2E
The lightning flash with arrowhead symbol within
an equilateral triangle, is intended to alert the
user to the presence of uninsulated “dangerous
voltage” within the product’ s enclosure that may
be of sufficient magnitude to constitute a risk of
electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence
of important operating and maintenance (servicing) instructions in the literature accompanying
the product.
INSTRUCTIONS PERTAINING TO
A RISK OF FIRE, ELECTRIC
SHOCK, OR INJURY TO PERSONS
IMPORTANT SAFETY INSTRUCTIONS
WARNING
—When using electric products, basic
precautions should always be followed, including the
following:
1) Read all the instructions before using the product.
2) Do not use this product near water—for example, near a
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.
3) This product should be used only with a car t or stand that is
recommended by the manufacturer.
4) This product, either alone or in combination with an amplifier
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level or
at a level that is uncomfortable. If you e xperience any hearing
loss or ringing in the ears, you should consult an audiologist.
5) The product should be located so that its location or position
does not interfere with its proper ventilation.
6) The product should be located away from heat sources such
as radiators, heat registers, or other products that produce
heat.
7) The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.
8) The power-supply cord of the product should be unplugged
from the outlet when left unused for a long period of time.
9) Care should be taken so that objects do not fall and liquids
are not spilled into the enclosure through openings.
10) The product should be serviced by qualified service personnel when:
a) The power-supply cord or the plug has been damaged; or
b) Objects have fallen, or liquid has been spilled onto the
product; or
c) The product has been exposed to rain; or
d) The product does not appear to operate normally or
exhibits a marked change in performance; or
e) The product has been dropped, or the enclosure
damaged.
11) Do not attempt to service the product beyond that described
in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
SAVE THESE INSTRUCTIONS
GROUNDING INSTRUCTIONS
This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for electric
current to reduce the risk of electric shock. This product is
equipped with a cord having an equipment-grounding conductor
and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances.
DANGER
conductor can result in a risk of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether
the product is properly grounded. Do not modify the plug provided with the product—if it will not fit the outlet, have a proper
outlet installed by a qualified electrician.
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. How e v er, 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
• Connect the equipment into an outlet on a circuit different
• Consult the dealer or an experienced radio/TV technician
Unauthorized changes or modification to this system can void
the user’s authority to operate this equipment.
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).
—Improper connection of the equipment-grounding
THE FCC REGULATION WARNING
receiver.
from that to which the receiver is connected.
for help.
(for U.S.A.)
CE mark for European Harmonized Standards
i
IMPORTANT NOTICE FOR THE UNITED KINGDOM
WARNING—THIS APPARATUS MUST BE EARTHED
As the colours of the wires in the mains lead of this apparatus
may not correspond with the coloured markings identifying the
terminals in your plug,proceed as follows:
• the wire which is coloured green and yellow must be
connected to the terminal in the plug which is marked with
the letter E or by the earth symbol , or coloured green or
green and yellow.
• the wire which is coloured blue must be connected to the
terminal which is marked with the letter N or coloured black.
• the wire which is coloured brown must be connected to the
terminal which is marked with the letter L or coloured red.
CAUTION FOR LASER
This product has been designed and manufactured according to FDA
regulations “title 21. CFR. Chapter J. based on the radiation Control
for Health and Safety Act of 1968”, and is classified as a class 1
laser product. There is no hazardous invisible laser radiation during
operation because invisible laser radiation emitted inside of this
product is completely confined in the protective housings.
The label required in this regulation is shown bellow.
CAUTION
Use of controls or adjustments or performance of procedures other
than those specified herein may result in hazardous radiation
exposure.
Optical pickup
Type: KRS-202A
Manufacturer: SONY CORPORATION
Laser output: Less than 0.1mW(Play) and 32mW(Record) on the
objective lens
Wavelength: 777-787nm
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 D1600, 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.
COPYRIGHT WARNING
This professional device is intended only for use
with works for which you yourself own the copyright, for which you have received permission from
the copyright holder to publicly perform, record,
broadcast, sell, and duplicate, or in connection with
activities which constitute “fair use” under copyright law. If you are not the copyright holder, have
not received permission from the copyright holder,
or have not engaged in fair use of the works, you
may be violating copyright law, and may be liable
for damages and penalties. If you are unsure about
your rights to a work, please consult a copyright
attorney.
FOR ANY INFRINGEMENT COMMITTED
THROUGH USE OF KORG PRODUCTS.
KORG TAKES NO RESPONSIBILITY
For customers using the CDRW-2 drive
Caution when transporting the D1600
When transporting the D1600, please pack it in the
carton and shock-absorbing material in which it was
originally packed.
If an internal IDE hard disk (e.g., HDD-20G) or internal CD-R/RW drive (e.g., CDRW-2) is installed, you
must remove them from the D1600 and pack them in
their own carton for transportation. Please take care
that these units are not subjected to physical shock
or vibration during transportation.
If the D1600 is transported with the hard disk and/
or CD-R/RW drive installed, data may be lost, or the
D1600, hard disk, or CD-R/RW drive may malfunction.
Phantom Power
To prevent hazard or damage, ensure that only
microphone cables and microphones designed to
IEC-268-15A are connected.
* 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 D1600 ................................. 8
Top panel ............................................................................. 8
Front panel......................................................................... 11
Rear panel.......................................................................... 11
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. Preparations ............................................................15
2. Using the D1600...................................................... 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 song............................................. 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 D1600...................... 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 .................... 81
4. TRACK .............................................................81
P1 Vtr1–8: Select virtual tracks 1–8................................ 81
P2 Vtr9–16: Select virtual tracks 9–16............................ 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 .......91
6. STORE............................................................. 92
7. MARK ............................................................. 92
P1 Mark: Editing marks................................................... 92
8. SCENE............................................................. 93
P1 ReadDel: Scene playback on/off and editing .........93
P2 MixView: Pan/fader scene display ..........................94
9. TEMPO/RHYTHM ............................................. 95
P1 SetUp: Tempo and rhythm settings.......................... 95
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 Ch1–8: Select the inputs for mixer channels 1–8... 102
P2 Ch9–16: Select the inputs for mixer channels
9–16.............................................................................. 103
P3 InEq1–4: EQ settings for inputs 1–4........................ 103
P4 InEq5–8: EQ settings for inputs 5–8........................ 103
P5 Tuner: Tuner ..............................................................103
18. EQ/PHASE .................................................. 104
P1 Eq1–4: EQ settings for mixer channels 1–4............ 104
P2 Eq5–8: EQ settings for mixer channels 5–8............ 104
P3 Eq9–12: EQ settings for mixer channels 9–12........ 104
P4 Eq13–16: EQ settings for mixer channels 13–16.... 104
P5 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 1107
P2 MstEff2: Selection and settings for master effect 2108
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 ............................................................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
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
44: GT6: Guitar Multi6 ................................................................ 120
3
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
Messages...........................................................131
Confirmation messages............................................ 131
Error messages .......................................................... 131
Installing a hard disk or CD-R/RW drive..............134
1. About the internal hard disk.............................. 134
2. About the internal CD-R/RW drive ................. 136
3. Using the internal CD-R/RW drive .................. 138
Updating the system software.............................139
D1600 specifications ..........................................140
MIDI implementation chart..................................142
Block diagram....................................................143
Effect Program List..............................................144
Rhythm Pattern List (215patterns)........................146
Demo Song List...................................................147
Index .................................................................147
4
Introduction
Thank you for purchasing the Korg D1600 Digital
Recording Studio .
To ensure trouble-free enjoyment, please read this
manual carefully and use the instrument as
directed.
Features
• The D1600 is a 16 track digital multi-track recorder
(MTR) with full-digital processing ( 24 bit internal
processing,
playback,
From recording to effect processing to mixing down
to CD-R/RW (a CD-R/RW drive is required),
processing is performed completely in the digital
domain
• It contains a
mixer, and effects.
When using 16 bit recording/playback
be recorded simultaneously, and 16 tracks can be
played back simultaneously.
When using 24 bit recording/playback
be recorded simultaneously, and 8 tracks can be
played back simultaneously.
• User-installable internal hard disk.
You can install either a separately sold Korg HDD-
20G hard disk drive or any Korg-recommended
inch IDE hard disk drive
allows approximately
gigabyte (16 bit, 1 track). If the HDD-20G hard disk
drive (sold separately) is installed, approximately 62
hours of recording is possible.
A maximum of 100 songs × 16 tracks × 8 virtual
tracks can be recorded, for a total maximum of
12,800 tracks of data.
• User-installable internal CD-R/RW drive. You can
install either a separately sold Korg CDRW-2 CD-R/
RW drive or any Korg-recommended
internal CD-R/RW drive
installed, you will be able to create original CD’s and
back up song data, and record audio data from a CD
without connecting any other equipment to the
D1600.
• All analog inputs in the mixer section use
formance balanced preamps
of the audio quality of full-digital processing.
XLR inputs with +48V phantom power
cated
audio sources can be connected directly, from mic
level to +16 dBu (higher than professional level).
All phone jack inputs use
support
input is also supported.
The
S/PDIF digital input
converter that automatically converts 48 kHz or 32
kHz sources to
16/24 bit
44.1 kHz
.
16 track
guitar input
balanced
44.1 kHz
uncompressed recording and
sampling frequency).
all
recorder, a
3.1 hours
are provided. A wide variety of
input. Of course, unbalanced
.
24-channel 8-bus
: 8 tracks can
: 4 tracks can
. An internal hard disk
of recording for each
5 inch ATAPI
. If a CD-R/RW drive is
high-per-
to take full advantage
and a dedi-
TRS balanced jacks
provides a sampling rate
to
3.5
• Each analog input/mixer channel provides
mid EQ
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
into analog input/mixer channels; signals from each
channel can be sent to the
independent final effect
ter 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 D1600 provides 128 insert effect presets, 32 master effect presets, and 32 final effect presets created
by professional musicians and studio engineers, for
a
preset programs, you can edit your own settings and
save them in one of the 192 user effect locations. An
expression pedal (separately sold option) can be connected to control an insert effect in realtime.
• The built-in
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
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
the
ations previously executed. Then use the
tion 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 will be saved to disk automatically by the
Auto Save function
nating the need to save the data manually.
• Each track provides
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 16 tracks. By
repeating this “16 to 2 track bounce” operation, you
can theoretically create a song of 16 x 8 tracks = 128
tracks without erasing any of the original track data.
• In addition to a conventional metronome sound,
rhythm patterns
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,
, and
low EQ
eight insert effects
total of 192 preset effect programs
tuner
Undo
function to reverse any record or edit oper-
. The mid EQ has an adjustable
are available for insertion
two master effects
can be applied to the mas-
lets you tune a connected guitar or
non-destructive editing
when you switch songs, elimi-
eight virtual tracks
in a variety of musical styles are
high EQ
, and an
. Based on these
100 scenes
. You can use
Redo
.
can
func-
215
,
Introduction
the D1600
Panel overview of
their functions
Objects in the LCD screen and
5
without having to connect and set up a drum
machine. These rhythm patterns can also be
recorded on a track.
• Auto and manual punch-in/out recording make it
easy to re-record the desired portion of a performance.
• 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 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
each song) and
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
ple songs in the order you specify. These songs can
then be recorded to MD or DAT to create your own
album.
• When recording and editing songs or phrases from a
record or CD, you can use
tempo that follows the song. Alternatively, you can
create
tempo maps
from an external device.
• The D1600 can
or MMC-compatible sequencers or rhythm
machines.
• Standard connectors such as
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 DAT 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.
• 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, D12 and D16 digital
recording studio units can be restored into the
D1600, allowing easy transfer of data. Playable D12,
D16 drives can also be played back by the D1600.
Mark Memory function
lets you play back multi-
tap input
, or record MIDI clock messages
synchronize
with MIDI Clock, MTC,
(four points for
to input a
SCSI
and S/P DIF (dig-
(100 points
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 D1600 are
printed within [square brackets].
LCD scr
eens
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 D1600.
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.
The LCD screen of the D1600 is a touch panel. To
select a parameter, simply touch that parameter
directly. Alternatively, you can use the [CURSOR]
key to move the cursor to the desired parameter.
Most of the procedure examples given in this manual will use the method of directly pressing the
parameter in the LCD screen to select it (→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.
Introduction
the D1600
Panel overview of
their functions
Objects in the LCD screen and
[...] “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 underlines, 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)
When you press the [MASTER EFFECT/AUX] key
once again, the [MASTER EFFECT/AUX]
“MstEff2” tab page will appear.
fectNumber” is highlighted, and can be
fectNumber,” “RetLev”
7
Top panel
1
2
3
4
Panel overview of the D1600
33 34
9
10
11
12 ~ 31
8
32
7
1 LCD screen
The D1600 uses a TouchView system based on a
touch panel screen. By pressing objects that are
shown in the LCD screen, you can select pages,
tabs, and parameters, and set their values.
Also displayed are the volume (level meters) time
locations (locate) during recording or playback,
and various other parameters. (→p.13)
2 [TRACK STATUS] keys
These keys are used to put each track into playback, record, or to mute (silence) status. 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 arm up to eight recording tracks.
These settings can be paired.
3 [PAN] knobs (Ch1…16)
These knobs adjust the stereo location of each chan-
nel. (→p.111)
These settings can be paired, and registered in
a scene.
5
4 [CHANNEL] faders (Ch1…16)
These faders adjust the recording/playback vol-
ume of each channel. (→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 recording 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.
8 [CURSOR] key
This key moves the cursor.
6
8
9 [POWER] key
This turns the power of the D1600 on/off. When
the D1600 is in standby mode, pressing the
[POWER] key will turn on the power. If the D1600
is operating, pressing and holding the [POWER]
key for a while and then shutting down will cause
it to enter standby mode. (→p.17)
10 HDD/CD 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 D1600 or apply physical shock to
it when this HDD/CD access indicator is lit.
11 MIDI indicator
This indicator will light when MIDI messages are
received from the MIDI IN connector.
18
1923202421
22
25
12
13
14
15
29
28
16
17
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.
30 31
27
26
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)
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, 92)
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] 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, 95)
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.
Introduction
the D1600
Panel overview of
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.
33 [TRIM] knob: –60...–10...+4 dBu
These knobs adjust the input level. The markings
indicate the input level.
The LEDs will show different colors to indicate the
following statuses.
• Lit green: input present
• Lit orange: correct level
• Lit red: excessive level
Adjust each [TRIM] knobs appropriately, so that
the LEDs do not turn red when the connected
instrument is played at maximum volume.
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.
34 [MONITOR OUT LEVEL] knob
This knob sets the volume level from the [MONITOR OUT L/R] jacks.
Front panel
21 34
When the front cover is removed
5 6
10
Front panel Rear panel
1 [GUITAR IN] jack
A guitar or bass guitar can be plugged in here.
This is an unbalanced 1/4" (6.3 mm) input jack
with 1 M-ohm impedance.
2 [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.
3 [PHONES LEVEL] knob: 0...10
This knob sets the volume level of the headphones.
The volume will increase in correspondence to the
printed grid.
4 CD-R/RW drive bay
This bay allows installation of a CD-R/RW drive
recommended by Korg, such as the CDRW-2 CD-
R/RW drive option (sold separately). (→p.134)
5 Hard disk cartridge
This cartridge allows installation of a 3.5 inch hard
disk recommended by Korg, such as the HDD-20G
hard disk drive option (sold separately). (→p.134)
The D1600 will not function without an internal
hard disk installed.
6 CD drive cartridge
This cartridge allows connection of a CD-R/RW
drive recommended by Korg (such as the CDRW-2
CD-R/RW drive option (sold separately). (→p.134)
1 [AC] connector
Connect the included power supply cable here.
2 [Main power] switch
This turns the main power on/off. When the [Main
power] switch is turned on, the D1600 will be in
standby mode. In standby mode, you can press the
[POWER] key to turn on the power of the D1600.
While the D1600 is operating, you can use the
[POWER] key to shut down, and then turn the
main power off to turn the power off completely.
To turn off the power, you must first press the
[POWER] key to perform the shutdown operation. Never turn off the [Main power] switch or
disconnect the power cable until shutdown has
been completed.
If you turn off the [Main power] switch or disconnect the power cable before shutdown has been
completed, data and user settings may be lost, or
the hard disk may be damaged.
3 [INPUT 1], [INPUT 2], [INPUT 3], [INPUT 4] 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.
+48V phantom power is provided on the XLR jacks
so that you can use condenser mics.
Only one of the input jacks (XLR or 1/4") can be
used at a time.
Introduction
the D1600
Panel overview of
Rear panel
34
1
2
5101213141511
9876
11
2: HOT
1: GND
3: COLD
Phantom power switch
Balanced phone plug Unbalanced phone plug
GND COLD HOT
GND HOT
Phantom power switch: [INPUT 1–4] jacks provide
+48V phantom power so that condenser mics can
be used. Phantom power is supplied to the balanced XLR jacks, and can be switched independently for each channel. Turn this switch on only
for channels that use a condenser mic.
If a condenser mic is connected or disconnected
with the phantom power switch on, damage to
your equipment may occur. For this reason, always
turn the phantom power switch off before connecting a condenser mic.
Never connect an unbalanced mic or device when
the phantom power switch is on. Doing so may
damage your equipment.
4 [INPUT 5], [INPUT 6], [INPUT 7], [INPUT 8] 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.
If you connect a plug to the [GUITAR IN] jack, no
input signal will be received from the [INPUT 8]
jack. If you wish to use the [INPUT 8] jack, disconnect the plug from the [GUITAR IN] jack.
5 [FOOT SW] jack
When your hands are occupied with playing an
instrument, you can use a foot switch to control
basic operations of the D1600 recorder.
A foot switch can be used to start/stop the playback, start/end manual punch-in recording, regis-
ter a mark, or to record tap tempo. (→p.75)
Connect the foot switch (optional PS-1) to this jack.
6 [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.
7 [AUX OUT] jack
Connect this to the input jack of an external effect
device.
This jack outputs the external send signal from
each mixer channel. (→p.47)
This is a 1/4" phone jack.
8 [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].
This is a 1/4" phone jack.
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.
This is a 1/4" phone jack.
10 [S/P DIF OUT] jack
This is an optical-type S/PDIF 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/PDIF 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 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.
12 [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 HD SCSI-2 (50 pin SCSI) connector.
For details on the SCSI devices that can be used
with the D1600, please contact your Korg distributor
13 [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.
14 [MIDI OUT] connector
MIDI messages are transmitted from this connector. Use this when you wish to control a connected
external MIDI device from the D1600. (→p.73)
15 [MIDI IN] connector
MIDI messages are received at this connector. Use
this when you wish to control the D1600 from a
connected external MIDI device. (→p.73)
12
Objects in the LCD screen and their
functions
Objects in the LCD screen
The LCD screen of the D1600 features the Touch View
system, which uses a touch panel.
By pressing objects displayed in LCD screen you can
perform operations such as selecting pages, setting
parameter values, moving the cursor location, or editing settings.
In this manual, terms enclosed in “quotation
marks” such as “...
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.
”, “...” button, or “...” tab refer to
c:Popup
button
b: Edit cell
d:Toggle
button
e: Tab page
Each mode contains numerous parameters, which are
organized into pages. Each page is accessed by its own
tab.
f: Dialog box
To execute, press the “OK” button. To cancel, press the
“Cancel” button. The dialog box will close.
g: Radio buttons f: Dialog box
g: Radio buttons
These buttons are used to select one of multiple items.
Press one of the radio buttons.
h: Icons
These are objects shaped like faders 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 press this button, a dialog box (f) will
appear.
To enter a parameter value, choose the desired value
from the dialog box.
, ,
d: Toggle button
Pressing this type of button will alternately switch a
function between on/off.
(on)/ (off)
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.12)
Basic operation
3. Selecting and setting a parameter
Selecting a parameter
Use one of the following methods to select the parameter that you wish to edit.
• In the LCD screen, press that parameter directly.
• Press the up/down/left/right areas of the [CURSOR] key to move the cursor to that parameter.
• In a list display screen, rotate the [VALUE] dial to
move the cursor.
1. Selecting a mode
To make settings in the LCD screen for the various
functions of the D1600, 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 tab page of
TEMPO/RHYTHM mode that will appear when
you press the [TEMPO/RHYTHM] key.
In this manual, this is referred to as the [TEMPO/
RHYTHM] “SetUp” tab page.
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.
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
Either directly press the parameter displayed in the
LCD, or use the [CURSOR] key to move the edit
cell so that the parameter is highlighted, and rotate
the [VALUE] dial to edit the value.
This is the typical method, and also applies for
underlined parameters such as “T
ters displayed as an icon such as EQ, and changes
in locate times.
Popup buttons and dialog boxes
Use the popup button to access the dialog box, and
set the parameter value (→p.13).
• When you press a popup button shown in the
LCD screen, a dialog box will appear.
• 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)
• Each time you press a toggle button shown in
the LCD screen, the setting will alternate on/off.
• 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.
• When you press one of the radio buttons shown
in the LCD, it will be selected.
• 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”, parame-
14
Basic operation
Step 0. Starting
1. Preparations
Included items
Make sure that the following included items are all
present.
• Operating manual (this document)
Owner’s Manual
1E
• Demo CD
• Power cable
Before using the D1600 for the first time
The D1600 will not operate unless an internal hard disk
is installed.
Before using the D1600 for the first time, you must
install an internal hard disk.
You must install either a separately sold Korg HDD-
20G hard disk or a Korg-recommended product.
Refer to p.134 “About the internal hard disk.”
For a list of hard disks recommended by Korg,
please contact your Korg distributor.
2. Using the D1600
The D1600 lets you record your own performance and
shape it into a completed song.
If a CD-R/RW drive such as the CDRW-2 is installed in
the D1600, you will also be able to easily create your
own original CD’s.
Connecting instruments and turning on the
power
Connect the instrument and mic etc. that you wish to
use for recording to the D1600, 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 1–16.
This process is the same as when using analog tape
multi-track recorders, but the important difference is
that on the D1600, you can use numerous convenient
functions, such as the Undo function to cancel a mistake you made, 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 D1600’s virtual tracks to record and
edit using more than 16 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 “16Tr →
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)
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
Writing your song to CD
In this step, the song that was mixed down to tracks 1
and 2 is turned into a CD.
Play back the mixed down tracks 1 and 2 to check them.
These tracks (1 and 2) will be written to the CD. Then
simply insert a new CD-R disc into the drive, and press
the “WriteToCD” button to write the data to CD.
By using the same procedure to create additional songs
and writing them to CD, you can create a CD album.
When you are finished, press the “Final” button to
finalize the disc and complete your very own original
CD. (→p.49)
Connect
→Step 1
instruments and
turn on the power
Create a new song
→Step 2
Record
Assign mixer channels
• Apply effects to the input sound (Step 8)
• Apply EQ
→Step 3
Recording
Adjust the recording level
Playback
Editing
• T rac k editing
• Punch-in/out
→Step 4
→Step 5
→Step 10
Mixdown
Adjust the track balance
• Apply effects to the tracks
• Apply EQ to the tracks
• Apply master effects
Final effect
Bounce to tracks 1 and 2
→Step 8
→Step 4
Overdubbing
Scenes
• Registering a scene
• Playing a scene
→Step 4
→Step 9
→Step 7
→Step 7
16
Creating an audio
Write the song to CD
Finalize
→Step 9
Step 1. Making connections, and turning
the power on/off
1. Connections
The diagram below shows a basic example of connections when using the D1600 to record. Make the appropriate connections for your system, substituting your
own equipment as necessary for the equipment shown
here.
For details on installing the HDD-20G hard disk
drive option or the CDRW-2 CD-R/RW drive
option, refer to p.134.
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 power supply cable.
Connect the power supply cable to the D1600’s
[AC] connector. Then plug the other end into an
electrical outlet.
2 Connect your audio monitoring system.
Use a phone cable to connect powered monitors
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 LEVEL] knob[PHONES] jack
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)
Basic operation
Making connections, and
turning the power on/off
OUTPUT
Keyboard
Master recorder (Analog: cassette tape recorder, etc.)
INPUT L/R
MASTER
S/P DIF OUT
S/P DIF IN
INPUT
1–8
OUT L/R
Master recorder (Digital: DAT, MD, etc.)
Mic
INPUT
1–4
DIGITAL IN
DIGITAL OUT
Hard disk drive, CD-R/RW drive
removable disk drive (MO, zip, jaz etc.)
SCSI
Powered monitors etc.
MIDI
sequencer
OUT/IN
AC connector
SCSI
MIDI
IN/OUT
MONITOR
OUT L/R
MIDI
to the AC outlet
Guitar
GUITAR IN
PHONES
Headphones
HDD-20G
Hard disk
drive option
CDRW-2
CD-R/RW
Drive option
17
3 Connect your input devices.
Connections for recording analog sources
• Guitar, bass guitar ↔ [GUITAR IN] jack
• Mic (XLR) ↔ [INPUT 1]–[INPUT 4] jacks
• Synthesizer etc. ↔ [INPUT 1]–[INPUT 8] jacks
For details on assigning the audio inputs to mixer
channels and auditioning the input sound, refer to
p.23.
A guitar or bass guitar that is being sent
through a compact effect device can be connected to [INPUT 1]–[INPUT 8].
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
D1600 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 DAT or MD [S/P DIF IN] jack
of the D1600 (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 D1600 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 D1600
• AUX IN inputs of an analog recording device
such as a cassette tape recorder ↔ [MASTER
OUT L/R] jacks of the D1600
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 8] 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 SW] 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 D1600.
(→p.73)
Connections when synchronizing the D1600 and a
MIDI sequencer etc.
Connect the MIDI IN connector of the sequencer
etc. ↔ [MIDI OUT] connector of the D1600. (use a
MIDI cable)
Connect the MIDI OUT connector of the sequencer
etc. ↔ [MIDI IN] connector of the D1600. (→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 D1600 (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 D1600 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 D1600’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 D1600. If an external drive is connected, turn on the power of the external
drive.
3 Turn on the [Main power] of the D1600.
The STANDBY LED will light. The D1600 will be in
“standby” mode.
4 Press the [POWER] key of the D1600 to turn on
the power.
The opening message will appear in the LCD
screen, and then the [SONG] “SelSong” tab page
will appear. The selected song will be the one that
had been selected when the power was last turned
off.
5 Turn on the power of your external equipment,
such as the monitor system to which audio is
being sent from the D1600.
Turning the power off
When you are finished playing or recording a song,
turn off the power. If you will not be using the D1600
for an extended (e.g., when you have finished work for
the day), be sure to turn off the main power so that the
power is turned off completely. Use the following procedure to turn off the power of the D1600 and of the
connected devices.
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.
When you wish to turn off the power, you must
perform the shutdown operation. Never turn off
the [Main power] switch or disconnect the power
18
cable until the shutdown has been completed. If
you turn off the main power or disconnect the
power cable before shutdown is complete, data or
user settings may be lost, or you may damage the
hard disk.
Audio that is recorded on the D1600 and the mixer
settings you make are saved automatically when
you select or switch songs, or when you shut
down. However, effects 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 D1600 to the –∞
position. Lower the volume of any external
devices to the minimum position.
3 Turn off the power of the external output devices
(such as your monitor system) to which audio is
being sent from the D1600.
4 Press and hold the D1600’s [POWER] key to per-
form the shutdown operation.
When you press and hold the [POWER] key, a dialog box will appear, asking you to confirm the
operation. If you press the “Yes” button, the song
will automatically be saved and the D1600 will
shut down and enter standby condition. If you
press the “No” button, you will return to the previous screen.
5 By pressing the D1600 [Main power] switch to
turn it off, you can turn the power off completely.
6 If an external drive is connected, turn off the
power of the external drive.
7 Turn off the power of external input devices, such
as keyboards.
Listening to the demo song
The D1600 comes with a demo CD that contains demo
songs. Here’s how to listen to the demo songs on the
CD.
This operation requires a separately sold CD-R/
RW drive (such as the CDRW-2).
The included demo CD is different than conventional audio CD’s. Never attempt to use it in an
audio CD player.
1 Connect your CD-R/RW drive.
If you are using an internal CD-R/RW drive, install
the CD-R/RW drive in the CD-R/RW drive bay of
the D1600. (→p.134)
If you are using an external CD-R/RW drive, connect the CD-R/RW drive to the SCSI connector of
the D1600. (→p.67)
2 Restore (load) the demo songs from the demo CD
into the D1600. (→p.66: Backup/Restore)
3 Move the D1600’s [CHANNEL] faders to the 0
mark, and the [MASTER] fader to the –∞ mark.
4 Select the song that you wish to play back.
(→p.22)
5 For each track, make the [TRACK STATUS] key
LED light green. If any LED’s are lit another color,
or are dark, press the corresponding key to make
the LED light green (PLAY).
6 Press the [PLAY] key to begin playback.
7 Slowly raise the [MASTER] fader to adjust the
volume level.
8 When the demo song ends, 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 a
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 Press the “New” button.
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
number of bits and tracks. Set the “MixerSet” radio
buttons in the same way. (→p.89 “SongType,”
“MixerSet”)
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 Press the “Rename” button.
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.
Basic operation
a song
Creating/selecting
4 Press the “OK” button.
A song named “NEWSONG” will be created following the last song that currently exists.
For details on deleting a song, refer to p.60.
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, press
the “OK” button. To cancel without changing the
name, press the “Cancel” button.
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),
2 Press the “ ” button at the left of the song num-
ber.
The song list will appear.
3 Rotate the [VALUE] dial to select a song in the
song list. Then press the “OK” button.
To change the drive
To change the drive, press the “Drive” button and select
a drive from the list. Press the “OK” button 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 a separately sold CD-R/RW drive is installed, it
will automatically be assigned to “G”.
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 CD-ROM drive, a CD-R or CD-RW drive, or a
hard disk set to “Drive ID” “G” is connected to the
[SCSI] connector, 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 D1600 and external drives
formatted or initialized while connected to the
D1600 will be displayed as [P] or playback drive,
which can be used to record songs. Other drives
will be displayed as [B] or backup drives which
you can backup and restore songs from.
22
Step 3. Assign audio inputs to the mixer
The D1600 provides eight 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-2 CD-R/RW
drive option (sold separately) is installed, you can also
assign the signal from an audio CD to the mixer channels.
* The audio of the internal CD-R/RW drive is con-
nected as an analog signal.
Input1
Input2
Input3
Input4
Input5
Input6
Input7
Input8
Digital In
Dr
CD
L
R
L
R
L
R
[INPUT]“Ch1-8”, “Ch9-16”
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
Ch13: Track 13
Ch14: Track 14
Ch15: Track 15
Ch16: Track 16
In this section we will explain how to assign each type
of input source to mixer channels, and audition the
source.
The D1600, 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.
1. Analog inputs
Use the connections and settings most applicable to
your situation.
• Connect a guitar to the [GUITAR IN] jack, and
assign it to mixer channel 8
• Connect a condenser mic audio input source 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 8
1 Connect your guitar.
Set the [INPUT 8] ([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] “Ch1–8” tab page.
• Select the “Ch8” icon, and rotate the [VALUE]
dial to select “INPUT 8.”
The input from the [GUITAR IN] jack has now
been assigned to mixer channel 8.
3 Assign the input sound to mixer channel 8.
Press the track 8 [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. Press the
“ ” button to access the dialog box.
Press the “PreFaderLev” radio button, and press
the “OK” button.
Play your guitar to input sound, and the level
meter of Ch.8 will move accordingly. Adjust the
INPUT 8 [TRIM] knob while watching the level
meter. Raise the [TRIM] as high as possible without
the level reaching CLP, while playing your guitar.
5 Audition the sound.
• Set the [MASTER] and [CHANNEL 8] faders to
unity gain (0 dB).
• Access the [SOLO/MONITOR] “Monitor” tab
page.
• Press the “MasterLR” button 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.
Basic operation
to the mixer
Assign audio inputs
23
Connect a mic to [INPUT 2] and assign it to
mixer channel 2
1 Connect a mic.
Set the INPUT 2 [TRIM] to the minimum (+4 dB),
lower the D1600’s [MASTER] fader, and connect a
mic to the [INPUT 2] jack.
If you are using a condenser mic, turn on phantom
power for [INPUT 2] after you connect the mic.
Turn phantom power on only if you are using a
condenser mic.
Phantom power must be turned on after connecting the condenser mic. If you connect or disconnect
the mic with phantom power turned on, your
equipment may be damaged.
2 Specify the input channel.
• Access the [INPUT] “Ch1–8” tab page.
• Select the “Ch2” icon, and rotate the [VALUE]
dial to select “INPUT 2.”
The input from the [INPUT 2] 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.
• Press the “ ” button to access the dialog box.
Choose “PreFaderLev,” press the “OK” button.
• When you input sound into the mic, the Ch2
level meter will move accordingly.
• Adjust the input 2 [TRIM] knob while you
watch the level meter. Raise the [TRIM] as high
as possible. Don’t allow the level to reach CLP
when you produce your 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.
• Press the “MasterLR” button 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] “Ch9–16” page tab.
• 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
each of them to INPUT (LED lit orange).
4 Use the trim to adjust the input level.
• Press the [METER/TRACK VIEW] key.
• Press the “ ” button to access the dialog box.
Choose “PreFaderLev,” press the “OK” button.
• 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 the
[TRIM] level as high as possible, don’t allow the
level to reach CLP when you play your keyboard with maximum velocity.
5 Audition the sound.
• Set the [MASTER], [CHANNEL 9] and [CHANNEL 10] faders to unity gain (0 dB).
• Access the [SOLO/MONITOR] “Monitor” tab
page.
• Press the “MasterLR” button 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.
24
2. Digital input
3. Using the tuner
The D1600 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 DAT connected to the [S/P DIF IN] jack can be input to mixer
channels 1 and 2.
1 Connect the digital output device.
Lower the [MASTER] fader of the D1600, and use
an optical digital cable to connect the digital output
of your DAT to the [S/P DIF IN] jack.
2 Enable the digital input.
• Access the [INPUT] “Ch1–8” tab page.
• When you press the “DigiIn” button, a message
of “Obey Copyright Rules” will appear.
Carefully read the owner’s manual section “COPY-
RIGHT WARNING” (→p.1). If you accept the
terms, press the “Yes” button for the “AreYouSure?” prompt. Digital input will be enabled.
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 8/
GUITAR IN] jack.
• In the [INPUT] “Tuner” tab page, set “SelectSource” to “Input8.”
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 “Input8,” 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.
Basic operation
to the mixer
Assign audio inputs
3 Specify the input channels.
Select the “Ch1” icon, and rotate the [VALUE] dial
to select “S/PDIF L.” In the same way, select “S/
PDIF R” for “Ch2.”
The input from the [S/P DIF IN] jack has now been
assigned to channels 1 and 2.
4 Assign the input sound to mixer channels 1 and 2.
Play back the DAT, 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 8.”
25
26
Step 4. Recording
This section explains the basic recording procedure on
the D1600.
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. (→p.112)
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.
• Press the “ ” button to select “PostFaderLev,”
and press the “OK” button.
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 turn off.)
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 turn off.)
2. Recording on virtual tracks
The D1600 has sixteen 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 sixteen
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] “Vtr1–8” or “Vtr9–16” tab page,
select the track that you wish to record, and use the
[VALUE] dial to select an open 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 D1600, manual punch-in/out can be performed
by pressing the [REC] key or a PS-1 foot switch (sepa-
rately 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 D1600.
1 Connect a foot switch to the [FOOT SW] jack.
2 Access the [SYSTEM] “Control” tab page.
3 Specify the function of the foot switch.
Select “Func (FootSwFunction
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 foot switch to record from the
beginning of the song.
• Set the “Func” parameter of step 3 to “Play/
Stop.”
• Press the [REC] key at the beginning of the song
(LED will blink), and press the foot switch to
start recording.
)” to “PunchI/O.”
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 press the “Wave” button 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, press
the “RolTime” button to access the “SetRollTime”
dialog box. (→p.98)
• Set “Pr
• When you have finished making settings, press
6 Turn on the auto punch-in/out function.
In the [AUTO PUNCH] “AtPunch” tab page, press
the “AutoPunch” button 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 D1600 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 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 D1600 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 16 tracks simultaneously.
You can use bounce recording to do the following
things.
• Combine 16 tracks of audio, and overwrite-record
them onto two tracks.
• Combine 16 tracks of audio, and record them onto
two unused virtual tracks.
• Record 14 tracks of audio and two external input sig-
nals onto the remaining two tracks.
• Combine multiple external input sources, and record
them on 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 D1600, instead of mixing down to
an external two-channel recorder.
Combining 16 tracks of audio and overwriting them onto 2 tracks
As an example, here’s how to combine the audio of
tracks 1–16, 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 “16Tr→2Tr.”
3 Choose the currently selected tracks for record-
ing.
Set “RecordVirtualTrack” to “Current.”
4 Select the tracks that you wish to record.
Set the status of the tracks to be recorded (tracks 1
and 2) to REC (LED lit red). Set the remaining
tracks (3–16) to PLAY (LED lit green).
5 Adjust the stereo positions of the playback tracks.
Press the [PLAY] key, and rotate the [PAN] knob to
adjust the stereo positions of channels 1–16.
6 Adjust the playback/recording levels.
Use the [CHANNEL] faders to adjust the playback
level.
• Press the [METER/TRACK VIEW] key.
• Press the “ ” button to access the dialog box.
Select “PostFaderLev” 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 16 tracks of audio to 2 virtual
tracks that are not currently selected
As an example, here’s how the audio of tracks 1–16 (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 “Combining 16 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 virtual track “b.”
Access the [TRACK] “Vtr1–8” tab page, and set
“SelectVirtualTrack” to “1b” and “2b” for tracks 1
and 2.
Recording 14 tracks of audio and 2 external input sources on the remaining 2
tracks
Here’s how the audio of tracks 1–14 and the audio
inputs from INPUT 1 and 2 can be recorded on tracks
15 and 16.
1 Specify the input channels.
• Access the [INPUT] “Ch9–16” tab page.
• Set “Ch15” to “INPUT1, and set “Ch16” 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 “14Tr+2In→2Tr.”
4 Choose the currently selected tracks for record-
ing.
Set “RecordVirtualTrack” to “Current.”
5 Select the tracks for playback and recording.
Press each [TRACK STATUS] key to set the playback tracks (1–14) to PLAY (LED lit green) and the
recording tracks (15 and 16) 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] knob to
adjust the stereo positions of channels 1–14. Set
channel 15 to the left, and channel 16 to the right.
7 Adjust the playback/input levels.
Use the [CHANNEL] faders to adjust the playback
level and input level.
• Press the [METER/TRACK VIEW] key.
• Press the “ ” button to access the dialog box.
Select “PostFaderLev” so that you can view the
meter display for each fader.
8 Adjust the recording level.
Use the [MASTER] fader to adjust the recording
level.
When you are finished making adjustments, press
the [STOP] key.
9 Start bounce recording.
Refer to steps 8–A of “Combining 16 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 15, 16
back to virtual track “a.”
Record eight external input audio sources
onto two tracks
As an example, here’s how the audio sources being
input to INPUT 1–8 can be overwritten onto tracks 1
and 2.
1 Specify the input channels.
• Access the [INPUT] “Ch1-8” tab page.
• Assign “Ch1”–“Ch8” respectively to
“INPUT1”–“INPUT8.”
2 Select bounce recording as the recording mode.
• Access the [RECORD] “RecMode” tab page.
• Select “Bounce” (bounce recording).
3 Select the bounce mode.
• Access the [RECORD] “Bounce” tab page.
• For “BounceMode,” select 14Tr+2In→2Tr.”
4 Record on the currently selected tracks.
Set “RecordVirtualTrack” to “Current.”
5 Select the tracks for recording and for audio
input.
Press the [TRACK STATUS] key to set the recording tracks (1 and 2) to REC (LED lit red), set the
other input tracks (3–8) to INPUT (LED lit orange),
and set the remaining tracks (9–16) to MUTE (LED
dark).
6 Adjust the panning of the input sources.
Rotate the [PAN] knobs to adjust the stereo position for 1–8.
7 Adjust the input levels.
Use the [CHANNEL] faders to adjust the input levels.
• Press the [METER/TRACK VIEW] key.
• Press the “ ” button to open the dialog box. In
the dialog box, select “PostFaderLev,” and you
will be able to view a meter display for each
fader.
8 Adjust the volume level.
Use the [MASTER] fader to adjust the recording
level.
30
9 Begin mix recording.
Refer to steps 8–A of “Combining 16 tracks of
audio and overwriting them onto 2 tracks”
(→p.29).
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 D1600.
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
(→p.100)
You can use the Rehearsal function to check
the threshold level.
5 When you have finished playing, press the
[STOP] key to stop.
Loop recording
When using auto-punch recording, you can use Loop
recording to record repeated takes over the same section, and then use undo/redo to choose the best take.
If you turn “Loop” “On” during auto-punch recording,
the IN–OUT region will be recorded repeatedly
(looped).
At this time, playback will occur before and after the
IN–OUT region for the lengths specified by the [AUTO
PUNCH] “AtPunch” tab page settings for “RolTime”
(“Pr
eRoll” and “PostRoll”).
1 Register the region (IN–OUT) that you wish to
record. (→p.35)
This setting can also be made using “Wave” in the
[LOOP] “Loop” or [AUTO PUNCH] “AtPunch”
tab pages.
2 Connect the input device, and adjust the record-
ing level.
Refer to “1. Analog inputs” and “1. Adjust the
recording level, and record” (→p.23, 27).
3 Specify how the sound will be output for moni-
toring.
Refer to “Manual punch-in/out” 2. (→p.28)
eshold” and “PreTrigTime.”
4 Set the pre-roll and post-roll.
• In the [AUTO PUNCH] “AtPunch” tab page,
select “RolTime.”
• Set “Pr
• When you have made these settings, press 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 D1600 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, press the
“Redo” button to return to the “Level00” take.
The undo operation you executed in step A will be
cancelled.
Press the “OK” button 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.
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 D1600 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 D1600. 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 D1600, 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 (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 turn
off.)
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 Playlist
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, press the
“Drive” button. 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 D1600. 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 time display type shown by the
counter.
1 Press the “ ” button located at the left of the
counter to access the “Select TimeDisp Type” dialog box.
2 Select the type of time units that you wish to
view, press the “OK” button.
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
Moving backward
Press the [REW] key to move toward the beginning
of the song. If you hold down the key, you will
rewind continuously.
You can also rewind during playback.
Moving forward
Press the [FF] key to move toward the end of the
song. If you hold down the key, you will fastfoward continuously.
You can also fast foward during playback.
Moving to the beginning of the song
While in the middle of the song, hold down the
[STOP] key and press the [REW] key to return to
the beginning of the song.
Moving to the end of the song
While in the middle of the song, hold down the
[STOP] key and press the [FF] key to jump 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
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 change 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.
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.
Naming a mark
• Press the “Rename” button to access the “RenameMark” dialog box. For the rename procedure, refer to
“2. Naming a song” (→p.21).
• When you have assigned a name, press the “OK”
button.
3. Using scrub playback etc. to find
a precise time location
By using the Scrub function, the Play From/To function, or the Slow Play function, you can accurately find
the location where the audio region 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 audio will play back in correspondence with
the rotation of the [VALUE] dial.
Moving to a mark location
1 Access the [MARK] “Mark” tab page.
2 Use “MarkNumber
3 Press the “Recall” button 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 Press the “Delete” button to access the dialog box.
4 Verify the “mark number to be deleted” in the
upper left. If you wish to delete it, press the “Yes”
button to delete it. If you decide not to delete it,
press the “No” button.
To delete all marks, press the “SelectAll” button to
turn it “On.” Then press the “Yes” button to delete
the marks.
” to select the mark that you
36
Step 7. Using the mixer
Here you can adjust various mixer settings such as, volume, tone, pan, recording and playback, to create the
most desirable levels for your 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)
• Volume settings can be registered in a scene. (→p.39)
2. Adjusting the stereo position
Rotate the [PAN] knob to adjust the stereo position of
each channel.
Channel 1–16 [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.
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)
If the pan is paired (=Balance) for channels 1/2–
15/16, set the odd-numbered [PAN] of the paired
channels to the center when you wish to input to
tracks 1/2–15/16 and record in stereo.
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,” “InEq5–8” tab pages).
This will affect the sound that is recorded.
• To adjust the track playback sound, use the EQ
([EQ/PHASE] “Eq1–4,” “Eq5–8,” “Eq9–12,” “Eq13–
16” tab pages).
EQ can be used to cut a frequency range in which
unwanted noise (hiss) is heard, or to boost/cut the
low or high range to correct the tone.
Normally, you should make EQ settings so that the
audio is heard more 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 can be used in the
“cut” (Minus) direction as well.
Applying EQ to the track playback
• When 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,” “Eq5–8,”
“Eq9–12” and “Eq13–16” tab pages.
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.
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.
Basic operation
Using the mixer
37
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 on the left side of the
LCD screen moves, when 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).
4. Pairing
Adjacent odd and even-numbered channels (1–2, 3–4,
5–6, 7–8, 9–10, 11–12, 13–14, 15–16) 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.
1 Access the “Select Pair” screen.
Press the “ ” (SelChPair) button found in the
[INPUT], [EQ/PHASE], or [INSERT EFFECT]
pages to access the “Select ChannelPair” screen.
2 Select the channels for which you wish to enable
pairing.
Press a “1 2”–“15 16” button to turn it “On” (high-
lighted 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,” press the
functions that you wish to enable to turn on each
function. To finalize the settings, press the “OK”
button.
5. Monitor settings
In order to monitor the audio from the D1600, 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.
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.”
Press the “MasterLR” button 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 press the “AutoIn” button 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.
38
Adjusting the cue level
Since the [CHANNEL] faders of the D1600 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.
To turn solo off
• Access the [SOLO/MONITOR] “Solo” tab page, and
turn the “Solo” button “Off.”
• By pressing the “ClearAll” button, 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.
7. Registering and playing scenes
Basic operation
2 Adjust the cue level.
Press the “Level” button 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.
Press the desired “Solo” button(s) to turn Solo
“On” for that signal (it will be highlighted). If even
one selection is being soloed, the [SOLO/MONITOR] key will blink.
You can select more than one signal to solo.
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] knob
• [CHANNEL] fader
Scene 1 Scene 2 Scene 3 Scene 4
Intro Verse Chorus Interlude
EG
Key
BASS
Chorus 1
Chorus 2
EG
Dr
Vo
Key
BASS
Vo
Dr
Chorus 1
Chorus 2
EG
Key
BASS
Chorus 1
Chorus 2
EG
Key
Dr
Vo
Vo
BASS
Chorus 1
Chorus 2
Dr
The faders and pan knob on the top panel do not
actually move, but you can watch the values
change in the [SCENE] “MixView” tab page.
Using the mixer
2 Adjust the monitor volume.
Use the [MONITOR OUT LEVEL] knob or
[PHONES LEVEL] knob to adjust the volume level.
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.
39
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.
• Press the “SceneRead” button 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.
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.
• Press the “OvrWrt” button.
A dialog box will ask you for confirmation. When
you press the “Yes” button, the scene will be overwritten onto that number.
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.
• Press the “SceneRead” button to turn it “Off.”
When this is “Off”, the [SCENE] key will turn
off.
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, press the
“Delete” button. Verify the “Delete scene number”
in the upper left, and if you wish to delete the
scene, press the “Yes” button to delete the scene. If
you press the “No” button, the scene will not be
deleted.
If you wish to delete all scenes, press the “SelectAll” button to turn it “On.” Then press the “Yes”
button 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.
• Press the “EditLoc” button.
• Specify the time location in the dialog box, press
the “OK” button to execute the move.
Scene filtering
1 In the [SCENE] “ReadDel” tab page, press the
“Filter” button 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 D1600 to
select the scene of the corresponding number.
If “SceneRead” is “On”, these messages will not be
received, regardless of whether the D1600 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 D1600 receives program change #0, it
will recall scene 001. Program changes #0–99 correspond to scene 001–100.
”
Basic operation
The first page contains settings for the parameters
of each channel. For example you can use the filter
to disable the pan settings for channels 5 and 6 by
turning the “5,” “6,” and “Fader” 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. Press the “OK” button 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 D1600, 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.
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 2 out 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.
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.
Using effects
• 1 in 1 out x 8
Up to eight mono-in/mono-out effects can be used.
This is ideal for sounds with a fixed pan location,
such as drums.
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.
1 in 1out x 8 (mono in/mono out x 8)
• For example when using eight mics to simultaneously record each instrument of a drum set, you
can apply a separate effect program to each instrument, such as a Limiter to the bass drum, a Gate to
the snare drum, and an Exciter to the tom while you
record.
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.
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] –
[INPUT 8/GUITAR IN] analog inputs, or to the built-in
rhythm sound that is input to a mixer channel, so that
the sound processed by the effect is recorded.
If an internal CD-R/RW drive (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
[INPUT 8/GUITAR IN] jack, apply effects, and record
the sound on track 8.
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 8” (→p.23).
2 Access the [INSERT EFFECT] “InsAss” tab page.
• When using eight mics to record multiple instruments simultaneously, you could apply Gate to each
instrument to reduce crosstalk between the mics, or
apply Limiter to adjust the dynamics.
During track playback
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.
3 Press the “Assign: ” button, and select
“Input(In).”
4 Press the “SelectEffType: ” button, 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 8 (GUITAR IN)
and channel 8.
• Press the “InsertTo: ” button.
• For effect 1, use “SelectCh
“8.”
• After making the settings, press the “OK” button.
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
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.
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.
3 Press the “Assign: ” button. In the dialog box
that appears, select “PlayTrack (Trk).”
4 Press the “SelectEffType: ” button, and select
the effect type. (→p.44, 105)
5 Specify the channel into which the effect will be
inserted.
• Press the “InsertTo: ” button to open the dialog
box.
• For each effect, rotate the [VALUE] dial to set
“SelectCh
• After making the settings, press the “OK” button.
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]
2. Master effects
The D1600 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.
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.
Basic operation
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. 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.
fectNumber” or turn off the
4 View the effects and chain that make up the pro-
gram.
Press the “(EffectProgramName)” button to access
the “EffectAlgorithm” dialog box that displays the
structure of that effect program.
5 Turn individual effects on/off as desired.
Press the “(Effect On/Off)” button located below
each “(EffectIcon),” to turn it “On” (highlighted) or
“Off.”
6 Edit the settings of each effect.
• Press the “(EffectIcon)” button of the effect that
you wish to edit. 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–).
• 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, press the “OK” button.
If you wish to edit another effect, press the
“(EffectIcon)” button, and edit the parameters.
• In the “EffectAlgorithm” dialog box, press the
“OK” button.
7 Assign a name to the edited effect program.
• Press the “Rename” button to access the
“RenameEffect” dialog box. For details on the
renaming procedure, refer to “2. Naming a
song” (→p.21).
• After assigning the name, press the “OK” button.
fect On/Off” in the top of the
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.
Press the “Bypass” button, and bypass will be
turned “On” (i.e., the effect will not be applied).
Then press the “Cancel” button to turn bypass
“Off” (i.e., the effect will be applied). Compare the
effect and bypassed sounds.
fectNumber,” and rotate the [VALUE]
46
8 Save the effect program.
• If the song is playing, press the [STOP] key to
stop it.
• Press the “Store” button to access the “StoreEffect” dialog box.
• Specify the number for storing, press the “Exec.”
button 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 also control an insert effect in realtime by using
an expression pedal such as the EXP-2 (foot controller)
or an external MIDI controller.
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.
• Press the “(Effect Program Name)” button.
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
• Press the “Cntrl Icon” button to access the “ControlDevice” dialog box.
• Select “Param
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, press
the “OK” button.
• In the “EffectAlgorithm” dialog box, press the
“OK” button.
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 rotate the [VALUE] dial to
,” 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 8] 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 D1600 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 D1600.
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] “Ch1–8” or “Ch9–16” tab
page.
• Press the “SubIn” button 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 D1600.
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.”
• A message of “Obey Copyright Rules” will
appear.
Carefully read the owner’s manual section “COPY-
RIGHT WARNING” (→p.1). If you accept the
terms, press the “Yes” button for the “AreYouSure?” prompt.
Writing to the CD will begin.
While the data is being written, you can press
the “Abort” button 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.”
Press the “OK” button.
You can press the “CD Monitor” button and
verify the data that was entered.
7 If you wish to write more songs, repeat steps 2
and 4–6. The additional songs will be written
after the last song on the CD-R/RW.
8 Finalize the disc.
In order for the CD-R/RW you created to be playable on an audio CD player, you must stop, and
then press the “Final” button to finalize the disc.
No more songs can be written to a disc that has
been finalized. Be sure to write all the desired
songs to a disk before you finalize it.
9 Verify the data that was written.
Press the button to play back, and
check that the data was written correctly.
In the case of a disc that has not yet been finalized, a portion of the end of the song may not
play back.
Some drives may not be able to play back the
CD.
0 Play back the disc on an audio CD player to check
it.
Even when the recommended CD-R/RW media is
used, some audio CD players may be unable to
play them.
Since there are cases in which CD-RW media
will not play on an audio CD player, we recommend that you use CD-R media.
Basic operation
Mixdown
5 Execute the write operation.
• Press the “WriteToCD” button.
• 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.
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, then 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 D1600 song, and adjust the recording level on your external recorder.
• Begin recording on your external recording
device, and playback the D1600.
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]–
[INPUT 8/GUITAR IN]) 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]–[INPUT 8/
GUITAR IN].
2 Make sub input settings.
• Select the [INPUT] “Ch1–8” or “Ch9–16” tab
page.
• Press the “SubIn” button to access the sub input
setting screen.
• Turn the “M (mute)” button “Off” for the con-
nected 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, press the “Stereo/Mono”
button 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 space
Erase Track: erase a track
Delete Track: delete a track
Reverse Track: reverses track audio end-to-end
Optimize Track: optimizes track data
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 press the “ ” button 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.” 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.
Press the “Exec.” button 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 the following ways.
• 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 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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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 clipboard as 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 blank data: Insert Track
The Insert Track command inserts blank space into the
specified region (IN–OUT) of the recorded track. 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.
• This command can be used to add a phrase in the
middle of previously-recorded data, by inserting
blank space and recording your new data.
52
Inserting a blank (Insert)
Here’s how to insert a blank space 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.”
DestTrack
3 Select the number of the track onto which you
wish to make an insert.
Set “DestTrack” to track 1.
4 Execute the editing command.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
5 Verify the results.
Press the [IN/LOC1] key to play back from the IN
location, and verify that the blank data was
inserted correctly.
You can use Undo to return to the state before exe-
cuting the command. (→p.99)
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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)
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.”
Basic operation
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.”
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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)
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.
Track editing
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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 is fragmented (in this example we will use track 1), and
set “DestTrack” to track 1.
4 Execute the editing command.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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.
54
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 on 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.”
7 Execute the editing command.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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 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.
Press the “Mode” button to access the dialog box.
For this example, select “Fast” and “Fixed.” Then
press the “OK” button to return to the [TRACK]
“EditTrk” tab page. (→p.84)
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.
6 Specify the number of times that the data will be
copied.
Set “Times” to 3.
DestTrack DestVTrackSourceTrack
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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)
Track editing
55
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] “Vtr1–8” 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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
7 In the [TRACK] “Vtr1–8” 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.”
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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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] “Vtr1–8” 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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
7 In the [TRACK] “Vtr1–8” 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.”
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.
DestTrack DestVTrackSourceTrack
2 Select the swap source track number.
Set “SourceTrack” to track 1.
56
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.”
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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.
Basic operation
DestTrack
3 Select the fade-in curve.
Press the “Mode” button to access the dialog box.
For this example, select the “A” curve, press the
“OK” button 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.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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 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.
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.
Press the “Mode” button to access the dialog box.
For this example, select the “D” curve, press the
“OK” button 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.
Press the “Exec.” button. The display will ask
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.”
DestTrack
3 Select the normalize destination track number.
Set “DestTrack” to track 1.
4 Execute the editing command.
Press the “Exec.” button. The display will ask
“AreYouSure?,” so press the “Yes” button to execute the command.
When processing is completed, the display will
indicate “Completed.” Press the “OK” button.
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.
Track editing
57
58
Step 11. Song editing
On the D1600, songs can be edited in the following
ways.
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.” Press the field at the right of
the “ ” button, and rotate the [VALUE] dial to
specify the desired type of editing operation.
Alternatively, you can press the “ ” button 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 “EditType” 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 on the specified drive.
• You can use this to save a backup of your song on a
different hard 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.”
DestSongSourceSong
3 Verify the song to be copied.
Make sure that the copy source song is selected in
“SourceSong.”
4 Select the copy destination drive.
Press the “Drive” button. In the dialog box, select
the copy destination drive. Then press the “OK”
button.
5 Select the copy destination song number.
Use “DestSong” to select the copy destination song
number.
6 Execute the editing operation.
Press the “Exec.” button. In response to the “AreYouSure?” display, press the “Yes” button to execute
the operation.
When the operation is completed, the display will
indicate “Completed.” Press the “OK” button.
5 Execute the specified song editing operation.
Press the “Exec.” button 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.
Undo is not available for song editing.
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.”
DestSongSourceSong
Song editing
59
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.
Press the “Exec.” button. In response to the “AreYouSure?” display, press the “Yes” button to execute
the operation.
When the operation is completed, the display will
indicate “Completed.” Press the “OK” button.
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.”
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.
Press the “Exec.” button. In response to the “AreYouSure?” display, press the “Yes” button to execute
the operation.
When the operation is completed, the display will
indicate “Completed.” Press the “OK” button.
3 Make sure that the song that you wish to protect
is selected in “DestSong.”
4 Turn protect on/off.
Press the “Exec.” button. The protect “On” setting
is indicated by a lock icon. To turn the setting on/
off, press the “Exec.” button.
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.”
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.
Press the “Drive” button, and select the copy destination drive in the dialog box. Then press the “OK”
button.
5 Execute the editing operation.
Press the “Exec.” button. In response to the “AreYouSure?” display, press the “Yes” button to execute
the operation.
When the operation is completed, the display will
indicate “Completed.” Press the “OK” button.
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)
2 Select the Protect Song command.
In the [SONG] “EditSong” tab page, set “EditType”
to “ProtectSong.”
DestSong
60
Step 12. Rhythm/tempo settings
The D1600 contains numerous rhythm patterns for a
variety of time signatures (→p.146 “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
Press the “Rhythm” button 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 press the “ ” button, 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 press the “ ” button, 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] “Ch1–8” 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
D1600.
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, press
the “OK” button.
3 Add tempo maps as desired to change the tempo,
time signature, or rhythm pattern as the song
progresses.
• Press the “New” button 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.”
• Press the “OK” button 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, press the “Delete” button. A message
of “AreYouSure?” will ask you to confirm.
empoMap,” and rotate the [VALUE]
62
Press the “OK” button, 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, press the “Edit” button
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 D1600 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 D1600.
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.
• Press the “RecStart” button to put the D1600 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 D1600 will stop recording, and will display
“Complete.” Press the “OK” button.
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 SW] jack of
the D1600.
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.
• Press the “RecStart” button to put the D1600 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 D1600
will malfunction, causing errors in the data or loss of
data. If the D1600 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 D1600 has an Auto Save function that automatically saves the song that you recorded or edited,
together with its parameters, whenever you change
songs or shut down 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 description 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 song copied to an external disk back to
the internal hard disk, select the previously-copied
song on the external disk as the copy source, select the
song on the internal hard disk that you wish to copy,
and execute “CopySong” or “CopyAllSongs” with the
internal hard disk as the copy destination.
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
type. Some removable media (Zip) can only be
used for backup. Jaz, ORB, or fixed hard drives can
be used for either recording or backup.
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/Rst” 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/Rst” tab page, set “B–U/
RstType” to “Restore.”
DestinationSource
DestinationSource
3 Use “B–U/RstT
4 Select the backup destination drive (“Destina-
tion”).
Press the “Drive” button to access the dialog box.
Select the drive, press the “OK” button.
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.
Press the “Exec.” button. The display will ask
“AreYouSure?”, so press the “Yes” button 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, press the “OK” button.
8 When the operation is finished, the display will
indicate “Completed.” Press the “OK” button.
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”).
Press the “Drive” button to access the dialog box.
Select the drive, press the “OK” button.
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.
Press the “Exec.” button. In response to the “AreYouSure?” confirmation, press the “Yes” button 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, press the “OK”
button.
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, press the “Yes” button. If not, press the “No”
button.
If the current data is overwritten, it will be lost.
9 When the operation is completed, the display will
indicate “Completed.” Press the “OK” button.
”).
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 D1600 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: HD SCSI-2 (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, please contact your Korg distributor.
1 Turn off the power of the D1600 and the external
drive.
You must turn off the power of the D1600 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 D1600.
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 D1600.
When turning the power off, turn off the D1600 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 was used
by another device is to be used by the D1600, 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 D1600 may become unable to operate correctly.
If this occurs, please contact your Korg distributor.
If a 20 GB internal drive is used, formatting will
take approximately 240 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.”
2 Select either Initialize or Format.
To initialize, select “Initialize” for “SelOperation
.”
To format, select “Format.”
3 Execute the Initialize or Format operation.
Press the “Exec.” button. The display will ask
“AreYouSure?.” To execute, press the “Yes” button.
When processing ends, the display will indicate
“Completed.” Press the “OK” button.
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 Press the “Exec.” button.
The disk will be ejected, and the internal drive will
be selected.
4 Insert another disk into the removable disk drive.
If you are using a playable disk, use the [SONG]
“SelSong” tab page to re-select the drive before
selecting the song.
,” select “EjectRMD.”
4. Importing/exporting WAV files
WAV format audio files from an external drive connected to the [SCSI] connector or from ISO 9660 format
CD media can be imported (loaded) into the D1600.
Also, audio data in the clipboard of the D1600 can be
exported (written) as a WAV format file to an external
DOS format (FAT 16) SCSI drive.
WAV files of the following formats can be imported.
Sampling frequency: 44.1 kHz
Quantization: 8 bit, 16 bit, 24 bit
Number of channels: 1 (monaural), 2 (stereo)
Disk format: FAT 16 (DOS format), or ISO 9660 Level 1
for a CD
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.
Press the “DriveList” button to access the dialog
box. Select a DOS format drive that contains the
desired WAV file. In this example, select drive “A.”
Then press the “OK” button 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 press the “OK” button 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.
4 Select the import destination track number.
Set “DestTrack” to track number “1.”
5 Execute the Import command.
Press the “Exec.” button. Reply “Yes” to the “AreYouSure?” prompt. When the operation is completed, the display will indicate “Completed.”
Press the “OK” button.
6 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.
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.
1 Select the Import command.
Access the [TRACK] “Import” tab page.
2 Select the import source drive.
Press the “DriveList” button to access the dialog
box. Select a DOS format drive that contains the
desired WAV file. In this example, select drive “A.”
Then press the “OK” button 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 press the “OK” button 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.
4 Select the clipboard as the import destination
track number.
Set “DestTrack” to “Clip.”
5 Execute the Import command.
Press the “Exec.” button. Reply “Yes” to the “AreYouSure?” prompt. When the operation is completed, the display will indicate “Completed.”
Press the “OK” button.
68
The longer the import source file, the more
time this operation will take before the “Completed” message appears.
6 Register the TO time location.
7 Select the Copy command.
In the [TRACK] “EditTrk” tab page, set “EditType”
to “CopyTrack.”
8 Select the clipboard as the copy source track num-
ber.
Set “SourceTrack” to “Clip1.” The number indicates the number of tracks in the clipboard.
9 Select the copy destination track number.
Set “DestTrack” to track number “1.”
0 Specify the number of times that the data will be
copied.
Set “Times” to “1.”
A Execute the copy operation.
Press the “Exec.” button. Reply “Yes” to the “Are
YouSure?” prompt. When the operation is completed, the display will indicate “Completed.”
Press the “OK” button.
The data will be overwritten onto the copy
destination track.
B 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.
8 Select the export destination drive.
Press the “DriveList” button to access the dialog
box. Select the DOS format drive. In this example,
select drive “A.” Then press the “OK” button to
return to the [TRACK] “Export” tab page.
9 Assign a name to the WAV file.
Press the “Rename” button 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.
Press the “Date” button 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.88)
Press the “Exec.” button. Reply “Yes” to the “AreYouSure?” prompt. When the Export operation is
completed, the display will indicate “Completed.”
Press the “OK” button.
The Export operation cannot be executed if an
identically-named WAV file already exists.
Basic operation
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.
1 Select song 001.
2 Register the IN and OUT time locations. (→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 numbers “1–2.”
5 Select the clipboard as the copy destination track
number.
Set “DestTrack” to “Clip.”
6 Execute the Copy command.
Press the “Exec.” button. Reply “Yes” to the “AreYouSure?” prompt. When the Copy operation is
completed, the display will indicate “Completed.”
Press the “OK” button.
7 Select the Export command.
Select the [TRACK] “Export” tab page.
69
Saving your data
Drive and data compatibility
within the Digital Recording
Studio series
This section explains how data created on the D1600 is
compatible with playable drives (used to create songs)
and backup data of the D8, D12, D16, and D16V2 models of the Digital Recording Studio series.
Using D16 and D16V2 data on the D1600
You can connect a D16 or D16V2 disk (backup data or
playable disk) to the D1600, and load, record, and edit it
as usual.
Using D1600 data on the D16 or D16V2
You can connect a D1600 disk (backup data or playable
disk) to the D16 or D16V2, and load, play, record, and
edit it as usual.
On the D16 and D16V2, mixer channels 9/10, 11/
12, 13/14, and 15/16 are handled as stereo pairs.
For this reason, you must set pairing on the D1600
for channels 9/10, 11/12, 13/14, and 15/16 before
you load D1600 data into the D16 or D16V2. Similarly, you must also specify pairing when you register scenes.
On the D12, mixer channels 7/8, 9/10, and 11/12
are handled as stereo pairs. For this reason, you
must set pairing on the D1600 for channels 7/8, 9/
10, and 11/12 before you load D1600 data into the
D12. Similarly, you must also specify pairing when
you register scenes.
It is not possible to copy a song from the D12 to the
D1600 drive, or to execute Restore with it specified
as the restore destination.
Using D1600 backup data on the D12
If a drive containing D1600 backup data is connected to
the D12, it will appear in the drive list as “D16[B],” and
can be restored in the same way as D12 backup data.
However, data for tracks 13–16 will not be restored.
On the D12, mixer channels 7/8, 9/10, and 11/12
are handled as stereo pairs. For this reason, you
must set pairing on the D1600 for channels 7/8, 9/
10, and 11/12 before you load D1600 data into the
D12. Similarly, you must also specify pairing when
you register scenes.
When you connect a D1600 playable drive to the
D12 and play back a song, or use Copy Song or
Restore to load a song, you must set fader, pan, and
EQ etc. for channels 7/8 if mixer channels 7/8 are
not paired on the original song. You must also
make scene registrations in the same way.
Using a D12 playable drive on the D1600
If you connect a D12 playable drive to the D1600, it will
appear in the drive list as “D12 [P],” allowing you to
select and play songs.
However, the drive will be protected, and it will not be
possible to execute recording, track editing, or song
editing (except for Song Copy). If you wish to execute
these operations, you must first copy the song from the
D12 drive to a D1600 playable drive.
It is not possible to copy a song 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 drive, you must select “Force.”
Using D12 backup data on the D1600
If a drive containing D12 backup data is connected to
the D1600, it will appear in the drive list as “D12[B],”
and can be restored in the same way as D1600 backup
data.
Using a D1600 playable drive on the D12
If a D1600 playable drive is connected to the D12, it will
appear in the drive list as “D16[P],” allowing you to
select and play songs. However, tracks 13–16 will not
be played.
In addition, the drive will be protected, and it will not
be possible to execute recording, track editing, or song
editing operations (except for Copy Song) on these
songs. If you wish to perform these operations, you
must select a song on the D12 playable drive, and copy
the song from the D1600 drive to the selected drive.
Using D8 backup data on the D1600
If you wish to use a D8 song on the D1600, back it up on
removable media, and restore it to the D1600. Only the
audio data will be loaded into a new song.
If you connect a D8 playable disk to the D1600, it
will appear in the drive list as “Unknown Disk,”
and cannot be played as is. Likewise, it is not possible to use D1600 data on the D8.
70
Regarding disk capacity
This section explains how the D1600 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 “DiskBusy” is displayed when
you are actually editing, or if you wish to recover
more free Disk 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 has only partially
erased the unwanted portions of A, B, and Break, meaning that the disk capacity will not be recovered.
silence
Example 2
Suppose that you began recording on track 1 from the
beginning of the song, and played the Intro, A, B, and
Solo as the first take. Then you recorded A’ and B’ as
the second take.
Take 1
Take 1
Take 2
Intro
Record take 2
Intro
In this case, the A and B (take 1) data underlying A’ and
B’ of track 1 will remain as a single piece of audio data
together with the Intro and Solo, in order to allow Undo
to be performed. This means that the disk capacity will
be occupied by data for the Intro, A+A’, B+B’, and Solo.
→ If you wish to recover disk capacity by erasing the A
and B data from the first take……
Execute the Optimize Track command on track 1 from
the beginning to the end of the song. This will create
audio consisting only of the Intro of take 1, A’ of take 2,
B’ of take 2, and the Solo of take 1. Sections A and B of
take 1 will no longer occupy disk capacity.
Intro
IN OUT
“OptimizeTrack”
BA Solo
BA
B'A'
BA
B'A'
Solo
Solo
Basic operation
→ 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.
Intro
data exists Solo Ending
IN OUT
Intro Solo Ending
data erased
“OptimizeTrack”
after execution
data
exists
data
erased
Intro
B'A'
Solo
71
Saving your data
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 D1600 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, shut down the power of the D1600. 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 disk connected to the D1600 is displayed as “Unknown Disk” in the drive list, failing to
be recognized, you can use the following procedure to
format the disk in FAT 16 DOS format so that the D1600
can recognize it.
1 Connect the external SCSI device to the D1600,
and use the “DiskUtil” tab page to initialize it.
(→p.68, 79)
2 Reconnect the external SCSI drive (that you ini-
tialized in step 1) to your computer, and format
it.
• Windows 95/98/Me users
If you are using a 2 GB or smaller drive, execute
“Normal formatting” in Windows. If you are
using a drive larger than 2 GB, use a dedicated
formatting program, or use FDISK (included
with Windows) to divide the disk into partitions
of 2 GB or less, and then execute FAT 16 formatting.
For the procedure, refer to the manual of the
software tool you are using.
• Windows NT/2000 users
If you are using a 2 GB or smaller drive, execute
FAT 16 formatting in Windows. If you are using
a drive larger than 2 GB, divide the disk into
partitions of 2 GB or less, and then execute FAT
16 formatting.
For the procedure, refer to the manual of the
software tool you are using.
If you are using Windows NT/2000, you must
log on with user privileges that allow you to
format the disk.
• Macintosh users
In “Initialize disk”, select MS-DOS format, and
execute formatting.
All data on the formatted disk will be lost. Be very
careful not to format a drive other than the drive
you intend to format. Korg Corporation can take
no responsibility for any loss of data.
3 Reconnect the external SCSI drive that you for-
matted in step 2 to the D1600, and verify that it is
recognized.
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 D1600 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 D1600 transmits MIDI messages from this connector. Connect this to the MIDI IN
connector of the external device.
MIDI channel settings
MIDI allows information for multiple MIDI devices to
be conveyed over a single MIDI cable by using sixteen
MIDI channels, 1–16. 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 D1600 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 D1600.
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 D1600.
MIDI
IN
MIDI
OUT
Basic operation
2. MIDI messages used by the D1600
Note, aftertouch, velocity, pitch bend: This data is
used by the D1600 to control effects.
Program change: This data is used by the D1600 to
select scenes.
Control change: This data is used by the D1600 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 D1600 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 D1600. MTC messages can also be received to synchronize the D1600
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 distributor.
MIDI Sequencer
D1600
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 D1600 will be controlled accordingly. (For details refer to the owner’s manual for
your MIDI sequencer.)
At this time, you can also make the D1600
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 D1600.
” to the same setting as the MMC
73
MIDI
Synchronizing two D1600 units
Here’s how you can synchronize two D1600 units. One
D1600 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
D1600 (Master) D1600 (Slave)
1 Make settings on the master D1600.
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 D1600.
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).
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 D1600, or turn
the [SYSTEM] “MIDI” tab page “Control
Change: “Recv” parameter “Off” on the slave
D1600.
3 Press the [PLAY] key on the master D1600.
When the slave D1600 receives time code and
establishes synchronization with the time code of
the master unit, the slave D1600 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 D1600 mixer parameters can be transmitted and
received.
Recording D1600 mixer control operations
Here’s how operations of the D1600 mixer can be
recorded on an external MIDI sequencer. Connect the
D1600 and your MIDI sequencer as follows.
MIDI
OUT
MIDI
IN
MIDI
MIDI
IN
OUT
MIDI Sequencer
1 Make synchronization settings for the D1600 and
your external MIDI sequencer.
Set the D1600 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
D1600. (→p.47)
2 Enable control change transmission on the D1600.
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 D1600 will be transmitted on MIDI channels 1–16 corresponding to
tracks 1–16. Make settings on your external MIDI
sequencer so that MIDI channels 1–16 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 distributor.
4 Begin recording.
When you press the D1600’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 D1600, and recorded on the external MIDI
sequencer.
5 Stop the D1600.
When you press the D1600’s [STOP] key to stop
playback, the external MIDI sequencer will also
stop recording. The mixer operations of the D1600
have been recorded on the external MIDI
sequencer.
Using MIDI to control the D1600 mixer
Here’s how the mixer control data recorded in “Recording D1600 mixer control operations” can be transmitted
back to the D1600 to control its mixer. Make the same
connections as in “Controlling the D1600 from a MIDI
sequencer.”
1 Make synchronization settings for the D1600 and
the external MIDI sequencer.
Make the settings in step 1 of “Recording D1600
mixer control operations.”
2 Enable control change reception on the D1600.
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 D1600.
When you press the D1600’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 D1600 mixer
settings to change.
74
D1600
Reference
Reference
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
31 2 4 5
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 SW] jack, and
set this parameter so that the polarity indicator
“ ” is lit when you press the foot switch.
2. Func(FootSwFunction)..............................................
[PunchI/O, Play/Stop, Mark]
Select the function that the foot switch will control.
PunchI/O: 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 automatically function as a
tap marker. (→p.63)
3. Device(CtrlChgDevice)..............................................
[Pedal, A.Touch, P.Bend, Velocity, NoteNum,
CC#000…119]
Select the external device that will control the internal effects of the D1600. The effect selected by “Ass
(P1-4) can be controlled in real-time.
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, P.Bend, Velocity, NoteNum: MIDI aftertouch, pitch bend, velocity, or note number data can
be used to control the effect.
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 D1600,
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 D1600,
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–)
5. Fan Control........................... [On, Rec&PlayOff, Off]
Control the operation of the internal fan.
On: The fan will operate constantly.
Rec&PlayOff: The fan will stop during recording
and playback.
Off: The fan will stop.
If the internal temperature rises, the fan will begin
operating automatically even if this setting is “Off.”
When the temperature falls to an acceptable level,
the fan will stop automatically.
” (P1-3).
P2 MIDI: MIDI settings
2
1 3
5
4
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.
A external sequencer connected via MIDI can
record the control changes transmitted from the
D1600.
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
D1600 to control the corresponding mixer parameters.
For the parameters that can be controlled, refer to
the MIDI implementation chart (→p.142).
P3 Sync: Synchronization settings
By synchronizing the D1600 with an external MIDI
sequencer, you can simultaneously play back tracks of
audio together with your external tone generator.
The action of making the D1600 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 D1600 can operate either as the master or slave.
2
On the D1600, 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 trans-
mit/receive scene changes
To allow MIDI messages to be transmitted and
received, connect the external MIDI device to the
D1600 via MIDI, and set the MIDI channel of the
external device to match the “GlobalCh
D1600.
” (P1-3) setting other than “Pedal”
” of the
76
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 D1600 will function as the master
device for MTC 30 NDF (MIDI time code 30 nondrop frame) messages.
MTC Slave: The D1600 will function as the slave
device for MTC 30 NDF (MIDI time code 30 nondrop frame) messages.
ClockMstr: The D1600 will transmit MIDI Clock
messages.
Off: The D1600 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 D1600, the D1600 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 D1600 is used
as the MTC master for synchronization, correct synchronization may not be possible unless you start
from the beginning of the song.
• D12 backup data
• D16 backup data
• D8 backup data (audio data only)
For details on data compatibility, refer to p.70.
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
Reference
SYSTEM
4
5
P4 MMC: MMC settings
The D1600 transmits and receives MMC (MIDI
Machine Control) messages.
When synchronizing two D1600 units, or when using
the D1600 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 D1600. Details on the MMC
functionality of the D1600 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 D1600 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.
P5 B–U/Rst: Backing-up and
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.
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.
• D1600 backup data
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
77
“G” is the ID for CD-R or CD-RW. If a CD-R or
CD-RW drive is connected to the [SCSI] connector, set the SCSI ID of the drive to “6.”
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)
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.
Format Type........(P, B, D8[B], D12[P], D12[B], Audio)
This shows the format type of the drive.
The internal drive of the D1600 and external drives
that were initialized or formatted by the D1600 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
D1600, D16 songs
[B] (Backup type): A disk for backing up D1600,
D16 data
D8[B]: D8 backup disk
D12[P]: D12 playable disk
D12[B]: D12 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.
5a
B–U/RstType: “BackupAllSongs”
Back up all songs and user effect data on the selected
drive.
1
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.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.
5a. Speed ...................................................[2X, 4X]
You can specify the speed at which the data will be
written when backing up to a CD-R/RW. (→B–U/
RstType: “Backup1Song”)
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
B–U/RstType: “BackupUserData”
This operation backs up effect user data.
4
3
5
5a. Speed................................................... [2X, 4X]
You can specify the speed at which the data will be
written when backing up to a CD-R/RW.
4X: The data will be written at 4X speed.
2X: The data will be written at 2X speed.
When the “AreYouSure?” prompt appears, press
the “Yes” button to begin backup.
When using “4X,” you must use a drive that
supports 4X writing. Depending on your system (hard disk and CD-R/RW drive etc.), backing up at “4X” may be unsuccessful. If this
occurs, use the “2X” setting.
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
78
1
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.77: P5-4)
4. Destination..................................... (A...G/RMD, CD)
This shows the backup destination drive.
Use “Drive” to select the backup destination drive.
4
3
5
5. Exec. (Execute).........................................................
Execute the backup operation.
Effect user data will be backed up to the drive specified by “Destination.”
5a. Speed .................................................. [2X, 4X]
You can specify the speed at which the data will be
written when backing up to a CD-R/RW. (→B–U/
RstType: “Backup1Song”)
Be aware that the data on the backup destination
drive (“Destination”) will be overwritten.
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
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.
” number and
” drive – the
6
Reference
SYSTEM
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
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)
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 D1600, or if the “Disk
Error” 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
4
5
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
” drive.
ce” will be
ce” song will be
” song number.
2
1. Drive ID......................................................[I, A...G]
Select the drive that you wish to initialize, format,
or check.
3
79
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
CD media can be used only when “LoadSystem” is
selected for “SelOperation.”
Initialize: The drive selected by “Drive ID” will be
initialized.
Format: The drive selected by “Drive ID” will be
formatted.
3. Format Type........ (P, B, D8[B], D12[P], D12[B], Audio)
This displays the format type of the drive.
The internal drive of the D1600 and external drives
that were initialized or formatted by the D1600 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
D1600, D16 songs
[B] (Backup type): A disk for backing up D1600,
D16 data
D8[B]: D8 backup disk
D12[P]: D12 playable disk
D12[B]: D12 backup disk
Audio: Audio CD
It is not possible to format, initialize, or check an
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 D1600, 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.
Full SW.................................................... [ON, OFF]
Specify the area that will be checked by Check
Drive.
ON: The entire area will be checked and repaired.
OFF: 2 GB of unused area will be checked and
repaired.
Check Drive requires a certain amount of time
for completion. If you are using the Korg HDD20G drive, the following times will be required.
Full SW ON: 240 minutes. Full SW OFF: 30 minutes.
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 D1600. For details refer to
“Updating the system software” (→p.139).
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.
80
P2 Bounce: Settings for bounce
recording
Reference
4. TRACK
For the procedure of bounce recording, refer to p.29.
1
2
1. Select BounceMode.......... [14Tr+2In→2Tr, 16Tr→2Tr]
Select the type of bounce recording.
14Tr+2In→2Tr: Select this when recording 14 tracks
of playback + 2 inputs onto two tracks.
The input sound selected in the [INPUT] “Ch1–8”
tab page and “Ch9–16” 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.
16Tr→2Tr: Select this when recording 16 tracks of
playback onto two tracks.
The track playback will be valid for the channel(s)
whose [TRACK STATUS] key is set to REC (LED lit
red), and will be recorded together with the other
playback tracks.
Be aware that if “Rhythm” is set to “On” during
bounce recording, the rhythm will also be recorded
together with the other sounds (→p.61).
2. RecordVirtualTrack............................ [Current, a…h]
Select the recording destination virtual track.
Select the virtual track of the recording track
selected by the [TRACK STATUS] key on which
bounce recording will occur.
By selecting a virtual track “a”–“h” other than
“Current,” you can combine tracks 1–16 into two
tracks without erasing any of the tracks 1–16.
Current: The currently selected track
a…h: The specified virtual track
However if the same virtual track is selected both
here and for [TRACK] “Vtr1–8” or “Vtr9–16” 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–
8” and “Vtr9–16” tab pages to see which virtual
tracks are currently selected and which contain
data.
P1 Vtr1–8:
Select virtual tracks 1–8
2
1
1. Select VirtualTrack................... [1a…1h, …, 8a…8h]
Select the virtual track for each track “1”–“8.”
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 (1–16). 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
P2 Vtr9–16: Select virtual tracks
9–16
For details refer to “Vtr1–8.”
This page cannot be selected for a 24 bit song.
1. Select VirtualTrack............... [9a…9h, …, 16a…16h]
Select the virtual track for each pair of tracks.
2. SelectAll ....................................................[On, Off]
P3 EditTrk: Track editing
RECORDTRACK
1 6
2
3
Editing will apply to currently selected tracks 1–16
(→”Vtr1–8,” “Vtr9–16”). Virtual tracks that are not
selected will not be affected by editing. (However,
“CopyWholeTrack” and “SwapWholeTrack” are
exceptions.)
4
81
5
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.
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
ceTrack”) to the
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.
SourceTrack
TIMES
TO
DestTrack
1 6
2
3
2. SourceTrack ........[1...16, 1–2...15–16, 1–4…13–16,
1–8...9–16,1–16, Clip#
Select the copy source track.
*1
: “Clip#” can be selected only if the clipboard contains 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 1–8 can be
selected.
*1
]
4
3. DestTrack ............[1...16, 1–2...15–16, 1–4...13–16,
1–8…9–16, 1–16, 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 1–8 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.
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]
5
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.
EditType: “InsertTrack”
This operation inserts a blank in the IN–OUT range of
the insert destination track (“DestT
rack”).
When this is executed (“Exec.”), any track data that followed the inserted blank will be moved toward the end
of the song.
82
EditType: “DeleteTrack”
Reference
This operation deletes the track data from the IN–OUT
1
4
3
range of the delete destination track (“DestT
When this is executed (“Exec.”), the data of the IN–
OUT range will be discarded, and any track data that
rack”).
followed the deleted range will be moved toward the
2
beginning of the song.
IN
OUT
Blank
DestTrack
DestTrack
2. DestTrack.................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the insert destination track.
In the case of a 24 bit song, only tracks 1–8 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.82 EditType:
“CopyTrack”)
EditType: “EraseTrack”
This operation erases the track data in the IN–OUT
range of the erase destination track (“DestT
rack”).
When this is executed (“Exec.”), the IN–OUT range
will contain silence.
1
2
IN
OUT
DestTrack
1
4
3
TRACK
2
IN
2. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the track(s) from which data will be deleted.
In the case of a 24 bit song, only tracks 1–8 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.82 EditType: “Copy-
Track”)
EditType: “SwapTrack”
This operation exchanges (swaps) the track data of the
4
3
IN–OUT range of the swap source track (“Sour
Track”) with the track data in the IN–OUT range of the
swap destination track (“DestT
When this is executed (“Exec.”), the data in the IN–
OUT ranges of the “Sour
be exchanged.
OUT
DestTrack
DestTrack
ce-
rack”).
ceTrack” and “DestTrack” will
DestTrack
Blank
2. DestTrack.................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the erase destination track.
In the case of a 24 bit song, only tracks 1–8 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.82 EditType: “Copy-
Track”)
1 5
2
3
IN
IN
2. SourceTrack ............................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the swap source track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
OUT
A
B
OUT
B
A
SourceTrack
DestTrack
SourceTrack
DestTrack
83
4
3. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the swap destination track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
4. Exec. (Execute)........................................................
Execute the track editing operation.
5. 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.82 EditType: “Copy-
Track”)
EditType: “OptimizeTrack”
This operation optimizes the track data of the IN–OUT
range of the optimize destination track (“DestT
rack”).
The D1600 will not generate unnecessary sound if the
IN–OUT range contains unused blank portions. However in the case of brief blank portions that are close to
the next audio event, the data will be generated as a
single sound to avoid producing “DiskBusy” errors.
By executing Optimize Track with IN–OUT set to
the beginning and end of the song, you can ensure
that the data will be accessed with optimal efficiency from the hard disk.
EditType: “ReverseTrack”
This operation copies the track data of the IN–OUT
range of the reverse source track (“Sour
TO location of the destination track (“DestT
ceTrack”) to the
rack”) in
reverse (flipped back-to-front). You can specify the
number of times that the data will be copied.
When this is executed (“Exec.”), the copied data will be
reversed, so that the playback will be backward.
The specified range of the reverse destination track
will be overwritten.
1 6
2
3
IN OUT
A B C ...
2. SourceTrack ............................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the reverse source track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
3. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the reverse copy destination track.
In the case of a 24 bit song, only tracks 1–8 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.
TIMES
TO
A B C ...A B C ...A B C ...
4
SourceTrack
DestTrack
1
4
3
2
IN OUT SourceTrack
DestTrack
2. DestTrack ................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the track that will be optimized.
5
In the case of a 24 bit song, only tracks 1–8 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.82 EditType: “Copy-
Track”)
EditType: “Exp/CompTrack”
This operation expands or compresses the track data of
the IN–OUT range of the expansion/compression
source track (“Sour
ceTrack”), places it in the TO–END
range of the expansion/compression destination track
(“DestT
rack”), and copies it the specified number of
times beginning at the TO location.
When this is executed (“Exec.”), the expansion/
compression destination track will be overwritten.
The available ratio of expansion/compression is
limited, and if the IN–OUT duration is drastically
different than the TO–END duration, an error mes-
sage will appear when this is executed. In general,
the TO–END time can be changed to 50–200% of
the IN–OUT time.
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.82 EditType: “Copy-
Track”)
84
1 6
2
3
47
5
IN OUT
A B C ...
TIMES
TO
A B C ...A B C ...A B C ...
SourceTrack
DestTrack
2. SourceTrack............................. [1...16, 1–2...15–16]
Select the expansion/compression source track.
In the case of a 24 bit song, only tracks 7–8 can be
selected.
3. DestTrack................................. [1...16, 1–2...15–16]
Select the expansion/compression copy destination
track.
In the case of a 24 bit song, only tracks 7–8 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. Here you can set the editing locations (IN,
OUT, TO) more precisely. (→p.82 EditType: “Copy-
Track”)
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.
EditType: “CopyWholeTrack”
This operation copies the track data from the beginning
to the end of the copy source track (“Sour
currently selected virtual track) to the specified virtual
track of the copy destination track (“DestT
ceTrack”; the
rack”).
When this is executed (“Exec.”), the copy destination track will be overwritten.
1
2
3 4
SourceTrack
DestVTrack (a...h)
2. SourceTrack ............................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the copy source track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
3. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the copy destination track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
4. DestVTrack......................................................[a...h]
Select the virtual track of the copy destination track
(“DestT
rack”) to which the data will be copied.
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
ceTrack”; the currently selected virtual track)
with the specified virtual track of the swap destination
track (“DestT
rack”).
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
ce-
Track” and “DestTrack” will be exchanged.
1
2
3 4
SourceTrack
DestVTrack (a...h)
SourceTrack
DestVTrack (a...h)
Reference
5
TRACK
5
85
2. SourceTrack ............................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the swap source track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
3. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the swap destination track.
In the case of a 24 bit song, only tracks 1–8 can be
selected.
4. DestVTrack......................................................[a...h]
Select the virtual track of the swap destination track
(“DestT
rack”) to which the data will be swapped.
5. Exec. (Execute)........................................................
Execute the track editing operation.
EditType: “FadeTrack”
This operation fades-in or fades-out the track data in
the IN–OUT range of the fade-in destination track
(“DestTrack”). When this operation is executed, the
audio data in the IN–OUT range will be smoothly
faded to the level of the OUT time location.
When this is executed (“Exec.”), the fade-in (fadeout) destination track will be overwritten.
5a. 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 at maximum level
before clipping.
The normalize destination track will be overwritten.
1
2
4
3
1 5
3
IN OUT
2. DestTrack................................................................
[1...16, 1–2...15–16, 1–4...13–16, 1–8, 9–16, 1–16]
Select the track to be edited.
In the case of a 24 bit song, only tracks 1–8 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.82 EditType: “Copy-
Track”)
5. Mode......................................................................
Select the fader curve for the fade-in or fade-out.
6
IN OUT
IN OUT
Max Level
IN OUT
Max Level
4
2. DestTrack .................................[1...16, 1–2...15–16]
Select the normalize destination track.
For a 24 bit song, only up to tracks 7–8 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.82 EditType: “Copy-
Track”)
P4 Import: Import a WAV file
A WAV file saved on a FAT 16 DOS format external
SCSI drive can be pasted into a D1600 track. (→p.72
“Note when using DOS format disks”)
You can also import this data into the clipboard, and
paste it into a location other than the beginning of the
track.
For CD media, the D1600 supports WAV files saved
on an ISO9660 Level 1 format CD-ROM, CD-R, or
CD-RW. For CD-ROM, CD-R, and CD-RW, subdirectories are also supported.
86
For SCSI drives other than CD-ROM, CD-R, and
CD-RW, the D1600 supports only WAV files that are
saved in the root directory of the first partition of
FAT 16 format.
The D1600 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 3
2 4
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...16, 1–2...15–16, 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.
5
: The selected WAV file is stereo.
5. Exec. (Execute)........................................................
Execute the WAV file import command.
Reference
TRACK
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.
To enter a sub-directory, select the desired [...]
and press the “OK” button. To return, select
“←” and press the “OK” button.
P5 Export: Export a WAV file
Audio track data copied to the clipboard of the D1600
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).
2. DriveList.........................................................[A...G]
Select the drive. For details on drive numbers, refer
to “Drive ID” (→p.22).
87
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 used for WAV file name.
5. SONG
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.
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
P1 SelSong: Selecting a song
13
2
1. SongNumber............................ [I, A…G/001…100]
Select the song.
The display shows the drive, song number, and
song name.
If a 24 bit song is selected, the display will indicate
“ .” If the song is protected, the display will indi-
cate “ ” (→p.60). If a song from a D12 playable
disk is selected, the display will indicate “ .”
You can press the “ ” button and choose from a list.
If you wish to select a different drive, press the
“Drive” button in this list and select the desired
drive.
1
You can also select songs by holding down the
[STOP] key and pressing the [FF] key or [REW] key.
(→p.22)
1a. Drive....................................................[I, A…G]
Select the drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
(→p.22)
4
1a
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.
ON: Dithering will be performed in order to make
quantization noise less obtrusive.
OFF: Dithering will not be performed.
88
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.
5b
Tempo: The display will show the tempo source,
tempo, time signature, and rhythm of the song.
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.
3. Rename...................................................................
Press the “Rename” button to access the dialog box,
and modify the song name. A name of up to sixteen
characters can be input. (→p.21)
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.
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.
Reference
SONG
4b4a
Set “SongType” and “MixerSet,” and press the
“OK” button, to create the new song. If you press
the “Cancel” button, no song will be created.
4a. SongType .............[16Bit/16Track, 24Bit/8Track]
16Bit/16Track: Create a song for 16 bit recording/
playback. Tracks 1–16 can be used. A maximum of
eight tracks can be recorded simultaneously.
24Bit/8Track: Create a song for 24 bit recording/
playback. Tracks (1–8) can be used. Tracks 9–16 are
not available. A maximum of four tracks can be
recorded simultaneously.
When audio data is transferred to a 16 bit song
(→p.82 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.
P2 EditSong: Song editing
1
2 3
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.
Undo is not available for this operation.
”). If “DestSong” is an existing song
4
5
1
2 3
The song affected by editing will be the currently
selected song. (However the “CopyAllSong” oper-
ation will affect all songs.)
Undo is not available after these operations.
1. EditType ...............................[CopySong, MoveSong,
DeleteSong, ProtectSong, CopyAllSongs]
Select the song editing operation.
EditType: “MoveSong”
4
5
The currently selected song will be moved to a different
song number within the same drive.
1
4
32
2. SourceSong ...............................(I, A...G/001...100)
This displays the move source drive and the song
number.
89
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.
Undo is not available for this operation.
” and the preceding song numbers to
” and following song num-
change this, use the [SONG] “SelSong” tab page to
make your selection.
3. Exec. (Execute) ........................................................
Execute the protect operation.
Each time you execute, protect will be turned on or
off.
Undo is not available for this operation.
4. Protect On/Off Mark..................................[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.
EditType: “DeleteSong”
The currently selected song will be deleted.
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.
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.
” song will be
1
1
4
5
2 3
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.
4. Drive..........................................................[I, A…G]
Select the copy destination drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
5. Exec. (Execute) ........................................................
Execute the copy operation.
When you execute this command, the songs will be
copied following the last song on the copy destination drive (“DestSong”). No songs will be overwritten.
Undo is not available for this operation.
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.
2
3
1. Select TimeDisp Type...............[Abs–Song, Abs–Total]
1
3
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
90
Select the type of counter display.
Abs–Song: The elapsed time of the individual song
will be displayed.
Abs–Total: The elapsed time of the entire program
will be displayed.
If you are satisfied with the setting you selected,
press the “OK” button. To cancel, press the “Cancel” button.
2. ProgramPlay List........................................ [01…99]
Here you can arrange songs in a list.
The songs will be played in order, starting at the
top. To select a different drive, press the “Drive”
button.
From the left, this display shows the play list number, drive, song number, and song name.
If the list contains a play list number without a
song, that number will be skipped, and the next
song in the play list will be played.
3. Drive......................................................... [I, A…G]
Select the drive.
When you press this button, a dialog box will
appear. Select the drive, and press the “OK” button.
(→p.22)
P4 CDR/RW: Creating and
playing a CD-R/RW
You can produce an audio CD if a CD-R (CD Recordable) or CD-RW (CD Re-Writable) drive such as the
CDRW-2 (sold separately) is installed in the D1600, or if
a recommended CD-R or CD-RW drive is connected to
the [SCSI] connector. (→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.
Some audio CD players are unable to play the first
several hundred milliseconds at the beginning of an
audio track. For this reason, we recommend that
you create a blank region of 300–600 msec at the
beginning of tracks 1 and 2 when producing an
audio CD on the D1600. (→p.52 Insert Track)
1
2
3
6
8
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 D1600 etc.
• A finalized CD-RW created on the D1600 etc.
• An audio CD
3. Final(Finalize)..........................................................
Execute the Finalize operation.
In order for a CD-R/RW disc created on the D1600
to be playable on an audio CD player, the Finalize
operation must be executed.
Finalize can be executed only once on CDRs. After a
disc has been finalized, it is no longer possible to
write additional songs on that disc. For this reason,
you should press the “Final” button to execute
Finalize only after you have finished writing all the
songs you intend to write on that disc. When using
CD-R/RW disks you can execute the undo function
for either audio or data backup. Each CD-R/RW
can contain only one type of data, either audio or
backup for this function to work correctly.
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
“COPYRIGHT WARNING” (→p.1), and use this
function only if you accept the terms.
Reference
SONG
574
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.
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.
91
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 Monitor.............................................................
This specifies whether the CD audio output will be
sent to the monitor bus when an audio CD is placed
in the internal CD-R/RW drive.
On: The sound of an audio CD placed in the internal CD-R/RW drive will be sent to the monitor bus.
At this time, other audio will not play from the
monitor out.
Off: CD monitoring will be off. The sound of the
internal CD-R/RW will not be sent to the monitor.
If the audio output of the internal CD-R/RW drive
has been assigned to a mixer channel in the
[INPUT] tab page, you can listen to the sound of the
CD even if “CD Monitor” is turned off. In this case,
you will hear the sound that has been routed
through the mixer (with EQ and effects, etc.).
8. 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.
7. MARK
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. (→p.36)
A maximum of 100 marks can be registered in each
song.
P1 Mark: Editing marks
2
3
4
1
1. MarkNumber .........................................[001…100]
Select the mark number. Beside the mark number,
the display shows the name of the mark, and the
registered time location.
Mark numbers are updated in order of their time
location.
2. Rename ..................................................................
Modify the name of the mark.
Select the mark whose name you wish to modify,
press the “Rename” button to access the dialog box,
and modify the name. You can input a name of up
to sixteen characters. (→p.21)
3. Delete .....................................................................
Delete a mark.
The Undo function is not available after deleting a
mark.
6. STORE
You can store a time location for a registration to a
locate, scene, or mark.
When you press the [STORE] key the location is put
into a memory buffer, and can be registered by pressing
one of the registration destination keys: (IN/LOC1,
OUT/LOC2, TO/LOC3, or END/LOC4). 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.39), and Mark (→p.36).
92
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
8. SCENE
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
“SceneRead” is turned “On”). Scenes can also be used
as general-purpose settings, and recalled and used
when desired. (→p.39)
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
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”).
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.
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.
Reference
MARKSCENE STORE
P1 ReadDel: Scene playback on/
off and editing
6
1
2
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.
7
9
10
3. SceneNumber ........................................[001…100]
This recalls the mixer settings of a scene to the current time location.
This is also used to recall a scene when you wish to
modify its name or to change its time location.
The time location at which the scene is registered is
shown beside “SceneNumber.”
If “SceneRead” (P1-1) is “Off,” you can select any
desired scene. If this is “On,” the scene for the current time will be selected, and cannot be chosen
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 used.
(→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
93
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.
” to recall the scene whose loca-
P2 MixView: Pan/fader scene dis-
play
1
4
3
1. Pan.................................................. (Pan1…Pan16)
This shows the currently selected pan settings.
When you select an icon, the channel number and
setting value will be displayed in the upper left.
2
7. Delete.....................................................................
This lets you delete a scene.
The Undo function is not available after you delete
a scene.
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.
2. Level.................................................. (Lev1…Lev16)
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.
94
4. SceneNumber.........................................[001…100]
This recalls the mixer settings of a scene to the cur-
rent time location. (→p.93)
9. TEMPO/RHYTHM
Here you can make tempo, time signature, and rhythm
(metronome) settings for a song. When the counter is
displaying “MBT” (measures, beats, and 1/96th of a
beat) (→p.75), it will operate according to the specified
tempo.
Tempo/rhythm can also be viewed in the [SONG]
“SelSong” tab page (→p.88).
P1 SetUp: Tempo and rhythm
settings
1
4 5 2
1. TempoSource ........[Manual, TempoMap, TempoTrack]
Specify the tempo source.
Press the “ ” button, and you can select from a dialog box.
Manual: The tempo will follow the “T
(→P1-2) and “Beat
possible to change the tempo, time signature, and
rhythm pattern automatically as the song
progresses.
TempoMap: The tempo, time signature, and
rhythm pattern will change automatically as the
song progresses, as directed by the tempo map. The
tempo map can be created in the “TmpMap” tab
page.
TempoTrack: The recorded tap tempo or MIDI
Clock will be used. Use the “TmpTrack” tab page to
record a tap tempo or tempo data from a sequencer,
and select “TempoTrack” here.
The time signature will follow the settings created
in the “TmpMap” tab page. For details refer to p.62.
The “TempoTrack” can be selected after it is cre-
ated.
2. Tempo .............................................[40…240, (***)]
Specify the tempo that will be used when “T
Source” is set to “Manual.” In the case of “Tem-
poMap,” this will show the current tempo created
in the “TmpMap” tab page. In the case of “Tempo-
Track,” this will show “***.”
The units are =40–240.
3. Beat ...............................................[01/04…16/16]
Specify the time signature that will be used when
“TempoSource” is set to “Manual.” In the cases of
“TempoMap” and “TempoTrack,” this will show
the time signature corresponding to the current
time as specified in the “TmpMap” tab page.
” (→P1-3)settings. It will not be
empo”
empo-
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
5. RhythmVol .............................................[000…100]
Specify the volume of the rhythm.
When the [SOLO/MONITOR] “Monitor” tab page
“Rhythm” button is turned OFF, this volume is sent
to the master LR bus. When the button is turned
ON, it is sent to the monitor LR bus.
7
3
6
6. Rhythm...................................................... [On, Off]
Turn the rhythm on/off.
You can specify whether or not the rhythm will play
during recording and playback.
The [TEMPO/RHYTHM] key LED will light.
Be aware that during bounce recording, the rhythm
will be recorded if this setting is “On.”
The rhythm that is input for [INPUT] “Ch1–8” and
“Ch9–16” 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
.” (→p.146)
On: The rhythm will play.
Off: The rhythm will not play.
Reference
SCENE
TEMPO
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.
5
1
3
1. TempoMap............................................. [001…200]
This is the number of the selected tempo map.
2
4
95
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 2f2g2b
2a. StartMeas ........................................ [001...999]
Specify the starting location of the tempo map that
will be created.
This is specified in units of a measure.
2b. EndMeas.......................................... [001...999]
Specify the ending location of the tempo map that
will be created.
This is specified in units of a measure.
2c. Tempo ................................................[40…240]
Specify the tempo. The units are =40–240.
2d. Beat......................................... [01/04…16/16]
Specify the time signature.
2e. Rhythm .............................[(Rhythm Pattern List)]
Specify the rhythm. If you wish to specify a period
of silence, you can select a silent rhythm.
Press the “ ” button and select a rhythm from a
dialog box.
The rhythms that can be selected will depend on the
“Beat
” setting. (→p.146)
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.
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.
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 D1600 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 D1600 (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 tracks 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.
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.
2g. Pattern length, Pattern position ..........................
This displays the number of measures (length) for
each rhythm selected by “SelRhythm,” and the
measure within that length that is being played.
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.
empoMap” to select the map that you
96
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.
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 (→p.35)
Press each key to move to the registered location.
• Loop playback in/out points (→p.33)
• In/out points for auto-punch recording (→p.31)
• Editing locations for track editing (→p.51)
• In-out playback
With this function, you can hold down the [IN/
LOC1] key and press the [OUT/LOC2] key to playback from the IN time registered in the [IN/LOC1]
key to the OUT time registered in the [OUT/LOC2]
key. This provides a convenient way to play back the
IN–OUT range so that you can check its contents.
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 “CopyTrack”
Reverse copy destination time for “ReverseTrack”
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”
Reference
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 “CopyTrack”
Start of blank insert location for “InsertTrack”
Start of erased region for “EraseTrack”
Start of deleted region for “DeleteTrack”
Start time of swap source and swap destination
for “SwapTrack”
Start of reversed region for “ReverseTrack”
Start of expanded/compressed region for “Exp/
CompTrack”
“OptimizeTrack” start time
“FadeTrack” start time
“NormalizeTrack” start time
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 “CopyTrack”
End of blank insert location for “InsertTrack”
End of erased region for “EraseTrack”
End of deleted region for “DeleteTrack”
End time of swap source and swap destination
for “SwapTrack”
End of reversed region for “ReverseTrack”
End of expanded/compressed region for “Exp/
CompTrack”
“OptimizeTrack” end time
“FadeTrack” end time
“NormalizeTrack” end time
TEMPOIN/LOC1
97
11. AUTO PUNCH
4
4a. PreRoll .................................................[00…10]
Set the pre-roll time.
4b. PostRoll................................................[00…10]
Set the post-roll time.
P1 AtPunch: Settings for auto
punch-in/out recording
Auto punch-in/out recording is a function that automatically starts recording (punch-in) and stops recording (punch-out) at the time locations you specify
beforehand.
If you record when “AutoPunch” is “On,” punch-in/
out recording will occur automatically.
By turning the [RHSL] key “On,” you can rehearse
auto punch-in/out recording (i.e., practice without
actually recording anything). (→p.112)
1 4
2 3
1. AutoPunch .................................................[On, Off]
Set the auto punch-in/out recording function on/
off.
On: When you record, auto
punch recording will occur. When “On,” the
[AUTO PUNCH] key will light.
When you begin recording, the song will start at the
pre-roll time before the registered time (IN), recording will occur for the recording region (IN–OUT),
and playback will stop after the post-roll time.
(→”RolTime”)
Off: When you record, recording will occur normally.
2. In ....................................................(000:00.000…)
This shows the auto punch-in time (where recording will begin).
To set this time location, use the [STORE] key and
[IN/LOC1] key, or use “Wave.”
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,
5
which allows you to specify time locations with
greater precision.
The play-from/play-to and slow play functions can
also be used. (→p.101)
IN(LOC 1) OUT(LOC 2)
Playback Playback
Auto punch-in/out recording
Loop recording (this region will be repeated)
Recording
Stop recordingBegin recording
PostRoll
5a
5c
5d 5b
5a. In...............................................[000:00.000…]
5b. Out............................................[000:00.000…]
Set IN and OUT.
When you place the cursor at “In” or “Out,” the
track selected by “TrackSelect” will automatically
be set to Solo and Scrub On, so that you can rotate
the [VALUE] dial to hear only the sound of that
track.
5c. TrackSelect...................................... [Track1…16]
Select the track whose waveform will be shown and
which will be played. Press the “ ” button and
select from the list.
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.
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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