp – Wah......................................................... 123
61: MM7: Comp – AmpSim ................................................. 123
62: MM8: Comp – OD/HiG................................................. 123
63: MM9: Comp – P4EQ ....................................................... 123
64: MM10: Comp – Cho/Flng ............................................. 123
65: MM11: Comp – Phaser ................................................... 123
66: MM12: Comp – Mt.Delay............................................... 123
67: MM13: Exciter – Comp................................................... 123
68: MM14: Exciter – Limiter................................................. 124
69: MM15: Exciter – Cho/Flng ............................................ 124
70: MM16: Exciter – Phaser.................................................. 124
71: MM17: Exciter – Mt.Delay ............................................. 124
72: MM18: Limiter – P4EQ................................................... 124
73: MM19: Limiter – Cho/Flng ........................................... 124
74: MM20: Limiter – Phaser ................................................. 124
75: MM21: Limiter – Mt.Delay ............................................ 124
76: MM22: OD/HiG – Cho/Flng ........................................ 124
77: MM23: OD/HiG – Phaser.............................................. 124
78: MM24: OD/HiG – Mt.Delay ......................................... 124
79: MM25: OD/HiG – AmpSim .......................................... 124
80: MM26: Wah – AmpSim.................................................. 124
81: MM27: Decimator – AmpSim........................................ 124
82: MM28: Decimator – Comp............................................. 124
83: MM29: Cho/Flng – Mt.Delay........................................ 124
84: MM30: Phaser – Cho/Flng ............................................ 124
85: MM31: AmpSim – Tremolo ........................................... 124
86: MM32: Reverb – Gate ..................................................... 124
87: MM33: MicSim – Limiter ............................................... 124
Effects within multi-effect programs MM1–MM33,
and their parameters................................................. 124
P4EQ (Parametric 4band EQ) .............................................. 124
Excit1 (Exciter1) .....................................................................124
Excit2 (Exciter2) .....................................................................124
Wah (Wah/Auto Wah)......................................................... 124
Comp1 (Compressor1).......................................................... 124
Comp2 (Compressor2).......................................................... 125
Lmtr (Limiter) ........................................................................125
AmpSim (Amp Simulator)................................................... 125
MicSim (Mic Simulator)........................................................ 125
Decima (Decimator) ..............................................................125
ODHiG (OverDrive/HighGain).......................................... 125
ChFl1 (Chorus/Flanger)....................................................... 125
ChFl2 (Chorus/Flanger2)..................................................... 125
Phaser...................................................................................... 125
Trml (Tremolo) ..................................................................... 125
Mt.Dly (Multitap Delay)....................................................... 125
Reverb (Mono Reverb).......................................................... 125
Gate.......................................................................................... 125
Insert (1in1outx8)...............................................126
88: MN1: OverDrive/HighGain.......................................... 126
89: MN2: Compressor2 .........................................................126
90: MN3: Limiter.................................................................... 126
91: MN4: Gate ........................................................................ 126
92: MN5: Exciter2 .................................................................. 126
93: MN6: Parametric 4band EQ........................................... 126
94: MN7: Amp Simulator .....................................................126
95: MN8: Multitap Delay...................................................... 126
96: MN9: Chorus/Flanger2.................................................. 126
97: MN10: Phaser................................................................... 126
98: MN11: Expander.............................................................. 126
Effect Control......................................................126
Cntrl (Control) ....................................................................... 126
Appendices.................................. 127
Troubleshooting..................................................127
No sound.................................................................... 127
Channel fader or EQ does not work....................... 127
Can’t record ............................................................... 128
Can’t input digitally ................................................. 128
Too much noise or distortion in the input sound
or recorded sound..................................................... 128
Effects do not apply .................................................. 128
Rhythm ....................................................................... 129
Pressing a key does not perform the function ...... 129
MIDI............................................................................ 129
External disk drive.................................................... 130
CD-R/RW .................................................................. 130
WAV ........................................................................... 131
Messages...........................................................131
Confirmation messages............................................ 131
Error messages .......................................................... 131
About the CDRW-1 .............................................133
1. Cautions for handling ......................................... 133
2. Installing the CDRW-1 ........................................ 133
3. Using the CDRW-1 .............................................. 135
Updating the system software.............................135
D12 specifications ..............................................136
MIDI implementation chart..................................138
Block diagram....................................................139
Effect Program List..............................................140
Rhythm Name List (215patterns) .........................142
Demo Song List...................................................143
Index .................................................................143
4
I
ntroduction
Thank you for purchasing the Korg D12 Digital
Recording Studio.
To ensure trouble-free enjoyment, please read this
manual carefully and use the instrument as
directed.
Features
• The D12 is a 12 track digital multi-track recorder
(MTR) with full-digital processing (24 bit internal
processing, 16/24 bit uncompressed recording and
playback, 44.1 kHz sampling frequency).
From recording to effect processing to mixing down
to CD-R/RW (a CD-R/RW drive is required), all
processing is performed completely in the digital
domain.
• It contains a 12 track recorder, a 16-channel 4-bus
mixer, and effects.
When using 16 bit recording/playback: 4 tracks can
be recorded simultaneously, and 12 tracks can be
played back simultaneously.
When using 24 bit recording/playback: 4 tracks can
be recorded simultaneously, and 6 tracks can be
played back simultaneously.
•A 6 GB hard disk is built-in, allowing a total of up to
19.5 hours of recording (when recording one track at
16 bits). A maximum of 100 songs × 12 tracks × 8 vir-
tual tracks can be recorded, for a total maximum of
9,600 tracks of data.
• All analog inputs in the mixer section use high-per-
formance balanced preamps to take full advantage
of the audio quality of full-digital processing.
Dedicated XLR input and guitar input jacks are pro-
vided, and support a range from mic level to +16
dBu (beyond pro audio level) so that virtually any
audio source can be connected.
All phone jack inputs use TRS balanced jacks to
support balanced input. Of course, unbalanced
input is also supported.
The D12 has a built-in mic that lets you immediately
record phrases that come to mind.
The S/P DIF digital input provides a sampling rate
converter that automatically converts 48 kHz or 32
kHz sources to 44.1 kHz.
• Each analog input/mixer channel provides high EQ,
mid EQ, and low EQ. The mid EQ has an adjustable
cutoff frequency.
EQ is provided separately for input and mixer channels, preventing the problem that can occur on MTR
units with an analog mixer when recording EQ settings are applied again to the playback.
• The built-in effects use Korg’s “ ” modeling
technology, putting detailed and powerful effect
models at your fingertips.
• Up to eight insert effects are available for insertion
into analog input/mixer channels; signals from each
channel can be sent to the two master effects, and an
independent final effect can be applied to the master output.
For the insert effects, master effects, and final effects
you can choose from 98 different types of high quality effect, and use up to five effects simultaneously.
The D12 provides 128 insert effect presets, 32 master
effect presets, and 32 final effect presets created by
professional musicians and studio engineers, for a
total of 192 preset effect programs. Based on these
preset programs, you can edit your own settings and
save them in one of the 192 user effect memories. An
expression pedal (separately sold option) can be connected to control an insert effect in realtime.
• The built-in tuner makes it easy to tune a connected
guitar or an instrumental sound input via the builtin mic, and can even be used to check the tuning of a
playback track.
• The fader, EQ, pan, and effect settings of the mixer
section can be saved in a scene, and 100 scenes can
be registered for each song. You can cause scenes to
change automatically as playback progresses, or
recall them as general-purpose settings when
needed.
• Operations such as recorded, copy, and delete are
performed as non-destructive editing. You can use
the Undo function to return to the state prior to executing a recording or editing operation, and then use
the Redo function to cancel the “undo.” Undo
allows up to 99 prior recording or editing operations
to be undone.
• Songs or phrases that you create by recording or
editing can be saved to disk automatically by the
Auto Save function when you switch songs, eliminating the need to save the data manually.
• Each track provides eight virtual tracks.
For example, you might record different takes of a
solo part on different virtual tracks, and then choose
the best performance later. When using bounce
(ping-pong) recording, currently-unused virtual
tracks can be specified as the bounce destination,
allowing you to combine multiple tracks of data into
two tracks without erasing any of the 12 tracks. By
repeating this “12 to 2 track bounce” operation, you
can theoretically create a song of 12 x 8 tracks = 96
tracks without erasing any of the original track data.
• In addition to a conventional metronome sound, 215
rhythm patterns for a variety of musical styles are
built-in, allowing you to hear a more musically interesting rhythmic guide as you record. You can select a
favorite rhythm and start recording right away,
without having to connect and set up a rhythm
machine. These rhythm patterns can also be
recorded on a track.
• Auto and manual punch-in/out recording make it
easy to re-record just the desired portion of a performance.
Introduction
the D12
Panel overview of
their functions
Objects in the LCD screen and
5
• The Trigger Recording function allows recording to
start automatically in response to an audio input, so
that it’s easy to begin recording even when both
hands are occupied in playing an instrument. You
can also use a foot switch to start or stop recording.
• The Scrub function lets you listen to the recorded
sound of a track just as if you were manually moving the reels of an open-reel tape recorder – a great
convenience when you need to find the exact beginning of a phrase.
• The Locate Point Memory function (four points for
each song) and Mark Memory function (100 points
for each song) allow you to register locations within
a song, making it easy to mark and jump instantly to
transitional points within the song. Names can also
be assigned to marks.
• The Program Play function lets you play back multi-
ple songs in the order you specify. These songs can
then be recorded to MD or DAT to create your own
album.
• An optional CD-RW drive can be installed. If the
CDRW-1 CD-R/RW drive option (sold separately) is
installed, you can create original CD’s without
requiring any other equipment. You can also backup
your song data, or record from an audio CD.
• When recording and editing songs or phrases from a
record or CD, you can use tap input to input a
tempo that follows the song. Alternatively, you can
create tempo maps, or record MIDI clock messages
from an external device.
• The D12 can synchronize with MIDI Clock, MTC, or
MMC-compatible sequencers or rhythm machines.
• Standard connectors such as SCSI and S/P DIF (dig-
ital interface) are provided, allowing connection to
numerous external devices. The SCSI connector
allows external hard disks, CD-R/RW, or removable
disks to be used to record/play or backup data.
The S/P DIF connectors allow you to record digital
audio from an external digital device such as CD or
MD, and to directly output the mixdown of a song
you created for recording on an external DAT or
MD.
AUX OUT jacks allow external effect devices to be
connected.
• The D12 is compact and lightweight, easily carried
into studios or wherever you need it.
• WAV files can be imported/exported, making it easy
for audio data to be exchanged with your computer.
• Mixer parameters can be controlled via MIDI. An
external MIDI sequencer can be used to implement
mixer automation.
• Data backed up by the D8 and D16 digital recording
studio units can be restored into the D12, allowing
easy transfer of data. Playable D16 drives can also be
played back by the D12.
What is ?
(Resonant structure and Electronic circuit
Modeling System) is KORG’s proprietary sound
modeling technology which precisely reproduces the
complex character and nature of both acoustic and
electric instruments as well as electronic circuits in
real world environments. emulates a wide
variety of sound generation characteristics including
instrument bodies, speakers & cabinets, acoustic
fields, microphones, vacuum tubes, transistors, etc.
6
Printing conventions in this
manual
Switches and knobs [ ]
Keys, dials, and knobs on the panel of the D12 are
printed within [square brackets].
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 D12.
Parameters that appear in the LCD screen “ “
Parameters that appear in the LCD screen are printed
inside “double quotation marks.” The terms ‘button’
and ‘cell’ refer to objects in the LCD screen.
To select a parameter that is displayed in the LCD of the
D12, use the [CURSOR] keys to move the cursor to the
parameter that you wish to select (→p.14).
Bold-face type
Panel settings such as for faders or the [TRACK STATUS] keys are printed in bold type, and parameter val-
ues are printed in “bold type.”
Bold type also indicates content within the text that we
wish to emphasize.
Steps 1 2 3 …
Steps in a procedure are indicated as 1 2 3 …
p.■■
This indicates a page or parameter number for reference.
Symbols ,
These symbols respectively indicate points of caution
and notes of advice.
[...] “xx” tab page
This indicates a page displayed in the LCD screen. To
access this page, press the [...] key on the panel.
If there is more than one tab, the tab pages will be
selected successively each time you press the [...] key.
Example: The currently selected tab page.
The illustration below shows the [MASTER
EFFECT/AUX] “MstEff1” tab page. To select this
tab page, press the top panel [MASTER EFFECT/
AUX] key.
The various objects in the tab page are parameters
etc. There are also under-bars, popup buttons, and
icons.
In the figure shown, “Ef
and “Rename” buttons etc. are parameters. Currently, “Ef
edited. The current value is “M001,” and this will
change if you rotate the [VALUE] dial. (→p.14)
fectNumber” is highlighted, and can be
fectNumber,” “RetLev”
Introduction
the D12
Panel overview of
their functions
Objects in the LCD screen and
When you press the [MASTER EFFECT/AUX] key
once again, the [MASTER EFFECT/AUX]
“MstEff2” tab page will appear.
7
Top panel
Panel overview of the D12
1
1011
9
12 ~ 32
2
3
4
8
7
* For the mic and trim controls etc., refer to the “Front panel” section.
1 LCD screen
This displays the volume (level meters) and time
locations (locate) during recording or playback,
and displays the various parameters. (→p.13)
2 [TRACK STATUS] keys
These keys are used to put each track into playback
or record status, or to mute (silence) it. Each time
you press a key, the track setting will alternate.
(→p.111)
Green: PLAY
Orange: INPUT
Red: REC
Dark: MUTE
When recording from analog/digital input, you
can select up to four recording tracks.
These settings can be paired.
3 [PAN] knobs (Ch 1…6)
[BALANCE] knobs (Ch 7…12)
These knobs adjust the stereo location of each channel.
For channels 1–6 they adjust the pan of each channel. For channels 7–12 they adjust the balance.
(→p.111)
5
These settings can be paired, and registered in
a scene.
4 [CHANNEL] faders (Ch1…6, Ch7/8…11/12)
These faders adjust the recording/playback volume of each channel.
Channels 7–12 are stereo faders. (→p.112)
These settings can be paired, and registered in
a scene.
5 [MASTER] fader
This adjusts the volume of all channels. During
bounce recording, this sets the recording level of
the bounce destination track. (→p.112)
6 TRANSPORT keys
[REC] key, [RHSL] key, [PLAY] key, [STOP] key,
[REW] key, [FF] key
These are used to perform recorder operations such
as playback and record. (→p.112)
7 [VALUE] dial
This is used to modify parameter values, and to
move the current time.
When the Scrub function is on, rotating the dial
will cause the track to play at the corresponding
speed.
6
8
8 [CURSOR] key
This key moves the cursor.
9 [POWER] key
This key turns the power on/off. (→p.17)
10 HDD/CD-RW access indicator
This indicator will light when the internal hard
disk is being accessed for recording or playback, or
when the internal CD-R/RW drive is operating.
Never move the D12 or apply physical shock to it
when this HDD/CD-RW access indicator is lit.
11 MIDI indicator
This indicator will light when MIDI messages are
received from the MIDI IN connector.
16 [SOLO/MONITOR] key
This key is used to solo an individual channel,
send, or return. It is also used to select an audio
source for monitoring. (→p.109)
When solo is on, the LED will blink.
17 [METER/TRACK VIEW] key
This key is used to display volume data (level
meters) during recording and playback, and to
view audio event data in each track (track view).
(→p.111)
18 [SYSTEM] key
This key is used to make foot switch and MIDIrelated settings, to manage data on disk, and to
backup or restore data. (→p.75)
Introduction
the D12
Panel overview of
18
1923202421
22
25
12
13
14
15
16
29
28
17
30 31
12 [INPUT/TUNER] key
This key is used to select the mixer channel to
which the audio signal from each input jack will be
sent. (→p.23)
This is also used when adjusting the EQ (for
recording) that is applied to the analog inputs.
(→p.102)
In addition, this key is used to access the tuner.
(→p.103)
13 [EQ/PHASE] key
This key is used to specify the EQ (for track play-
back) and phase of each channel. (→p.37, 104)
These settings can be paired, and registered in
a scene.
14 [INSERT EFFECT] key
This key is used to select the location of an insert
effect, to select the effect type, and to select and edit
effect programs. (→p.43, 105)
These settings can be registered in a scene.
15 [MASTER EFFECT/AUX] key
This key is used to select and edit effect programs
for master effects 1 and 2, and to set the send levels
from each channel to the master effects. In addition, it is used to set the send amount to an external
effect, and to select and edit effect programs for the
final effects. (→p.45, 107)
These settings can be registered in a scene. The
send settings can be paired.
32
27
26
19 [RECORD] key
Press this key to make recorder settings such as
selecting the recording source or the bounce
recording method etc. (→p.80)
20 [TRACK] key
This key is used to select the virtual track for each
track, to perform track editing operations such as
copy or delete, and when importing or exporting
WAV files. (→p.81)
21 [SONG/CD] key
Press this key to create a new song, rename/select
a song, perform a song editing operation such as
copy or move, perform program playback of songs,
or produce an audio CD (a CD-R/RW drive is
required). (→p.88)
22 [STORE] key
Press this key to register the time location for a
locate point, a mark, or a scene. (→p.35, 91)
23 [MARK] key
Register the desired time location in a song as a
Mark, so that the registered time can be recalled
instantly.
It is also used to edit marks by renaming or delet-
ing them etc. (→p.36, 92)
24 [SCENE] key
This key is used to register [CHANNEL] fader,
[PAN]/[BALANCE] knob, EQ or effect send settings as a scene at the specified time location in a
song. If the Scene Read setting is on during playback, the registered scenes will be selected automatically at the corresponding times. Scenes can
also be sorted, renamed, or deleted. (→p.39, 92)
This key will light when Scene Read is “On.”
25 [TEMPO/RHYTHM] key
This key is used to set the tempo for a song, create a
tempo map, and turn the rhythm function on/off.
(→p.61, 94)
This key will light when the Rhythm function is on.
26 [IN/LOC1] key, [OUT/LOC2] key, [TO/LOC3] key,
[END/LOC4] key
These keys are used to register a desired time location within a song, or to instantly jump to a registered time location.
The time locations registered here are used as the
punch-in/out locations, and the editing range for
track editing operations such as copy or delete.
9
(→p.35, 97)
By holding down the [IN/LOC1] key and pressing
the [OUT/LOC2] key, you can listen to the audio
between the IN–OUT points.
27 [AUTO PUNCH] key
This key is used to turn the Auto Punch-in/out
function on/off, to set the pre/post roll time, and
to verify the start/end locations. (→p.28, 98)
This key will light when the Auto Punch-in/out
function is on.
28 [LOOP] key
This key is used to turn the Loop function on/off
for playback or recording, and to verify the start/
end locations. (→p.99)
This key will light when the Loop function is on.
29 [UNDO] key
After recording or editing a track, you can use the
Undo function to return the data to its prior state,
and then (if desired) use the Redo function to can-
cel the Undo and go back to the edited data.
Up to 99 prior recording or editing operations can
be undone. You can select from 1, 8, or 99 levels of
undo. (→p.99)
This key will light when Undo or Redo is available.
30 [TRIGGER] key
This is the on/off key for the Trigger Recording
function, which causes recording to begin automatically in response to an audio input. This key is also
used to set the threshold level and pre-trigger time.
(→p.31, 100)
This key will light when the Trigger Recording
function is on.
31 [SCRUB] key
This key turns the Scrub, Play To/From, and Slow
Play functions on/off. The key will light when the
Scrub function is “On.” These functions are used
by controlling the [VALUE] dial or TRANSPORT
keys. (→p.101)
32 [ENTER] key
This key is used to finalize a parameter selection, or
to turn a parameter on/off.
Front panel
1 MIC (built-in mic)
2 [MIC] on indicator
3 [MIC] switch: OFF, INPUT 1, INPUT 2
OFF: The built-in mic is turned off. (LED dark)
INPUT 1: The built-in mic is input from [INPUT 1].
(LED lit)
INPUT 2: The built-in mic is input from [INPUT 2].
(LED lit)
When the [MIC] switch is set of the INPUT 1 or
INPUT 2, that input will used as the mic input, and
the source connected to that jack will not be input.
The input priority order is as follows.
• 1 [MIC], 2 [GUITAR IN], 3 [INPUT]
If you are not using the internal mic, turn the [MIC]
switch off so that unwanted sound is not input
from the mic.
4 [GUITAR IN] jack
A guitar or bass guitar can be input here.
This is an unbalanced 1/4" (6.3 mm) input jack
with 1 M-ohm impedance.
5 [INPUT 1], [INPUT 2] jacks
Audio sources such as mic or line (keyboard etc.)
can be connected here.
These are combo-type balanced inputs that combine XLR jacks and 1/4" TRS phone jacks.
Unbalanced phone plugs can also be connected.
1
2
Balanced phone plug Unbalanced phone plug
If you connect a plug to the [GUITAR IN] jack, no
signal will be input from the [INPUT 1] jack. If you
wish to use the [INPUT 1] jack, disconnect the plug
from the [GUITAR IN] jack.
1: GND
2: HOT
3: COLD
3
1/4" TRS phone jack
XLR jack
GND COLD HOT
GND HOT
10
2
1
7
9
3
46810115
6 [INPUT 3], [INPUT 4] jacks
Mic/line (e.g., keyboard) sources can be input here.
These are balanced 1/4" TRS phone jacks. Unbalanced phone jacks can also be connected.
7 [TRIM] knob: –60...–10...+4 dBu
These knobs adjust the input level. The markings
indicate the input level.
Adjust each [TRIM] knob as appropriate for the
input instrument, so that the peak indicator lights
when the connected instrument is played most
loudly.
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 an input, hum or noise may result.
8 [PHONES] jack
A set of headphones can be connected here.
This is a 1/4" stereo phone jack.
This outputs the same signal as the [MONITOR
OUT L/R] jacks.
9 [PHONES LEVEL] knob: 0...10
This knob sets the volume level of the headphones.
The volume will increase in correspondence to the
printed gradations.
10 [FOOT SWITCH] jack
When your hands are occupied with playing an
instrument, you can use a foot switch to control
basic operation of the recorder section.
A foot switch can be used to start/stop the playback, to start/end manual punch-in recording, to
register a mark, or to record tap tempo. (→p.75)
Connect the foot switch (such as the optional PS-1)
to this jack.
11 [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.47)
Connect an expression pedal (separately sold
option, EXP-2, XVP-10 etc.) to this jack.
Rear panel
1 [AC 9V] connector
Connect the included AC/AC power supply to this
connector.
2 [MIDI OUT] connector
MIDI messages are transmitted from this connector. Use this when you wish to control a connected
external MIDI device from the D12. (→p.73)
3 [MIDI IN] connector
MIDI messages are received at this connector. Use
this when you wish to control the D12 from a con-
nected external MIDI device. (→p.73)
4 [LCD CONTRAST] knob
This adjusts the contrast of the LCD screen.
The optimal setting will depend on the viewing
angle, so adjust the contrast as necessary. Looking
from the front panel, turning the knob toward the
right will darken the text, and turning it toward the
left will lighten the text.
5 [SCSI] connector
An external hard disk drive, or removable disk
drive can be connected here, and used for recording/playback in the same way as the internal
drive. An external drive can also be used for
backup. (→p.67)
In addition, a CD-R/RW drive can be connected
here to create an audio CD or to make backups.
(→p.49, 67)
This is a D-Sub half-pitch 50 pin SCSI connector.
For details on the SCSI devices that can be used
with the D12, please refer to the Korg website or
contact Korg dealer.
6 [AUX OUT] jack
This jack outputs the external send signal from
each mixer channel. (The send amount is adjusted
in the [MASTER EFFECT/AUX] “AuxSnd” tab
page.) Connect this jack to your external effect processor.
This is a 1/4" phone jack.
7 [MONITOR OUT L/R] jacks
Connect your external monitor system to these
jacks. The bus that is sent to the monitor output is
selected in the [SOLO/MONITOR] “Monitor” tab
page. (→p.109) These jacks output the same audio
signal as [PHONES].
These are RCA phono jacks.
Introduction
the D12
Panel overview of
1234 5 1011 9876
11
8 [MONITOR OUT LEVEL] knob
This knob sets the volume level from the [MONITOR OUT L/R] jacks.
9 [MASTER OUT L/R] jacks
These are analog outputs for the master LR bus
which combines the signals from each mixer channel, or for the audio source that is selected by the
Solo function. The Solo selection is made in the
[SOLO/MONITOR] “Solo” tab page.
Connect your external monitor system or recording
device to these jacks. They output the same audio
signal as the [S/P DIF OUT] jacks.
These are RCA phono jacks.
10 [S/P DIF OUT] jack
This is an optical-type S/P DIF format (IEC60958,
EIAJ CP-1201) digital output jack (stereo).
Use an optical cable to connect this jack to the optical digital input of your DAT or MD.
This jack digitally outputs the same audio signal as
the [MASTER OUT L/R] jacks at a sampling rate of
44.1 kHz.
11 [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, CD, or MD.
A sampling rate converter is built in. If the connected source has a sampling rate of 48 kHz or 32
kHz source, it will be converted automatically to
44.1 kHz.
Side panel
1 CDRW-1 drive bay
A separately sold CDRW-1 CD-R/RW drive option
can be installed in this bay. (→p.133)
12
1
Objects in the LCD screen and their
functions
Objects in the LCD screen
To select an object displayed in the LCD screen, use the
[CURSOR] key to select it, and press the [ENTER] key.
In this manual, terms enclosed in “quotation
marks” such as “...”, “...” button, or “...” tab refer to
objects in the LCD screen which you can operate.
Terms enclosed in square brackets such as [...] key,
[...] knob, [...] dial, or [...] fader refer to controls etc.
located on the top panel, front panel, or rear panel.
a:Current parameter
display
e: Tab
a: Current parameter display
This is the name of the parameter currently selected by
the edit cell.
For icon-type parameters such as EQ or fader, the value
is displayed at the right.
c:Popup
button
b: Edit cell
d:Toggle
button
f: Dialog box
Select the “OK” button to execute the function (or select
the “Cancel” button to cancel without executing), and
press the [ENTER] key. The dialog box will close.
g: Radio buttons f: Dialog box
g: Radio buttons
These buttons are used to select one of multiple items.
Select one radio button and press the [ENTER] key.
h: Icons
These are objects shaped like sliders or knobs. To modify a value, select it and rotate the [VALUE] dial.
Introduction
their functions
Objects in the LCD screen and
b: Edit cell
When you select a parameter in the LCD screen, the
parameter value will be highlighted in some cases. This
area is referred to as the edit cell, and your editing will
apply to the highlighted portion.
The parameter value in the edit cell can be modified
using the [VALUE] dial (→p.8) or by using the popup
buttons in the LCD screen.
c: Popup button
When you select this button and press the [ENTER] key,
a dialog box (f) will appear.
To enter a parameter value, choose the desired value
from the dialog box.
, ,
d: Toggle button
This type of button will turn the corresponding function on/off each time you press the [ENTER] key.
(on)/ (off)
e: Tab page
Each mode contains numerous parameters, which are
organized into pages. Each page is accessed by its own
tab.
h: Icons
i: Scroll buttons
These buttons are used to view parameter values that
cannot be displayed in a single screen.
i: Scroll buttons
13
Adjusting the LCD screen contrast
Use the rear panel [LCD CONTRAST] knob to adjust
the contrast. (→p.11)
Basic operation
1. Selecting a mode
To make settings in the LCD screen for the various
functions of the D12, you must first press the key of the
mode that includes that function.
For the functions of each mode, refer to “Reference”
(→p.75–).
2. Selecting a tab page
Each mode contains numerous parameters, and these
are organized into pages. Pages are accessed by tabs.
1 Press the key for the desired mode.
The illustration below shows a page of TEMPO/
RHYTHM mode that will appear when you press
the [TEMPO/RHYTHM] key.
2 Select the desired tab page.
Each time you press the key of the currently
selected mode, you will cycle through the tab
pages of that mode.
Some pages contain only one tab.
3. Selecting and setting a parameter
Selecting a parameter
To edit a parameter, use the [CURSOR] key to move the
edit cell to the parameter that you wish to edit, highlighting that parameter.
In a list display screen, you can rotate the [VALUE] dial
to move the edit cell.
Setting a parameter value
The method of setting a parameter value will differ
depending on the type of parameter.
● Underlined “___” parameters, and icons such as
EQ
Use the [CURSOR] key to move the edit cell to the
parameter, highlighting it, and rotate the [VALUE]
dial to set the value.
This is the usual type, and includes underlined
parameters such as “T
sented by an icon such as EQ, and also Locate times
to be adjusted.
● Popup buttons and dialog boxes
Use the popup button to access the dialog box, and
set the parameter value (→p.13).
• Use the [CURSOR] key to move the edit cell to
the popup button, and press the [ENTER] key to
access the dialog box.
● Toggle buttons
These buttons are used to turn a function on/off.
(→p.13)
• Use the [CURSOR] key to select the parameter,
and press the [ENTER] key. The button will turn
on/off each time you press it.
● Radio buttons
These buttons are used to select one of multiple
choices.
• Use the [CURSOR] key to move the edit cell to
the desired button, and press the [ENTER] key.
● Selecting an item from a list
• To select a song or mark, rotate the [VALUE]
dial to select the desired item.
• To select a song in a program play list, use the
following procedure.
1 Select the playback list num.
2 Rotate the [VALUE] dial to select the song.
empo,” parameters repre-
14
B
asic operation
Step 0. Starting
1. Using the D12
The D12 lets you record your own performance and
shape it into a completed song.
If a separately sold CDRW-1 CD-R/RW drive option is
installed in the D12, you can easily create an original
CD.
Connecting instruments and turning on the
power
Connect the instrument and mic etc. that you wish to
use for recording to the D12, and turn on the power.
(→p.17)
Create a song
First you will create a song, and assign a song title.
If you will be creating a CD, set the song type to 16 bit.
The title can be assigned later. (→p.21)
Recording
Successively record the melody, bass, and drums etc. on
tracks 1–12.
This process is the same as when using analog tape
recorders such as a multi-track cassette, but the important difference is that on the D12, you can use numerous convenient functions, such as the Undo function to
cancel a mistake you make, the Auto Punch-in/out
function to re-record a specific area that you wish to fix,
or Trigger Recording to automatically start recording
as soon as you begin playing your instrument. You can
also take advantage of the D12’s virtual tracks to record
and edit using more than 12 tracks. In addition, you can
use the internal rhythm sounds as a tempo guide, or
apply the internal effects as you record. (→p.27)
Mixdown
In this step, you can apply EQ and effects to the sound
of each recorded track, adjust the volume and pan, and
combine the tracks into two tracks. (→p.49)
By applying the built-in Final Effect to the MASTER L/
R, you can add finishing touches to your song. When
you have finished adjusting the balance, use “12Tr →
2Tr bounce” to mix the song down to two tracks.
At this time if you record the mixdown on virtual
tracks other than the current virtual tracks (i.e., the
tracks selected for recording and playback), you will be
able to record and compare between up to seven differ-
ent mixdowns. (→p.30)
Writing your song to CD
In this step, the song you mixed down to tracks 1 and 2
can be written to a CD.
Play back tracks 1 and 2 to hear the result of your mixdown. Tracks 1 and 2 will be written to the CD. Simply
insert a new CD-R disc into the drive, select the
“WriteToCD” button, and press the [ENTER] key to
write your song to CD.
You can create an album by using the same procedure
to write each new song to the CD.
When you are finished, select the “Final” button and
press the [ENTER] key to finalize the CD. This com-
pletes your own original CD. (→p.49)
Basic operation
Making connections, and
turning the power on/off
a song
Creating/selecting
to the mixer
Assign audio inputs
RecordingPlayback
time location
Changing the
Using the mixerUsing effects
Mixdown
Track editingSong editing
Rhythm/tempo settings
15
Saving your data
MIDI Starting
Connect
instruments and
turn on the power
→Step 1
Create a new song
Record
→Step 2
Assign mixer channels
• Apply effects to the input sound (Step 8)
• Apply EQ
Recording
Adjust the recording level
Playback
Editing
• T rac k editing
• Punch-in/out
→Step 4
→Step 5
→Step 10
Overdubbing
Mixdown
Adjust the track balance
• Apply effects to the tracks
• Apply EQ to the tracks
• Apply master effects
→Step 3
→Step 4
→Step 9
→Step 7
Final effect
→Step 8
Bounce to tracks 1 and 2
→Step 4
Creating an audio
Write the song to CD
Finalize
Scenes
• Registering a scene
• Playing a scene
→Step 9
→Step 7
16
Step 1. Making connections, and turning
the power on/off
1. Connections
Make the appropriate connections for your system,
substituting your own equipment as necessary for the
equipment shown here.
The diagram below shows a basic example of connections when using the D12 to record.
For details on installing the CDRW-1 CD-R/RW
drive option, refer to p.133.
Be sure that the power is turned off while you are
making connections. If the power is on while connections are being made, your speaker system may
be damaged, or other malfunctions may occur.
1 Connect the included AC/AC power supply.
Connect the AC/AC power supply to the AC/AC
power supply connector of the D12. Then plug the
other end into an AC outlet.
2 Connect your audio monitoring system.
Use RCA phono cables to connect a powered monitor system etc. to the [MONITOR OUT L/R] jacks.
If you will be monitoring through headphones,
connect the 1/4" phone plug of your headphones
to the [PHONES] jack.
Use the [PHONES LEVEL] knob to adjust the volume.
[PHONES] jack
[PHONES LEVEL] knob
The audio signal that is output from the [MONITOR OUT L/R] jacks and the [PHONES] jack is set
in the [SOLO/MONITOR] “Monitor” tab page.
(→p.109)
3 Connect your input devices.
Connections for recording analog sources
• Guitar, bass guitar ↔ [GUITAR IN] jack
• Mic (XLR) ↔ [INPUT 1], [INPUT 2] jacks
• Synthesizer etc. ↔ [INPUT 1]–[INPUT 4] jacks
For details on assigning the audio inputs to mixer
channels and auditioning the input sound, refer to
p.23.
Basic operation
Making connections, and
turning the power on/off
Master recorder (Analog: cassette tape recorder, etc.)
AUX IN
MASTER
Master recorder (Digital: DAT, MD, etc.)
DIGITAL IN
DIGITAL OUT
CD, DAT, MD etc.
GUITAR IN
Guitar
OUT L/R
S/P DIF OUT
S/P DIF IN
Mic
Hard disk drive, CD-R/RW drive
removable disk drive (MO, zip, jaz etc.)
SCSI
Powered monitors etc.
MIDI
IN/OUT
SCSI
MONITOR
OUT L/R
PHONES
EXPRESSION
PEDAL
FOOT SWITCH
INPUT
1–4
OUTPUT
MIDI
sequencer
MIDI
OUT/IN
AC/AC power
supply connector
Power supply connection
CDRW-1
CD-RW
Drive option
to the AC outlet
You must use the
included AC/AC power
supply
EXP-2 Foot controller
PS-1
Pedal switch
Headphones
Keyboard
17
A guitar or bass guitar that is being sent
through a compact effect device can be connected to [INPUT 1]–[INPUT 4].
When inputting in stereo, you should select
two adjacent inputs (1–2, 3–4) so that track
editing can be performed more efficiently.
If you are recording from a connected mic,
locate the mic at a sufficient distance from the
D12 so that it does not pick up noise.
Connections for recording digital sources
• Optical digital (S/P DIF) output of a digital output device such as CD or MD ↔ [S/P DIF] connector of the D12 (use an optical digital cable for
connection)
For details on assigning the audio inputs to mixer
channels and auditioning the input sound, refer to
p.23.
4 Make other connections.
Connections for mixdown
Here’s how to make connections when the song
created on the D12 will be mixed down on an external recording device (DAT, MD, tape recorder, etc.)
• Optical digital (S/P DIF) input of a digital
recording device such as DAT or MD ↔ [S/P
DIF OUT] of the D12
• AUX IN inputs of an analog recording device
such as a cassette tape recorder ↔ [MASTER
OUT L/R] jacks of the D12
Connections when using external effects
If you wish to apply an external effect to the signal
from [AUX OUT] send output, use the [INPUT 1]–
[INPUT 4] jacks to receive the return signal(s).
In this case, you can choose whether the signal(s)
will be returned to the mixer channel(s) in the same
way as a conventional input, or sent directly to the
master bus. (→p.48)
Connections when using a foot switch to perform
manual punch recording, or playback/stop etc.
Connect the pedal switch (separately sold option:
PS-1) to the [FOOT SWITCH] jack.
Connections when using a foot pedal to control
effects
Connect the expression pedal (separately sold
option: EXP-2, XVP-10) to the [EXPRESSION
PEDAL] connector.
If a volume pedal is connected, it will not operate correctly.
Connections when controlling effects or switching
scenes from an external MIDI device
Connect the MIDI OUT connector of the external
MIDI device ↔ [MIDI IN] connector of the D12.
(→p.73)
Connections when synchronizing the D12 and a
MIDI sequencer etc.
Connect the MIDI IN connector of the sequencer
etc. ↔ [MIDI OUT] connector of the D12. (use a
MIDI cable)
Connect the MIDI OUT connector of the sequencer
etc. ↔ [MIDI IN] connector of the D12. (→p.73)
Connections when saving or backing up data on an
external hard disk or removable disk
SCSI connector of the external SCSI device ↔
[SCSI] connector of the D12 (use a SCSI cable to
make connections). (→p.67)
2. Turning the power on/off
Turning the power on
Use the following procedure to turn on the power of
the D12 and of the devices connected to it.
Before turning the power on, be sure to lower the
volume of each device to the minimum position,
and turn the devices on beginning with the first
device in the signal chain (i.e., devices that produce
audio signals).
1 Lower the D12’s [MASTER] fader to the –∞
position.
Also turn down the volume of each connected
device.
2 Turn on the power of the external input
device, such as a keyboard connected to the
D12.
If an external drive is connected, turn on the
power of the external drive.
3 Press the [POWER] key of the D12 to turn on the
power.
The LCD screen will show the opening
message, and then the [SONG] “SelSong” tab page will appear.
The song that had been selected when the
power was last turned off will be selected.
4 Turn on the power of the devices to which audio
signals are being sent from the D12, such as your
monitor system or MD recorder.
Turning the power off
When you are finished playing or recording a song,
turn off the power. Use the following procedure to turn
off the power of the D12 and of the connected devices.
About the power switch of the AC/AC power supply
• When turning off the power of the recorder, you
must first turn off the [POWER] switch of the
recorder itself.
If you turn off the power switch of the AC/AC
power supply first, the recorded data and user settings will be lost.
• Never turn off the power switch of the AC/AC
power supply while the recorder is operating.
Doing so may cause part or all of the data on the
internal hard disk drive to be lost, or the hard disk to
be damaged.
Before turning off the power, turn the volume of all
devices down to the minimum position, and turn
off the power switches beginning with the devices
that are at the end of the audio signal chain.
Never disconnect the AC/AC power supply until
the power is completely off. Data may be destroyed
if you do so.
18
The audio that is recorded on the D12 and the
mixer settings etc. are saved automatically when
you select or change songs, or when you turn off
the power. However, effect settings that you edit
will be lost unless you save them.
1 If you wish to keep any effect settings that you
edited, save them. (→p.46)
2 Lower the [MASTER] fader of the D12 to the –∞
position. Lower the volume of any external
devices to the minimum position.
3 Turn off the power of the monitor system to
which the D12 is sending audio, and the power of
any external output devices such as an MD.
4 Press and hold the [POWER] switch of the D12 to
turn off the power.
When you press the [POWER] switch a dialog box
will appear, asking you to confirm. If you select the
“YES” button and press the [ENTER] key, the song
will automatically be saved, and then the power
will be turned off.
If you select the “NO” button and press the
[ENTER] key, you will return to the previous
screen.
5 If an external drive is connected, turn off the
power of the external drive.
6 Turn off the power of external input devices, such
as keyboards.
Listening to the demo songs
When shipped from the factory, the D12 contains several demo songs.
Here’s how to listen to these demo songs. (→p.143)
1 Set the [CHANNEL] faders of the D12 to the
0 position, and the [MASTER] fader to –∞.
2 Select the song that you wish to play.
For details on selecting a song, refer to “3.
Selecting another song” (→p.22).
3 Make the [TRACK STATUS] key LED of
each track light green.
If any are lit with a different color, or are dark,
press the key to select green (PLAY).
4 Press the [PLAY] key to begin playback.
5 Gradually raise the [MASTER] fader to adjust the
volume level.
While the song plays, you can try adjusting the
[CHANNEL] faders, [PAN] knobs, EQ, the send
amount to the master effects, or selecting different
programs for the insert effects or master effects to
hear the result.
6 When the demo song finishes playing, press the
[STOP] key to stop playback.
Basic operation
Making connections, and
turning the power on/off
19
20
Step 2. Creating/selecting a song
In order to record a new song, you must first create the
new song. Here’s how to create a song, assign a name to
it, and select songs.
1. Creating a new song
1 Press the [SONG] key to access the “SelSong” tab
page.
2 Use the [CURSOR] key to select the “New” but-
ton, and press the [ENTER] key.
The “MakeNewSong” dialog box will appear.
3 Select the quantization bits/number of tracks for
the song that will be created, and select the mixer
settings.
Use the “SongType” radio buttons to select the
quantization and the number of tracks, and press
the [ENTER] key to finalize your selection. Set the
“MixerSet” radio buttons in the same way. (“Song-
Type,” “MixerSet” →p.88)
4 Select the “OK” button and press the [ENTER]
key.
A song named “NEWSONG” will be created following the last song that currently exists.
For details on deleting a song, refer to p.60.
2. Naming a song
Now you can assign a name to the newly created song.
We recommend that you assign a name to the song
before recording it, so that it can be distinguished from
other songs.
If you wish to change the name of another song, select
that song before you begin the following procedure.
(→“3. Selecting another song”)
1 Press the [SONG] key to access the “SelSong” tab
page.
2 Use the [CURSOR] key to select the “Rename”
button, and press the [ENTER] key.
The “RenameSong” dialog box will appear.
3 Modify the song name.
Use the “ “ “ ” buttons to move the cursor in the
song name to the character that you wish to
change, and rotate the [VALUE] dial to modify the
name.
The buttons in the LCD screen have the following
function.
“A../a..”: Select alphabetical characters (e.g., “A”).
Press the button once again to select lowercase
alphabetical characters (e.g., “a”).
“0...9”: Select numerals (e.g., “0”).
“Symbol”: Select symbols.
“Insert”: Insert a space and move the subsequent
characters backward.
“Space”: Select a space (blank).
“Backsp”: Delete the character before the cursor
location.
“Delete”: Delete the character at the cursor location.
“ClearAll”: Erase the entire name.
4 Finalize the name.
If you are satisfied with the name you input, select
the “OK” button. To cancel without changing the
name, select the “Cancel” button. Then press the
[ENTER] key.
Basic operation
a song
Creating/selecting
21
3. Selecting another song
This section explains how to select songs.
There are three ways to select an existing song.
[STOP] key + [FF] key, [STOP] + [REW] key
Use this method to select the song of the previous or
next number on the same drive.
• Hold down the [STOP] key and press the [FF] key
to move to the end of the current song. Press these
keys once again to move to the beginning of the next
song.
• When you hold down the [STOP] key and press the
[REW] key, you will move to the beginning of the
previous song if you were already at the beginning
of the song (e.g., “000:00.000”). If you were at a location during the song, you will move to the beginning
of that song.
Move the edit cell to the song number, and
rotate the [VALUE] dial
Use this method to select another song in the same
drive.
1 Press the [SONG] key to access the “SelSong” tab
page.
2 Select “SongNumber
and rotate the [VALUE] dial to select the song
num.
Select from the song list (Selecting a song
from another drive)
Use this method to select another song in the same
drive, or to select a song from another drive.
1 Press the [SONG] key to access the “SelSong” tab
page.
” (it will be highlighted),
3 Rotate the [VALUE] dial to select a song in the
song list. Then select the “OK” button and press
the [ENTER] key.
To change the drive
To change the drive, select the “Drive” button, press the
[ENTER] key, and select a drive from the list. Select the
“OK” button and press the [ENTER] key to return to
the song list.
Drive ID
Each connected drive is assigned a different “Drive
ID” according to its SCSI ID.
I: Internal IDE (internal drive)
A–G: SCSI ID numbers 0–6
if you connect a CD-R or CD-RW drive to the
[SCSI] connector, set the SCSI ID of the drive to “6”
(assigning it to “G”). A hard disk drive can also be
assigned this number.
If a CDRW-1 (sold separately) is installed, it will be
assigned to “G.”
If Drive ID “G” is assigned to a connected CDROM drive, a CD-R or CD-RW drive, or a hard
disk, the internal CD-RW drive option cannot be
used.
Device Type, Total Size
This shows information on the drive (type and
capacity).
HDD: Hard Disk Drive
RMD: Removable Disk Drive
CD: CD-ROM, CD-R, CD-RW
* Removable disk drive is a collective term for
drives from which the disk can be removed, such
as MO, Zip, or Jaz.
Format Type
This shows the format type of the drive.
Internal drives of the D12 and external drives formatted or initialized while connected to the D12
are displayed as playable drives (i.e., that can be
used to create songs). Other drives will be displayed as backup drives.
2 Select the “ ” button at the left of the song num-
ber, and press the [ENTER] key.
The song list will appear.
22
Step 3. Assign audio inputs to the mixer
The D12 provides four channels of analog input and
one (two-channel) digital input jack. In order to record
the audio signals from these inputs, they must be
assigned to mixer channels. If the CDRW-1 CD-R/RW
drive option (sold separately) is installed, you can also
assign the signal from an audio CD to the mixer channels.
Input1
Input2
Input3
Input4
Digital In
Dr
CD
CDRW-1
L
R
L
R
L
R
Ch1: Track 1
Ch2: Track 2
Ch3: Track 3
Ch4: Track 4
Ch5: Track 5
Ch6: Track 6
Ch7: Track 7
Ch8: Track 8
Ch9: Track 9
Ch10: Track 10
Ch11: Track 11
Ch12: Track 12
[INPUT]“Ch1-6”, “Ch7-12”
In this section we will explain how to assign each type
of input source to mixer channels, and audition the
source.
The D12, the input mixer channel numbers are the
same as the recording and playback track num-
bers. For example if you wish to record on track 8,
you must assign the audio signal to mixer channel
8.
• Connect a guitar to the [GUITAR IN] jack, and
assign it to mixer channel 1
• Set the internal mic to [INPUT 2], and assign it to
mixer channel 2
• Connect a keyboard to the [INPUT 3] and [INPUT 4]
jacks, and assign them to mixer channels 9 and 10
If you are using stereo input, you should use adjacent inputs (1–2, 3–4), and input the signals to adjacent mixer channels.
Before you proceed, create a new song as described
in “1. Creating a new song” (→p.21).
Connect a guitar to the [GUITAR IN] jack,
and assign it to mixer channel 1
1 Connect your guitar.
Set the GUITAR IN [TRIM] to the minimum (+4
dB) and lower the [MASTER] fader before connecting your guitar to the [GUITAR IN] jack.
2 Select the input channel.
• Access the [INPUT] “Ch1–6” tab page.
• Select the “Ch1” icon, and rotate the [VALUE]
dial to select “INPUT 1.”
The input from the [GUITAR IN] jack has now
been assigned to mixer channel 1.
Basic operation
to the mixer
Assign audio inputs
1. Analog inputs
Use the connections and settings most applicable to
your situation.
Ch.1: guitar Ch.2: built-in mic Ch.9: keyboard L/Ch.10: keyboard R
D12
Built-in mic
INPUT2
GUITAR IN INPUT3 INPUT4
Guitar
GUITAR IN
TRIM
INPUT2
TRIM
LR
INPUT3
TRIM
INPUT4
TRIM
Keyboard
3 Assign the input sound to mixer channel 1.
Press the track 1 [TRACK STATUS] key to set it to
INPUT (LED lit orange).
4 Use the trim to adjust the input level.
Press the [METER/TRACK VIEW] key. Select the
“ ” button and press the [ENTER] key to access
the dialog box.
Select “PreFaderLev,” select the “OK” button, and
press the [ENTER] key.
23
Play your guitar to input sound, and the level
meter of Ch.1 will move accordingly. Adjust the
INPUT 1 [TRIM] knob while watching the level
meter. Raise [TRIM] as far as possible without
allowing the level to reach CLP when you play the
guitar most strongly.
5 Audition the sound.
• Set the [MASTER] and [CHANNEL 1] faders to
unity gain (0 dB).
• Access the [SOLO/MONITOR] “Monitor” tab
page.
• Select the “MasterLR” button and press the
[ENTER] key to turn it “On” (highlighted).
• Gradually raise the [PHONES LEVEL] knob or
[MONITOR OUT LEVEL] knob, and listen to
the sound in your headphones or monitor system.
Set the internal mic to [INPUT 2], and
assign it to mixer channel 2
1 Enable the internal mic.
Set the INPUT 2 [TRIM] to the minimum position (+4 dB), lower the
[MASTER] fader of the D12, and set
the [MIC] switch to INPUT 2.
The [MIC] on indicator will light.
2 Specify the input channel.
• Access the [INPUT] “Ch1–6” tab page.
• Select the “Ch 2” icon, and rotate the [VALUE]
dial to select “INPUT 2.”
The input from the [Internal mic] has now been
assigned to mixer channel 2.
3 Assign the input sound to mixer channel 2.
Press the track 2 [TRACK STATUS] key to select
INPUT (the LED will light orange).
4 Use trim to adjust the internal.
• Press the [METER/TRACK VIEW] key.
• Select the “ ” button and press the [ENTER]
key to access the dialog box. Choose “PreFader-
Lev,” select the “OK” button and press the
[ENTER] key.
• When you produce sound nearby the mic, the
channel 2 level meter will move accordingly.
• Adjust the input 2 [TRIM] knob while you
watch the level meter. Raise the [TRIM] as far as
possible without allowing the level to reach CLP
when you produce the loudest sound.
5 Audition the sound.
• Set the [MASTER] and [CHANNEL 2] faders to
unity gain (0 dB).
• Access the [SOLO/MONITOR] “Monitor” tab
page.
• Select the “MasterLR” button and press the
[ENTER] key to turn it “On” (highlighted).
• Gradually raise the [PHONES LEVEL] knob or
[MONITOR OUT LEVEL] knob, and listen to
the sound in your headphones or monitor system.
Connect a keyboard to the [INPUT 3] and
[INPUT 4] jacks, and assign them to mixer
channels 9 and 10.
1 Connect your keyboard.
Set the [INPUT 3] and [INPUT 4] trim to the minimum (+4 dB) and lower the [MASTER] fader
before connecting your keyboard to the [INPUT 3]
and [INPUT 4] jacks.
2 Select the input channels.
• Access the [INPUT] “Ch7–12” tab page.
• Select the “Ch9” icon, and rotate the [VALUE]
dial to select “INPUT 3.”
• Select the “Ch10” icon, and rotate the [VALUE]
dial to select “INPUT 4.”
The input from the [INPUT 3] and [INPUT 4] jacks
has now been assigned to mixer channels 9 and 10.
3 Assign the input sound to mixer channels 9 and
10.
Press the track 9/10 [TRACK STATUS] keys to set
them to INPUT (LED lit orange).
4 Use the trim to adjust the input level.
• Press the [METER/TRACK VIEW] key.
• Select the “ ” button and press the [ENTER]
key to access the dialog box. Choose “PreFader-
Lev,” select the “OK” button, and press the
[ENTER] key.
• Play your keyboard to input sound, and the
level meters of Ch.9 and Ch.10 will move
accordingly. Adjust the INPUT 3 and 4 [TRIM]
knobs while watching the level meter. Raise
[TRIM] as far as possible without allowing the
level to reach CLP when you play the keyboard
most strongly.
5 Audition the sound.
• Set the [MASTER] and [CHANNEL 9–10] faders
to unity gain (0 dB).
• Access the [SOLO/MONITOR] “Monitor” tab
page.
24
• Select the “MasterLR” button and press the
[ENTER] key to turn it “On” (highlighted).
Gradually raise the [PHONES LEVEL] knob or
[MONITOR OUT LEVEL] knob, and listen to
the sound in your headphones or monitor system.
2. Digital input
The D12 can record a digital audio signal that is input
via the S/P DIF jack.
The S/P DIF input has a built-in sampling rate converter. Sources with sampling rates of 48 kHz or 32 kHz
can be connected directly, and will automatically be
converted to 44.1 kHz.
Here we will explain how the audio from a CD player
connected to the [S/P DIF IN] jack can be input to
mixer channels 1 and 2.
S/P DIF IN
4 Assign the input sound to mixer channels 1 and 2.
Play back the CD, and press the [TRACK STATUS]
keys of tracks 1 and 2 to set them to INPUT (LED
lit orange).
5 Check the recording mode and input level, and
audition the sound.
Refer to steps 3, 4, and 5 of “Connect a guitar to
the [GUITAR IN] jack and assign it to mixer channel 1.”
3. Using the tuner
Here’s how you can tune a sound that is being input.
1 Use “SelectSource” to select the source that you
wish to tune.
• If you wish to tune an instrument such as a guitar, connect the instrument to the [INPUT 1/
GUITAR IN] jack. If you wish to tune using the
internal mic, set the [MIC] switch (→p.10) to
INPUT1.
• In [INPUT] “Ch1–6” tab page, set “Ch1” to
“Input 1.” In [INPUT] “Tuner” tab page, set
“SelectSource” to “Input1.”
Basic operation
to the mixer
Assign audio inputs
S/P DIF OUT
CD, DAT, MD,
or keyboard etc.
(digital output)
1 Connect the digital output device.
Lower the [MASTER] fader of the D12, and use an
optical digital cable to connect the digital output of
your CD player to the [S/P DIF IN] jack.
2 Enable the digital input.
• Access the [INPUT] “Ch1–6” tab page.
• When you select the “DigiIn” button and press
the [ENTER] key, a message of “Obey Copyright
Rules” will appear.
Carefully read the owner’s manual section “About
copyright” (→p.1). If you accept the terms, select
the “Yes” button for the “AreYouSure?” prompt,
and press the [ENTER] key. Digital input will be
enabled.
2 Set “Calib
3 Adjust or measure the pitch.
The “Note Display” shows the note name, and the
“CENT Scale” shows the pitch.
• If you selected “Input1,” play your instrument
to produce sound, and tune it so that the central
triangle is displayed as “▼.”
” to specify the reference frequency.
To measure the pitch of a previously-recorded sound
• To measure the pitch of a previously-recorded track,
set “SelectSource” to “Track,” and choose the track
that you wish to measure. Move to the time location
that you wish to measure, press the [PLAY] key to
play back, and measure the note name and pitch.
3 Specify the input channels.
Select the “Ch1” icon, and rotate the [VALUE] dial
to select “S/P DIF L.” In the same way, select “S/P
DIF R” for “Ch2.”
The input from the [S/P DIF IN] jack has now been
assigned to channels 1 and 2.
25
26
Step 4. Recording
This section explains the basic recording procedure on
the D12.
During recording, the audio signal flows in the order of
input → mixer channel → recorder.
1. Adjust the recording level, and
record
Here’s how to record the audio that you specified in
“Assign audio inputs to the mixer” (→p.23).
If you wish to create a new song and record into it,
refer to “1. Creating a new song” (→p.21). Make
sure that the [RHSL] key is Off.
1 Check the recording mode.
Access the [RECORD] “RecMode” tab page.
Set “Select RecMode” to “Input” (i.e., the audio
input will be recorded).
Use the [CHANNEL] fader to set the recording
level.
• Press the [METER/TRACK VIEW] key.
• Select the “ ” button, press the [ENTER] key to
select “PostFaderLev,” select the “OK” button
and press the [ENTER] key.
5 Start recording.
Press the [PLAY] key. (The [REC] and [PLAY] LEDs
will light.)
Begin playing.
6 Stop recording.
When you have finished playing, press the [STOP]
key. (The [REC] and [PLAY] LEDs will go dark.)
When you have finished recording, verify that the
performance was recorded correctly.
7 Move to the beginning of the song (→p.35).
8 Specify the track(s) for playback.
Press the [TRACK STATUS] key of the track you
recorded, to set its status to PLAY (LED lit green).
9 Begin playback.
Press the [PLAY] key. (The [PLAY] LED will light.)
0 Stop playback.
When you are finished playing back, press the
[STOP] key. (The [PLAY] LED will go dark.)
2. Recording on virtual tracks
The D12 has twelve tracks, and each of these tracks has
eight virtual tracks.
For example when recording a solo part, you can
switch between several virtual tracks to record different performances on each, and select the best performance later. Or when using bounce (ping-pong)
recording, you can specify an unrecorded virtual track
as the recording destination, so that you can mixdown
into two tracks without erasing any of the twelve
tracks. (→p.29)
Basic operation
Recording
• Gradually raise the [CHANNEL] fader, and the
level meter of the input channel will change
according to the input. Raise the level as far as
possible without allowing the level bar to reach
“CLP.”
2 Move the current time to the location where you
wish to begin recording. (→p.35)
Start recording from the beginning of the song
(“001.01.000” or “000:00.000”).
3 Press the [TRACK STATUS] key of the track that
you wish to record, to set the status to REC (LED
lit red).
4 Enter record-ready mode.
Press the [REC] key. (The [REC] and [PLAY] LEDs
will blink.)
Recorded tracks
Selected track
Recording on a virtual track
1 Select the virtual track.
In the [TRACK] “Vtr1–6” or “Vtr7–12” tab page,
select the track that you wish to record, and use the
[VALUE] dial to select an unrecorded virtual track.
2 Adjust the recording level of the input device,
and record.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23).
27
3. Playback while recording addition tracks: Overdubbing
The process of listening to previously-recorded tracks
while you record additional tracks is called overdub-
bing. For example, this can be used to record a solo
while you listen to previously-recorded backing tracks.
1 Select the playback tracks.
Press the [TRACK STATUS] keys of the tracks that
you wish to play back, to set them to PLAY mode
(LED lit green).
2 Select the recording track.
Press the [TRACK STATUS] key of the track that
you wish to record, to set it to REC mode (LED
blinking red).
3 Lower the faders of tracks you are not using.
Press the [TRACK STATUS] key of the tracks that
are not being recorded or played, to set them to
MUTE (LED dark). This will silence the tracks that
are not being recorded or played.
4 Adjust the recording level of the input device,
and record.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27)
In the [RECORD] “RecMode” tab page, set “Select
Rec Mode” to “Input.”
• Select the signal that you wish to monitor.
(→p.110)
• Turn the “AutoIn” button “On.” (→p.110)
If the “AutoIn” button is “Off”, you will
always hear the input signal that is assigned to
the recording track. If it is “On”, the sound
recorded on that track will be heard during
playback, and the assigned input signal will
automatically be heard during recording.
3 Move the current time to a location earlier than
the point where you wish to begin re-recording.
(→p.35)
4 Press the [PLAY] key to begin playback.
The song will play back, and you will hear the
sound of the playback tracks and the track selected
for recording.
5 At the point where you wish to begin re-record-
ing, press the [REC] key.
Recording will begin (manual punch-in), and you
will begin hearing the external input signal.
6 At the point where you wish to stop re-recording,
press the [REC] key or [PLAY] key.
Recording will stop, and the track will switch back
to playback (manual punch-out). You will begin
hearing the track playback.
7 Press the [STOP] key to stop.
After recording, move the current time to a point
earlier than where you began recording, and check
that the recording was satisfactory.
4. Re-record part of a performance: Punch-in/out
If you make a mistake during part of your recorded
performance, or are not completely satisfied with your
performance, you can re-record just the unsatisfactory
portion without having to record from the beginning of
the song.
“Punch-in” is when you switch the song from playback
to record, and “punch-out” is when you switch the
song from record back into playback.
Manual punch-in/out
Manual punch-in/out is when you manually switch
between punch-in and punch-out.
On the D12, manual punch-in/out can be performed by
pressing the [REC] key or a PS-1 foot switch (separately
sold option) during playback to begin recording, and
pressing the [REC] key, [PLAY] key, or foot switch to
end recording.
1 Connect the input device, and adjust the record-
ing level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
2 Make monitor output settings.
• Access the [SOLO/MONITOR] “Monitor” tab
page.
Manual punch-in/out using a foot switch
You can switch between playback and recording by
pressing a PS-1 foot switch (separately sold option).
This allows you to switch between playback and
recording while you are performing on an instrument,
or when you are at a distance from the D12.
1 Connect a foot switch to the [FOOT SWITCH]
jack.
2 Access the [SYSTEM] “Control” tab page.
3 Specify the function of the foot switch.
Select “Func (FootSwFunction)” to “PunchInOut.”
4 In “Manual punch-in/out” steps 5 and 6, per-
form manual punch-in/out by pressing the foot
switch instead of the [REC] key (you may use
either).
You can also use the PS-1 foot switch to record from
the beginning of the song. In this case, set “Func”
to “Play/Stop.”
• Press the [REC] key at the beginning of the song
(LED will blink), and press the foot switch to
start recording.
28
Auto punch-in/out
Auto punch-in/out is when punch-in and punch-out
occur automatically at pre-specified times.
1 Access the [AUTO PUNCH] “AtPunch” tab page.
2 Register IN (punch-in) as the time at which
recording will begin, and OUT (punch-out) as the
time at which recording will end.
For details on registering the IN and OUT times,
refer to p.35.
In the [AUTO PUNCH] “AtPunch” tab page, you
can select the “Wave” button and press the
[ENTER] key to register the IN and OUT points
while viewing a waveform display.
The time locations you register will be overwritten
onto the [IN/LOC1] key and [OUT/LOC2] key.
3 Connect the input device, and adjust the record-
ing level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
4 Make monitor output settings.
Refer to “Manual punch-in/out” step 2. (→p.28)
5 Specify the “pre-roll” – the length of playback
that will occur before the recording start location.
In the [AUTO PUNCH] “AtPunch” tab page, select
the “RolTime” button and press the [ENTER] key
to access the “SetRollTime” dialog box. (→p.98)
• Set “Pr
• When you have finished making settings, select
6 Turn on the auto punch-in/out function.
In the [AUTO PUNCH] “AtPunch” tab page, select
the “AutoPunch” button and press the [ENTER]
key to turn it “On.” The [AUTO PUNCH] key will
light.
7 Begin recording.
• When you press the [REC] key, the location will
• When you press the [PLAY] key, playback will
• When the specified end of recording is reached,
8 Press the [STOP] key to stop.
After the post-roll time has elapsed, the D12 will
stop and return to the beginning of the pre-roll
time.
9 Listen to the performance that you recorded.
eRoll” to the desired length of playback
before the beginning of recording. Set “PostRoll” to the desired length of playback after the
end of recording. Set “Unit
of pre/post-roll time.
the “OK” button and press the [ENTER] key to
return to the previous page.
move back from the specified record start time
by the length of the pre-roll time specified by
“Pr
eRoll,” and the D12 will enter record-ready
mode (LED blinking).
begin. The track will play back during the preroll time, and will switch to recording at the
specified point (IN). (The [REC] LED will light.)
recording will end. (The [REC] LED will blink.)
” to the desired unit
5. Combining multiple tracks into
two: Bounce
You can combine the performances of multiple tracks
into two tracks, thus freeing up the original tracks for
additional recording. This procedure is called bounc-
ing. You can use this when you wish to play back the
performances of more than 12 tracks simultaneously.
You can use bounce recording to do the following
things.
• Combine 12 tracks of audio, and overwrite-record
them onto two tracks.
• Combine 12 tracks of audio, and record them onto
two unused virtual tracks.
• Record 10 tracks of audio and two external input sig-
nals onto the remaining two tracks.
When you use a CD-R/RW drive to create an audio
CD, the data of tracks 1 and 2 will be written to the
CD, so you must combine your completed song
into tracks 1 and 2.
You can also mix down your completed song to
two tracks of the D12, instead of mixing down to
an external two-channel recorder.
Combining 12 tracks of audio and overwriting them onto 2 tracks
As an example, here’s how to combine the audio of
tracks 1–12, and overwrite-record the result onto tracks
1 and 2.
1 Select bounce recording as the recording mode.
• Access the [RECORD] “RecMode” tab page.
• Select “Bounce” (bounce recording).
2 Select the bounce mode.
• Access the [RECORD] “Bounce” tab page.
• Set “BounceMode” to “12Tr→2Tr.”
3 Choose the currently selected tracks for record-
ing.
Set “RecordVirtualTrack” to “Current.”
4 Select the tracks that you wish to record.
Set the status of the tracks to be recorded (tracks 1
and 2) to REC (LED lit red). Set the remaining
tracks (3–12) to PLAY (LED lit green).
5 Adjust the stereo positions of the playback tracks.
Press the [PLAY] key, and rotate the [PAN] and
[BALANCE] knobs to adjust the stereo positions of
channels 1–12.
6 Adjust the playback/recording levels.
Use the [CHANNEL] faders to adjust the playback
level.
• Press the [METER/TRACK VIEW] key.
• Select the “ ” button, and press the [ENTER]
key to access the dialog box. Select “PostFader-
Lev” so that you can view the meter display for
each fader.
7 Use the [MASTER] fader to adjust the recording
level.
When you are finished making adjustments, press
the [STOP] key.
8 Move the current location to the beginning of the
song. (→p.35)
Basic operation
Recording
29
9 Begin bounce recording.
Press the [REC] key to enter record-ready mode
(LED blinking), and then press the [PLAY] key to
begin recording (LED lit).
0 When recording is finished, press the [STOP] key
to stop.
A Listen to the recording.
• Press the [TRACK STATUS] keys of the recording tracks (1 and 2) to set them to PLAY (LED lit
green).
• Either lower the faders of the other channels, or
turn the [SOLO/MONITOR] “Solo” tab page
“1–2” setting “On.”
• Press the [PLAY] key to listen to the playback,
and then press the [STOP] key to stop.
Recording 12 tracks of audio to 2 virtual
tracks that are not currently selected
As an example, here’s how the audio of tracks 1–12 (virtual track “a” selected for all tracks) can be recorded to
virtual track “b” of tracks 1 and 2.
● Perform bounce recording as described in “Com-
bining 12 tracks of audio and overwriting them
onto 2 tracks” (→p.29). However in step 3,
change the “Record Virtual Track” setting to “b,”
so that the recording will occur on virtual track
“b.”
● To listen to the result of the recording, select vir-
tual track “b.”
Access the [TRACK] “Vtr1–6” tab page, and set
“SelectVirtualTrack” to “1b” and “2b” for tracks 1
and 2.
7 Adjust the playback/input levels.
Use the [CHANNEL] faders to adjust the playback
level and input level.
• Press the [METER/TRACK VIEW] key.
• Select the “ ” button, and press the [ENTER]
key to access the dialog box. Select “PostFader-
Lev” so that you can view the meter display for
each fader.
8 Adjust the recording level.
Use the [MASTER] fader to adjust the recording
level.
When you are finished making adjustments, press
the [STOP] key.
9 Start bounce recording.
Refer to steps 8–A of “Combining 12 tracks of
audio and overwriting them onto 2 tracks”
(→p.29).
After recording or track editing, you can use Undo
to return the data to the state before recording or
track editing (→p.99). After returning to the state
before recording, don’t forget to set tracks 11–12
back to virtual track “a.”
Recording 10 tracks of audio and 2 external input sources on the remaining 2
tracks
Here’s how the audio of tracks 1–10 and the audio
inputs from INPUT 1 and 2 can be recorded on tracks 11
and 12.
1 Specify the input channels.
• Access the [INPUT] “Ch7–12” tab page.
• Set “Ch11” to “INPUT1, and set “Ch12” to
“INPUT2.”
2 Set the recording mode to bounce recording.
• Access the [RECORD] “RecMode” tab page.
• Select “Bounce” (bounce recording).
3 Select the bounce mode.
• Access the [RECORD] “Bounce” tab page.
• Set “BounceMode” to “10Tr+2In→2Tr.”
4 Choose the currently selected tracks for record-
ing.
Set “RecordVirtualTrack” to “Current.”
5 Select the tracks for playback and recording.
Press each [TRACK STATUS] key to set the playback tracks (1–10) to PLAY (LED lit green) and the
recording tracks (11 and 12) to REC (LED lit red).
6 Adjust the stereo positions of the playback tracks
and the input sources.
Press the [PLAY] key, and rotate the [PAN] and
[BALANCE] knobs to adjust the stereo positions of
channels 1–10. Set the [BALANCE] knob of channels 11/12 to the center position.
30
Other recording methods
Trigger recording
This is a function that uses the input level (trigger) to
initiate recording. Recording will begin at the instant
that sound is input to the D12.
1 Connect the input device, and set the recording
level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
2 Select trigger recording.
Access the [TRIGGER] “Trigger” tab page, and turn
“TriggerRec” On (the [TRIGGER] key will light).
3 Press the [REC] key to enter record-ready mode
(LED blinking).
4 Begin playing.
When the input level exceeds the threshold level
(“Threshold”), recording will begin automatically.
Refer to “Thr
You can use the Rehearsal function to check the
threshold level.
5 When you have finished playing, press the
[STOP] key to stop.
Loop recording
When using auto-punch recording, you can use Loop
recording to record repeated takes over the same section, and then use undo/redo to choose the best take.
If you turn “Loop” “On” during auto-punch recording,
the IN–OUT region will be recorded repeatedly
(looped).
At this time, playback will occur before and after the
IN–OUT region for the lengths specified by the [AUTO
PUNCH] “AtPunch” tab page settings for “RolTime”
(“Pr
eRoll” and “PostRoll”).
1 Register the region (IN–OUT) that you wish to
record. (→p.35)
This setting can also be made using “Wave” in the
[LOOP] “Loop” or [AUTO PUNCH] “AtPunch”
tab pages.
2 Connect the input device, and adjust the record-
ing level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
3 Specify how the sound will be output for moni-
toring.
Refer to “Manual punch-in/out” 2. (→p.28)
4 Set the pre-roll and post-roll.
• In the [AUTO PUNCH] “AtPunch” tab page,
select “RolTime.”
eshold” and “PreTrigTime.” (→p.100)
• Set “Pr
• When you have made these settings, select the
5 In the [AUTO PUNCH] “AtPunch” tab page, turn
“Auto Punch” “On.” (The [AUTO PUNCH] key
will light.)
6 In the [LOOP] “Loop” tab page, turn “Loop”
“On.”
7 Begin recording.
• When you press the [REC] key, the D12 will
• Press the [PLAY] key to begin playback.
• To stop, press the [STOP] key at a point outside
8 Listen to the recorded content.
Use the undo/redo function to select the best take.
9 Press the [UNDO] key.
A list will show the latest and previous recordings.
0 Rotate the [VALUE] dial to select what you
believe to be the best take from the list.
A Press the “Undo” button to execute the Undo.
The selected take will be recalled.
B Play back, and verify that you selected the correct
take.
If the [AutoPunch] “AtPunch” tab page
“AutoPunch” setting is “On” when you press the
[PLAY] key, the region between the recording start
(IN) and recording end (OUT) points will play
back as a loop.
C If you decide to cancel the Undo, select the
“Redo” button and press the [ENTER] key to
return to the “Level00” take.
The undo operation you executed in step A will be
cancelled.
Select the “OK” button and press the [ENTER] key
to return to the previous screen.
eRoll” to specify the length of playback
prior to the beginning of recording, and set
“PostRoll
after the end of recording. Set “Unit
the units in which the pre/post-roll times are
set.
“OK” button and press the [ENTER] key.
locate to the beginning of the pre-roll time preceding the IN (recording start) point, and will
enter record-ready mode. (The [REC] key LED
will blink.)
Playback will occur for the pre-roll time, and
recording will begin at the IN time. (The [REC]
key LED will light.)
When the OUT time is reached, recording will
end, and playback will continue for the post-roll
time. (The [REC] key LED will blink.)
Then the D12 will locate to the beginning of the
pre-roll time, and the same operations will be
repeated.
of the recording area (IN–OUT).
” to specify the length of playback
” to select
Basic operation
Recording
31
In addition to the recording methods described above,
the following possibilities are available when recording
on the D12. For details refer to the page listed.
• Apply EQ to the audio being recorded. (→p.38)
• Apply effects to the audio being recorded. (→p.44)
• Listen to the internal rhythm while recording your
performance. (→p.61)
• Record the internal rhythm. (→p.61)
• Rehearse the recording. (→p.112)
32
Step 5. Playback
This section explains basic playback on the D12, and
also how to use program playback.
1. Playback
1 Select the track(s) for playback.
Press the [TRACK STATUS] keys for the tracks that
you wish to play, to put them in PLAY mode (LED
lit green).
2 Move to the time location from which you wish to
playback.
For details on changing the time location, refer to
p.35.
3 Begin playback.
Press the [PLAY] key. (The [PLAY] LED will light.)
4 Stop playback.
Press the [STOP] key. (The [PLAY] LED will go
dark.)
You can also use a PS-1 foot switch (separately sold
option) to start and stop playback. (→p.75)
2. Program play
Here’s how you can play back multiple songs in the
order you specify.
In addition to using this to play songs in a desired
order, this function is also convenient when mixing
down to DAT or MD.
Setting up a program
1 Access the [SONG] “PrgPlay” tab page.
Playing the program of songs
1 Access the [SONG] “PrgPlay” tab page.
2 Press the [PLAY] key to begin playback.
Songs will be played in the order of the list, starting
with the first song of the program. During playback you can press the [FF] key to skip to the next
song, or the [REW] key to skip to the beginning of
the current song or (if you are already at the beginning of the current song) to the beginning of the
previous song.
3 Press the [STOP] key to stop playback.
Other playback options
Loop playback
This function repeatedly plays the IN–OUT region of
the song. This is convenient when you wish to audition
that region, and is also used in conjunction with auto
punch recording to perform loop recording. (→p.31)
1 Select the playback track.
Press the [TRACK STATUS] key of the playback
track(s) to select PLAY (LED lit green).
2 Register the desired region (IN–OUT) for loop
playback. (→p.97)
You can also set this by using “Wave” in [LOOP]
“Loop” or [AUTO PUNCH] “AtPunch” tab page.
3 Access the [LOOP] “Loop” tab page, and turn the
“Loop” button “On.”
4 Begin loop playback.
When you press the [PLAY] key, playback will
begin from the IN location, and repeat over the IN–
OUT region.
5 Press the [STOP] key to stop.
Basic operation
Playback
2 Select the first song.
Use the scroll buttons to select “01” in the program
play list, and rotate the [VALUE] dial to select a
song. If you wish to change the drive, select the
“Drive” button and press the [ENTER] key. Select
the desired drive in the “Drive Select” screen.
3 Select the second, third, and subsequent songs in
the same way.
To delete a song from the list, select the song and
rotate the [VALUE] dial to select “– – –.”
The program play list is maintained until you turn
off the power.
The program play list can be played only when the
“PrgPlay” tab page is displayed.
In addition to the playback methods described above,
the following playback methods are also available on
the D12. For details refer to the page given.
• Apply EQ to the playback audio. (→p.37)
• Adjust the level and pan of the playback audio.
(→p.37)
• Apply effects to the playback audio. (→p.43)
• Play the built-in rhythms together with the play-
back. (→p.61)
33
34
Step 6. Changing the time location
This section explains how you can move the counter
that shows the current location within the song.
1. Switching the counter display
You can switch the units of the current time shown by
the counter.
1 Select the “ ” button located at the left of the
counter, and press the [ENTER] key to access the
“Select TimeDisp Type” dialog box.
2 Select the location units that you wish to view,
select the “OK” button and press the [ENTER]
key.
You can select one of the following four types of
display.
• ___.__.___ “measures” . “beats” . “1/96 of a beat”
• ___:__.___ “minutes” : “seconds” . “1/1000 of a second”
• ___:__.__F “minutes” : “seconds” . “1/30 of a second”
• ___.__ Free “minutes” . “seconds” (remaining available
recording time)
In order for the “__.__ Free” display to accurately
indicate the remaining time, you must set the
recording track [TRACK STATUS] to REC, and set
the counter display to “FreeTime.” When you do
so, the remaining recording time will be displayed
according to the number of tracks that are set to
REC.
2. Moving the current time location
Using the [FF] or [REW] keys to move
Moving backward
Press the [REW] key to move toward the beginning
of the song. If you hold down the key, you will
move continuously.
You can also move during playback.
Moving forward
Press the [FF] key to move toward the end of the
song. If you hold down the key, you will move continuously.
You can also move during playback.
Moving to the beginning of the song
When the current time is in the middle of the song,
hold down the [STOP] key and press the [REW]
key to move to the beginning of the song.
Moving to the end of the song
When the current time is in the middle of the song,
hold down the [STOP] key and press the [FF] key
to move to the end of the song.
Using the locate keys to move
(LOC1, LOC2, LOC3, LOC4)
You can register specific times in the locate keys, and
jump instantly to those times.
Up to four locate points can be registered for each song.
Use the [IN/LOC1], [OUT/LOC2], [TO/LOC3], and
[END/LOC4] keys.
In addition to recalling the locate times that you
register, these keys are also used to specify the time
locations for auto punch recording (IN/OUT
times) and for track editing (the editing region).
For details on the various locate functions, refer to
p.97.
Registering a locate point
1 Move the current time to the location that you
wish to register.
Use the counter (“Counter”) or the [FF]/[REW]
keys to change the current time.
2 Press the [STORE] key to capture the selected
time location.
Basic operation
time location
Changing the
Using the counter to move
1 Select a page in which the counter is displayed in
the upper part of the LCD screen, such as the
[SONG] “SelSong” tab page.
2 Select the portion in the counter that you wish to
change to a new location.
3 Rotate the [VALUE] dial to move the time.
3 Register the time location you captured.
Press one of the [IN/LOC1], [OUT/LOC2], [TO/
LOC3], or [END/LOC4] keys to register the saved
location in that key. The registration will be completed as soon as you press the key.
Even if you perform steps 2 and following
during playback or recording, the time location at the moment you pressed the [STORE]
key will be preserved, and can be registered in
a locate point.
35
Moving to a locate point
When you press a previously-registered [IN/LOC1],
[OUT/LOC2], [TO/LOC3], or [END/LOC4] key, you
will move to the registered location.
Using marks to move the time location
You can register a specific location in a mark, and then
move instantly to the registered location.
A name can be assigned to each mark, and used to navigate within a song.
Up to 100 marks can be registered in each song.
“Yes” button and press the [ENTER] key to delete
the marks.
Naming a mark
• Select the “Rename” button and press the [ENTER]
key to access the “RenameMark” dialog box. For the
rename procedure, refer to “2. Naming a song”
(→p.21).
• When you have assigned a name, select the “OK”
button and press the [ENTER] key.
Registering a mark
1 Move the current time to the location that you
wish to register as a mark.
Use the counter or the [FF]/[REW] keys to change
the current time.
2 Press the [STORE] key to capture the time loca-
tion.
3 Register the time location you captured.
Press the [MARK] key to register the captured time
location as a mark. The registration will be completed at the moment you press the key. Marks will
be renumbered in order of time.
Even if you perform steps 2 and following
during playback or recording, the time location at the moment you pressed the [STORE]
key will be captured, and can be registered in a
mark.
Moving to a mark location
1 Access the [MARK] “Mark” tab page.
3. Using scrub playback etc. to find
a precise time location
By using the Scrub function, the Play From/To function, or the Slow Play function, you can more accu-
rately find a location where the sound begins, or set a
locate time or mark time with greater precision.
Using the Scrub function
1 Press the [TRACK STATUS] key of the track that
you wish to search, setting its track status to PLAY
(LED lit green).
2 Press the [SCRUB] key to turn the Scrub function
“On” (key lit).
3 Use “TrackSelect” to select the track that you
wish to play.
4 Select “Loc,” and rotate the [VALUE] dial to find
the location while listening to the audio.
The track audio will play back in correspondence
with the rotation of the [VALUE] dial.
2 Use “MarkNumber
3 Select the “Recall” button, and press the [ENTER]
key to recall the mark.
You will move to the time location of that mark.
” to select the desired mark.
Deleting a mark
Undo is not available after deleting a mark.
1 Access the [MARK] “Mark” tab page.
2 Use “MarkNumber
wish to delete.
3 Select the “Delete” button and press the [ENTER]
key to access the dialog box.
4 Verify the “mark number to be deleted” in the
upper left. If you wish to delete it, select the
“Yes” button and press the [ENTER] key to delete
it. If you decide not to delete it, select the “No”
button and press the [ENTER] key.
To delete all marks, select the “SelectAll” button
and press the [ENTER] key to turn it “On.” (Steps
2 and following are not necessary.) Then select the
” to select the mark that you
36
Step 7. Using the mixer
Here you can adjust various mixer settings such as the
volume, tone, and pan of each channel for input,
recording, or playback, to create the most effective
sounds for your entire song.
For details on adjusting the effects, refer to p.43
1. Adjusting the volume
The input or recording/playback volume is adjusted by
the [CHANNEL] faders. Raise or lower the faders to
adjust the volume. (→p.112)
The volume can be adjusted from silence (–∞) to unity
gain (0 dB) to +12 dB gain.
Normally, you should set the faders at unity gain
(the position where the input signal is output at the
same volume) and then lower the faders for any
channels that are too loud, rather than raising the
faders of channels that are too soft. This will reduce
the possibility of clipping at the final stage, and is
the most effective way to mix.
• When Pairing is on, use the odd-numbered channel
fader to make adjustments. (→p.38)
• These settings can be registered in a scene. (→p.39)
2. Adjusting the stereo position
The stereo position of each channel can be adjusted by
the [PAN] and [BALANCE] knobs. Rotate the knobs to
make adjustments.
Channel 1–6 [PAN] knobs
Rotating the knob toward the L position will place the
sound toward the left, and rotating it toward the R
position will place the sound toward the right.
Channel 7–12 [BALANCE] knobs
Rotating the knob toward the L position will reduce the
volume of the even-numbered channel, and rotating it
toward the R position will reduce the volume of the
odd-numbered channel.
Normally, vocals and bass are located in the center,
guitar at the left or right, and piano at the opposite
side from guitar.
• When Pairing is on, use the odd-numbered channel
knob to make adjustments. (→p.38)
• These settings can be registered in a scene. (→p.39)
When inputting to tracks 7/8–11/12 and recording
in stereo, you should leave the [BALANCE] knob
of channels 7/8–11/12 fixed in the center position.
The same applies when you have set the channel
1/2–5/6 pan to Pair On (=Balance), and when
inputting to tracks 1/2–5/6 and recording in stereo, you should leave the odd-numbered [PAN]
knob of the paired channels fixed in the center
position.
Basic operation
3. Using EQ to adjust the tone
The tone of each channel can be adjusted by a threeband equalizer (EQ).
• To adjust the input sound (analog), use the Input EQ
([INPUT] “InEq1–4” tab pages). This will affect the
sound that is recorded.
• To adjust the track playback sound, use the EQ
([EQ/PHASE] “Eq1–4,” “Eq5–6,” “Eq7–12” tab
pages).
EQ can be used to cut a frequency range in which
unwanted noise (hiss) is heard, or to boost/cut the
low range or high range to correct the tone.
Normally, you should make EQ settings so that the
sound is heard most clearly.
If you use EQ excessively by boosting the EQ gain
of a channel to the maximum setting, the overall
mix will become unbalanced. EQ should be used in
the “cut” direction as well, and in any case should
be used as lightly as possible.
Applying EQ to the track playback
• If Pairing is on, use the odd-numbered channel “Eq”
to make adjustments. (→p.38)
• These settings can be registered in a scene. (→p.39)
1 Select the tab page that contains the EQ you wish
to adjust.
Select from the [EQ/PHASE] “Eq1–4,” “Eq5–6,”
and “Eq7–12” tab pages.
Using the mixer
2 Select the desired EQ.
For each channel, the EQ controls are arranged as
follows.
• High EQ gain (H): upper right icon
• Low EQ gain (L): upper left icon
• Mid EQ gain (M): lower right icon
• Mid EQ cutoff frequency (F): lower left icon
3 Adjust the gain and cutoff frequency settings.
Gain will be cut as you increase the value in the
“–” direction, and boosted as you increase the
value in the “+” direction.
Cutoff frequency will be raised as you increase the
value, and lowered as you decrease the value.
High EQ, Low EG
• For the channel that you wish to adjust, select
“High EQ Gain (H)” or “Low EQ Gain (L),” and
rotate the [VALUE] dial to set the amount of
gain. The value is displayed in the upper left of
the screen.
37
Mid EQ
• For the channel that you wish to adjust, select
“Mid EQ Cutoff Frequency (F),” and rotate the
[VALUE] dial to set the cutoff frequency. The
value is displayed in the upper left of the screen.
• For the channel that you wish to adjust, select
“Mid EQ Gain,” and rotate the [VALUE] dial to
set the gain. The value is displayed in the upper
left of the screen.
Applying input EQ to the analog inputs/
Recording with input EQ
You can apply input EQ to the analog inputs (EQ cannot be applied to the digital input), and record the
sound that has been adjusted by the EQ.
1 Access the page that includes the channel to
which you wish to apply EQ.
Select the [INPUT] “InEq1–4” tab page.
2 Input an audio signal, and adjust it to an appro-
priate level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27)
Verify that the level meter in the left side of the
LCD screen moves, and that you hear the sound.
3 For each “InputEQ,” select the gain settings and
mid EQ cutoff frequency, and rotate the [VALUE]
dial to adjust them. (→p.37 2 3)
4 Record the sound as adjusted by the EQ.
Refer to “1. Adjust the recording level, and record”
(→p.27).
1 Access the “Select Pair” screen.
Select the “ ” (SelChPair) button found in the
[INPUT], [EQ/PHASE], or [INSERT EFFECT]
pages, and press the [ENTER] key to access the
“Select ChannelPair” screen.
2 Select the channels for which you wish to enable
pairing.
Select a “1 2”–“5 6” button and press the [ENTER]
key to turn it “On” (highlighted as “ ”).
3 Select the functions for which pairing will be
enabled.
Select the functions that will be paired for the channels you selected in “Select ChannelPair.”
From “Eq,” “Send,” “Aux,” and “Pan,” select the
functions that you wish to enable, and press the
[ENTER] key to turn on each function. To finalize
the settings, select the “OK” button and press the
[ENTER] key.
5. Monitor settings
In order to monitor the audio from the D12, you will
need to connect a set of powered monitor speakers etc.
to the [MONITOR OUT L/R] jacks, or connect headphones to the [PHONES] jack.
4. Pairing
Adjacent odd and even-numbered channels (1–2, 3–4,
5–6) can be paired, so that changing a value for the
odd-numbered channel will simultaneously change the
value for both channels.
It is convenient to use mixer pairing for stereo-recorded
channels.
Pairing is valid for the following settings.
• [TRACK STATUS] keys
• EQ (channel EQ)
• EffSnd 1 + 2 (effect send)
• AuxSend (auxiliary send)
• [PAN] knobs
• [CHANNEL] faders
With the exception of the [TRACK STATUS] keys
and the [CHANNEL] faders, you can select
whether or not pairing will be enabled for a parameter. This selection is made simultaneously for both
Effect Sends 1 and 2.
38
Select the signal for monitoring
1 Select the signal that you wish to monitor.
• Access the [SOLO/MONITOR] “Monitor” tab
page.
• Normally you will select “MasterLR.”
Select the “MasterLR” button, and press the
[ENTER] key to turn it “On” (highlighted).
If “Solo” is selected, the solo function will take
priority. Defeat “Solo” before you make your
selection.
2 Select input monitoring.
During playback you will hear the playback tracks
of mixer channels whose [TRACK STATUS] is set
to PLAY (LED lit green). For mixer channels whose
[TRACK STATUS] is REC (LED lit red), you will
hear the external input sound.
If you select the “AutoIn” button and press the
[ENTER] key to turn it “On”, mixer channels
whose [TRACK STATUS] is REC will monitor
the track playback during playback, and will
automatically switch to monitoring the external input sound when recording (and rehearsing) and when stopped.
3 Adjust the monitor volume.
Use the [MONITOR OUT LEVEL] knob to adjust
the monitor volume of the [MONITOR OUT L/R]
jacks, and use the [PHONES LEVEL] knob to
adjust the monitor volume of the [PHONES] jack.
Adjusting the cue level
Since the [CHANNEL] faders of the D12 adjust both the
recording level of the tracks and the volume level of
each channel, the recording level and the monitoring
level will be the same.
For this reason, a Cue Level function is provided so
that you can adjust the monitoring volume and pan for
your convenience while you record, independently of
the master LR volume.
1 Select cue as the monitoring source.
In the [SOLO/MONITOR] “Monitor” tab page,
turn “On” the “Cue” button.
If “Solo” is selected, solo will be given priority.
Defeat “Solo” before you make your selection.
You can select more than one signal to solo.
Basic operation
2 Adjust the monitor volume.
Use the [MONITOR OUT LEVEL] knob or
[PHONES LEVEL] knob to adjust the volume level.
To turn solo off
• Access the [SOLO/MONITOR] “Solo” tab page, and
turn the “Solo” button “Off.”
• By selecting the “ClearAll” button and pressing the
[ENTER] key, you can turn off all solo settings.
Outputting the solo signal from master LR
If desired, the solo signal can be output from [MASTER
OUT L/R]. Do this when you wish to output the solo
signal from a monitor system connected to the [MASTER OUT L/R] jacks.
● In the [SOLO/MONITOR] “Solo” tab page, turn
the “SoloToMstOut” button “On” (highlighted).
However, this will automatically be turned off
when you exit the [SOLO/MONITOR] page.
2 Adjust the cue level.
Select the “Level” button and press the [ENTER]
key to access the cue level adjustment screen. Select
the icons for each channel, and rotate the [VALUE]
dial to adjust the volume level and pan displayed
in the upper left.
6. Solo settings
Only the signals whose “Solo” button is “On” will be
sent to the monitor bus. Use this function when you
wish to hear a specific channel out of numerous
sources, or to audition the send audio, etc. The solo signal is output from the [MONITOR OUT L/R] jacks and
the [PHONES] jack.
Select the signal for soloing
1 Select the signal for soloing, and turn Solo “On.”
Access the [SOLO/MONITOR] “Solo” tab page.
Select the desired “Solo” button(s), and press the
[ENTER] key to turn Solo “On” for that signal (it
will be highlighted). If even one selection is being
soloed, the [SOLO/MONITOR] key will blink.
7. Registering and playing scenes
Mixer settings you make can be registered as a scene,
and selected automatically as playback progresses. Frequently-used settings can also be registered and
recalled when desired to reproduce the mixer settings
at another time, or part of the settings can be modified
and overwritten.
Up to 100 scenes can be registered for each song.
The following settings can be registered in a scene.
•EQ
• Effect settings
• EffSnd (effect send)
• AuxSend (auxiliary send)
• [PAN] and [BALANCE] knobs
• [CHANNEL] fader
Scene 1 Scene 2 Scene 3 Scene 4
Intro Verse Chorus Interlude
EG
Key
BASS
Chorus 1
Chorus 2
EG
Dr
Vo
The faders and pan/balance knobs on the top
panel do not actually move, but you can watch the
values change in the [SCENE] “MixView” tab page.
Key
BASS
Vo
Dr
Chorus 1
Chorus 2
EG
Key
BASS
Chorus 1
Chorus 2
EG
Dr
Vo
Key
BASS
Vo
Chorus 1
Dr
Chorus 2
Using the mixer
39
Registering a scene
1 Move the current time to the location at which
you wish to register the scene.
Use the counter or [FF]/[REW] keys to move.
(→p.35)
2 Adjust the mixer settings.
Adjust the [CHANNEL] faders, [PAN] knobs, EQ
and effect settings.
3 Register the scene.
• Press the [STORE] key to capture the current
time location.
• When you press the [SCENE] key, the registration destination scene number “SCENE ***” will
be displayed, and the settings will be registered.
Registered scenes are assigned numbers
sequentially, starting at the lowest unused
number.
Even during playback or recording, you can
use step 3 above to register a scene.
Automatically switching scenes while a
song plays: Scene Playback
Scenes you registered can be selected automatically
during playback at the time locations you specify.
Register each scene at the time location where you
want the mixer settings to change. (→“Registering
a scene”)
1 Turn “SceneRead” “On.”
• Access the [SCENE] “ReadDel” tab page.
Re-registering a scene at another time
location
Here’s how you can re-register a previously registered
scene at a different time location.
1 Recall the scene that contains the mixer settings
you wish to re-register.
Select the scene as described in “Recalling a scene.”
2 Move the current time to the location at which
you wish to re-register the scene. (→p.35)
3 Register the scene.
Press the [STORE] key, and then the [SCENE] key.
Editing a scene and overwriting it
Here’s how you can modify part of a scene, and overwrite the settings back onto that scene.
1 Recall a scene.
As described in “Recalling a scene,” select the
scene that you wish to modify.
2 Modify the settings of the scene.
Adjust the [CHANNEL] faders, [PAN] knobs, EQ,
and effects as desired.
3 Overwrite the scene.
• In the [SCENE] “ReadDel” tab page, make sure
that the number of the scene you modified is
selected.
• Select the “OvrWrt” button and press the
[ENTER] key.
A dialog box will ask you for confirmation. When
you select the “YES” button and press the [ENTER]
key, the scene will be overwritten onto that number.
• Select the “SceneRead” button, and press the
[ENTER] key to turn it “On.” When this is “On”,
the [SCENE] key will light.
2 Play back the song.
Move to the desired location, and press the [PLAY]
key to begin playback.
When playback reaches the registered time, the
scene will change automatically.
Recalling a scene
Here’s how to recall mixer settings that you registered
in a scene.
1 Turn “SceneRead” “Off.”
• Access the [SCENE] “ReadDel” tab page.
• Select the “SceneRead” button and press the
[ENTER] key to turn it “Off.” When this is
“Off”, the [SCENE] key will go dark.
If “SceneRead” is “On”, it will not be possible
to recall a scene that was registered at a different time location.
2 Recall the scene.
In the [SCENE] “ReadDel” or “MixView” tab page,
move the cursor to “SceneNumber
[VALUE] dial to select the desired scene. The
selected scene will be recalled.
,” and rotate the
Deleting a scene
Here’s how to delete an unwanted scene.
Undo is not available for this operation.
1 Recall the scene.
As described in “Recalling a scene,” recall the scene
that you wish to delete. If you wish to delete all
scenes, select any of the scenes.
2 Delete the scene(s).
In the [SCENE] “ReadDel” tab page, select the
“Delete” button and press the [ENTER] key. Verify
the “Delete scene number” in the upper left, and if
you wish to delete the scene, select the “Yes” button and press the [ENTER] key to delete the scene.
If you select the “No” button and press the
[ENTER] key, the scene will not be deleted.
If you wish to delete all scenes, select the “SelectAll” button and press the [ENTER] key to turn it
“On.” Then select the “Yes” button and press the
[ENTER] key to delete all the scenes.
40
Moving a registered scene to another time
location
Here’s how to move a registered scene to another time
location.
1 Recall the scene.
As described in “Recalling a scene,” recall the scene
that you wish to move.
2 Move the time location of the scene.
• Select the “EditLoc” button and press the
[ENTER] key.
• Specify the time location in the dialog box, select
the “OK” button and press the [ENTER] key to
execute the move.
Scene filtering
1 In the [SCENE] “ReadDel” tab page, select the
“Filter” button and press the [ENTER] key to display “Select SceneFilter.”
2 Select the parameters whose settings you wish to
disable.
There are two pages of settings, and you can use
the “Next” button to access the next page.
MIDI input
If “SceneRead” is “Off”, scene change messages (program changes) that are received will cause the D12 to
select the scene of the corresponding number.
If “SceneRead” is “On”, these messages will not be
received, regardless of whether the D12 is playing,
recording, or stopped.
1 Connect the external MIDI device. (→p.73)
2 Make MIDI settings.
In the [SYSTEM] “MIDI” tab page, set “GlobalCh
to the channel of the external MIDI device that will
be transmitting the messages.
To transmit MIDI messages, turn the [SYSTEM]
“MIDI” tab page “ProgChange” “Trans” “On.”
To receive MIDI messages, turn the [SYSTEM]
“MIDI” tab page “ProgChange” “Recv” “On.”
3 In the [SCENE] “ReadDel” tab page, turn “Sce-
neRead” “Off.”
4 Transmit a program change from the external
MIDI device to recall a scene.
When the D12 receives program change #0, it will
recall scene 001. Program changes #0–99 correspond to scene 001–100.
Basic operation
”
The first page contains settings for the parameters
of each channel. For example you can use the filter
to disable the pan settings for channels 1 and 2 by
turning the “1,” “2,” and “PanBal” buttons “On.”
The second page contains settings for overall
parameters. As in the first page, turn on the param-
eters that you wish to disable. Select the “OK” button and press the [ENTER] key to finalize the
settings.
Using MIDI to control scenes
MIDI output
When the scene changes, a scene change message (program change) will be transmitted. This message will be
transmitted in the following cases.
• When you use “SceneNumber
the [SCENE] “ReadDel” tab page
• When you press the [STORE] key and [SCENE] key
to register a scene
• When “SceneRead” is “On” and the scene changes
during playback or recording
” to switch scenes in
Using the mixer
41
42
Step 8. Using effects
Overview of the effects
On the D12, you can use up to eight insert effects that
can be inserted into an analog input or mixer channel,
two master effects that can be applied to the send from
each channel, and a final effect that can be applied to
master LR as the last stage. Each of these effects are
independent, meaning that you can use a maximum of
eleven effect programs simultaneously.
• Effect algorithms: total of 98
• Effect programs:
Presets (192) User (192)
Insert effects I000, I001–I128 U001–U128
Master effects M000, M001–M032 u001–u032
Final effects F000, F001–F032 u033–u064
Preset effects contain effect programs created by professional musicians and studio engineers.
User effects can store your own effect programs that
you created by editing a preset effect.
It is not possible to rewrite a preset effect program.
In the case of a 24 bit song, only six effects will be
available.
Examples of using the insert effects
Various ways in which insert effects can be used for
recording or track playback are described below for
each effect type.
During recording
1 in 2 out x 2 (mono-in/stereo-out × 2)
1 in 1 out x 2 (mono-in/mono-out × 2)
• While recording guitar and bass simultaneously, you
could apply Guitar Multi to the guitar and Bass
Multi to the bass as you record.
• While recording two vocals simultaneously, you
could apply separate Vocal Multi programs to each
singer as you record.
Basic operation
1. Insert effects
The insert effects can be inserted into an analog input
or mixer channel, to apply an effect to the analog input
signal or playback track. Effects can also be applied to a
built-in rhythm sound that is input to a mixer channel.
There are four types of insert effects, as described
below. The available effect programs will depend on
the effect type you select. (→p.105, 113)
• 1 in 2 out x 2, 1 in 1 out x 2 (input only)
These are mono-in/stereo-out or mono-out effect
chains consisting of three to five effects. Two of these
chains can be used. These are ideal for adding spaciousness to a lead guitar or vocal.
• 2 in 2out x 2
These are stereo-in stereo-out effects such as reverb,
chorus, and delay. Two such effects can be used
simultaneously. These are ideal for stereo-input
sources such as keyboard.
• 1 in 1 out x 4
These are mono-in mono-out effect chains consisting of two effects. Four such effects can be used
simultaneously. These are ideal for sources whose
stereo location is fixed, such as rhythm guitar.
• While recording vocal and guitar simultaneously,
you could apply Vocal Multi to the vocal and Guitar
Multi to the guitar as you record.
Using effects
2 in 2 out x 2 (stereo-in/stereo-out × 2)
• While recording keyboard and rhythm machine
simultaneously, you could apply St.Chorus to the
keyboard and St.Comp to the rhythm machine as
you record.
Other examples are shown below.
• 1 in 1 out x 8 (for track playback only)
These are mono-in/mono-out effects can be used
only during track playback. Eight of these effects can
be used.
The effect type selection is made in [INSERT
EFFECT] “InsAss” tab page “SelectEffType.”
43
1 in 1 out x 4 (mono-in/mono-out × 4)
• While recording four vocals simultaneously, you
could apply Exciter-Comp to voices that lack impact,
and apply Limiter-P4EQ to loud voices as you
record.
Other examples are shown below.
During track playback
Applying the insert effects while you
record (analog/rhythm only)
While you record, effects can be applied to the input
from an instrument connected to the [INPUT 1/
GUTAR IN] – [INPUT 4] analog inputs, or to the builtin rhythm sound that is input to a mixer channel, so
that the sound processed by the effect is recorded.
If a CDRW-1 (sold separately) is installed, you can
also apply effects to the audio from an audio CD.
As an example, here’s how to connect a guitar to the
[GUITAR IN] jack, apply effects, and record the sound
on track 1.
1 Make connections, and select the track for record-
ing.
Refer to “Connect a guitar to the [GUITAR IN] jack,
and assign it to mixer channel 1” (→p.23).
2 Access the [INSERT EFFECT] “InsAss” tab page.
2 in 2 out x 2 (stereo-in/stereo-out × 2)
• Two tracks containing stereo recorded drums etc.
could be processed by St.Comp or St.Limiter to
adjust the dynamics, or Reverb could be applied to
create a broader sense of space.
1 in 1 out x 4 (mono-in/mono-out × 4)
• Exciter-Comp or Limiter-P4EQ could be applied to
individual recorded tracks to adjust the dynamics, or
P4EQ-Cho/Fln could be applied to add modulation.
1 in 1 out x 8 (mono-in/mono-out × 8)
• Comp, Limiter, Gate, or Expander could be applied
to individual recorded tracks to adjust the dynamics,
or Chorus, Phaser, or Delay could be applied.
3 Select the “Assign: ” button, press the [ENTER]
key, and select “Input(In).”
4 Select the “SelectEffType: ” button, press the
[ENTER] key, and select the effect type.
In the illustration for step 2, “1 in 1 out x 4” has
been selected.
5 Insert the effect between INPUT 1 (GUITAR IN)
and channel 1.
• Select the “InsertTo: ” button and press the
[ENTER] key.
• For effect 1, use “SelectCh
“1.”
• After making the settings, select the “OK” button and press the [ENTER] key.
Input indicator SelectCh
6 Select the effect program.
• Access the [INSERT EFFECT] “InsEff1” tab
page.
• Select “Ef
dial to select the desired effect program.
Effect 1
fectNumber,” and rotate the [VALUE]
” to set the channel to
channel selection
44
7 As described in “1. Adjust the recording level,
and record” (→p.27), adjust the record level and
then record.
Applying an insert effect to a track during
playback
Here’s how an insert effect can be inserted into a mixer
channel, and applied to the track playback.
1 Select the track(s) that you wish to playback.
Press the [TRACK STATUS] key of one or more
recorded tracks to set their status to PLAY (LED lit
green).
2 Access the [INSERT EFFECT] “InsAss” tab page.
2. Master effects
The D12 contains two master effects (MstEff1 and
MstEff2) which can be used simultaneously. You can
adjust the send amount from each channel to change
the depth of the effect.
Basic operation
3 Select the “Assign: ” button, and press the
[ENTER] key. In the dialog box that appears,
select “PlayTrack (Trk).”
4 Select the “SelectEffType: ” button, press the
[ENTER] key, and select the effect type. (→p.44,
105)
5 Specify the channel into which the effect will be
inserted.
• Select the “InsertTo: ” button, and press the
[ENTER] key to open the dialog box.
• For each effect, rotate the [VALUE] dial to set
“SelectCh
• After making the settings, select the “OK” button and press the [ENTER] key.
6 Select an effect program.
• Use the [INSERT EFFECT] “InsEff1” or
“InsEff2” tab page to select the effect that you
wish to use.
• Select “Ef
dial to select the desired effect program.
7 Press the [PLAY] key to begin playback.
You can also select effect programs while you listen
to the playback.
” to the input (output) channel.
fectNumber,” and rotate the [VALUE]
How the master effects can be used
The master effects are used mainly for spatial processing (reverb etc.) to create an overall sense of depth and
balance.
For example, you could use send 1 for ReverbHall and
send 2 for ReverbRoom, in order to use the effects to
simulate a complex spatial environment.
In this way, you can combine two different effects to
produce results that would not be possible when using
only a single effect.
Using the master effects
1 Access the [MASTER EFFECT/AUX] “MstEff1” or
“MstEff2” tab page.
2 Select an effect program.
Select “Ef
dial to select the desired effect program.
3 Set the return level from the master effect to the
master LR, and set the return balance.
For this example, set “RetLev” (return level) to
“100,” and set “RetBal” (return balance) to “CNT.”
4 Adjust the send levels.
• Adjustments for Master Effect 1 are made in the
fectNumber,” and rotate the [VALUE]
“EffSnd1” tab page, and for Master Effect 2 in
the “EffSnd2” tab page.
Using effects
• Select the appropriate “Send” icon knob, and
rotate the [VALUE] dial to adjust the send
amount.
Play back to hear the output from master LR,
and audition the resulting effect.
• Adjust the return level and send level so that
CLP does not appear in the master effect level
meter.
45
3. Final effect
One stereo-in stereo-out effect is provided as the final
effect. It applies to the master LR output (→diagram on
preceding page).
The final effect is used mainly for dynamics processing
(compression etc.) to make the overall level more consistent.
During mixdown, you can use the final effect to apply
mastering effects such as a multi-band limiter, in order
to polish the mix for CD-quality results.
1 Access the [MASTER EFFECT/AUX] “FinalEff”
tab page.
2 Select an effect program.
Select “Ef
dial to select the desired effect program.
Play back, and listen to the output from master LR
to hear the result of the effect.
fectNumber,” and rotate the [VALUE]
4 View the effects and chain that make up the pro-
gram.
Select the “(EffectProgramName)” button and
press the [ENTER] key to access the “EffectAlgorithm” dialog box that displays the structure of that
effect program.
5 Turn individual effects on/off as desired.
Select the “(Effect On/Off)” button located below
each “(EffectIcon),” and press the [ENTER] key to
turn it “On” (highlighted) or “Off.”
6 Edit the settings of each effect.
• Select the “(EffectIcon)” button of the effect that
you wish to edit, and press the [ENTER] key.
The screen shown below is the dialog box when
“St.Dly” is selected.
• Select the parameter, and rotate the [VALUE]
dial to edit it. For details on each parameter,
refer to “Effect Parameter List” (→p.113–).
4. Editing an effect
You can edit (modify) the effect programs that are used
as insert effects, master effects, and final effects.
If you change the “Ef
power without saving, your edited effect settings
will be lost. If you wish to keep your edited settings, you must execute the Store operation.
1 Access the page for the effect that you wish to
edit.
This illustration shows the [INSERT EFFECT]
“InsEff1” tab page as an example.
2 Select an effect program.
Select “Ef
dial to select the desired effect program.
3 Listen to the sound produced by the effect pro-
gram.
Select the “Bypass” button and press the [ENTER]
key, and bypass will be turned “On” (i.e., the effect
will not be applied). Then select the “Cancel” button and press the [ENTER] key to turn bypass
“Off” (i.e., the effect will be applied). Compare the
effect and bypassed sounds.
fectNumber,” and rotate the [VALUE]
fectNumber” or turn off the
• You can use “Ef
dialog box to turn the effect on/off. This on/off
setting is linked with the “(Effect On/Off)” button of step 5. The setting of one will be
reflected by the other.
• After making settings, select the “OK” button
and press the [ENTER] key.
If you wish to edit another effect, select the
“(EffectIcon)” button, press the [ENTER] key,
and edit the parameters.
• In the “EffectAlgorithm” dialog box, select the
“OK” button and press the [ENTER] key.
7 Assign a name to the edited effect program.
• Select the “Rename” button and press the
[ENTER] key to access the “RenameEffect” dialog box. For details on the renaming procedure,
refer to “2. Naming a song” (→p.21).
• After assigning the name, select the “OK” button and press the [ENTER] key.
fect On/Off” in the top of the
46
8 Save the effect program.
• If the song is playing, press the [STOP] key to
stop it.
• Select the “Store” button, and press the [ENTER]
key to access the “StoreEffect” dialog box.
• Specify the number for storing, select the
“Exec.” button, and press the [ENTER] key to
save the effect program.
When you save the effect program, it will be overwritten onto that number, and the previous settings
of that number will be lost.
Controlling an effect from an
external device
You can use an expression pedal or external MIDI controller to control an insert effect in realtime.
For the effect parameters that can be controlled, refer to
“Effect Parameter List” (→p.113–)
1 Connect an expression pedal (separately sold
option: EXP-2 foot controller) or external MIDI
controller. (→p.17)
2 Select the external device that will control the
effect.
• Access the [SYSTEM] “Control” tab page.
• In “Device (CtrlChgDevice
you wish to use an expression pedal, or select a
MIDI message if you wish to control via MIDI.
(→p.75)
),” select “Pedal” if
Basic operation
• If you set “Device (CtrlChgDevice
trolled by a MIDI message other than “Pedal,”
you must set the [SYSTEM] “MIDI” tab page
“GlobalCh (GlobalChannel
the MIDI channel of the external MIDI device
that is transmitting the control messages.
3 Select the insert effect that you wish to control.
Use “Ass(#) (CtrlChgAssign
effect that will be controlled.
4 Select the effect program that you wish to control.
• In the [INSERT EFFECT] “InsEff1”–“InsEff4”
tab pages, choose the insert effect that you
selected in step 3.
• Select “Ef
dial to select the effect program.
If the selected effect includes a control function,
and the conditions allow the effect to be controlled, a “#” symbol will be added at the end of
the effect program name.
5 Specify the parameter to be controlled, and the
range of control.
• Select the “(Effect Program Name)” button and
press the [ENTER] key.
The “Effect Algorithm” dialog box that makes
up that effect program will appear.
fectNumber,” and rotate the [VALUE]
)” to select the insert
)” to be con-
)” setting to match
Using effects
47
• Select the “Cntrl Icon” button and press the
[ENTER] key to access the “ControlDevice” dialog box.
• Select “Param,” and rotate the [VALUE] dial to
select the parameter that you wish to control.
• Rotate the [VALUE] dial to specify the maximum value in “Max
in “Min
• When you have finished making settings, select
the “OK” button and press the [ENTER] key.
• In the “EffectAlgorithm” dialog box, select the
“OK” button and press the [ENTER] key.
If you wish to save the above settings, save your
data as described on p.46.
6 Operate the expression pedal or external MIDI
controller to control the effect.
.”
,” and the minimum value
Using an external effect
A send signal can be output from the [AUX OUT] jack,
and processed by an external effect. The output of the
external effect can then be returned to the [INPUT 1]–
[INPUT 4] jacks and sent to the desired channels or to
the master LR bus.
As an example, here’s how the playback sound can be
sent to an external effect, and returned to the master LR
bus via the [INPUT 3] and [INPUT 4] jacks.
1 Connect your external effect processor.
Connect the [AUX OUT] jack of the D12 to the
INPUT jack of your external effect processor, and
connect the OUTPUT jacks of the external effect
processor to the [INPUT 3] and [INPUT 4] jacks of
the D12.
2 Send the playback sound to the external effect.
• Access the [MASTER EFFECT/AUX] “AuxSend” tab page.
• Select “Aux” for the channel(s) that you wish to
send to the external effect, and rotate the
[VALUE] dial to adjust the send amount.
3 Input the audio from the external effect processor.
• Select the [INPUT] “Ch1–6” or “Ch7–12” tab
page.
• Select the “SubIn” button and press the
[ENTER] key to access the dialog box. Use the
“In3–4” “Fader” to adjust the return level, and
use “Balance” to adjust the return balance.
(→p.50, 102)
48
Step 9. Mixdown
You can use mixer settings such as EQ, faders, and
effects to adjust the audio from each recorded track,
and combine the result into two tracks to create your
own CD or record it on an external two-channel
recorder (DAT recorder, MD recorder, cassette recorder
etc.) to create a finished song. This process is called
mixdown.
1. Creating an audio CD
Here’s how you can use a CD-R/RW drive to create an
original CD from a song you recorded on the D12.
In order to create an audio CD, you will need the
same amount of free space on your hard disk as
occupied by the song you created (i.e., the total of
the two tracks). For example if you wish to create
an audio CD of a five-minute song, you will need
sufficient free space for ten minutes of monaural
recording.
1 Listen to the completed song.
Use the faders and knobs to adjust the volume and
pan of each track, and listen to the playback.
If you wish to enable the scenes you registered,
set the [SCENE] “ReadDel” tab page “SceneRead” parameter “On.”
2 Bounce your song to two tracks.
As described in “5. Combining multiple tracks into
two: Bounce” (→p.29), bounce the tracks of the
song to tracks 1 and 2.
If a song without a region of silence at the
beginning (at time zero) is written to CD, the
beginning of the sound may be omitted when
the CD is played back. In such cases, insert
approximately 0.5 seconds of silence into the
beginning of the audio data (time zero) when
you mix down to tracks 1/2. (→p.52, 82
“InsertTrack”)
3 Insert a disc into the internal CD-R/RW drive.
If you are using an external drive, refer to “3. Con-
necting external drives” (→p.67).
Set the external CD-R/RW drive to SCSI ID 6.
4 Access the [SONG] “CDR/RW” tab page.
Make sure that “CD-R/RW Information” indicates
either “BlankDisc” or “song number.”
5 Execute the write operation.
• Select the “WriteToCD” button and press the
[ENTER] key.
• Select the writing speed.
4X: Write at quadruple speed.
2X: Write at double speed.
If you use “4X” to write, you must use a drive
that supports 4X speed writing.
• A message of “Obey Copyright Rules” will
appear.
Carefully read the owner’s manual section “About
copyright” (→p.1). If you accept the terms, select
the “Yes” button for the “AreYouSure?” prompt,
and press the [ENTER] key.
Writing to the CD will begin.
While the data is being written, you can select
the “Abort” button and press the [ENTER] key
to halt the write operation. However, this will
result in an unfinished disc.
6 Complete the process.
When the data has been written, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
7 Verify the data that was written.
Select the button and press the
[ENTER] key to play back and check that the data
was written correctly.
In the case of a disc that has not yet been finalized, part of the very end of the song may not
be played.
Depending on the drive, it may not be possible
to play back the CD.
8 If you wish to write an additional song, repeat
steps 2 and 4–7. The song will be written following the last song on the CD-R/RW.
9 Finalize the disc.
If you wish to play back the newly created CD-R/
RW on an audio CD player, stop the D12, select the
“Final” button, and press the [ENTER] key to finalize the disc.
No more songs can be added to a disc that has
been finalized. This means that you should
execute the Finalize operation after you have
finished writing all the songs to that disc.
0 Play back the CD on your audio CD player to ver-
ify the disc.
In some cases, CD-R/RW media may not play back
on an audio CD player even if the recommended
media is used.
Since some audio CD players may not be able
to play back CD-RW media, we recommend
that you use CD-R media.
Basic operation
Mixdown
49
2. Recording to a master tape
1 Listen to the completed song.
Use the faders and knobs to adjust the volume and
pan of each track, and listen to the playback.
2 Connect your external recording device.
Refer to “Connections for mixdown” (→p.18).
3 Record on your external recording device.
• Playback the D12 song, and adjust the recording
level on your external recorder.
• Begin recording on your external recording
device, and playback the D12.
You can also use the Program Playback function to
play back songs consecutively in the desired order
(→p.33).
3. Using the sub inputs
You can use any of the analog inputs ([INPUT 1/GUITAR IN]–[INPUT 4]) as a sub input to send the audio
directly to the master bus.
• If you have synchronized a sequencer to the completed song, you can use this to input the sequenced
sounds via the sub inputs.
• You can use this to add the return audio from an
external effect processor connected to the [AUX
OUT] jack.
1 Connect the external audio source to the analog
inputs.
Input the external source to [INPUT 1/GUITAR
IN]–[INPUT 4].
2 Make sub input settings.
• Select the [INPUT] “Ch1–6” or “Ch7–12” tab
page.
• Select the “SubIn” button and press the
[ENTER] key to access the sub input setting
screen.
• Turn the “M (mute)” button “Off” for the connected input.
• Select the “Fader” icon and rotate the [VALUE]
dial to raise the value so that the audio signal
will be input.
• If the input is mono, select the “Stereo/Mono”
button and press the [ENTER] key to select
“Mono” so that the audio will be sent to both L
and R buses.
50
Step 10. Track editing
1. Track editing functions
The following functions are provided for track editing.
Copy Track: copy a track
Insert Track: insert a blank
Erase Track: erase a track
Delete Track: delete a track
Reverse Track: flip a track end-for-end
Optimize Track: optimize a track
Swap Track: exchange tracks
Expansion/Compression Track: expand or compress a
track
Copy Whole Track: copy an entire track
Swap Whole Track: exchange entire tracks
Fade Track: fade-in/fade-out
Normalize Track: optimize the level
In some cases, track editing functions may not be
usable if you have insufficient hard disk space. You
must allocate sufficient free space (equivalent to
the IN–OUT or TO–END time) for the track editing
operation.
Basic track editing procedure
1 Specify the region (time) that will be edited.
• In order to edit a track, you must first specify the
region (area of time) that will be edited.
• Move to the location that you wish to register.
• Press the [STORE] key, and then press one of the
following keys to register the corresponding
location.
[IN/LOC1] key: IN time
[OUT/LOC2] key: OUT time
[TO/LOC3] key: TO time
[END/LOC4] key: END time
The IN, OUT, TO, and END times are used as follows by each editing command.
How the editing commands use the IN, OUT, TO, and
END times
IN OUT TO END
Copy Track Copy source
Insert Trac k Blank insert
Erase T rac k Erase start
Delete T rac k Delete start
Swap T rac k Swap start
Reverse
Track
Optimize
Track
Expansion/
Compression T rac k
start time
start time
time
time
time
Reverse
start time
Optimize
start time
Expand/compress start
time
Copy source
end time
Blank insert
end time
Erase end
time
Delete end
time
Swap end
time
Reverse end
time
Optimize
end time
Expand/compress end
time
Copy destination start
time
– – –– – –
– – –– – –
– – –– – –
– – –– – –
Reversed
copy destination start time
– – –– – –
Expand/compress destination start
time and
expand/compress result
copy destination start time
– – –
– – –
Expand/compress destination end
time
IN OUT TO END
Fade Track Fade start
Normalize
Track
time
Normalize
start time
Fade end
time
Normalize
end time
– – –– – –
– – –– – –
Depending on the “EditType,” the “Wave” button
may appear, allowing you to view the waveform as
you specify the location more precisely. (→p.82)
2 Access the [TRACK] “EditTrk” tab page.
3 Select the type of operation that you wish to exe-
cute (copy, insert blank, etc.).
Select “EditType.” Select the area to the right of the
“ ” button, and rotate the [VALUE] dial to select
the desired editing operation.
Alternatively, you can select the “ ” button and
press the [ENTER] key to display “Select EditTrack
Type,” and select the type of editing.
4 Select the track(s) that you wish to edit.
The LCD screen will differ depending on the “EditType” selection. The screen shown in step 2 is
when “EditType” is set to “CopyTrack.”
For “CopyTrack,” use “SourceTrack” to specify the
copy source track, “DestTrack” to specify the copy
destination track, and “Times” to specify the number of copies.
You can use “Wave” to view the waveform as
you specify the editing region.
DestTrack TimesSourceTrack
5 Execute the selected track editing command.
Select the “Exec.” button and press the [ENTER]
key to execute the selected track editing command.
In the example shown in step 4, the data in the
IN–OUT region of track 1 will be copied three
times starting at the TO location of track 2.
Basic operation
Track editing
51
2. Track editing examples
Copying track data: Copy Track
The Copy Track command copies recorded track data
from the specified region (IN–OUT) to another location
(TO).
• You can copy the IN–OUT data not only once, but
multiple times in succession.
• You can copy not only a single track, but multiple
tracks simultaneously.
• By using the clipboard, you can copy track data to
another song.
This command can be used in ways such as the following.
• A phrase of several measures (such as a drum pattern) can be copied repeatedly to create track data
for the entire song.
• The first verse of a song can be copied, and used to
create the second verse.
• A favorite phrase can be recorded on a track, and
copied for use on another track or song.
Procedure for copying a track within the same song
Here’s how to copy the IN–OUT region of track 1 to the
TO location of track 2 for three times.
1 Register the IN, OUT, and TO times. (→p.97)
2 Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
DestTrack TimesSourceTrack
3 Select the copy source track number.
Set “SourceTrack” to track 1.
4 Select the copy destination track number.
Set “DestTrack” to track 2.
If you specify multiple tracks for the copy
source, you must specify the same number of
tracks for the copy destination.
5 Specify the number of times that the data will be
copied.
Set “Times” to 3.
6 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
The data will be overwritten onto the copy
destination track.
7 Verify the results.
Press the [TO/LOC3] key to play back from the TO
location, and verify that the copy was performed
correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Procedure for copying to a track in a different song
Here’s how to copy the IN–OUT region of song 001
track 1 to the TO location of song 002 track 2, once.
1 Select song 001.
2 Register the IN and OUT times. (→p.97)
3 Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
4 Select the copy source track number.
Set “SourceTrack” to track 1.
5 Select the copy destination track number.
Set “DestTrack” to “Clip.”
6 Execute the copy command.
Refer to step 6 of “Procedure for copying a track
within the same song.”
The data in the clipboard will be overwritten.
7 Select song 002.
8 Register the TO time location. (→p.97)
9 Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
0 Select the clipboard as the copy source track num-
ber.
Set “SourceTrack” to “Clip 1.” The number indicates the number of tracks in the clipboard.
A Select the copy destination track num.
Set “DestTrack” to track 2.
B Specify the number of times that the data will be
copied.
Set “Times” to 1.
C Execute the copy.
Refer to step 6 of “Procedure for copying a track
within the same song.”
The data will be overwritten onto the copy
destination track.
D Verify that the data was copied correctly.
Press the [TO/LOC3] key to play back from the TO
location, and verify that the copy was performed
correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
If you are using an external drive, the data in
the clipboard will be erased when you switch
drives.
Inserting a blank: Insert Track
The Insert Track command inserts a blank into the specified region (IN–OUT) of the recorded track data. Track
data located after the inserted blank will be moved
toward the end of the song.
• You can insert a blank into not only a single track,
but into multiple tracks simultaneously.
This command can be used in ways such as the following.
• When you wish to add a phrase in the middle of previously-recorded data, you can insert the appropriate length of blank space, and then record onto the
newly-created blank space.
52
Procedure for inserting a blank (Insert)
Here’s how to insert a blank into the IN–OUT region of
track 1.
1 Register the IN and OUT times. (→p.97)
2 Select the Insert command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “InsertTrack.”
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Verify the results.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was erased correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Basic operation
DestTrack
3 Select the number of the track into which you
wish to insert a blank.
Set “DestTrack” to track 1.
4 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Verify the results.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the blank was inserted correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Erasing data from a track: Erase Track
The Erase Track command erases the specified region
(IN–OUT) of recorded track data. When data is erased,
a blank space will be created in that region.
Unlike the Delete Track command, the data that
followed the OUT location will not be moved forward.
• You can erase data from not only one track, but from
the IN–OUT region of multiple tracks simultaneously.
Procedure for erasing track data (Erase)
Here’s how to erase the IN–OUT region of track 1.
1 Register the IN and OUT times. (→p.97)
2 Select the Erase command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “EraseTrack.”
Deleting track data: Delete Track
The Delete Track command deletes data from the specified region (IN–OUT) of recorded track data. When
data is deleted, the data that followed (i.e., the data
after the OUT location) will be moved toward the
beginning of the song.
• You can delete data from not only one track, but
from the IN–OUT region of multiple tracks simultaneously.
Procedure for deleting track data (Delete)
Here’s how to delete the IN–OUT region of track 1.
1 Register the IN and OUT times. (→p.97)
2 Select the Delete command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “DeleteTrack.”
DestTrack
3 Select the number of the track from which you
wish to delete data.
Set “DestTrack” to track 1.
4 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Verify the results.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was deleted correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Track editing
DestTrack
3 Select the number of the track from which you
wish to erase data.
Set “DestTrack” to track 1.
4 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
Reversing track data: Reverse Track
The Reverse Track command copies a reversed version
of the specified region (IN–OUT) of recorded track data
to the TO location of another track.
• The IN–OUT region can be copied not just once, but
multiple times in succession.
• Data can be copied not only from one track, but from
multiple tracks simultaneously.
53
Procedure for reversing track data (Reverse)
Here’s how to reverse the IN–OUT region of track 1,
and copy it three times to the TO location of track 2.
1 Register the IN, OUT, and TO times. (→p.97)
2 Select the Reverse command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “ReverseTrack.”
DestTrack TimesSourceTrack
3 Select the reverse source track number.
Set “SourceTrack” to track 1.
4 Select the reverse destination track number.
Set “DestTrack” to track 2.
5 Specify the number of times the data will be cop-
ied.
Set “Times” to 3.
6 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
7 Verify the results.
Press the [TO/LOC3] key to play back from the TO
location, and verify that the data was edited correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
Optimizing track data: Optimize Track
This command optimizes the specified region (IN–
OUT) of recorded track data.
If recording or editing has been performed repeatedly
in short lengths of time so that the data has become
fragmented, the disk will have to be accessed more frequently, which may cause skips in the sound or indications of “DiskBusy” and failure to play back. If this
occurs, you can optimize the area of fragmented data so
that playback can occur normally.
Procedure for optimizing track data (Optimize)
Here’s how to optimize the IN–OUT region of track 1.
1 Register the IN and OUT times.
Register the IN location slightly earlier than the
point where the “DiskBusy” indications begin to
appear, and register the OUT location at the point
where these indications stop appearing. (→p.97)
2 Select the Optimize command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “OptimizeTrack.”
DestTrack
3 Select the number of the track that you wish to
optimize.
Find the track whose data you believe to be fragmented (in this example we will use track 1), and
set “DestTrack” to track 1.
4 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Verify the results.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the playback is correct,
without any indications of “Disk Busy.”
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
Swapping track data: Swap Track
This command exchanges (swaps) the specified region
(IN–OUT) of recorded track data with the same region
of another track.
• Data can be swapped not only between single tracks,
but also between multiple tracks simultaneously.
Procedure for swapping track data (Swap)
Here’s how to exchange the IN–OUT regions of track 1
and track 2.
1 Register the IN and OUT times. (→p.97)
2 Select the Swap command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “SwapTrack.”
DestTrackSourceTrack
3 Select the swap source track number.
Set “SourceTrack” to track 1.
4 Select the swap destination track number.
Set “DestTrack” to track 2.
5 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
54
6 Verify that the data was exchanged correctly.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was exchanged
correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Expanding or compressing a track: Expansion/Compression Track
This command expands or compresses the specified
region (IN–OUT) of recorded track data into the specified region (TO–END) of a specified track.
• The original data is left unchanged, and the timeexpanded/compressed result is created in another
track.
• You can select whether or not the pitch will be converted.
• Not only a single track, but multiple adjacent tracks
of data can be converted simultaneously.
• The converted data can be copied multiple times in
succession.
This command can be used in ways such as the following.
• Drum loops of different tempo can be changed to the
same tempo.
• Phrases can be made to fit into a specific time length.
Procedure for expanding (Expansion) or compressing
(Compression) track data and copying it
Here’s how the IN–OUT range of track 1 can be converted to the length of the TO–END range of track 2,
and copied there three times.
1 Register the IN, OUT, TO, and END times.
(→p.97)
2 Select the expansion/compression command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “Exp/CompTrack.”
6 Specify the number of times that the data will be
copied.
Set “Times” to 3.
7 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
8 Verify that the data was processed correctly.
Press the [TO/LOC3] key to play back from the TO
location, and verify that the data was expanded/
compressed correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
Copying an entire track/Copying to a
V-track: Copy Whole Track
This command copies an entire recorded track (from
beginning to end) to a different entire track.
• You can copy not only one track, but multiple tracks
simultaneously.
• The currently selected virtual track can be copied to
multiple other virtual tracks.
This command can be used in ways such as the following.
• The same track can be copied to multiple virtual
tracks, and used to create multiple takes that are partially different.
Procedure for copying an entire track
Here’s how track 1 can be copied to V-track “a” (=currently selected) of track 2.
1 Select the Copy Whole command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyWholeTrack.”
Basic operation
DestTrack TimesSourceTrack
3 Select the expansion/compression mode.
Select the “Mode” button and press the [ENTER]
key to access the dialog box.
For this example, select “Fast” and “Fixed.” Then
select the “OK” button and press the [ENTER] key
to return to the [TRACK] “EditTrk” tab page.
4 Select the expansion/compression source track
number.
Set “SourceTrack” to track 1.
5 Select the expansion/compression destination
track number.
Set “DestTrack” to track 2.
DestTrack DestVTrackSourceTrack
Track editing
2 Select the copy source track number.
Set “SourceTrack” to track 1.
3 Select the copy destination track number.
Set “DestTrack” to track 2.
4 Select the copy destination V-track.
Set “DestVTrack” to V-track “a.”
5 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
55
6 Verify that the data was copied correctly.
Play back from the beginning of the song, and verify that the data was copied correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Procedure for copying to a V-track
Here’s how V-track “a” (=currently selected) of track 1
can be copied to V-track “b” of track 1.
1 Verify the copy destination.
In the [TRACK] “Vtr1–6” tab page, make sure that
track 1 V-track “b” is blank or is a track that may be
erased (overwritten). After you verify this, you
must return the setting to “a.” (→p.81)
2 Select the Copy Whole command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyWholeTrack.”
3 Select the copy source track number.
Set “SourceTrack” to track 1.
4 Select the copy destination track number.
Set “DestTrack” to track 1.
5 Select the copy destination V-track.
Set “DestVTrack” to V-track “b.”
6 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
7 In the [TRACK] “Vtr1–6” tab page, select V-track
“b” for track 1.
8 Verify that the data was copied correctly.
Play back from the beginning of the song, and verify that the data was copied correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
In this case, you must return track 1 to V-track “a.”
Exchanging entire tracks/V-tracks: Swap
Whole Track
This command exchanges (swaps) the data of an entire
recorded track (from beginning to end) with the data of
another entire track.
• Not only individual tracks, but multiple tracks can
be swapped simultaneously.
This command can be used in ways such as the following.
• Recorded tracks can have their numbers re-ordered
by type.
• Data that is scattered across different V-tracks can be
rearranged into V-track “a” etc.
Procedure for exchanging an entire track
Here’s how track 1 can be exchanged with the currently
selected V-track “a” of track 2.
1 Select the Swap Whole command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “SwapWholeTrack.”
DestTrack DestVTrackSourceTrack
2 Select the swap source track number.
Set “SourceTrack” to track 1.
3 Select the swap destination track number.
Set “DestTrack” to track 2.
4 Select the swap destination V-track.
Set “DestVTrack” to V-track “a.”
5 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
6 Verify that the data was exchanged correctly.
Play back from the beginning of the song, and verify that the data was exchanged correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
Procedure for exchanging with a V-track
Here’s how currently selected V-track “a” of track 1 can
be exchanged with V-track “b” of track 1.
1 Verify the copy destination.
In the [TRACK] “Vtr1–6” tab page, make sure that
track 1 V-track “b” is the track that you wish to
exchange. After you verify this, you must return
the setting to “a.” (→p.81)
2 Select the Swap Whole command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “SwapWholeTrack.”
3 Select the swap source track number.
Set “SourceTrack” to track 1.
4 Select the swap destination track number.
Set “DestTrack” to track 1.
5 Select the swap destination V-track.
Set “DestVTrack” to V-track “b.”
6 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
7 In the [TRACK] “Vtr1–6” tab page, select V-track
“b” for track 1.
8 Verify that the data was exchanged correctly.
Play back from the beginning of the song, and verify that the data was exchanged correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
In this case, you must return track 1 to V-track “a.”
56
Fading-in/fading-out: Fade Track
This command fades-in or fades-out the specified
region (IN–OUT) of recorded track data. By using fadein and fade-out in conjunction with each other, you can
create cross-fades.
• You can fade-in or fade-out the IN–OUT region.
• Not only a single track, but multiple tracks of data
can be faded in or out simultaneously.
Procedure for fading-in
Here’s how to fade-in the IN–OUT region of track 1.
1 Register the IN and OUT times.
Register the start and end times of the desired fade-
in. (→p.97)
2 Select the fade-in command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “FadeTrack.”
DestTrack
3 Select the fade-in curve.
Select the “Mode” button and press the [ENTER]
key to access the dialog box.
For this example, select the “A” curve, select the
“OK” button and press the [ENTER] key to return
to the [TRACK] “EditTrk” tab page.
4 Select the fade-in destination track number.
Set “DestTrack” to track 1.
5 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
6 Verify that the data was faded correctly.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was faded-in correctly. You can use Undo to return to the state
before executing the command.
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
Procedure for fading-out
Here’s how to fade-out the IN–OUT region of track 1.
1 Register the IN and OUT times.
Register the start and end times of the desired fade-
out. (→p.97)
2 Select the fade-out command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “FadeTrack.”
3 Select the fade-out curve.
Select the “Mode” button and press the [ENTER]
key to access the dialog box.
For this example, select the “D” curve, select the
“OK” button and press the [ENTER] key to return
to the [TRACK] “EditTrk” tab page.
4 Select the fade-out destination track number.
Set “DestTrack” to track 1.
5 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
6 Verify that the data was faded correctly.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was faded-out
correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
Boosting to the optimal level: Normalize
Track
This command boosts the specified region (IN–OUT) of
track data that was recorded at a lower than optimal
level, so that the level is raised to the maximum volume
without clipping.
• The peak of the audio data in the IN–OUT region is
detected, and the audio level of the IN–OUT region
is boosted so that the peak reaches the maximum
allowable level.
• You can normalize either a single track, or adjacent
tracks simultaneously.
If data recorded at an extremely low level is normalized, any noise included in that region will also
be boosted.
Procedure for normalizing
Here’s how to normalize the IN–OUT region of track 1.
1 Register the IN and OUT times.
Register the start and end times of the region you
wish to normalize. (→p.97)
2 Select the normalize command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “NormalizeTrack.”
Basic operation
Track editing
57
DestTrack
3 Select the normalize destination track number.
Set “DestTrack” to track 1.
4 Execute the editing command.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?,” so select
the “Yes” button and press the [ENTER] key to execute the command.
When processing is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Verify that the data was processed correctly.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the data was normalized
correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
The longer the specified range (IN–OUT), the
longer this command will take to process until the
“Completed” display appears.
58
Step 11. Song editing
On the D12, songs can be edited in the following ways.
Undo is not available for song editing.
1. Song editing procedure
Basic procedure for editing a song
1 Select the song (or in the case of “CopyAllSongs”,
the drive) that you wish to edit.
2 Access the [SONG] “EditSong” tab page.
3 Select the disk drive type of editing operation,
such as Copy or Delete.
Select the “EditType.” Select the field at the right of
the “ ” button, then press the [ENTER] key and
rotate the [VALUE] dial to specify the desired type
of editing operation.
Alternatively, you can select the “ ” button and
press the [ENTER] key to display “Select Edit Song
Type,” and select the desired type of editing operation.
4 Select the song that you wish to edit.
The LCD display will differ for each “EditType.”
The screen shown in step 2 is what will appear
when “Edit Type” is set to “CopySong.”
In the case of the “CopySong” operation, the copy
source song you selected in 1 will be displayed in
“Source Song.” Use “Drive” to specify the copy
destination drive, and “DestSong” to specify the
copy destination song.
Basic operation
2. Examples of song editing
Copying a song
This command copies the currently selected song to a
song number in the specified drive.
• You can use this to save a backup of your song on a
different hard disk drive.
• You can use this when creating different mixes or
arrangements of the same song.
1 Select the copy source song (“SourceSong”).
(→p.22)
2 Select the Copy Song command.
In the [SONG] “EditSong” tab page, set “EditType”
to “CopySong.”
DestTrackSourceTrack
3 Verify the song to be copied.
Make sure that the copy source song is selected in
“SourceSong.”
4 Select the copy destination drive.
Select the “Drive” button and press the [ENTER]
key. In the dialog box, select the copy destination
drive. Then select the “OK” button and press the
[ENTER] key.
5 Select the copy destination song number.
Use “DestSong” to select the copy destination song
number.
6 Execute the editing operation.
Select the “Exec.” button and press the [ENTER]
key. In response to the “AreYouSure?” display,
select the “Yes” button and press the [ENTER] key
to execute the operation.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
5 Execute the specified song editing operation.
Select the “Exec.” button and press the [ENTER]
key to execute the specified song editing operation.
In the example of the screen shot printed above,
song 1 of the internal hard disk will be copied to
song 2. The previous song 2 and subsequent songs
will be renumbered upward.
Moving a song
This command moves the currently selected song to
another song number in the same drive.
• You can use this to change the order of songs.
1 Select the song that you wish to move (“Source-
Song”). (→p.22)
2 Select the Move Song command.
In the [SONG] “EditSong” tab page, set “EditType”
to “MoveSong.”
Song editing
59
DestSongSourceSong
3 Verify the song to be moved.
Make sure that the move source song is selected in
“SourceSong.”
4 Select the move destination song number.
Use “DestSong” to select the move destination
song number.
5 Execute the editing operation.
Select the “Exec.” button and press the [ENTER]
key. In response to the “AreYouSure?” display,
select the “Yes” button and press the [ENTER] key
to execute the operation.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
Deleting a song
This command deletes the selected song.
1 Select the song that you wish to delete (“Dest-
Song”). (→p.22)
2 Select the Delete Song command.
In the [SONG] “EditSong” tab page, set “EditType”
to “DeleteSong.”
2 Select the Protect Song command.
In the [SONG] “EditSong” tab page, set “EditType”
to “ProtectSong.”
DestSong
3 Make sure that the song that you wish to protect
is selected in “DestSong.”
4 Turn protect on/off.
Select the “Exec.” button and press the [ENTER]
key. The protect “On” setting is indicated by a lock
icon. To turn the setting on/off, select the “Exec.”
button and press the [ENTER] key.
Copying all songs in a drive
This command copies all songs of the drive that contains the currently selected song.
1 Select the copy source drive. (→p.22)
2 Select the Copy All Songs command.
In the [SONG] “EditSong” tab page, set “EditType”
to “CopyAllSongs.”
DestSong
3 Verify the song to be deleted.
Make sure that the song that you wish to delete is
selected in “DestSong.”
4 Execute the editing operation.
Select the “Exec.” button and press the [ENTER]
key. In response to the “AreYouSure?” display,
select the “Yes” button and press the [ENTER] key
to execute the operation.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
Protecting a song
This command protects the currently selected song so
that it cannot be written or deleted.
If the protect setting is turned on for a song, an error
message will appear if you attempt to record that song.
It will not be possible to modify any of the parameters
of that song.
• Use this command to avoid accidentally modifying a
completed song.
1 Select the song that you wish to protect (“Dest-
Song”). (→p.22)
DestDriveSourceDrive
3 Verify the copy source drive.
Make sure that the copy source drive number is
selected in “SourceDrive.”
4 Select the copy destination drive.
Select the “Drive” button, press the [ENTER] key,
and select the copy destination drive in the dialog
box. Then select the “OK” button and press the
[ENTER] key.
5 Execute the editing operation.
Select the “Exec.” button and press the [ENTER]
key. In response to the “AreYouSure?” display,
select the “Yes” button and press the [ENTER] key
to execute the operation.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
60
Step 12. Rhythm/tempo settings
The D12 contains numerous rhythm patterns for a vari-
ety of time signatures (→p.142 “Rhythm Pattern List”).
When you have a sudden idea for a song, you can
record your performance immediately, using the builtin rhythms as a guide.
By joining various rhythm patterns, you can also create
drum patterns for an entire song.
1. Specifying and playing a rhythm
● Access the [TEMPO/RHYTHM] “SetUp” tab
page.
The settings described below are made in this page.
Turning the rhythm on/off
● Select the “Rhythm” button and press the
[ENTER] key to turn it “On” (highlighted).
The [TEMPO/RHYTHM] button will light, and the
rhythm will sound during playback or recording.
If you do not want to hear the rhythm during playback or recording, turn the “Rhythm” button
“Off.”
Adjusting the rhythm volume
● Select the “RhythmVol (Vol),” and rotate the
[VALUE] dial to adjust the volume.
Setting the tempo and time signature
1 Select the “TempoSource,” and select the tempo
source.
For this example, we will select “Manual” which
will use a single tempo, time signature, and rhythm
pattern.
You can also select the “ ” button, press the
[ENTER] key, and select from a list.
If you wish to change the tempo, time signature,
and rhythm pattern during the song, you must cre-
ate a Tempo Map. (→p.62)
2 Select the“T
to adjust the tempo.
3 Select the “Beat
set the time signature.
Selecting the rhythm pattern
● Select “SelRhythm,” and rotate the [VALUE] dial
to select the rhythm pattern that you wish to use.
You can also select the “ ” button, press the
[ENTER] key, and select from a list.
empo,” and rotate the [VALUE] dial
,” and rotate the [VALUE] dial to
2. Recording your performance
while you listen to the rhythm
You can record your performance while listening to the
built-in rhythm as a guide.
1 Make settings as described in “1. Specifying and
playing a rhythm.”
• Turn “Rhythm” “On.”
• Make other settings as necessary.
2 Connect your input device, and begin recording.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
When you press the [REC] key to enter recordready mode, the rhythm will begin sounding.
Recording will begin when you press the [PLAY]
key. You will hear the selected rhythm pattern.
Begin performing, using the rhythm as a guide.
3. Recording the rhythm
Built-in rhythm patterns can be recorded on a track.
As an example, here’s how the rhythm pattern can be
recorded on mixer channels 1 and 2.
1 Make settings as described in “1. Specifying and
playing a rhythm.”
• Turn “Rhythm” “Off.”
If this is turned on, the sound will be output in
duplicate to the track and also to the master LR
bus.)
• To set the volume, use the mixer channel that
you are inputting. Since “RhythmV
adjusts the send volume to the master LR bus,
you do not need to set it.
• Make other settings as necessary.
2 Specify the input channels.
• Select the [INPUT] “Ch1–6” tab page.
• Select the “Ch1” icon, and rotate the [VALUE]
dial to select “Rhythm L.” In the same way, set
“Ch2” to “Rhythm R.”
3 Check the record mode.
• Select the [RECORD] “RecMode” tab page.
• Select “Input” (= record the input).
4 Specify the recording tracks.
Press [TRACK STATUS] keys for tracks 1 and 2 to
set them to REC (LED lit red).
5 Adjust the recording level, and record.
Use the [CHANNEL] faders of tracks 1 and 2 to
adjust the level appropriately.
ol (Vol)”
Basic operation
Rhythm/tempo settings
61
4. Setting the tempo
The tempo of a song can be controlled by the following
tempo sources.
• Manual tempo
• Tempo map
• Tempo track (MIDI clock or tap tempo)
You can select one of these sources and use it to control
the tempo of the song as well as to control the tempo of
an external MIDI device that is synchronized to the
D12.
● The tempo source is selected by the [TEMPO/
RHYTHM] “SetUp” tab page item “T
Source.”
SelRhythm Tempo BeatTempoSource
Here’s how you can make settings for each tempo
source.
Manual tempo
Manual tempo follows the tempo settings of “Tempo,”
the time signature of “Beat
“SelRhythm
the song.
● Set the tempo source to Manual.
• Select the [TEMPO/RHYTHM] “SetUp” tab
• Select the “T
.” The tempo etc. will not change during
page.
[VALUE] dial to select “Manual.”
For details on setting “T
“SelRhythm
ing a rhythm” (→p.61).
,” and the rhythm pattern of
empoSource,” and rotate the
empo,” “Beat,” and
,” refer to “1. Specifying and play-
Tempo map
Tempo maps let you specify the tempo, time signature,
and rhythm pattern for each measure. The tempo, time
signature, and rhythm pattern will change at the specified measure locations.
1 Set the Tempo Map as the tempo source.
• Access the [TEMPO/RHYTHM] “SetUp” tab
page.
• Select the “T
[VALUE] dial to select “TempoMap.”
2 Set tempo map “001” to specify the initial tempo
at the beginning of the song.
There are two types of tempo map: tempo map
“001” sets the initial tempo at the beginning of
the song, and tempo maps “002”–“200” modify the tempo in subsequent measures.
empoSource,” and rotate the
empo-
• Access the [TEMPO/RHYTHM] “TmpMap” tab
page.
• Select the “T
dial to select tempo map “001.”
• Select the “Edit” button to access the “Select
TempoMap001 Param” dialog box.
• Select the tempo in “Tempo,” the time signature
in “Beat,” and the rhythm pattern in “Rhythm.”
It is not possible to change the starting location
(Start Measure) of tempo map “001.”
Only the ending location (End Measure) can be
changed.
• When you have finished making settings, select
the “OK” button and press the [ENTER] key.
3 Add tempo maps as desired to change the tempo,
time signature, or rhythm pattern as the song
progresses.
• Select the “New” button and press the [ENTER]
key so that the display reads “Select
TempoMap002 Param.”
• Set “Meas” to the first measure (Start Measure)
and last measure (End Measure) for which the
new tempo map will be created. Set the tempo
in “Tempo,” the time signature in “Beat,” and
the rhythm pattern in “Rhythm.” So that this
tempo map will be added by overwriting, turn
the “Insert” button “Off.”
• Select the “OK” button and press the [ENTER]
key to add the tempo map.
The map numbers will automatically be renumbered from front to back.
By adding tempo maps and using “Rhythm
change the rhythm pattern, you can create drum
patterns for an entire song, including an intro, fillin, and ending.
empoMap,” and rotate the [VALUE]
” to
Deleting/modifying a tempo map
You can delete an unwanted tempo map, or modify the
measure location or tempo etc. of a tempo map.
1 Select the tempo map that you wish to delete or
modify.
• Access the [TEMPO/RHYTHM] “TmpMap” tab
page.
• Select “T
dial to select the appropriate tempo map.
2 Delete or modify the tempo map.
•To delete, select the “Delete” button and press
the [ENTER] key. A message of “AreYouSure?”
will ask you to confirm.
empoMap,” and rotate the [VALUE]
62
Select the “OK” button and press the [ENTER] key,
and the tempo map you selected in step 1 will be
deleted. If you turn the “SelectAll” button “On”
(highlighted), all tempo maps other than “001” will
be deleted.
Undo is not available for this operation.
•To modify the settings, select the “Edit” button
and press the [ENTER] key to access the dialog
box. Modify the parameter settings as desired.
Tempo track
The tempo track records MIDI clock data from an external device such as a MIDI sequencer, or records tap
tempo.
Recording MIDI clock data from an external MIDI
sequencer, and using it as the tempo track
Here’s how MIDI clock tempo data from an external
MIDI sequencer can be recorded on the tempo track.
Use this when you wish to synchronize the D12 song
with song data created on a MIDI sequencer in which
the tempo changes continuously.
1 Specify the time signature of the song.
If the time signature of the MIDI sequencer song
data changes during the song, you should create
tempo maps at the locations where the time signa-
ture changes. (→“Tempo map”)
If the time signature changes during the song, it
will be detected as an incorrect tempo unless you
have created a tempo map that matches the
changes in time signature. There is no need to specify the tempo.
2 Connect the MIDI OUT of your MIDI sequencer
to the [MIDI IN] connector of the D12.
3 Make settings on your MIDI sequencer so that it
will transmit MIDI clock messages.
Refer to the owner’s manual for your MIDI
sequencer.
4 Specify how tempo will be recorded.
In the [TEMPO/RHYTHM] “TmpTrk” tab page,
select “MIDI Clock.”
5 Record the MIDI clock data.
• Select the “RecStart” button and press the
[ENTER] key to put the D12 in record-ready
mode.
• Start your MIDI sequencer.
• When MIDI clock messages are received from
the MIDI sequencer, the display will indicate
“ReceivingMIDIClock.”
6 When the MIDI sequencer finishes playing back,
stop the MIDI sequencer.
The D12 will stop recording, and will display
“Complete.” Select the “OK” button and press the
[ENTER] key.
7 Select the tempo track as the tempo source.
• Select the [TEMPO/RHYTHM] “SetUp” tab
page.
• Select “T
dial to select “TempoTrk.”
If MIDI clock messages cannot be received correctly from the MIDI sequencer, tempo recording
may end prematurely.
empoSource,” and rotate the [VALUE]
Tap tempo
While playing back a song, you can press (tap) the
[PLAY] key at the beginning of each measure or beat to
record a tempo. Alternatively, you can use a foot switch
(separately sold option) instead of the [PLAY] key.
Tap tempo can be used to record the tempo after you
have recorded a song. By recording the tempo afterward for a song that contains no tempo settings, you
can do the following things.
• Edit tracks in units of a measure
• Synchronize external MIDI devices
1 Prepare the audio for which you wish to record
the tempo.
First, the audio for which you wish to record tempo
data must be recorded from the beginning of the
song.
Trigger recording is a convenient way to record
from the beginning of the song. (→p.31)
2 Specify the time signature of the song.
If the song whose tempo you wish to record has a
time signature that changes during the song, you
must create a tempo map at each location where
the time signature changes. (→“Tempo map”)
If the time signature changes during the song, it
will be detected as an incorrect tempo unless you
have created tempo maps that match the changes
in time signature. There is no need to specify the
tempo.
3 If you wish to use a foot switch to input the tap
tempo, connect a foot switch such as the PS-1
(separately sold option) to the [FOOT SWITCH]
jack of the D12.
4 Select the tempo recording method.
In the [TEMPO/RHYTHM] “TmpTrk” tab page,
select either “MeasTap” (tap at the beginning of
each measure), or “BeatTap” (tap at the beginning
of each beat).
Basic operation
Rhythm/tempo settings
63
5 Record the tap tempo.
• Select the “RecStart” button and press the
[ENTER] key to put the D12 in record-ready
mode.
• Press either the [PLAY] key or the foot switch,
and playback and recording will begin simultaneously.
• While listening to the playback, press either the
[PLAY] key or the foot switch at the intervals
you selected in step 4, to record the tap tempo.
A counter will be displayed while tempo is
being recorded.
When pressing the [PLAY] key to record taps, do
not strike the key with excessive force. Doing so
may cause the hard disk or other components to
malfunction.
6 Stop recording.
After entering the last tap, press the [STOP] key to
end.
For example if you are recording four measures of
4/4 time, you would tap 4 times for “MeasTap” or
16 times for “BeatTap,” and press the [STOP] key at
the beginning of measure 5.
If you input taps only part-way through the song,
the tempo of the last-input measure or beat will be
automatically copied until the end of the song.
7 Select the tempo track as the tempo source.
• Access the [TEMPO/RHYTHM] “SetUp” tab
page.
• Select “T
dial to select “TempoTrk.”
empoSource,” and rotate the [VALUE]
64
Step 13. Saving your data
A word about data
There is always a remote possibility that the D12 will
malfunction, causing errors in the data or loss of
data. If the D12 malfunctions, recorded data or other
types of data may be lost. Please copy or back up
your important data on an external drive such as a
hard disk or removable disk.
Korg disclaims all responsibility for any damages
that may result from loss of data.
The D12 has an Auto Save function that automatically
saves the song that you recorded or edited, together
with its parameters, whenever you change songs or
turn off the power. This means that there is no particular need for you to save your data manually. (You will
need to save effect settings after editing an effect program.)
The save operations explained here assume that you
wish to save the song to an external disk, for example in
order to save important data on an external disk, or to
transfer data from the internal hard disk to an external
disk so that data can be deleted from the internal hard
disk to free up more space.
When saving a song on an external disk, you can select
from the following methods.
• Copy Song, Copy All Songs
• Backup 1 Song, Backup All Songs
Copy and Backup differ in the following ways.
Copy Song, Copy All Songs
• A copied song can be directly played back
• The songs in the save destination are not erased
• Song data exceeding the disk capacity cannot be
saved
• Songs can be saved on hard disk or removable disk
• Initialization/formatting is necessary when using a
disk for the first time
• Effect user data cannot be saved
Backup 1 Song, Backup All Songs
• A backed up song cannot be directly played back
(the song must be Restored before it can play back)
• All songs in the save destination are erased
• Song data exceeding the disk capacity can be backed
up using multiple removable disks
• Songs can be saved only on removable disk
• Initialization/formatting is not necessary when
using a disk for the first time
• Effect user data can be saved
When saving a song on an external removable disk,
refer to the above table to see whether you should
select Copy or Backup. If the size of the song to be
saved exceeds the capacity of the disk, you should
select Backup.
If you use Copy to save a song, and then subsequently modify and re-save the user effect settings
that were used by that song, the modified effect settings will be used the next time you play the copied
song, meaning that it will not sound the same. To
avoid this situation, you should use Backup
instead of Copy. Alternatively, you could use Copy,
but backup the user effects separately by using the
Backup User Data command.
1. Copy Song, Copy All Songs
You can use the “CopySong” command to copy the
currently selected song, or the “CopyAllSongs” com-
mand to copy all songs of the currently selected drive.
For the copy procedure, refer to “CopySong” (→p.59)
or “CopyAllSongs” (→p.60).
To restore a copied song to the internal hard disk,
select the copied song on the external hard disk as the
copy source, and select the internal hard disk as the
copy destination. Then execute “CopySong” or “CopyAllSongs.”
Undo is not available for these operations.
Before using a disk for the first time, you must ini-
tialize/format the disk. (→p.67)
2. Backup/Restore
Backup
You can use the “Backup1Song” command to back up
the currently selected song, the “BackupAllSongs”
command to back up all songs of the currently selected
drive, or the “BackupUserData” command to back up
the current user effect settings.
The user effect settings will always be backed up when
you execute the “Backup1Song” command or the
“BackupAllSongs” command.
Backup always overwrites the entire backup destination drive.
It is not necessary to format the disk.
If the amount of data to be backed up will not fit on
a single disk, making it necessary to use multiple
volumes of media, you must use media of the same
capacity.
Basic operation
Saving your data
65
Backup procedure
1 Insert a disk into the backup destination drive.
2 Select the backup source drive.
Use the [SONG] “SelSong” tab page to select the
backup source drive.
If you are using “Backup1Song,” select a song in
that drive. Select the song as described in “3. Select-
ing another song” (→p.22), and then use the [SYS-
TEM] “B–U/Rest” tab page “Source” to verify the
backup source song number.
Restore procedure
1 Select the restore destination drive.
Use the [SONG] “SelSong” tab page or the [SYSTEM] “DiskUtil” tab select the restore destination
drive.
2 Select the Restore operation.
In the [SYSTEM] “B–U/Rest” tab page, set “B–U/
RestType” to “Restore.”
DestinationSource
DestinationSource
3 Use “B–U/RstT
4 Select the backup destination drive (“Destina-
tion”).
Select the “Drive” button and press the [ENTER]
key to access the dialog box. Select the drive, select
the “OK” button and press the [ENTER] key.
5 Prepare the disk(s).
The “Backup1Song” and “BackupAllSongs” commands will indicate the number of disks required
for the backup. Make sure that you have the
required number of disks.
When using multiple disks, we recommend
that you number each disk beforehand.
6 Execute the backup.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?”, so select
the “Yes” button and press the [ENTER] key to execute the operation.
7 Exchange disks as necessary.
If multiple disks are necessary in step 5, a dialog
box will ask you for the next disk when each disk
fills up. Insert the next disk, select the “OK” button
and press the [ENTER] key.
8 When the operation is finished, the display will
indicate “Completed.” Select the “OK” button
and press the [ENTER] key.
ype” to select the backup type.
Restore
By using the Restore command, previously backed-up
data can be recalled from a list so that it can be played
and edited.
When restoring data of all songs (“BackupAllSongs”)
or one song (“Backup1Song”), you can select whether
or not you wish to overwrite the current user effect
data.
You can also restore a specific individual song from the
songs that were backed up by “BackupAllSongs.”
3 Insert the disk into the restore source drive.
4 Select the restore source drive (“Source”).
Select the “Drive” button and press the [ENTER]
key to access the dialog box. Select the drive, select
the “OK” button and press the [ENTER] key.
5 Select the backup source song (“Source
In the case of a disk that was backed up using
“BackupAllSongs,” you can select whether to
restore all songs or just a single song. Use “Sour
to select the song that you wish to restore. To
restore all songs, choose “SelectAll” in the dialog
box.
6 If you are restoring a single song, select the
restore destination song (“Destination
7 Execute the restore operation.
Select the “Exec.” button and press the [ENTER]
key. In response to the “AreYouSure?” confirmation, select the “Yes” button and press the [ENTER]
key to execute the operation.
If you are restoring from a backup that extended
across multiple disks, you will be asked for the
next disk when the data has been restored from the
current disk. Insert the next disk, select the “OK”
button and press the [ENTER] key.
8 Specify whether the effect user data will be
restored.
After the song data has been restored, the
“RestoreUserData” message will appear, asking
you whether the current user data should be overwritten by the user data that was saved at the time
of the backup. If you wish to overwrite the current
data, select the “Yes” button. If not, select the “No”
button. Then press the [ENTER] key.
If the current data is overwritten, it will be lost.
9 When the operation is completed, the display will
indicate “Completed.” Select the “OK” button
and press the [ENTER] key.
”).
ce”
”).
Backup and restore using a CD-R/RW
The optional internal CD-RW drive or an external CDR/CD-RW drive connected to the [SCSI] connector can
be used to backup and restore D12 song data.
66
3. Connecting external drives
Here’s how to connect external drives such as hard
disks, removable disks, or CD-R/RW drives.
• Maximum capacity of external drive: 1,000 Gbytes
per drive
• Connector: D-SUB half-pitch 50 pin SCSI cable
• Number of units that can be connected: up to 7 units
Please use the recommended drives for external connection. For a list of recommended
drives, refer to the Korg website or contact
your Korg dealer.
1 Turn off the power of the D12 and the external
drive.
You must turn off the power of the D12 and the
drive before connecting or disconnecting the
SCSI cable or changing the SCSI ID number of
the drive.
2 Set the SCSI ID of the external drive.
For a CD-ROM or CD-R/RW drive, set the SCSI ID
to 6 (displayed as “G”).
For a hard disk or removable disk, select the lowest available number.
For details on setting the SCSI ID, refer to the
owner’s manual for your drive.
If you are connecting multiple external drives, be
sure that their ID numbers do not conflict with
each other.
If two or more drives are set to the same ID
number, malfunctions or loss of data may
result. Never allow the ID numbers to conflict.
3 Connect the external drive to the [SCSI] connec-
tor of the D12.
Attach or enable a terminator at the end of the
last external drive. If you are connecting more
than one external drive, make sure that the
total length of the connection cables does not
exceed 3 meters. (For details on connections/
installation, refer to the owner’s manual for
your external drive.)
If the access speed of the connected external
drive is inadequate, the sound may “skip” or
errors may occur. Please use external drives
that have a sufficiently fast access speed.
Total length of SCSI cables must not exceed 3 meters
SCSI
SCSI
Hard Disk
Removable Disk
SCSI
Hard Disk
Removable Disk
SCSI SCSI
Turning the power of an external drive
on/off
When turning the power on, turn on the external
drive(s) first, and then turn on the D12.
When turning the power off, turn off the D12 first, and
then turn off the external drive(s).
SCSI SCSI
ID2ID1ID0
Hard Disk
Removable Disk
ID6
CD-R/RW
Terminate
the SCSI chain
Initializing and formatting a disk
Before you can use a disk to record or play back songs,
you must initialize or format it.
• Initialize must be performed before a newly-purchased drive can be used, or when you wish to erase
the contents of a drive.
• Format should be performed when a disk used by
another device is to be used by the D12, or when a
disk begins to produce frequent “Disk Error” indications during playback.
When you execute Initialize or Format, all data on
the disk will be erased. Be sure to verify the contents of the disk before you execute these operations.
If an accident such as power failure occurs while
the internal drive is being initialized or formatted,
the D12 may become unable to operate correctly. If
this occurs, please contact your Korg dealer.
Formatting the internal drive requires approximately 100 minutes. The time required to format an
external drive will depend on the media, but may
be several hours.
1 Select the drive.
Access the [SYSTEM] “DiskUtil” tab page, and use
“DriveID
” to select the drive. If a drive has not
been initialized or formatted, it will be displayed as
“Unknown Disk.”
Drive ID SelOperation
2 Select either Initialize or Format.
To initialize, select “Initialize” for “SelOperation
.”
To format, select “Format.”
3 Execute the Initialize or Format operation.
Select the “Exec.” button and press the [ENTER]
key. The display will ask “AreYouSure?.” To execute, select the “Yes” button and press the [ENTER]
key.
When processing ends, the display will indicate
“Completed.” Select the “OK” button and press the
[ENTER] key.
Verify that the display shows the type and capacity
of that disk instead of “Unknown Disk.”
Using removable disks
Removable disks can be used in the following ways.
• For recording/playback
• For backup/restore
Before a disk can be used for the first time for recording/playback, it must be initialized or formatted.
A disk does not need to be initialized or formatted
before it is used for backup/restore.
Some types of removable disks are not suitable for
recording/playback.
Basic operation
Saving your data
67
Exchanging removable disks
If the currently selected song is on a removable disk,
use the following procedure to exchange disks.
1 Access the [SYSTEM] “DiskUtil” tab page.
Use “DriveID” to select the drive.
2 For “SelOperation
3 Select the “Exec.” button and press the [ENTER]
key.
The disk will be ejected, and the internal drive will
be selected.
4 Insert another disk into the removable disk drive.
If you are using a playable disk, use the [SONG]
“SelSong” tab page to re-select the drive before
selecting the song.
,” select “EjectRMD.”
4. Importing/exporting WAV files
WAV format files can be imported (loaded) into the
D12 from a DOS format (FAT 16) external drive connected to the [SCSI] connector. Also, audio data from
the clipboard of the D12 can be exported (written) to a
WAV format file on a DOS format (FAT 16) external
SCSI drive.
The D12 can import the following WAV file formats.
Sampling frequency: 44.1 kHz
Quantization: 8 bit, 16 bit, 24 bit
Number of channels: 1 (monaural), 2 (stereo)
Importing a WAV file into the beginning of a track
Here’s how a monaural WAV file named
“Sound001.wav” can be imported into the beginning of
track 1 from a DOS format external drive “A:DOS” connected to the [SCSI] connector.
1 Select the Import command.
Access the [TRACK] “Import” tab page.
2 Select the import source drive.
Select the “DriveList” button and press the
[ENTER] key to access the dialog box. Select a DOS
format drive that contains the desired WAV file. In
this example, select drive “A.” Then select the
“OK” button and press the [ENTER] key to return
to the [TRACK] “Import” tab page.
3 Select the WAV file.
Press “WavFileList” button to access the dialog
box. In this example, select “A:Sound001.wav.”
Then select the “OK” button and press the
[ENTER] key to return to the [TRACK] “Import”
tab page.
When importing from a CD, sub-directories
are also supported. When importing from
another type of SCSI drive, only WAV files
saved in the root directory are supported.
You can use the “Prvw” button to preview the first
two seconds of the selected WAV file.
Select the import destination track number.
Set “DestTrack” to track number “1.”
Execute the Import command.
Select the “Exec.” button and press the [ENTER]
key. Reply “Yes” to the “AreYouSure?” prompt.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
Verify the results of the import.
Hold down the [STOP] key and press the [REW]
key to return to the beginning of the song, and listen to the data to verify that the import was performed correctly. If necessary, you can use Undo to
return to the previous state.
The longer the import source file, the more
time this operation will take before the “Completed” message appears.
6
4
5
5
4
3
1
2
Importing a WAV file into the middle of a track
Here’s how a monaural WAV file named
“Sound001.wav” can be imported once into the TO
location of track 1 from a DOS format SCSI drive
“A:DOS” connected to the SCSI connector.
Select the Import command.
Access the [TRACK] “Import” tab page.
Select the import source drive.
Select the “DriveList” button and press the
[ENTER] key to access the dialog box. Select a DOS
format drive that contains the desired WAV file. In
this example, select drive “A.” Then select the
“OK” button and press the [ENTER] key to return
to the [TRACK] “Import” tab page.
Select the WAV file.
Press “WavFileList” button to access the dialog
box. In this example, select “A:Sound001.wav.”
Then select the “OK” button and press the
[ENTER] key to return to the [TRACK] “Import”
tab page.
When importing from a CD, sub-directories
are also supported. When importing from
another type of SCSI drive, only WAV files
saved in the root directory are supported.
Select the clipboard as the import destination
track number.
Set “DestTrack” to “ Clip .”
Execute the Import command.
Select the “Exec.” button and press the [ENTER]
key. Reply “Yes” to the “AreYouSure?” prompt.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
68
The longer the import source file, the more
time this operation will take before the “Completed” message appears.
Register the TO time location.
Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
Select the clipboard as the copy source track number.
Set “SourceTrack” to “ Clip1 .” The number indicates the number of tracks in the clipboard.
Select the copy destination track number.
Set “DestTrack” to track number “1.”
Specify the number of times that the data will be
copied.
Set “Times” to “1.”
Execute the copy operation.
Select the “Exec.” button and press the [ENTER]
key. Reply “Yes” to the “AreYouSure?” prompt.
When the operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
The data will be overwritten onto the copy
destination track.
Verify the results.
Press the [TO/LOC3] key, play back from the TO
location, and listen to the data to verify that the
import was performed correctly. If necessary, you
can use Undo to return to the previous state.
Exporting to a WAV file
Here’s how the IN–OUT region of data of tracks 1 and 2
from song 001 can be exported as a stereo WAV file
named “Sound001.wav” to a DOS format external drive
“A:DOS” connected to the SCSI connector.
Select song 001.
Register the IN and OUT time locations. (
Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
Select the copy source track number.
Set “SourceTrack” to track numbers “ 1–2 .”
Select the clipboard as the copy destination track
number.
Set “DestTrack” to “Clip.”
6 Execute the Copy command.
Select the “Exec.” button and press the [ENTER]
key. Reply “Yes” to the “AreYouSure?” prompt.
When the Copy operation is completed, the display
will indicate “Completed.” Select the “OK” button
and press the [ENTER] key.
→
p.97)
7 Select the Export command.
Select the [TRACK] “Export” tab page.
8 Select the export destination drive.
Select the “DriveList” button and press the
[ENTER] key to access the dialog box. Select the
DOS format drive. In this example, select drive
“A.” Then select the “OK” button and press the
[ENTER] key to return to the [TRACK] “Import”
tab page.
9 Assign a name to the WAV file.
Select the “Rename” button, press the [ENTER] key
to access the dialog box, and modify the name. You
can input a name of up to eight characters.
The filename extension of .wav will be input
automatically.
0 Input the date and time for the WAV file.
Select the “Date” button, press the [ENTER] key to
access the dialog box, and enter the year, month,
date, hour, minute, and second.
A Execute the Export command.
If you are exporting a 24 bit song as a 16 bit
WAV file, make settings for “Bit” and “Dither.”
(→p.87)
Select the “Exec.” button and press the [ENTER]
key.
Reply “Yes” to the “AreYouSure?” prompt. When
the Export operation is completed, the display will
indicate “Completed.” Select the “OK” button and
press the [ENTER] key.
The Export operation cannot be executed if an
identically-named WAV file already exists.
1
6
7
8
9
0
2
A
B
3
4
5
Basic operation
69
Saving your data
Drive and data compatibility
within the Digital Recording
Studio series
This section explains how backup data and playable
drives used to create D8, D16, and D16V2 songs can be
used with different models of the Digital Recording
Studio series.
Using D8 backup data on the D12
In order to use a D8 song on the D12, you must backup
the song on removable media, and restore it on the D12.
Only the audio data will be restored into a new song.
If a drive used to create D8 songs is connected to
the D12, it will be displayed in the drive list as
“Unknown Disk”; the data cannot be played in this
form, and D12 data cannot be used on the D8.
Using a D16 playable drive on the D12
When a D16 playable drive (a drive used to create
songs) is connected to the D12, it will be displayed in
the Drive List as “D16[P].” You can select and play
songs from this drive. However, the songs will be protected, so it will not be possible to record or perform
track editing or song editing (except for Copy Song) on
these songs. If you wish to record or edit one of these
songs, you must first select a song on a D12 playable
drive, and copy the desired song from the D16 drive to
the currently selected drive.
However, it is not possible to copy songs from the
D12 drive to the D16 drive, or to execute Restore
with the D16 drive specified as the restore destination.
Using D12 backup data on the D16V2
When a drive containing D12 backup data is connected
to the D16V2, it will be displayed in the Drive List as
“D12[B]”, and can be restored in the same way as
D16V2 backup data.
If you wish to use D12 data on the D16, you must
upgrade the system to version 2 or later.
Using D16 backup data on the D12
When a drive containing D16 backup data is connected
to the D12, it will be displayed in the Drive List as
“D16[B]”, and you can restore this data in the same way
as when restoring D12 backup data. However, the data
for tracks 13–16 will not be restored.
When a D16 playable drive is connected to the D12
and you play back a song, or when you use Copy
Song or Restore to load a song, you will need to remake fader and pan settings for channels 7/8 if
channels 7/8 were not paired by the mixer settings
of the original song. You will likewise need to reregister the scenes.
Using a D12 playable drive on the D16V2
When a D12 playable drive is connected to the D16V2,
it will be displayed in the drive list as “D12[P]”, and
you can select and play songs from this drive. However, the songs will be protected, so it will not be possible to record or perform track editing or song editing
(except for Copy Song) on these songs. If you wish to
record or edit one of these songs, you must copy it from
the D12 drive to the currently selected drive.
However, it is not possible to copy songs to the D12
drive, or to execute Restore with the D12 drive
specified as the restore destination. If you wish to
initialize or format the D12 drive, select the “Force”
setting.
70
Regarding disk capacity
This section explains how the D12 manages disk capacity.
It is not necessary that the Optimize Track operation explained here be used frequently. It is sufficient to use it only if “Disk Busy” is displayed
when you are actually editing, or if you wish to
recover more disk free space after you have finished the song.
For explanatory purposes, we will assume that you
have recorded a song with the following structure.
Intro A B BreakSolo Ending
Example 1
Suppose that you began recording on track 1 from the
beginning of the song, and recorded only the Intro,
Solo, and Ending as the first pass of recording.
Intro
silence Solo Ending
IN OUT IN OUT
“EraseTrack”“EraseTrack”
In this case, sections A, B, and the Break will be
recorded as silence (in reality, sound at the noise level),
and will occupy disk space unnecessarily. Execute the
Erase Track operation on the silent portions (A, B, and
Break) of track 1. At this time, the D12 is only “provisionally” erasing the unwanted portions A, B, and
Break, meaning that the disk capacity will not be recovered.
→ If you wish to retain only the audio data that you are
actually using (Intro, Solo, and Ending)……
Execute Optimize Track on track 1 between the beginning and end of the song. This will create audio data for
only the portions that are actually used, so that only the
Intro, Solo, and Ending will occupy disk capacity.
silence
Example 2
Suppose that you began recording on track 1 from the
beginning of the song, and played the Intro, A, B, and
Solo as the first take. Then you recorded A’ and B’ as
the second take.
Take 1
Take 1
Take 2
Intro
Record take 2
Intro
In this case, the A and B (take 1) data underlying A’ and
B’ of track 1 will remain as a single piece of audio data
together with the Intro and Solo, in order to allow Undo
to be performed. This means that the disk capacity will
be occupied by data for the Intro, A+A’, B+B’, and Solo.
→ If you wish to recover disk capacity by erasing the A
and B data from the first take……
Execute the Optimize Track command on track 1 from
the beginning to the end of the song. This will create
audio consisting only of the Intro of take 1, A’ of take 2,
B’ of take 2, and the Solo of take 1. Sections A and B of
take 1 will no longer occupy disk capacity.
Intro
IN OUT
Intro
“OptimizeTrack”
BA Solo
BA
B'A'
BA
B'A'
B'A'
Solo
Solo
Solo
Basic operation
Intro
data exists Solo Ending
IN OUT
Intro Solo Ending
data erased
“OptimizeTrack”
after execution
data
exists
data
erased
Saving your data
71
Example 3
Suppose that you recorded A and B on track 1 as the
first take. Then you overwrote the Intro, A’, B’, and
Solo as take 2.
BA
Take 1
Take 1
Note when using DOS format
disks
The following functions of the D12 support FAT16 DOS
format. CD, CD-R, and CD-RW are exceptions.
• WAV file import
• WAV file export
• System software update
Take 2
In this case, the take 1 data for A and B will remain
underlying A’ and B’ of track 1. However once take 2 is
finished, the audio data of take 1 will not be used at all,
so it is not necessary to perform the Optimize operation
etc.
Intro B'A' Solo
Intro
B'A'
Solo
Deleting the Undo data
Even if you use disk capacity efficiently in the above situations (examples 1, 2, 3), the old data will remain on
the hard disk in order to allow Undo.
To erase the data that is maintained by the Undo function, turn off the power of the D12. When you turn the
power on once again, all data that had been maintained
for purposes of Undo will be erased, thus allowing you
to recover this disk capacity.
Sharing audio data
If before you executed Optimize Track, audio data was
used by other tracks (including virtual tracks) or by
another song on the same disk, the old audio data will
not be erased. This will cause even more disk space to
be occupied than before executing Optimize Track.
If the external drive is not recognized
If an external SCSI drive is connected to the D12 and
the drive list indicates “Unknown Disk” (i.e., if the D12
cannot recognize the drive), you can use the following
procedure to make the D12 recognize the drive.
1 Connect the external SCSI device to the D12, and
use the “DiskUtil” tab page to initialize it.
(→p.68, 79)
2 Re-connect the external SCSI drive you initial-
ized in step 1 to your computer.
• For Windows → select normal format and exe-
cute formatting.
• For Macintosh → select MS-DOS format and
execute formatting.
72
Step 14. MIDI
What is MIDI?
MIDI stands for Musical Instrument Digital Interface,
and is a world-wide standard that allows a variety of
musical information to be exchanged between electronic musical instruments and computers.
1. MIDI connections
Special MIDI cables are used to transmit and receive
MIDI messages. Connect these cables between the
MIDI connectors of the D12 and the MIDI connectors of
the external device with which you wish to exchange
data.
MIDI IN connector: MIDI messages from another
MIDI device are received here. Connect this to the MIDI
OUT connector of the external device.
MIDI OUT connector: The D12 transmits MIDI messages from this connector. Connect this to the MIDI IN
connector of the external device.
MIDI channel settings
MIDI uses sixteen channels (numbered 1–16) to transmit information directed to multiple MIDI devices over
a single MIDI cable. If MIDI messages are being transmitted on MIDI channel “1”, the messages will not be
received unless the receiving device is also set to MIDI
channel “1.”
3. Using MIDI
Controlling the D12 from a MIDI sequencer
Here’s how the MMC messages transmitted from a
MIDI sequencer can be used to stop/play/fast-forward/rewind/record/locate the D12.
You must use a MIDI sequencer that supports
MMC. These following operations are not possible
with a sequencer that does not support MMC.
1 Make MIDI connections.
Use a MIDI cable to connect the MIDI OUT connector of your MIDI sequencer to the [MIDI IN] connector of the D12.
MIDI
IN
MIDI
OUT
Basic operation
2. MIDI messages used by the D12
Note, aftertouch, velocity, pitch bend: This data is
used by the D12 to control effects.
Program change: This data is used by the D12 to select
scenes.
Control change: This data is used by the D12 to control
mixer parameters.
MMC (MIDI Machine Control): MMC messages can be
transmitted to control an external sequencer or
recorder. MMC messages can also be received to control
the D12 from an external sequencer or recorder.
MTC (MIDI Time Code): MTC messages can be trans-
mitted to cause an external sequencer or recorder to
operate in synchronization with the D12. MTC messages can also be received to synchronize the D12 with
another device.
About the MIDI implementation chart
The owner’s manual of each MIDI device contains a
MIDI implementation chart. This chart makes it easy
for you to verify the MIDI messages that the device can
transmit and receive. When using two MIDI devices
together, compare their MIDI implementation charts to
verify the types of MIDI message that they are able to
exchange.
* For more details on the MIDI specifications, refer to
the separate MIDI implementation. To obtain the
MIDI implementation, please contact your Korg
dealer.
D12 MIDI Sequencer
2 Make settings on your MIDI sequencer so that it
will output MMC messages to control external
devices.
For details refer to the owner’s manual for your
MIDI sequencer.
3 Turn on MMC reception.
In the [SYSTEM] “MMC” tab page, set “SelectMMCMode” to “Receive.”
4 Set the device ID settings to match.
Set “MMCDevID
device ID of your MIDI sequencer.
Since the device ID specifications may differ
depending on the type of your MIDI
sequencer, it may not be necessary for the
number to be the same.
5 Operate your external MIDI sequencer.
When you perform stop/play/fast-forward/
rewind/record/locate operations on your MIDI
sequencer, the D12 will be controlled accordingly.
(For details refer to the owner’s manual for your
MIDI sequencer.)
At this time, you can also make the D12 transmit MTC (MIDI Time Code) or MIDI Clock
messages to synchronize the MIDI sequencer,
so that the two devices will be synchronized as
the sequencer controls stop/play/fast-forward/rewind/record/locate operations on the
D12.
” to the same setting as the MMC
73
MIDI
Synchronizing two D12 units
Here’s how you can synchronize two D12 units. One
D12 will be the master, and the other will be the slave.
Make connections as follows.
MIDI
IN
MTC
MMC
“MTC Slave”
“Receive”
MTC
“MTC Mstr”
“Transmit”
MMC
MIDI
OUT
D12 (Master) D12 (Slave)
1 Make settings on the master D12.
In the [SYSTEM] “Sync” tab page, set “Select MIDI
SyncMode” to “MTC Mstr.” In the [SYSTEM]
“MMC” tab page, set “Select MMC Mode” to
“Transmit.”
For this example, set “MMCDevID” to “10.”
2 Make settings on the slave D12.
In the [SYSTEM] “Sync” tab page, set “Select MIDI
SyncMode” to “MTC Slave.” In the [SYSTEM]
“MMC” tab page, set “Select MMC Mode” to
“Receive.” For this example, set “MMCDevID” to
“10” (the same as the master).
Press the [PLAY] key on the slave D12 to put it in
playback-ready mode.
If you do not want to receive mixer control
data, you can either turn the [SYSTEM]
“MIDI” tab page “Control Change: Trans”
parameter “Off” on the master D12, or turn
the [SYSTEM] “MIDI” tab page “Control
Change: “Recv” parameter “Off” on the slave
D12.
3 Press the [PLAY] key on the master D12.
When the slave D12 receives time code and establishes synchronization with the time code of the
master unit, the slave D12 will begin playback.
Several seconds may be required in order for
synchronization to be established.
Using MIDI for mixer control
In the [SYSTEM] “MIDI” tab page you can turn the
“Control Change: Trans” and “Recv” parameters “ON”
so that D12 mixer parameters can be transmitted and
received.
Recording D12 mixer control operations
Here’s how operations of the D12 mixer can be
recorded on an external MIDI sequencer. Connect the
D12 and your MIDI sequencer as follows.
MIDI
OUT
MIDI
IN
MIDI
OUT
MIDI
IN
1 Make synchronization settings for the D12 and
your external MIDI sequencer.
Set the D12 as the master and the external MIDI
sequencer as the slave. Make preparations so that
your MIDI sequencer will synchronize to the MIDI
Clock or MTC messages transmitted from the D12.
(→p.47)
2 Enable control change transmission on the D12.
In the [SYSTEM] “MIDI” tab page, turn the “Mixer
Control” parameter “Control Change: Trans” to
“ON.”
3 Put the external MIDI sequencer in record-ready
mode.
The mixer control data of the D12 will be transmitted on MIDI channels 1–12 corresponding to tracks
1–12. Make settings on your external MIDI
sequencer so that MIDI channels 1–12 will be
recorded. (For details refer to the owner’s manual
of your MIDI sequencer.)
For the parameters, refer to the MIDI implementation. To obtain the MIDI implementation, contact
your Korg dealer.
4 Begin recording.
When you press the D12’s [PLAY] key to start playback, the external MIDI sequencer will begin
recording in synchronization. Now when you operate the mixer parameters (fader, pan, EQ etc.), the
corresponding control change will be transmitted
from the D12, and recorded on the external MIDI
sequencer.
5 Stop the D12.
When you press the D12’s [STOP] key to stop playback, the external MIDI sequencer will also stop
recording. The mixer operations of the D12 have
been recorded on the external MIDI sequencer.
Using MIDI to control the D12 mixer
Here’s how the mixer control data recorded in “Recording D12 mixer control operations” can be transmitted
back to the D12 to control its mixer. Make the same connections as in “Controlling the D12 from a MIDI
sequencer.”
1 Make synchronization settings for the D12 and
the external MIDI sequencer.
Make the settings in step 1 of “Recording D12
mixer control operations.”
2 Enable control change reception on the D12.
In the [SYSTEM] “MIDI” tab page, turn the “Mixer
Control” parameter “Control Change: Recv” to
“ON.”
3 Put the external MIDI sequencer in playback-
ready mode.
4 Begin playback on the D12.
When you press the D12’s [PLAY] key to begin
playback, the external MIDI sequencer will also
begin playback in synchronization. The previouslyrecorded mixer control data will be transmitted
from the MIDI sequencer, causing the D12 mixer
settings to change.
74
D12 MIDI Sequencer
e
Ref
erence
Refer
1. COUNTER
Counter: Counter display
The counter located in the upper right of each page
shows the current location of the recorder.
1
1. Select TimeDisp Type................................................
This switches the counter display. When you press
the “ ” button at the left of the counter, the “Select
TimeDisp Type” dialog box will appear. Select the
desired type of display, and press the “OK” button.
MBT
MSF
___.__.___ (MBT): The current location will be
shown in measures from the beginning of the song.
From the left, the numbers indicate the Measure,
Beat, and Tick (1/96 beat).
___:__.___ (MSM): The current location will be
shown as an absolute time from the beginning of
the song.
From the left, the numbers are Minutes: Seconds.
Milliseconds (1/1000 second).
__:__.__F (MSF): The current location will be displayed as the absolute time and the number of
frames from the beginning of the song. You will
normally select this display type if you are using
MTC synchronization.
From the left, the numbers are Minutes: Seconds.
Frames (1/30 second).
___.__Free (Free Time): The remaining time avail-
able for recording on the currently selected drive
will be shown.
From the left, the numbers are Minutes . Seconds.
To change the current time of the counter, move the
cursor to the counter value, and use the [VALUE]
dial to change the value. (→p.35)
MSM
FreeTime
2. SYSTEM
P1 Control: Foot switch/control
change device (pedal/MIDI)
settings
2
1
3
1. Pol(FootSwPolarity) .........................................[– , +]
This sets the polarity of the foot switch.
Connect a foot switch (such as the separately sold
PS-1 option) to the front panel [FOOT SWITCH]
jack, and set this parameter so that the polarity indicator “ ” is lit when you press the foot switch.
2. Func(FootSwFunction) ..............................................
[PunchIn–Out, Play/Stop, Mark]
Select the function that the foot switch will control.
PunchIn–Out: The foot switch will start/stop manual punch recording. Use the [TRACK STATUS]
keys to set the desired track to REC, begin playback,
and press the foot switch at the location where you
wish to begin recording. Press the foot switch again
to stop recording. (→p.28)
Play/Stop: The foot switch will start/stop playback.
Press the foot switch to start playback, and press it
again to stop playback.
Mark: The foot switch will register a mark.
When you press the foot switch, a mark will be registered at that time location.
While this page is displayed, the foot switch will be
used only to verify the polarity, and the specified
function will be disabled.
Also during tap recording, the function you select
here will be ignored, and the foot switch will auto-
matically function as a tap marker. (→p.63)
3. Device(CtrlChgDevice)..............................................
[Pedal, A.Touch, PitchBend, Velocity, NoteNum,
CC#000…119]
Select the external device that will control the internal effects of the D12. The effect selected by “Ass
(P1-4) can be controlled in realtime.
Pedal: An expression pedal can be used to control
the effect. Connect an expression pedal (separately
sold option: XVP-10, EXP-2 etc.) to the [EXPRESSION PEDAL] jack, and operate the pedal to control
the effect.
A.Touch, PitchBend, Velocity, NoteNum: MIDI
aftertouch, pitch bend, velocity, or note number
data can be used to control the effect.
4
”
RECORDTRACKSONGSTOREMARKSCENELOOPUNDOSCRUBENTERINPUTEQINS EFFSOLOMETERPA NFADERTRANSPORT STATUS MAST EFF TEMPOIN/LOC1TRIGGER AT PUNCH COUNTERSYSTEM
75
Connect the MIDI OUT of your external MIDI
device to the [MIDI IN] connector on the D12, and
transmit the selected MIDI data from the external
MIDI device to control the effect.
CC(Control Change) #000…119: MIDI control
change messages can be used to control the effect.
Connect the MIDI OUT of your external MIDI
device to the [MIDI IN] connector on the D12, and
transmit the selected MIDI control change message
from the external MIDI device to control the effect.
4. Ass(CtrlChgAssign) .................... [ExpOff, InsEff1…4]
Select the insertion effect that will be controlled. The
insertion effect that you select here will be controlled by the selected “Device
ExpOff: The insertion effect will not be controlled.
InsEff1, InsEff2, InsEff3, InsEff4: Insertion effect 1,
2, 3, or 4 will be controlled respectively.
If the effect program that you are using does not
provide control capability, it cannot be controlled.
(→p.113–)
” (P1-3).
P2 MIDI: MIDI settings
2
1 3
5
4
A external sequencer connected via MIDI can
record the control changes transmitted from the
D12.
5. ControlChange: Recv ..................................[On, Off]
Turn control change reception on/off.
Control change messages that were recorded on an
external MIDI sequencer can be received by the D12
to control the corresponding mixer parameters.
For the parameters that can be controlled, refer to
the MIDI implementation chart (→p.138).
P3 Sync: Synchronization settings
By synchronizing the D12 with an external MIDI
sequencer, you can simultaneously play back tracks of
audio together with your external tone generator.
The action of making the D12 operate at the same timing as a MIDI sequencer is called synchronization.
The device transmitting the synchronization clock is
called the master, and the device receiving the synchro-
nization clock is called the slave. The D12 can operate
either as the master or slave.
2
On the D12, you can use MIDI to do the following
things:
• Control effects (→p.47)
• Synchronize with MIDI devices such as sequencers
(→p.73)
• Select scenes (→p.41)
• Use control changes to control mixer parameters.
1. GlobalCh(GlobalChannel) ...........................[01…16]
Specify the global MIDI channel.
This setting is required in the following situations.
• When using MIDI messages to control an effect
with a “Device
• When using program change messages to transmit/receive scene changes
To allow MIDI messages to be transmitted and
received, connect the external MIDI device to the
D12 via MIDI, and set the MIDI channel of the
external device to match the “GlobalCh
2. ProgramChange: Trans............................... [On, Off]
Turn program change message transmission on/off.
Program changes are transmitted when you switch
scenes, or execute a Store or Recall operation.
3. ProgramChange: Recv ................................ [On, Off]
Turn program change reception on/off.
When a program change is received, the scene will
change.
4. ControlChange: Trans................................. [On, Off]
Turn control change message transmission on/off.
The corresponding control change message is transmitted when you modify a mixer parameter.
” (P1-3) setting other than “Pedal”
” of the D12.
1
1. Select MIDISync Mode .............................................
[MTC Mstr, MTC Slave, Clock Mstr, Off]
Select the synchronization messages that will be
transmitted and received from the [MIDI IN/OUT]
connectors.
MTC Mstr: The D12 will function as the master
device for MTC 30 NDF (MIDI time code 30 nondrop frame) messages.
MTC Slave: The D12 will function as the slave
device for MTC 30 NDF (MIDI time code 30 nondrop frame) messages.
ClockMstr: The D12 will transmit MIDI Clock messages.
Off: The D12 will not transmit or receive synchronization messages.
2. MTC RecvErrorLevel ......................................[0...10]
Specify the MTC check level used if “SelectMIDISyncMode” is set to “MTC Slave.”
If, due to some problem, MTC messages are not sent
consecutively to the D12, the D12 will detect the
abnormal MTC state and may stop synchronization
and halt playback. In such cases, you can lower the
“MTC RecvErrorLevel” setting so that synchronized playback will continue even if some problems
occur with MTC reception.
If this is set to “0,” synchronized playback will not
stop even if a problem occurs.
Depending on the compatibility between the two
devices when a device other than the D12 is used as
the MTC master for synchronization, correct synchronization may not be possible unless you start
from the beginning of the song.
76
e
P4 MMC: MMC settings
The D12 transmits and receives MMC (MIDI Machine
Control) messages.
When synchronizing two D12 units, or when using the
D12 together with an MMC-compatible MIDI
sequencer, you can playback, stop, or fast-forward etc.
by operating only the master device.
Some MIDI devices may not respond to the MMC
functionality of the D12. Details on the MMC functionality of the D12 are given in the MIDI implementation.
2
1
1. Select MMC Mode................. [Transmit, Receive, Off]
Turn MMC transmission or reception on/off.
Transmit: MMC will be transmitted.
Receive: MMC will be received.
Off: MMC will not be used.
2. MMCDevID (MMC Device ID) ...................[000...127]
Specify the device ID that will be used when transmitting/receiving MMC.
To enable MMC transmission/reception, connect
the external MIDI device to the D12 via MIDI, set
the device ID to match, and set “Select MMC Mode”
appropriately.
If this parameter is set to “127,” MMC can be transmitted/received to/from all ID numbers.
1. B–U/RstType ........... [Backup1Song, BackupAllSongs,
BackupUserData, Restore]
Select the type of data backup/restore operation.
If you press the “ ” button, you can select from a
dialog box.
On this and the following pages, the items in the
screen are explained separately for each of these
types.
B–U/RstType: “Backup1Song”
Back up the selected song and effect user data from the
current drive.
2. Source .......................................(I, A...G: 001...100)
This displays the backup source drive and song
number.
The drive and song number of the song selected in
[SONG] “SelSong” tab page will be displayed.
(→p.88)
3. Destination ........................ (A...G: RMD---- x01...99)
This displays the backup destination drive, information on the drive (“RMD----” or “CD”), and the
number of media volumes required (“x1”–“x99”).
Use “Drive” to select the backup destination drive.
(→P5-4)
You must use a blank disc when backing up to CDR or CD-RW.
4. Drive .............................................................[A...G]
Select the backup destination drive.
When you press this button, a dialog box will
appear. Select the drive and press the “OK” button.
Refer
SYSTEM
P5 B–U/Rst: Backing-up and
restoring data to removable
disk
You can backup (save)/restore (recall) data using a
removable disk such as a CD-R or CD-RW.
The following data can also be restored.
• D12 backup data
• D16 backup data (only data for tracks 1–12)
• D8 backup data (audio data only)
Be aware that backup and some restore operations
will overwrite the data on the destination drive.
One drive can accommodate data for only one
backup.
1
2
3
Drive ID ......................................................[I, A...G]
I: Internal IDE (the internal drive)
A: SCSI ID0, B: SCSI ID1, C: SCSI ID2, D: SCSI ID3,
E: SCSI ID4, F: SCSI ID5, G: SCSI ID6
“G” is the ID for CD-R or CD-RW. If a CD-R or CDRW drive is connected to the [SCSI] connector, set
the SCSI ID of the drive to “6.” This can also be
selected for hard disk drives.
If a CD-ROM drive, a CD-R or CD-RW drive, or
a hard disk is connected to Drive ID “G,” the
internal CD-RW drive cannot be used.
Device Type, Total Size..................... (HDD, RMD, CD)
4
5
This shows the type of drive (type and capacity).
HDD: Hard disk drive
RMD: Removable disk drive
CD: CD-ROM, CD-R, CD-RW
*“Removable disk drive” is a collective term for
drives from which the disk can be removed, such
as MO, Zip, or Jaz drives.
77
Format Type........(P, B, D8[B], D16[P], D16[B], Audio)
This shows the format type of the drive.
The internal drive of the D12 and external drives
that were initialized or formatted by the D12 will be
displayed as “playable” drives that can be used to
create and play songs. All other drives will be displayed as “backup” drives.
[P] (Playable type): A disk for creating/playing D16
songs
[B] (Backup type): A disk for backing up D16 data
D8[B]: D8 backup disk
D16[P]: D16 playable disk
D16[B]: D16 backup disk
Audio: Audio CD
5. Exec. (Execute) ........................................................
Execute the backup operation.
The single “Source” song will be backed up to the
“Destination” drive. The effect user data will also be
backed up at this time.
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
B–U/RstType: “BackupAllSongs”
Back up all songs and user effect data on the selected
drive.
1
B–U/RstType: “BackupUserData”
This operation backs up effect user data.
1
3
5
2
2. Source .................................................. (Effect Data)
This shows the effect user data that will be backed
up. This will show the song and effect user data of
the song selected by [SONG] “SelSong” tab page
(→p.88)
3. Drive............................................................. [A...G]
Select the backup destination drive.
When you press this button, a dialog box will
appear. Select the drive and press the “OK” button.
(→p.22, 77: P5-4)
4. Destination..................................... (A...G/RMD, CD)
This shows the backup destination drive.
Use “Drive” to select the backup destination drive.
5. Exec. (Execute) ........................................................
Execute the backup operation.
Effect user data will be backed up to the drive spec-
3
5
ified by “Destination.”
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
4
2
2. Source ........................................................(I, A...G)
This shows the backup source drive.
Use [SONG] “SelSong” tab page to select the
backup source drive. (→p.88)
3. Drive ............................................................ [A...G]
Select the backup destination drive.
When you press this button, a dialog box will
appear. Select the drive and press the “OK” button.
(→p.22, 77: P5-4)
4. Destination ..................(A...G: RMD, CD---- x01...99)
This shows the backup destination drive, drive
information (“RMD----” or “CD”), and the number
of media volumes required (“x1”–“x99”).
Use “Drive” to select the backup destination drive.
5. Exec. (Execute) ........................................................
Execute the backup operation.
All songs on the “Source” drive will be backed up to
the “Destination” drive. Effect user data will also be
backed up at this time.
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
4
B–U/RstType: “Restore”
This command restores song data or effect user data
that was backed up earlier.
For a disk or CD on which “Backup 1 Song” was executed, this command will restore that single song and
effect user data.
For a disk or CD on which “BackupAllSongs” was executed, you can select whether this command will
restore a single song or all songs.
For a disk or CD on which “BackupUserData” was executed, this command will restore the effect user data.
1
2
5
34
2. Drive............................................................. [A...G]
Select the restore source drive.
When you press this button, a dialog box will
appear. Select the drive and press the “OK” button.
(→p.22, 77: P5-4)
Insert the disk or CD containing the backup data
before you select “Drive.”
3. Source ................................. [(A...G): 001...100, All]
Select the restore source song number.
By pressing the “ ” button, you can select the song
number from a dialog box.
The song number can be selected only if you are
restoring a single song from a drive that was backed
up using “BackupAllSongs.” If you wish to restore
only a single song, select from “001”–“100” (up to
78
e
the number of songs that exist). If you wish to
restore all songs, press “SelectAll” in the dialog box,
and choose “All”.
Use “Drive” to select the restore source drive.
4. Destination ........................ [(I, A...G)/001...100, ***]
This shows the restore destination drive, and lets
you select the song number. If you are restoring one
song, it will be restored to the song number that you
select here. If you wish to restore all songs, choose
“***.”
The drive of the song you selected in [SONG] “Sel-
Song” tab page will be displayed. (→p.88)
5. Exec. (Execute).........................................................
Execute the Restore command.
The song or user data selected for “Sour
restored to the “Destination
When restoring one song, the “Sour
written to the specified “Destination
Any songs located at the “Destination
following will have their song numbers incremented – they will not be overwritten.
When you restore all songs, all songs of the
“Sour
ce” will be added following the songs that
currently exist on the “Destination
existing songs will not be overwritten.
When you restore effect user data, the user data of
the “Sour
of the “Destination
When restoring one song or all songs, you can select
whether the effect user data will be overwritten.
(→”Restore:UserData”)
Before the Restore command is executed for one
song or all songs, the capacity of the restore destination will be checked, and the command will not be
executed if the capacity is insufficient.
6. Restore:UserData ....................................... [Yes, No]
A dialog box will appear, allowing you to specify
whether the backed-up effect user data will be overwritten onto the current effect user data after the
song data has been restored.
User data is backed up automatically when song
data is backed up.
ce” will be overwritten onto the user data
” drive.
” drive.
ce” will be
ce” song will be
” song number.
” number and
” drive – the
6
Yes: Effect user data will be restored.
No: Effect user data will not be restored.
When you restore this data, it will be overwritten onto the existing user effect data.
P6 DiskUtil: Initialize/format/
check a drive
Here you can initialize, format, or check a drive.
Before a disk can be used to record or play songs for the
first time, it must be initialized or formatted.
• Initialize a disk to erase the contents of a newly purchased disk before using it for the first time.
• Format a disk that was previously used by another
device before using it on the D12, or if the “DiskError” display appears frequently during playback.
It is not necessary to initialize or format a removable disk that you are using for backup.
When you execute the Initialize or Format operation, the data of that drive will be lost.
1
5
4
2
1. Drive ID ......................................................[I, A...G]
Select the drive that you wish to initialize, format,
or check.
If you press the “ ” button, you can select the drive
from a list. (→p.22, 77: P5-4)
2. Device Type, Total Size..................... (HDD, RMD, CD)
This shows the type and capacity of the drive.
HDD: Hard disk drive
RMD: Removable disk drive
CD: CD-ROM, CD-R, CD-RW
3. Format Type........ (P, B, D8[B], D16[P], D16[B], Audio)
This displays the format type of the drive.
The internal drive of the D12 and external drives
that were initialized or formatted by the D12 will be
displayed as “playable” drives that can be used to
create and play songs. All other drives will be displayed as “backup” drives.
[P] (Playable type): A disk for creating/playing D12
songs
[B] (Backup type): A disk for backing up D12 data
D8[B]: D8 backup disk
D16[P]: D16 playable disk
D16[B]: D16 backup disk
Audio: Audio CD
4. SelOperation ........................ [EjectRMD, CheckDrive,
Initialize, Format, LoadSystem]
Select the operation that you wish to execute on the
drive.
Press the “ ” button and select from the list.
EjectRMD: The removable disk selected by
“DriveID” will be ejected.
If the currently selected song is on the removable
disk, the disk will be locked by the D12, and must
be ejected using this command. Otherwise, you can
also use the eject switch of the drive to eject the
disk. (→p.68)
CheckDrive: Errors on the drive selected by “Drive
ID” will be detected and repaired.
Execute this operation if Disk or DiskBusy error
messages appear frequently. After execution, the
song data will still be usable if no major errors were
found on the drive.
Check Drive requires a substantial amount of
time for execution.
Internal 6 GB drive: approximately 100 minutes
10 GB external SCSI hard disk drive: approximately 8 hours
3
Refer
SYSTEM
79
Initialize: The drive selected by “Drive ID” will be
initialized.
Format: The drive selected by “Drive ID” will be
formatted.
Force .........................................................[On, Off]
This setting allows a disk to be formatted or initialized even if it contains a protected song.
On: Even if the disk contains a song protected by
“Protect Song,” initialization will be performed
forcibly.
Off: If the disk contains a song protected by “Protect Song,” a message of “Song Protect” will be displayed when you attempt to initialize, and the
command will be aborted.
LoadSystem: System software will be loaded from
the drive selected by “Drive ID” to rewrite the operating system of the D12. For details refer to “Updat-
ing the system software” (→p.135).
3. RECORD
P1 RecMode: Selecting the
recording mode
1
1. Select RecMode ................................. [Input, Bounce]
Select the recording mode.
Input: The input (analog, digital, internal rhythm,
internal CD) will be recorded. The recording level of
each track is adjusted by the channel faders. Select
this for normal recording.
Bounce: The master LR bus will be recorded. The
playback level of each track is adjusted by the channel faders, and the recording level is adjusted by the
master faders.
You will select this mainly for the following situations.
• Pingpong recording (combining multiple tracks
to two tracks)
• Recording the sound processed by the master
effect
• Recording multiple inputs on two tracks.
When “Bounce” is selected, a maximum of two
tracks can be recorded simultaneously.
P2 Bounce: Settings for bounce
recording
For the procedure of bounce recording, refer to p.29.
1
1. Select BounceMode...........[10Tr+2In→2Tr, 12Tr→2Tr]
Select the type of bounce recording.
10Tr+2In→2Tr: Select this when recording 10 tracks
of playback + 2 inputs onto two tracks.
The input sound selected in the [INPUT] “Ch1–6”
tab page and “Ch7–12” tab page will be valid for the
channel(s) whose [TRACK STATUS] key is set to
REC (LED lit red), and will be recorded together
with the other playback tracks.
12Tr→2Tr: Select this when recording 12 tracks of
playback onto two tracks.
The track playback will be valid for the channel(s)
whose [TRACK STATUS] key is set to REC (LED lit
red), and will be recorded together with the other
playback tracks.
Be aware that if “Rhythm” is set to “On” during
bounce recording, the rhythm will also be recorded
together with the other sounds (→p.61).
2. RecordVirtualTrack............................[Current, a…h]
Select the recording destination virtual track.
Select the virtual track of the recording track
selected by the [TRACK STATUS] key on which
bounce recording will occur.
By selecting a virtual track “a”–”h” other than
“Current,” you can combine tracks 1–12 into two
tracks without erasing any of the tracks 1–12.
Current: The currently selected track
a…h: The specified virtual track
However if the same virtual track is selected both
here and for [TRACK] “Vtr1–6” or “Vtr7–12” tab
page the result will be the same as if “Current” were
selected.
To avoid accidentally recording a track that has
already been recorded, use the [TRACK] “Vtr1–
6” and “Vtr7–12” tab pages to see which virtual
tracks are currently selected and which contain
data.
2
80
4. TRACK
e
Refer
P3 EditTrk: Track editing
P1 Vtr1–6:
Select virtual tracks 1–6
2
1
1. Select VirtualTrack ...................[1a…1h, …, 6a…6h]
Select the virtual track for each track “1”–“6.” Each
track has eight virtual tracks: “a”–”h.” One of these
virtual tracks can be selected for recording/playback.
Selected track
Recorded track
2. SelectAll .................................................... [On, Off]
Turn this “On” if you wish to use the same virtual
track number for all tracks (1–12). Then choose any
“Select V
tual track number.
selected independently for each track.
irtualTrack” to choose the track.
On: All tracks will be set to the same vir-
Off: The virtual track number can be
1 6
2
3
Editing will apply to currently selected tracks 1–12
(→”Vtr1–6,” “Vtr7–12”). Virtual tracks that are not
selected will not be affected by editing. (However,
“CopyWholeTrack” and “SwapWholeTrack” are
exceptions.)
The range (area of time) that will be edited is determined by the time locations that are registered in
the [IN/LOC1], [OUT/LOC2], [TO/LOC3], and
[END/LOC4] keys. (→p.35, 97)
The undo operation is available after you execute an
editing operation.
1. EditType...............................[CopyTrack, InsertTrack,
EraseTrack, DeleteTrack, SwapTrack, ReverseTrack,
OptimizeTrack, Exp/CompTrack, CopyWholeTrack,
SwapWholeTrack, FadeTrack, NormalizeTrack]
Select type of editing operation. (→p.51)
This screen will differ depending on the type you
select here.
Press the “ ” button and select an editing operation
from the dialog box.
4
5
RECORDTRACK
P2 Vtr7–12: Select virtual tracks
7–12
For details refer to “Vtr1–6.”
This page cannot be selected for a 24 bit song.
1. Select VirtualTrack ...................................................
[7–8a…7–8h, …, 11–12a…11–12h]
Select the virtual track for each pair of tracks.
2. SelectAll .................................................... [On, Off]
Each editing operation you select here is explained
separately, below.
EditType: “CopyTrack”
This operation copies the audio data in the IN–OUT
range of the copy source track (“Sour
TO location of the copy destination track (“DestTrack”), repeating the specified number of times.
You can use the clipboard to copy data to a track of a
different song.
When this is executed (“Exec.”), the copy destination track (“DestT
IN OUT
rack”) will be overwritten.
TIMES
TO
ceTrack”) to the
SourceTrack
DestTrack
1 6
2
3
4
5
81
2. SourceTrack .......... [1...12, 1–2...11–12, 1–4...9–12,
1–6, 7–12, 1–12, Clip#
Select the copy source track.
*1
: “Clip#” can be selected only if the clipboard con-
*1
]
tains data. # is the number of tracks in the clipboard.
You can use “Clip#” to copy data from the tracks of
another song. When data is copied between songs
of differing “Bit” (quantization) settings, the data
will be handled as 16 bit data at the copy destination.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. DestTrack.............. [1...12, 1–2...11–12, 1–4...9–12,
1–6, 7–12, 1–12, Clip#
Select the copy destination track.
*1
: The number of tracks in the clipboard is shown in
*1
]
#. You can use “Clip#” to copy data to a track of
another song. When data is copied between songs
of differing “Bit” (quantization) settings, the data
will be handled as 16 bit data at the copy destination.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
4. Times........................................................... [1...99]
Specify the number of times that the data will be
copied.
5. Exec. (Execute) ........................................................
Execute the track editing operation.
6. Wave .....................................................................
This area displays the audio data of the track as a
waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely.
This can be selected when the cursor is at “Sour
ce-
Track” or “DestTrack.”
Before you make settings here, it is best to make
approximate settings for the IN, OUT, and TO
times, and register them.
EditType: “InsertTrack”
This operation inserts a blank in the IN–OUT range of
the insert destination track (“DestT
rack”).
When this is executed (“Exec.”), any track data that followed the inserted blank will be moved toward the end
of the song.
1
2
IN
OUT
Blank
2. DestTrack ................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the insert destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. Exec. (Execute) ........................................................
Execute the track editing operation.
4. Wave......................................................................
This area displays the audio data of the track as a
waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
EditType: “EraseTrack”
This operation erases the track data in the IN–OUT
range of the erase destination track (“DestT
When this is executed (“Exec.”), the IN–OUT range
will contain silence.
DestTrack
DestTrack
rack”).
4
3
6c
6a
6b
6a. SelectTrack........................................................
Select the track for which you wish to make time
settings.
6b. Zoom In/Out/Up/Down....................................
Adjust the displayed range and height of the waveform.
6c. Locate .............................................. [In, Out, To]
Make Locate settings.
When you place the cursor at “Locate
,” the Scrub
function will automatically be turned on, and you
can rotate the [VALUE] dial to listen to only the
“SelectT
rack” (solo) as you set the Locate points.
When you press the “OK” button, the specified
times will be overwritten onto the corresponding
keys ([IN/LOC1] etc.). If you press the “Cancel”
button, the setting will be cancelled.
82
1
2
Blank
OUT
DestTrack
DestTrack
IN
2. DestTrack ................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the erase destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. Exec. (Execute) ........................................................
Execute the track editing operation.
4
3
e
4. Wave ......................................................................
This displays the audio data of the track as a waveform. Here you can set the editing locations (IN,
OUT, TO) more precisely. (→p.81 EditType: “Copy-
Track”)
EditType: “DeleteTrack”
This operation deletes the track data from the IN–OUT
range of the delete destination track (“DestT
rack”).
When this is executed (“Exec.”), the data of the IN–
OUT range will be discarded, and any track data that
followed the deleted range will be moved toward the
beginning of the song.
1
2
IN
2. DestTrack.................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the track(s) from which data will be deleted.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
OUT
DestTrack
DestTrack
2. SourceTrack ............................................................
Refer
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the swap source track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. DestTrack................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the swap destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
TRACK
4. Exec. (Execute) ........................................................
Execute the track editing operation.
5. Wave .....................................................................
4
3
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
EditType: “ReverseTrack”
This operation copies the track data of the IN–OUT
range of the reverse source track (“Sour
ceTrack”) to the
TO location of the reverse destination track (“DestTrack”) in reverse (flipped front-to-back). You can specify the number of times that the data will be copied.
When this is executed (“Exec.”), the copied data will be
reversed, so that the playback will be backward.
The specified range of the reverse destination track
will be overwritten.
3. Exec. (Execute).........................................................
Execute the track editing operation.
4. Wave ......................................................................
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
EditType: “SwapTrack”
This operation exchanges (swaps) the track data of the
IN–OUT range of the swap source track (“Sour
ceTrack”) with the track data in the IN–OUT range of the
swap destination track (“DestT
rack”).
When this is executed (“Exec.”), the data in the IN–
OUT ranges of the “Sour
ceTrack” and “DestTrack” will
be exchanged.
1 5
2
3
IN
IN
OUT
A
B
OUT
B
A
SourceTrack
DestTrack
SourceTrack
DestTrack
1 6
2
3
IN OUT
A B C ...
2. SourceTrack ............................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the reverse source track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. DestTrack................................................................
4
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the reverse copy destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
4. Times........................................................... [1...99]
Specify the number of times that the data will be
copied.
5. Exec. (Execute) ........................................................
Execute the track editing operation.
6. Wave .....................................................................
This displays the audio data of the track as a waveform.
TIMES
TO
A B C ...A B C ...A B C ...
4
SourceTrack
DestTrack
5
83
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
EditType: “OptimizeTrack”
This operation optimizes the track data of the IN–OUT
range of the optimize destination track (“DestT
rack”).
The D12 will not generate unnecessary sound if the IN–
OUT range contains unused blank portions. However
in the case of brief blank portions that are close to the
next audio event, the data will be generated as a single
sound to avoid producing “DiskBusy” errors.
By executing Optimize Track with IN–OUT set to
the beginning and end of the song, you can ensure
that the data will be accessed with optimal efficiency from the hard disk.
IN OUT
A B C ...
TIMES
TO
A B C ...A B C ...A B C ...
SourceTrack
DestTrack
2. SourceTrack..............................[1...12, 1–2...11–12]
Select the expansion/compression source track.
In the case of a 24 bit song, only tracks 5–6 can be
selected.
3. DestTrack .................................[1...12, 1–2...11–12]
Select the expansion/compression copy destination
track.
In the case of a 24 bit song, only tracks 5–6 can be
selected.
1
2
IN OUT SourceTrack
DestTrack
2. DestTrack................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the track that will be optimized.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. Exec. (Execute) ........................................................
Execute the track editing operation.
4. Wave .....................................................................
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
EditType: “Exp/CompTrack”
This operation expands or compresses the track data of
the IN–OUT range of the expansion/compression
source track (“Sour
ceTrack”), places it in the TO–END
range of the expansion/compression destination track
(“DestT
rack”), and copies it the specified number of
times beginning at the TO location.
When this is executed (“Exec.”), the expansion/
compression destination track will be overwritten.
The available ratio of expansion/compression is
limited, and if the IN–OUT duration is drastically
different than the TO–END duration, an error mes-
sage will appear when this is executed. In general,
the TO–END time can be changed to 50–200% of
the IN–OUT time.
1 6
2
3
47
4
3
4. Times ........................................................... [1...99]
Specify the number of times that the data will be
copied.
5. Exec. (Execute) ........................................................
Execute the track editing operation.
6. Wave......................................................................
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
7. Mode ......................................................................
Select how the expansion/compression will be processed.
This will appear when you press the “Mode” button.
7b7a
7a. SelectExp/CompMode ............... [Fast, Mid, Best]
Specify the conversion mode for expansion/compression.
Fast: Processing speed will be given priority
Mid: Mid-way between “Fast” and “Best”
Best: Audio quality will be given priority
However if “SelectPitch” (7b) is set to “Variable,”
this setting will have no effect.
7b. SelectPitch................................ [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
Variable: The pitch will be change
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 executing.
5
EditType: “CopyWholeTrack”
This operation copies the track data from the beginning
to the end of the copy source track (“Sour
ceTrack”; the
currently selected virtual track) to the specified virtual
track of the copy destination track (“DestT
rack”).
84
e
When this is executed (“Exec.”), the copy destination track will be overwritten.
1
2
3 4
SourceTrack
DestVTrack (a...h)
2. SourceTrack.............................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the copy source track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
3. DestTrack.................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the copy destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
4. DestVTrack ..................................................... [a...h]
Select the virtual track of the copy destination track
(“DestT
5. Exec. (Execute).........................................................
Execute the track editing operation.
EditType: “SwapWholeTrack”
This operation exchanges (swaps) the track data from
the beginning to the end of the swap source track
(“Sour
with the specified virtual track of the swap destination
track (“DestT
Use this operation when you wish to reorder the
recorded tracks. When you have finished recording a
song, this operation also provides a useful way to move
the final data so that virtual track “a” is used for all
tracks.
When this is executed (“Exec.”), all data of the “Sour
Track” and “DestTrack” will be exchanged.
rack”) to which the data will be copied.
ceTrack”; the currently selected virtual track)
rack”).
ce-
2. SourceTrack ............................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the swap source track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
5
3. DestTrack................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the swap destination track.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
4. DestVTrack......................................................[a...h]
Select the virtual track of the swap destination track
(“DestT
rack”) to which the data will be swapped.
5. Exec. (Execute) ........................................................
Execute the track editing operation.
EditType: “FadeTrack”
This operation fades-in or fades-out the track data in
the IN–OUT range of the fade-in destination track
(“DestTrack”). 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.
When this is executed (“Exec.”), the fade-in (fadeout) destination track will be overwritten.
Refer
TRACK
1 4
3
2
IN OUT
2. DestTrack................................................................
[1...12, 1–2...11–12, 1–4...9–12, 1–6, 7–12, 1–12]
Select the track to be edited.
In the case of a 24 bit song, only tracks 1–6 can be
selected.
5
IN OUT
1
2
5
3 4
SourceTrack
DestVTrack (a...h)
SourceTrack
DestVTrack (a...h)
3. Exec. (Execute) ........................................................
Execute the track editing operation.
4. Wave .....................................................................
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
5. Mode .....................................................................
Select the fader curve for the fade-in or fade-out.
85
8a. SelectFadeMode....................................... [A...F]
A type: This curve is ideal for conventional fade-in.
B type: This curve is ideal for creating cross-fades
where two tracks are faded-in/out at the identical
time location.
C type: This curve inverts the A curve, lengthening
the sound that is heard.
D type: Fade-out using the A type curve.
E type: Fade-out using the B type curve.
F type: Fade-out using the C type curve.
Press the “OK” button to finalize the selected fade
type, or press the “Cancel” button to cancel the set-
ting.
EditType: “NormalizeTrack”
If the recorded level is too low, this command can be
used to boost the specified region (IN–OUT) of track
data so that the peak level will be the maximum level
before clipping.
When this command is executed (“Exec.”), the normalize destination track will be overwritten.
For SCSI drives other than CD-ROM, CD-R, and
CD-RW, the D12 supports only WAV files that are
saved in the root directory of the first partition of
FAT 16 format.
The D12 can import WAV files of the following formats.
Sampling frequency: 44.1 kHz
Quantization: 8 bit, 16 bit, 24 bit
Number of channels: 1 (monaural), 2 (stereo)
When this command is executed (“Exec.”), the
import destination track will be overwritten.
A certain amount of time is required when importing or exporting WAV files. Here are some example
times when importing or exporting a five-minute 16
bit 44.1 kHz monaural WAV file from/to a Zip
drive.
Importing: approximately 9 minutes 20 seconds
Exporting: approximately 10 minutes 30 seconds
* The processing time will differ depending on the
format of the WAV file and on the SCSI device
you are using.
1
2
IN OUT
Max Level
2. DestTrack.................................[1...12, 1–2...11–12]
Select the normalize destination track.
For a 24 bit song, only up to tracks 5–6 can be
selected.
3. Exec. (Execute) ........................................................
Execute the track editing command.
4. Wave .....................................................................
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT,
TO) more precisely. (→p.81 EditType: “CopyTrack”)
IN OUT
Max Level
4
3
1 3
5
2 4
1. DriveList ........................................................ [A...G]
Select the drive. For details on the drive numbers,
refer to “Drive ID” (→p.22).
2. WavFileList..............................................................
Select the WAV file.
Press the “OK” button to finalize the selection, or
press the “Cancel” button to cancel the selection.
When importing from CD-ROM, CD-R, or CDRW, sub-directories are also supported.
Sub-directories are displayed as [...] in the
WaveFileList screen.
P4 Import: Import a WAV file
A WAV file saved on a FAT 16 DOS format external
SCSI drive can be pasted into a D12 track. (→”Note
when using a DOS format disk”)
You can also import this data into the clipboard, and
paste it into a location other than the beginning of the
track.
In the case of CD-ROM, CD-R, and CD-RW, the D12
supports WAV files saved on ISO9660 format discs.
Sub-directories are also supported for CD-ROM,
CD-R, and CD-RW.
86
To enter a sub-directory, select the desired [...]
and press the “OK” button. To return, select
“←” and press the “OK” button.
e
Prvw .......................................................................
You can preview the first two seconds of the
selected WAV file.
If you select a WAV file of an unsupported format,
one of the following error messages will appear.
SAMPLE RATE NOT 44.1k: This will
appear if the sampling frequency of the WAV file is
other than 44.1 kHz.
SAMPLE BIT NOT FIT: This will appear
if the quantization of the WAV file is other than 8
bit, 16 bit, or 24 bit.
ILLEGAL WAV DATA: This will appear if
the WAV file is unsupported for a reason other than
the above.
3. DestTrack........................ [1...12, 1–2...11–12, clip#]
Select the import destination track. Clip# will be 1 if the selected WAV file is monaural, or 2 if the file is stereo.
4. FileType.......................................................( , )
This indicates whether the selected WAV file is
monaural or stereo.
: The selected WAV file is monaural.
: The selected WAV file is stereo.
5. Exec. (Execute).........................................................
Execute the WAV file import command.
3. Rename ..................................................................
Press the “Rename” button to access the dialog box,
and specify a name for the WAV file. Up to eight
characters can be input for the WAV file name.
4. Date .......................................................................
Input the date of the WAV file being exported. Press
the “Date” button to access the dialog box, and
specify the date and time at which the WAV file was
created. Directly press the date or time field that
you wish to change, and use the [VALUE] dial to
modify the value.
Press the “OK” button to finalize the setting. Alternatively, press the “Cancel” button to cancel any
changes you made.
5. Exec. (Execute) ........................................................
Execute the WAV file export.
Refer
TRACK
P5 Export: Export a WAV file
Audio track data copied to the clipboard of the D12 can
be exported to a WAV file (16 bit, 44.1 kHz, mono or stereo) on a FAT 16 DOS formatted external SCSI drive.
(→p.72 “Note when using DOS format disks”)
You can select whether clip board data in 24 bit mode
will be exported as 16 bit or as 24 bit data. When
exporting 24 bit clipboard data as 16 bit data, you can
select whether dithering will be performed.
If dithering is performed, quantization noise will be
less obvious.
It is not possible to export to a CD device (CD-R,
CD-RW).
5
1
2 43
1. Clip# .......................................................................
This shows the state of the clipboard.
# indicates the number of tracks in the clipboard.
This command cannot be executed if the display is
other than “Clip1” (monaural) or “Clip2” (stereo).
5a. Export Size .................................... [16bit, 24bit]
This can be selected only if the clipboard contains
24 bit data.
Specify whether the 24 bit data copied to the clipboard will be exported as a 16 bit WAV file or as a 24
bit WAV file.
5a
5b. Dither SW.......................................... [ON, OFF]
This can be selected only for 24 → 16 bit.
Specify whether dithering will be performed when
the 24 bit data copied to the clipboard is exported as
a 16 bit WAV file.
5b
ON: Dithering will be performed in order to make
quantization noise less obtrusive.
OFF: Dithering will not be performed.
2. DriveList ........................................................[A...G]
Select the drive. For details on drive numbers, refer
to “Drive ID” (→p.22).
87
3. Rename ..................................................................
5. SONG
Select the “Rename” button, press the [ENTER] key
to access the dialog box, and modify the song name.
A name of up to sixteen characters can be input.
(→p.21)
P1 SelSong: Selecting a song
13
2
1. SongNumber ............................[I, A…G/001…100]
Select the song.
The display shows the drive, song number, and
song name.
If a 24 bit song is selected, the display will indicate
“ .” If the song is protected, the display will indi-
cate “ ” (→p.60). If a song from a D16 playable
disk is selected, the display will indicate “ .”
Press the “ ” button, and you will be able to select
from a list. To select a different drive, select “Drive”
from this list.
4
4. New .......................................................................
This creates a new song following the last song of
the currently selected drive.
Press the “New” button to access the dialog box.
4b4a
Set “SongType” and “MixerSet,” and press the
“OK” button, then press the [ENTER] key to create
the new song. If you press the “Cancel” button, no
song will be created.
1
1a
You can also select songs by holding down the
[STOP] key and pressing the [FF] key or [REW] key.
1a. Drive ...................................................[I, A…G]
Select the drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
(→p.22)
2. Select DispParameter............... [Tempo, Mark, Scene]
Select whether the LCD display will show the current tempo, mark, or scene settings.
Press the “ ” button, and you will be able to select
from a list.
Tempo: The display will show the tempo source,
tempo, time signature, and rhythm of the song.
4a. SongType ............. [16Bit/12Track, 24Bit/6Track]
16Bit/12Track: Create a song for 16 bit recording/
playback. Tracks 1–12 can be used. A maximum of
four tracks can be recorded simultaneously.
24Bit/6Track: Create a song for 24 bit recording/
playback. Six tracks (1–6) can be used. Tracks 7–12
are not available. A maximum of four tracks can be
recorded simultaneously.
When audio data is transferred to a 16 bit song
(→p.81 EditType: “CopyTrack”), it will be handled
as 16 bit data.
The “SongType” (Bit/Track) setting can be changed
only when creating a new song.
4b. MixerSet .................................. [New, PrevSong]
Select the mixer settings for the new song.
New: New settings will be used. PrevSong: The mixer settings of the currently
selected song will be used.
Mark: The display will show the number and name
of the mark at or immediately before the current
location in the song.
Scene: The display will show the number and name
of the scene for the current location in the song.
88
e
P2 EditSong: Song editing
1
2 3
The song affected by editing will normally be the
currently selected song. (However the “Copy-
AllSong” operation will affect all songs.)
Undo is not available after these operations.
1. EditType ...............................[CopySong, MoveSong,
DeleteSong, ProtectSong, CopyAllSongs]
Select the song editing operation.
Press the “ ” button, and you will be able to select
an editing operation from the following dialog box.
On this and the following pages, the items in the
screen are explained separately for each of these
types.
EditType: “CopySong”
The currently selected song will be copied to the drive
and song number you specify.
1
2 3
Undo is not available for this operation.
EditType: “MoveSong”
The currently selected song will be moved to a different
song number within the same drive.
Refer
4
5
1
4
32
2. SourceSong ...............................(I, A...G/001...100)
This displays the move source drive and the song
number. If you wish to change this, use the [SONG]
“SelSong” tab page to make your selection.
3. DestSong .................................[(I, A...G/001...100)]
This displays the move destination drive, and lets
you select the song number.
You can select song numbers “001”–“existing song
numbers”.
4. Exec. (Execute) ........................................................
Execute the move operation.
If the selected move destination number (“DestSong”) is higher than the move source number
(“Sour
ceSong”), executing this operation will cause
the “DestSong
be renumbered downward by one. If the move destination number is lower than the move source
number, the “DestSong
bers will be renumbered upward by one. No songs
will be overwritten.
4
5
Undo is not available for this operation.
EditType: “DeleteSong”
The currently selected song will be deleted.
” and the preceding song numbers to
” and following song num-
SONG
2. SourceSong ...............................(I, A...G/001...100)
This displays the copy source drive and the song
number. If you wish to change this, use the [SONG]
“SelSong” tab page to make your selection.
3. DestSong................................. [(I, A...G/001...100)]
This displays the copy destination drive, and lets
you select the song number.
You can select song numbers “001”–“existing song
numbers + 1”. Use “Drive” to select the drive.
4. Drive .......................................................... [I, A...G]
Select the copy destination drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
(→p.22)
5. Exec. (Execute).........................................................
Execute the copy operation.
When you execute the operation, the source song
will be copied to the destination song number
(“DestSong
number, songs at and following that number will be
renumbered upward by one; no songs will be overwritten.
”). If “DestSong” is an existing song
1
2
2. DestSong .................................[(I, A...G/001...100)]
This displays the drive, song number, and name of
the song that will be deleted. If you wish to change
this, use the [SONG] “SelSong” tab page to make
your selection.
3. Exec. (Execute) ........................................................
Execute the delete operation.
When you execute, the “DestSong
deleted, and subsequent songs will be renumbered
downward by one.
Undo is not available for this operation.
EditType: “ProtectSong”
The currently selected song will be protected, so that
writing, and deletion are prohibited. This lets you prevent a completed song from accidentally being overwritten and deletion.
” song will be
89
3
No writing and delete operations can be performed
when protect is on, including recording, track editing, and registering a scene.
When protect is turned on, the settings of a song
will also be stored. Fader and EQ etc. will reflect
your editing, but will not be stored.
P3 PrgPlay: Program playback of
songs
You can create a program play list to arrange songs in a
desired order, and play them consecutively.
For settings and playback procedure, refer to p.33.
1
4 2
2. DestSong .................................[(I, A...G/001...100)]
This displays the drive, song number, and name of
the song that will be protected. If you wish to
change this, use the [SONG] “SelSong” tab page to
make your selection.
3. Exec. (Execute) ........................................................
Execute the delete operation.
Each time you execute, protect will be turned on or
off.
Undo is not available for this operation.
4. Protect On/Off Symbol...............................[On, Off]
A “lock” symbol will be displayed when protect is
On, and will be hidden when protect is Off. The
on/off setting is switched by the “Exec.” button.
EditType: “CopyAllSongs”
All songs of the drive where the currently selected song
is located will be copied.
1
2 3
2. SourceDrive ................................................(I, A...G)
This displays the copy source drive.
3. DestDrive ..................................................[(I, A...G)]
This displays the copy destination drive.
Use “Drive” to select the drive.
3
2
1
3
1. Select TimeDisp Type...............[Abs–Song, Abs–Total]
Select the type of counter display.
Abs–Song: The elapsed time of the individual song
will be displayed.
Abs–Total: The elapsed time of the entire program
will be displayed.
If you are satisfied with the setting you selected,
press the “OK” button. To cancel, press the “Cancel” button.
2. ProgramPlay List ........................................[01…99]
Here you can arrange songs in a list.
The songs will be played in order, starting at the
top. To select a different drive, select the “Drive”
button and press the [ENTER] key.
4
5
From the left, this display shows the play list number, drive, song number, and song name.
If the list contains a play list number without a
song, that number will be skipped, and the next
song in the play list will be played.
3. Drive.......................................................... [I, A…G]
Select the drive.
For details on drive numbers (“I”–”G”), refer to
“Drive ID
.” (→p.22)
4. Drive ......................................................... [I, A…G]
Select the copy destination drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
5. Exec. (Execute) ........................................................
Execute the copy operation.
When you execute this command, the songs will be
copied following the last song on the copy destination drive (“DestSong”). No songs will be overwritten.
Undo is not available for this operation.
90
P4 CDR/RW: Creating and
playing a CD-R/RW
If a CDRW-1 (sold separately) is installed in the D12 or
if a commercially available CD-R (CD Recordable)
drive is connected, you will be able to create an audio
CD. (→p.49)
The first through last events of tracks 1 and 2 of the currently selected song will be written to the CD-R/RW.
Here you can also play back the CD-R/RW that you
created.
Some audio CD players are unable to play back a
CD-R/RW disc.
e
1
6
2
3
7
54
1. CD-R/RW Infomation ...............................................
(Trk01...99, BlankDisc, NoAudioTracks, NoDrive)
This shows the song on the CD-R/RW that will be
played.
Trk01...99: The song number within the CD-R/RW
disc.
BlankDisc: An unwritten CD-R/RW disc is
inserted.
NoAudioTracks: Either a CD-R/RW disc has not
been inserted, or no playable audio tracks were
found on the disc.
NoDrive: No drive is connected.
2. Size/DeviceType ...................(Free, Used/R, RW, DA)
This shows the time available on the CD-R/RW for
writing, and the type of disc.
Time display
Free: Display the free time on the disc.
Used: Display the used time on the disc.
The times are displayed in minutes and seconds.
Disc type
R: The disc has been detected as a CD-R.
This corresponds to the following cases.
• Drive = CD-R, Disc = CD-R
• Drive = CD-RW, Disc = CD-R
RW: The disc has been detected as a CD-RW.
This corresponds to the following case.
• Drive = CD-RW, Disc = CD-RW
DA: The disc has been detected as an audio CD.
This corresponds to the following cases.
• A finalized CD-R created on the D12 etc.
• A finalized CD-RW created on the D12 etc.
• An audio CD
3. Final(Finalize) ..........................................................
Execute the Finalize operation.
In order for a CD-R/RW disc created on the D12 to
be playable on an audio CD player, the Finalize
operation must be executed.
You can use the CD-R/RW transport keys to audition the disc before finalizing.
In this case, it may not be possible to audition the
very end of the last song (approximately 0.5 seconds).
Finalize can be executed only once. After a disc has
been finalized, it is no longer possible to write additional songs on that disc. For this reason, you
should select the “Final” button and press the
[ENTER] key to execute Finalize only after you have
finished writing all the songs you intend to write on
that disc.
4. Erase.......................................................................
Erase the data that was written to the CD-RW.
This cannot be executed on a CD-R.
Erased data cannot be recovered.
5. WriteToCD ..............................................................
Execute writing to the CD-R/RW.
When you press the “WriteToCD” button, a message of “Obey Copyright Rules” will appear. Carefully read the owner’s manual section “About
copyright” (→p.1), and use this function only if you
accept the terms.
5a
5a. Write Speed...........................................[2x, 4x]
Select the speed at which the CD will be written.
4X: Write at quadruple speed.
2X: Write at double speed.
When the display asks “Are You Sure?,” press the
“Yes” button to begin writing.
If you use “4X” to write, you must use a drive
that supports 4X speed writing.
If you press the “Abort” button while writing,
writing will be stopped. However, the disc will
be incomplete.
6. CD......................................... [Abs–Song, Abs–Total]
Select the display method for the CD-R/RW playback counter.
Abs–Song: Display the elapsed time for a single
song.
Abs–Total: Display the elapsed time for the entire
disc.
7. CD-R/RW transport keys
Use these keys to play, stop, and select songs on an
audio CD you created.
: If you are in the middle of a song, this key
moves to the beginning of that song. If you are at
the beginning of a song, this key moves to the
beginning of the previous song.
: This key moves to the beginning of the
next song.
: This key alternately starts/stops
playback.
The playback sound will be output from the audio
outputs of the CD-R/RW drive.
6. STORE
You can store a time location for registration to a locate
memory, scene, or mark.
The time at which you pressed the [STORE] key is
remembered, and can be registered by pressing one of
the registration destination keys. If you press the
[STORE] key once again instead of pressing a registration destination key, the store operation will be cancelled.
For details on these functions and on the registration
procedure, refer to Locate (→p.35), Scene (→p.36), and
Mark.
Refer
SONGSTORE
91
7. MARK
8. SCENE
You can register a specific time location in a Mark, and
then jump instantly to that location when desired. Since
you can assign a name to each mark, you can use them
to indicate sections within your song.
A maximum of 100 marks can be registered in each
song.
P1 Mark: Editing marks
1
1. MarkNumber .........................................[001…100]
Select the mark number. Beside the mark number,
the display shows the name of the mark, and the
registered time location.
Mark numbers are updated in order of their time
location.
2. Rename ..................................................................
Modify the name of the mark.
Select the mark whose name you wish to modify,
select the “Rename” button, press the [ENTER] key
to access the dialog box, and modify the name. You
can input a name of up to sixteen characters.
(→p.21)
The mixer settings that you adjust can be registered at a
desired time location as a Scene, and used to automatically change the mixer settings as the song plays (when
Scene Read is turned “On”). Scenes can also be used as
general-purpose settings, and recalled and used when
desired.
Up to 100 scenes can be registered in each song.
The following settings can be registered in a scene.
MixerChannel
Eq, EffectSend1, 2, AuxSend, Pan/Balance, ChFader,
PairOn/Off
2
3
4
InsertEffect (only when Assign is “Trk”)
EffectType, InsertTo, EffectNumber
MasterEffect
EffectNumber, EffectReturn
FinalEffect
EffectNumber
Filters are provided for each of these parameter groups,
allowing you to select whether or not they will be regis-
tered or recalled (→”Filter”).
P1 ReadDel: Scene playback on/
off and editing
6
1
2
7
9
10
3. Delete .....................................................................
Delete a mark.
The Undo function is not available after deleting a
mark.
3a
3a. SelectAll...............................................[On, Off]
Select all marks for deletion.
On: All marks will be subject to deletion.
The mark number will be displayed as “***.”
Off: The single mark selected by
“MarkNumber
4. Recall .....................................................................
Recall the mark selected by “MarkNumber
move the current time to that location.
” will be selected for deletion.
,” and
4 5 3
1. SceneRead .................................................[On, Off]
Turn scene playback on/off.
During playback, each scene will be recalled when
its registered time is reached, and the mixer settings
will change automatically.
When this is “On,” the [SCENE] key will light.
You can freely recall scenes as general-purpose set-
tings without regard to their time location. (→p.40
“Recalling a scene”)
2. Filter .......................................................................
You can use filters to disable changes for specified
mixer settings (parameters) when registering or
recalling scenes.
Here you can select which mixer settings (parameters) will be disabled.
8
On: Scene playback is enabled.
Off: Scene playback is disabled.
92
e
On: The filter will be on for that channel/parameter, and the scene settings will be disabled.
Off: The filter will be off, and the scene settings will
be enabled.
When you register a scene, the filter settings act as a
registration filter for that song. When you play
back, the filter settings act as a playback filter for
that song.
Use the filter while registering if you wish to preserve some of the settings from the previous scene.
For example, suppose that you turned the filter
“On” for the “Pan” of channels 1 and 2, and registered the current settings as scene “002” in the middle of the song. Then for playback, suppose you
turned the “EQ” filter “On.”
Turn on scene playback and play back from the
beginning of the song. When playback reached the
location of scene “002,” pan will remain at the settings of scene “001” (registered at the beginning of
the song), since scene “002” does not contain pan
settings. Other settings will change to the values of
scene “002.” Since EQ is being played back through
the playback filter, the values registered in the
scenes from the beginning of the song will not be
used; the current EQ settings will be maintained.
3. SceneNumber ........................................ [001…100]
This recalls the mixer settings of a scene to the current time location.
This is also used to recall a scene when you wish to
modify its name or to change its time location.
The time location at which the scene is registered is
shown beside “SceneNumber.”
If “SceneRead” (P1-1) is “Off,” you can select any
desired scene. If this is “On,” the scene for the current time will be selected automatically, and cannot
be selected manually.
4. Sort.........................................................................
Sort scenes in order of time.
Normally, scenes are arranged in the order in which
they were registered, but you can sort them in
ascending order of registered time.
Undo is not available after executing Sort.
5. Rename...................................................................
This lets you modify the name of a scene.
Use “SceneNumber
you wish to modify, press the “Rename” button to
access the dialog box, and modify the name. A
name of up to sixteen characters can be input.
(→p.21)
If the [SONG] “SelSong” tab page item “Select DispParameter” is set to “Scene,” the scene name will be
displayed in that page. (→p.88)
” to recall the scene whose name
6. EditLoc....................................................................
This lets you change the registered time of a scene.
Use “SceneNumber
tion you wish to change. Press the “EditLoc” button
to access the dialog box, and modify the location of
the scene.
Use the cursor to select the time that you wish to
modify, and use the [VALUE] dial to modify the
time.
Press the “OK” button to finalize the change, or
press “Cancel” button to cancel the change.
7. Delete.....................................................................
This lets you delete a scene.
The Undo function is not available after you delete
a scene.
” to recall the scene whose loca-
7a
7a. SelectAll ..............................................[On, Off]
This selects all scenes for deletion.
On: All scenes will be subject to deletion.
The scene number will be displayed as “***.”
Off: The single scene selected in “Scene-
Number” will be subject to deletion.
8. EditFilter .................................................................
You can view or edit the filter settings that are registered in a scene.
The filter settings registered in the “Filter” tab page
can be viewed or edited. Even when a scene is
stored with filtering applied, it actually saves all the
parameter values at the time of storing, together
with the state of the filter. By editing the filter settings in this page, you can revert to the actual
parameter settings of the time that the scene was
stored.
9. Recall .....................................................................
This recalls the settings that are registered in a
scene.
If you recall a scene and edit the EQ etc., pressing
the “Recall” button to recall it will recall the settings
prior to editing (i.e., the mixer settings that were
registered in the scene).
10.OvrWrt...................................................................
This overwrites the current mixer settings onto the
currently selected scene number. Use this when you
wish to make detailed adjustments to the scene, or
to replace it with a different scene.
Refer
MARKSCENE
93
P2 MixView: Pan/fader scene dis-
play
1
2
3
1. Pan/Balance ........ (Pan1…Pan6, Bal7–8…Bal11–12)
This shows the currently selected pan and balance
settings.
When you select an icon, the channel number and
setting value will be displayed in the upper left.
2. Level......................(Lev1…Lev6, Lev7–8…Lev11–12)
This shows the currently selected channel fader settings.
When you select an icon, the channel number and
setting value will be displayed in the upper left.
3. Pan/fader guide ...............[ ]
These symbols show the difference between the
actual fader or pan locations and the values that are
registered in the scene.
When a scene is recalled, the current position of the
faders may differ from the values registered in the
scene. In this case, selecting the item that you wish
to adjust will cause an indicator symbol to appear,
showing the approximate difference between the
internal setting value and the control.
Faders
: The fader position is more than 51 steps above
the internal value.
: The fader position is between 21–50 steps above
the internal value.
: The fader position is between 1–20 steps above
the internal value.
: The fader position matches the internal value.
: The fader position is between 1–20 steps below
the internal value.
: The fader position is between 21–50 steps below
the internal value.
: The fader position is more than 51 steps below
the internal value.
Pan
: The pan knob is more than 51 steps to the left of
the internal value.
: The pan knob is between 21–50 steps to the left
of the internal value.
: The pan knob is between 1–20 steps to the left of
the internal value.
: The pan knob matches the internal value.
: The pan knob is between 1–20 steps to the right
of the internal value.
: The pan knob is between 21–50 steps to the right
of the internal value.
: The pan knob is more than 51 steps to the right
of the internal value.
4. SceneNumber ........................................[001…100]
This recalls the mixer settings of a scene to the cur-
rent time location. (→p.92)
4
9. TEMPO/RHYTHM
Here you can make tempo, time signature, and rhythm
(metronome) settings for a song. When the counter is
displaying “MBT” (measures, beats, and 1/96th of a
beat) (→p.75), it will operate according to the specified
tempo.
Tempo/rhythm can also be viewed in the [SONG]
“SelSong” tab page (→p.88).
P1 SetUp: Tempo and rhythm
settings
1
4 5 2
1. TempoSource........ [Manual, TempoMap, TempoTrack]
Specify the tempo source.
Press the “ ” button, and you can select from a dialog box.
Manual: The tempo will follow the “T
(→P1-2) and “Beat
possible to change the tempo, time signature, and
rhythm pattern automatically as the song
progresses.
TempoMap: The tempo, time signature, and
rhythm pattern will change automatically as the
song progresses, as directed by the tempo map. The
tempo map can be created in the “TmpMap” tab
page.
TempoTrack: The recorded tap tempo or MIDI
Clock will be used. Use the “TmpTrack” tab page to
record a tap tempo or tempo data from a sequencer,
and select “TempoTrack” here.
The time signature will follow the settings created
in the “TmpMap” tab page. For details refer to p.62.
The “TempoTrack” can be selected after it is cre-
ated.
2. Tempo............................................. [40…240, (***)]
Specify the tempo that will be used when “T
Source” is set to “Manual.” In the case of “Tem-
poMap,” this will show the current tempo created
in the “TmpMap” tab page. In the case of “Tempo-
Track,” this will show “***.”
The units are =40–240.
3. Beat............................................... [01/04…16/16]
Specify the time signature that will be used when
“TempoSource” is set to “Manual.” In the cases of
“TempoMap” and “TempoTrack,” this will show
the time signature corresponding to the current
time as specified in the “TmpMap” tab page.
” (→P1-3)settings. It will not be
empo”
empo-
7
3
6
94
e
4. SelRhythm .............................. [(Rhythm Pattern List)]
Specify the rhythm parameter that will be used
when “TempoSource” is set to “Manual.” In the
cases of “TempoMap” and “TempoTrack,” this will
show the rhythm(→P1-2) corresponding to the cur-
rent time as specified in the “TmpMap” tab page.
Press the “ ” button, and select a pattern from a
dialog box.
The rhythms that can be selected will depend on the
“Beat
.” (→p.142)
5. RhythmVol............................................. [000…100]
Specify the volume of the rhythm.
When the [SOLO/MONITOR] “Monitor” tab page
“Rhythm” button is turned OFF, this volume is sent
to the master LR bus. When the button is turned
ON, it is sent to the monitor LR bus.
6. Rhythm ..................................................... [On, Off]
Turn the rhythm on/off.
You can specify whether or not the rhythm will play
during recording and playback.
On: The rhythm will sound. The
[TEMPO/RHYTHM] key LED will light.
Off: The rhythm will not sound.
Be aware that during bounce recording, the rhythm
will be recorded if this setting is “On.”
The rhythm that is input for [INPUT] “Ch1–6” and
“Ch7–12” tab page (“RhythmL” and “RhythmR”)
will sound during recording or playback whether
this setting is On or Off.
If the [SETUP] “TmpMap” tab page “Rhythm”
parameter is “On,” the rhythm will sound as long
as this page is displayed, even if the recorder is
stopped. At this time, the rhythm will continue
sounding even if you select the “METER/TRACK
VIEW” page.
7. Pattern Length, Pattern Position ................................
This shows the length (number of measures) of the
rhythm pattern selected by “SelRhythm,” and the
measure that is currently playing.
Example: (L4:1)... currently playing measure 1 of a
four-measure pattern
P2 TmpMap: Editing the tempo
map
By creating a tempo map, you can cause the tempo,
time signature, and rhythm pattern to change while the
song is recorded or played back.
For details on creating a tempo map, refer to p.62.
Changes in tempo, time signature, or rhythm can be
made only at the beginning of a measure.
1
3
1. TempoMap.............................................[001…200]
This is the number of the selected tempo map.
The starting measure, ending measure, tempo, time
signature, and rhythm pattern of this tempo map
are shown at the right.
Press the “ ” button and select a tempo map from a
dialog box.
When “TempoSource” (→P1-1) is “Manual,” it is
not possible to select “TempoMap.”
2. New .......................................................................
Create a new tempo map.
When you wish to add a tempo map in the middle
of the song, create a new tempo map.
The following “Select TempoMap*** Param” dialog
box will appear.
2a
2c
2e
2d 2f2b
2a. StartMeas ........................................ [001...999]
Specify the starting location of the tempo map that
will be created.
This is specified in units of a measure.
Refer
5
2
4
TEMPO
2b. EndMeas ......................................... [001...999]
Specify the ending location of the tempo map that
will be created.
This is specified in units of a measure.
2c. Tempo ................................................ [40…240]
Specify the tempo. The units are =40–240.
2d. Beat ........................................ [01/04…16/16]
Specify the time signature.
2e. Rhythm ............................. [(Rhythm Pattern List)]
Specify the rhythm. If you wish to specify a period
of silence, you can select a silent rhythm.
Press the “ ” button and select a rhythm from a
dialog box.
The rhythms that can be selected will depend on the
“Beat
” setting. (→p.142)
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2f. Insert....................................................[On, Off]
On: The new tempo map will be created in Insert
mode, inserting the tempo map.
Off: The new tempo map will be created in Overwrite mode, overwriting the existing tempo map.
3. Edit.........................................................................
Here you can edit the settings of a tempo map.
Select this when you wish to modify an existing
map. Use “T
wish to modify, and then press this button. The
“Select TempoMap*** Param” dialog box will
appear, and you can set the desired values. (→P2-2
”New”)
4. Delete .....................................................................
This deletes a tempo map.
empoMap” to select the map that you
4a
4a. SelectAll...............................................[On, Off]
All tempo maps will be subject to deletion.
On: All tempo maps will be subject to
deletion. The tempo map number will be shown as
“***.”
Off: The single tempo map selected by
“T
empoMap” will be subject to deletion.
All tempo maps following the deleted tempo
map will be moved forward.
1 2
1. Select RecTempoTrack Type.......................................
[MIDIClock, MeasTap, BeatTap]
Select the type of tempo track.
MIDIClock: The tempo track will be created by
recording MIDI Clock data from a song that was
created on an external sequencer.
MeasTap: The tempo track will be created by
recording taps at the beginning of each measure.
BeatTap: The tempo track will be created by recording taps at the beginning of each beat.
2. RecStart ..................................................................
Begin recording the tempo track.
5. Pattern Length, Pattern Position................................
This shows the number of measures (length) of the
pattern selected by “SelRhythm,” and the measure
number that is currently playing.
P3 TmpTrk: Create a tempo track
The tempo track can be recorded in two ways.
• By recording MIDI Clock
• By recording tap tempo
The first method is used to synchronize the D12 to data
created on an external sequencer.
The second method is used when you do not know the
tempo of audio data recorded on the D12 (for example
if you recorded from a CD), but would like to manage
the data and edit tracks in units of measures.
For the procedure, refer to p.63.
Since these two types of tempo track are recorded in
the same area, it is not possible for both tempo
tracks to exist simultaneously.
If memory becomes full during recording, recording
will end.
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e
10. IN/LOC1, OUT/LOC2,
TO/LOC3, END/LOC4
If locations in the song have been registered to the [IN/
LOC1], [OUT/LOC2], [TO/LOC3], and [END/LOC4]
keys, you can use them to perform the following functions.
• Locate point (press a key to move to the registered
time location)
• Loop playback in/out points
• In/out points for auto-punch recording
• Editing locations for track editing
• In-out playback
With this function, you can hold down the [IN/
LOC1] key and press the [OUT/LOC2] key to playback from the IN time registered in the [IN/LOC1]
key to the OUT time registered in the [OUT/LOC2]
key. This provides a convenient way to play back the
IN–OUT range so that you can check its contents.
Locate functions
IN/LOC1
The following time location registered to the [IN/
LOC1] key.
• Locate point 1
• Punch-in time for auto-punch recording
• Playback start time for loop playback
• Playback start time for in-out playback
• The following times for track editing operations
Copy source start time for “Copy Track”
Start of blank insert location for “Insert Track”
Start of erased region for “Erase Track”
Start of deleted region for “Delete Track”
Start time of swap source and swap destination
for “Swap Track”
Start of reversed region for “Reverse Track”
Start of expanded/compressed region for “Exp/
CompTrack”
“OptimizeTrack” start time
“FadeTrack” start time
“NormalizeTrack” start time
TO/LOC3
The following time location registered to the [TO/
LOC3] key.
• Locate point 3
• The following times for track editing operations
Copy destination time for “Copy Track”
Reverse copy destination time for “Reverse
Track”
Start time + copy destination time of expanded/
compressed data for “Exp/CompTrack”
END/LOC4
The following time location registered to the [END/
LOC4] key.
• Locate point 4
• The following time for track editing operations
End time of expanded/compressed data for
“Exp/CompTrack”
Refer
TEMPOIN/LOC1
OUT/LOC2
The following time location registered to the [OUT/
LOC2] key.
• Locate point 2
• Punch-out time for auto-punch recording
• Playback end time for loop playback
• Playback end time for in-out playback
• The following times for track editing operations
Copy source end time for “Copy Track”
End of blank insert location for “Insert Track”
End of erased region for “Erase Track”
End of deleted region for “Delete Track”
End time of swap source and swap destination
for “Swap Track”
End of reversed region for “Reverse Track”
End of expanded/compressed region for “Exp/
CompTrack”
“OptimizeTrack” end time
“FadeTrack” end time
“NormalizeTrack” end time
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11. AUTO PUNCH
4
4a. PreRoll .................................................[00…10]
Set the pre-roll time.
4b. PostRoll................................................[00…10]
Set the post-roll time.
P1 AtPunch: Settings for auto
punch-in/out recording
Auto punch-in/out recording is a function that automatically starts recording (punch-in) and stops recording (punch-out) at the time locations you specify
beforehand.
If you record when “AutoPunch” is “On,” punch-in/
out recording will occur automatically.
By turning the [RHSL] key “On,” you can rehearse
auto punch-in/out recording (i.e., practice without
actually recording anything). (→p.112)
1 4
2 3
1. AutoPunch .................................................[On, Off]
Set the auto punch-in/out recording function on/
off.
On: When you record, auto
punch recording will occur. When “On,” the
[AUTO PUNCH] key will light.
When you begin recording, the song will start at the
pre-roll time before the registered time (IN), recording will occur for the recording region (IN–OUT),
and playback will stop after the post-roll time.
(→”RolTime”)
Off: When you record, recording will occur normally.
2. In ....................................................(000:00.000…)
This shows the auto punch-in time (where recording will begin).
To set this time location, use the [STORE] key and
[IN/LOC1] key, or use “Wave.”
3. Out.................................................. (000:00.000…)
This shows the auto punch-out time (where recording will end).
To set this time location, use the [STORE] key and
[OUT/LOC2] key, or use “Wave.”
4. RolTime ..................................................................
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.
4c. Unit..............................[Second, Meas(Measure)]
Select the units for the pre/post roll times.
You can select either seconds or measures.
Press the “OK” button, and the specified pre/postroll times will take effect. If you press the “Cancel”
button, the times you set will be cancelled.
PreRoll
5. Wave......................................................................
You can view the waveform as you set IN and OUT,
which allows you to specify time locations with
5
greater precision.
The play-from/play-to and slow play functions can
also be used. (→p.101)
IN(LOC 1) OUT(LOC 2)
Playback Playback
Auto punch-in/out recording
Loop recording (this region will be repeated)
Recording
Stop recordingBegin recording
PostRoll
5a
5c
5d 5b
5a. In...............................................[000:00.000…]
5b. Out............................................[000:00.000…]
Set IN and OUT.
When you place the cursor at “In” or “Out,” the
track selected by “TrackSelect” will automatically
be set to Solo and Scrub On, so that you can rotate
the [VALUE] dial to hear only the sound of that
track.
5c. TrackSelect...................................... [Track1…12]
Select the track whose waveform will be shown and
which will be played. Press the “ ” button and
select from the list.
5d. Zoom In/Out/Up/Down
Adjust the size of the waveform display and the
playback speed.
: Expand the waveform display vertically.
: Shrink the waveform display vertically.
: Expand the waveform display horizontally.
: Shrink the waveform display horizontally.
When you press the “OK” button, the times you
specified for “In” and “Out” will be overwritten
onto the respective keys ([IN/LOC1], [OUT/
LOC2]). If you press the “Cancel” button, the times
you selected will be cancelled.
a
4c 4b
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