Korg D12 User Manual

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 16)
[BALANCE] knobs (Ch 712)
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 (Ch16, Ch7/811/12)
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 9Step 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 “12Tr2Tr.”
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 8A 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+2In2Tr.”
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 INOUT region will be recorded repeatedly (looped). At this time, playback will occur before and after the INOUT 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 nd
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 001100.
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 47. 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 les
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 rst 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
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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, 12Tr2Tr]
Select the type of bounce recording.
10Tr+2In2Tr: 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.
12Tr2Tr: 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, ah]
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 ...................[1a1h, , 6a6h]
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 INOUT 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 INOUT 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 INOUT range of the swap source track (“Sour
ce­Track”) with the track data in the INOUT 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 INOUT 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 INOUT range of the expansion/compression source track (“Sour
ceTrack”), places it in the TOEND 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 INOUT duration is drastically different than the TO–END duration, an error mes- sage will appear when this is executed. In general, the TOEND time can be changed to 50–200% of the INOUT 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 INOUT range of the fade-in destination track (“DestTrack”). When this operation is executed, the audio data in the INOUT 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 le
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 le
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, AG/001100]
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, AG]
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
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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 ........................................[0199]
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, AG]
Select the drive. For details on drive numbers (“I”–”G”), refer to “Drive ID
.” (p.22)
4. Drive ......................................................... [I, AG]
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 .........................................[001100]
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 ........................................ [001100]
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 ........................................[001100]
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............................................. [40240, (***)]
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............................................... [01/0416/16]
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
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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............................................. [000100]
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.............................................[001200]
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 ................................................ [40240]
Specify the tempo. The units are  =40–240.
2d. Beat ........................................ [01/0416/16]
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)
95
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.
96
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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 INOUT 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 .................................................[0010]
Set the pre-roll time.
4b. PostRoll................................................[0010]
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...................................... [Track112]
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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